Page 1 AudioBox Stereo ™ Quick Start Guide ® English www.presonus.com...
Page 2: Table Of Contents
Microphones — 16 What is in the Box — 4 4.1.2 Positioning Your Hookup — 5 Microphones — 17 Connect Your AudioBox Stereo Front-Panel Connections — 5 Bundle — 19 Rear-Panel Connections — 6 Configure Studio One Artist — 20 Connecting to Create a New Song in Studio One —...
Page 3: Overview
AudioBox™ Stereo User Guide Overview Introduction Thank you for purchasing the PreSonus AudioBox™ Stereo bundle. You now own all the tools you need to create professional-quality stereo recordings. All you need is a computer with a USB connection, an artist to record, and a little inspiration.
Page 4: About This Guide
Throughout this guide and the user manual, you will find Power User Tips. These tips provide useful hints on how to best use the AudioBox Stereo bundle and take advantage of unique workflow functions and features. Technical Support...
Page 5: Summary Audiobox Stereo Features
• Mac OS X® and Windows® compatible 1.4.2 Studio One Artist All PreSonus audio interfaces include PreSonus Studio One Artist recording software, which comes with over 6 GB of plug-ins, loops, and samples, giving you everything you need for music recording and production. This...
Page 6: What Is In The Box
What is in the Box What is in the Box Your AudioBox Stereo bundle contains the following: PreSonus AudioBox USB recording interface 6’ (1.8m) USB cable 2 PS626 microphones with XY stereo bar 2 15’ XLR cables HD7 headphones with storage bag Software Library containing •...
Page 7: Hookup
PS626 bus power. It will illuminate microphones included in your Phones Level. This knob red when the AudioBox USB AudioBox Stereo bundle require controls the output level for is being properly powered +48V phantom power to operate. the headphone connection...
Page 8: Rear-Panel Connections
Rear-Panel Connections Rear-Panel Connections USB Connection. This MIDI In and Out. The Main Outputs. This Headphone Output. is where you connect MIDI connections are is where you connect This is where you the USB cable from for use with external your studio monitors.
Page 9: Connecting To A Computer
Studio One: Installation and Authorization Once you have installed the AudioBox drivers and connected the AudioBox USB to your computer, you can use the included PreSonus Studio One Artist music-production software to begin recording, mixing, and producing music.
Page 10: Running The Studio One
Click on the “Create New Account” link if your computer is connected to the Internet. If you already have a PreSonus user account, you can skip to Section 3.2.3 “Activating Studio One Artist Online. ” If your computer is not connected to the Internet, skip...
Page 11: 3.2.3 Activating Studio One Artist Online
Your username and password will also provide you with access to the PreSonus user forums to chat with other PreSonus users as well as PreSonus employees. Power User Tip: Once your user account has been...
Page 12: Activating Studio One Artist
Studio One: Installation and Authorization 2. Your previously created account username and password will automatically be filled in. Enter the Studio One Product Key located on the Studio One Artist disc wallet. 3. Click on the Activate button to finish the activation process. 3.2.4 Activating Studio One Artist Offline 1.
Page 13 AudioBox™ Stereo User Guide 3. Visit http://my.presonus.com on an Internet-connected computer and click on the Create New Account to create your PreSonus user account. You can also login using your Google, Facebook, or LinkedIn profile. 4. Fill out the PreSonus Registration form.
Page 14 Studio One: Installation and Authorization 7. Click on the Activate Software button. 8. Enter the Activation Code you wrote down in Step 2. 9. Click on the Download License button. 10. A file called “Studio One 2 Artist.license” will be saved onto your computer.
Page 15: Offline
AudioBox™ Stereo User Guide 13. From the Activate Studio One Menu, click on the “Activate Offline” link. 14. Drag the “Studio One 2 Artist.license” file onto the Offline Activation window to complete the activation. 3.2.5 Installing Bundled Content for Studio One Artist The Studio One Artist bundle includes all that you need to begin producing music.
Page 16: Installing Third-Party
Studio One: Installation and Authorization content source. Click on the Install Packets button at the bottom of the window to install the selected content. 3. If you would like to install the third-party content at this time, see the next section. If you are finished, click on the Done button to exit the menu.
Page 17: Microphone Placement
AudioBox™ Stereo User Guide Setting up and Recording Microphone Placement This tutorial will guide you through proper mic placement. Taking an extra moment to place your microphones in optimal positions will ensure a successful recording. Stereo microphone placement can be used for any application where you want to record a stereo image of your source audio.
Page 18: 4.1.1 Mounting Your Microphones
Microphone Placement 4.1.1 Mounting Your Microphones The two PS626 small-diaphragm condenser microphones and the included stereo bar are designed to make XY microphone placement quick and easy. To assemble your stereo bar, begin by removing both microphone clips and positioning each clip at a 90˚...
Page 19: 4.1.2 Positioning Your Microphones
AudioBox™ Stereo User Guide Figure 2 – Proper stereo mounting as seen at eye level. 4.1.2 Positioning Your Microphones For most purposes, the ideal microphone placement is as close to the sound source as possible but far enough away so the pattern will pick up the entire audio source.
Page 20 Microphone Placement Choral Ensembles Point the microphones at the center row of the ensemble. Unlike instrument ensembles, where some instruments are naturally louder than others, vocal ensembles generally practice to create the best blend between all voices. Aiming your stereo microphone field toward the center of the ensemble will allow you to capture all sections and any soloists.
Page 21: Connect Your Audiobox Stereo
AudioBox™ Stereo User Guide Connect Your AudioBox Stereo Bundle Connect your microphones and headphones to the AudioBox USB, and the AudioBox USB to a computer, as illustrated below, making sure that the switch on each PS626 mcirophone is set to the top position.
Page 22: Configure Studio One Artist
PreSonus. If you have an Internet connection on your computer, these links will be updated as new tutorials become available on the PreSonus Web site.
Page 23: Create A New Song In Studio One
AudioBox™ Stereo User Guide Click the Apply button and then OK. After you have verified that the PreSonus AudioBox USB driver has been detected, please continue to the next section to set up a new song. Create a New Song in Studio One 1.
Page 24 Create a New Song in Studio One 5. Set the estimated length of your recording. You can also set the type of time format you would like to use (Notation Bars, Seconds, Samples, or Frames). 6. If you plan on importing loops into your Song, you may want to select Stretch Audio Loops to Song Tempo so that any loop of a known tempo in BPM (like those in the included content library) will import at the correct tempo.
Page 25: Record In Studio One Artist
AudioBox™ Stereo User Guide Record in Studio One Artist 1. Enable phantom power on the AudioBox USB. 2. Turn up the Channel 1 level on the AudioBox USB while the ensemble is playing the loudest it will be performing. You should see the input meter in Studio One Artist react to the input.
Page 26 Record in Studio One Artist 3. Repeat Steps 1 and 2 with the Channel 2 level. Ideally, the two input meters in Studio One will be nearly identical. 4. Turn the Mix knob to the fully counterclockwise position so that you are only listening to the audio being recorded. 5.
Page 27: Play Your Audio
AudioBox™ Stereo User Guide Play Your Audio 1. Turn the Mix knob to the fully clockwise position so that you are only listening to the playback from Studio One. 2. Disable Record Arm on both tracks in Studio One. 3. Click the Return to Zero button in Studio One or press the “, ”...
Page 28: Level And Balance
Level and Balance Using Your Recordings Level and Balance 1. In the lower right corner of the Arrange window in Studio One you will find three buttons. Click on the Mix button to open the mixer window. 2. Pan Track 1 hard left. Pan Track 2 hard right. 3.
Page 29: Adding Plug-In Effects
AudioBox™ Stereo User Guide Adding Plug-in Effects You can add plug-ins effects to your Song by dragging-and-dropping from the browser. You can also drag an effect or group of effects from one channel to another, drag in customized effects chains, and instantly load your favorite virtual-instrument patch without ever scrolling through a menu.
Page 30: Exporting Audio
Exporting Audio Exporting Audio Once you have your audio sounding the way that you want it to sound, you need to mix down the file so that it can be uploaded to the Internet or burnt to a CD. 1. To begin, you must first set the start and end of the audio you’d like to mixdown.
Page 31 AudioBox™ Stereo User Guide 3. You’re now ready to export your mixdown. Go to Song>Export Mixdown. 4. Set the location where you’d like your new audio file stored. 5. You can choose to publish your recording directly to SoundCloud™ or Nimbit®. This will require both an Internet connection and creating a free account with either service.
Page 32 Web, it will begin to upload as soon as the mixdown is created. Power User Tip: More information about Nimbit and its services, as well as tips on legally licensing copyrighted material, can be found at: http://musiced.presonus.com/music-technology/nimbit...
Page 33 AudioBox™ Stereo User Guide...
Page 35 Electronics, Inc. Capture, Impact, Mixverb Presence, RedLightDist, SampleOne, Studio One, and Tricomp are trademarks or registered trademarks of PreSonus Software Ltd. Mac and Mac OS are registered trademarks of Apple, Inc., in the U.S. and other countries. Windows is a registered trademark of Microsoft, Inc., in the U.S. and other countries. Temporal EQ and TQ are trademarks of Fulcrum Acoustic.
Page 36: Quick Start Guide
AudioBox Stereo ™ Quick Start Guide 18011 Grand Bay Ct. • Baton Rouge, ® Louisiana 70809 USA• 1-225-216-7887 Part# 825-AB0034-B www.presonus.com...
Page 37: Audiobox Usb
AudioBox ™ Owner’s Manual English Español Deutsch ™ Français www.presonus.com...
Page 38 CAUTION: To reduce the risk of electric shock, do not expose this normally, or has been dropped. All PreSonus products in the USA appliance to rain and moisture. The apparatus shall not be should be serviced at the PreSonus factory in Baton Rouge, Louisiana.
Page 39 Configuring MIDI Devices — 21 Warranty — 54 Creating a New Song — 25 Troubleshooting — 54 Creating Audio Tracks — 26 PreSonus AudioBox Limited Warranty — 55 Creating MIDI Tracks — 28 Index — 56 Adding Virtual Instruments and Plug-in...
Page 40 PreSonus AudioBox ™ Current Section Current Sub Section...
Page 41 We encourage you to contact us with questions or comments regarding this product. You can reach us by email at support@presonus.com or call us at 1-225- 216-7887 between 9 a.m. and 5 p.m. Central Time (GMT -06:00 CST). PreSonus Audio Electronics is committed to constant product improvement, and we value your suggestions highly.
Page 42 • Mac OS X®- and Windows®-compatible Summary of Studio One Artist Software Features All PreSonus audio interfaces include PreSonus Studio One Artist recording software, which comes with more than 6 GB of plug-ins, loops, and samples, giving you everything you need for music recording and production. The Studio One Artist Quick Start Guide is located in Section 4.1 of this manual.
Page 43 What is in the Box Your AudioBox USB package contains the following: PreSonus AudioBox USB recording interface 6’ (1.8m) USB cable Software library containing • PreSonus Studio One Artist program DVD plus gigabytes of third-party content • AudioBox driver and manual CD...
Page 44 • Microphone Inputs. The XLR inputs on channels 1 and 2 are equipped with two custom PreSonus microphone preamplifiers. These preamps work great with all types of microphones including dynamic, ribbon, and condenser microphones. Power User Tip: Dynamic microphones and ribbon microphones (which are a special type of dynamic mic) are generally lower-output devices that, with few exceptions, require no external power source.
Page 45 Owner’s Manual Hookup Front-Panel Connections Input Gain/Trim Control. These knobs provide the following gain structure: • XLR Microphone Instrument inputs: 40 dB of variable gain (-10 to +30 dB) • TS ¼-inch Instrument Level inputs: 60 dB of variable gain (0 dB to +60 dB) Clip Indicator.
Page 46 PreSonus AudioBox ™ Hookup Rear-Panel Connections Rear-Panel Connections ¼-inch Phones (headphone) Jack. This is where you connect headphones to your AudioBox USB. Main Out. These are the main outputs for the AudioBox USB. The output level of the Main Outs is controlled by the Main volume knob on the front of the unit.
Page 47: Basic Hookup Diagram
Owner’s Manual Hookup Basic Hookup Diagram Basic Hookup Diagram AUDIOBOX USB Power Clip Clip INPUTS PLAYBACK Mic•Instrument headphones guitar vocal mic Designed by PreSonus in the USA. Manufactured in PRC. MIDI PHONES computer midi monitors...
Page 48: System Requirements
Your AudioBox USB is a rugged USB 1.1 audio interface with zero- latency analog monitoring control and professional audio tools. System Requirements Below are the minimum computer-system requirements for PreSonus Studio One Artist and AudioBox USB.* • Operating Systems: • Mac OS X 10.6 or higher •...
Page 49: Installation For Windows
Owner’s Manual Connecting to a Computer Installation for Windows Installation for Windows The AudioBox installer requires that your AudioBox USB be connected to your computer. Connect your AudioBox USB to an available USB port and insert the Installation CD into your disc drive. The AudioBox installer will auto-launch and take you through each step of the installation process.
Page 50 PreSonus AudioBox ™ Connecting to a Computer Installation for Mac OS X 3. The installer will now scan your computer, you will be prompted to begin the installation. If your AudioBox is not detected by the installer, you will prompted to connect it.
Page 51 2. Go to Devices | Device Setup. 3. Select “VST Audio System” from the Devices column in the Device Setup. 4. Select PreSonus AudioBox USB from the ASIO Driver drop-down list. 5. Click “Switch” to begin using the AudioBox USB driver.
Page 52 7. Highlight all input and output drivers beginning with “PreSonus AudioBox USB.” 8. Go to Options | Audio... and click on the General tab. 9. Set the Playback Timing Master to “PreSonus AudioBox USB... DAW Out 1. ” 10. Set the Recording Timing Master to “PreSonus AudioBox USB... Mic/Inst 1. ”...
Page 53: Windows Control Panel
Owner’s Manual Connecting to a Computer Windows Control Panel Windows Control Panel Your AudioBox USB features a control panel on Windows systems that allows you to adjust the buffer size and sample rate. On Mac systems, these functions are accessible from within your DAW application.
Page 54: Installation And Authorization
Studio One Artist provides you with all of the tools necessary to capture and mix a great performance. As a valued PreSonus customer, you are also eligible for a discount upgrade to Studio One Producer or Studio One Professional. For more details on the Studio One upgrade program for PreSonus customers, please visit http://studioone.presonus.com/.
Page 55 Your username and password will also provide you with access to the PreSonus user forums to chat with other PreSonus users as well as PreSonus employees. 4. Once your user account has been successfully created, you will be alerted that the activation email has been sent to the email address that you provided.
Page 56 Activating Studio One Artist Offline 1. If your computer is not connected to the Internet, visit http://www.presonus.com/registration/ on an Internet- connected computer to create your account. 2. Once you have created your user account, log in and click on the Software Registration link.
Page 57 Owner’s Manual Studio One Artist Installation and Authorization 5. Click on the “Download License” link. A file called “Studio One 2 Artist.license” will be saved onto your computer. You will need to copy this onto a piece of removable media and transfer it onto the computer on which you want to run Studio One Artist.
Page 58 PreSonus AudioBox ™ Studio One Artist Installation and Authorization 2. At the top of the installation menu, select the source from which the content will be installed, as well as the location where you wish to install the content. The source of the content will be the same DVD from which you installed Studio One Artist.
Page 59: Enabling The Audio Driver
PreSonus. If you have an Internet connection on your computer, these links will be updated as new tutorials become available on the PreSonus Web site.
Page 60: Configuring Midi Devices
PreSonus AudioBox ™ Studio One Artist Configuring MIDI Devices Configuring MIDI Devices From the External Devices window in Studio One Artist, you can configure your MIDI keyboard controller, sound modules, and control surfaces. This section will guide you through setting up your MIDI keyboard controller and sound module.
Page 61 Owner’s Manual Studio One Artist Configuring MIDI Devices 3. Click the Add button. 4. The Add Device window will launch. 5. From the menu on the left, select New Keyboard. At this point, you can customize the name of your keyboard by entering the manufacturer and device names.
Page 62 PreSonus AudioBox ™ Studio One Artist Configuring MIDI Devices If you have a sound module that you’d like to connect, leave the External Devices window open and proceed to the next part of this section. If not, you can close this window and skip to Section 4.4.
Page 63 Owner’s Manual Studio One Artist Creating a New Song 3. The Add Device window will launch. 4. From the menu on the left, select “New Instrument. ” At this point, you can customize the name of your sound module by entering the manufacturer and device names.
Page 64: Creating A New Song
PreSonus AudioBox ™ Studio One Artist Creating a New Song Creating a New Song Now that you’ve configured your MIDI devices, let’s create a new Song. We‘ll start by setting up your default audio I/O. 1. From the Start page, select “Create a new Song. ”...
Page 65 Owner’s Manual Studio One Artist Creating a New Song 7. Click on the Song Setup button to open the Song Setup window, then click on the Audio I/O Setup icon. 8. Go to Song>Song Setup menu and click on “Audio I/O Setup.
Page 66: Creating Audio Tracks
PreSonus AudioBox ™ Studio One Artist Creating Audio Tracks Creating Audio Tracks 1. In the upper left corner of the Arrange window, you will notice several buttons. The third button from the left is the Add Tracks button. Click this button to bring up the Add Tracks window.
Page 67: Creating Midi Tracks
Owner’s Manual Studio One Artist Creating MIDI Tracks Anatomy of an Audio Track Solo Level Mute Meter Rec Arm ST/Mono Audio Input Mon (In S1) Creating MIDI Tracks 1. Click on the Add Tracks button. When the Add Tracks window launches, select Instrument as the track format and click the OK button.
Page 68 PreSonus AudioBox ™ Studio One Artist Adding Vitrual Instruments and Effects to Your Song 6. At the bottom of the Inspector menu, you will see your Bank and Program selections. From here, you can remotely change the patch on your sound module.
Page 69 Owner’s Manual Studio One Artist Adding Virtual Instruments and Plug-in Effects to Your Song Drag-and-Drop Effects To add a plug-in effect to a track, click the Effects button and select the plug-in or one of its presets in the effects browser, then drag the selection over the track to which you would like to add the effect.
Page 70: Microphone Types
PreSonus AudioBox ™ Tutorials Microphone Types Tutorials Microphone Types The AudioBox USB work with most types of microphones, including dynamic, ribbon, and condenser microphones. 5.1.1 Condenser Condenser microphones generally capture sound with excellent fidelity and are among the most popular microphone choices for studio recording and, increasingly, for live performance as well.
Page 71: Microphone Placement
Owner’s Manual Tutorials Microphone Types 5.1.4 Microphone Placement The following are a few recording applications to help you get started with your AudioBox USB. These are by no means the only ways to record these instruments. Microphone selection and placement is an art. For more information, visit your library or local bookstore, as there are many books and magazines about recording techniques.
Page 72 PreSonus AudioBox ™ Tutorials Microphone Types Acoustic Guitar Point a small-diaphragm condenser microphone at the 12th fret, approximately 8 inches away. Point a large-diaphragm condenser microphone at the bridge of the guitar, approximately 12 inches from the guitar. Experiment with distances and microphone placement.
Page 73 Owner’s Manual Tutorials Microphone Types Drum Overheads (XY example) Place two small-diaphragm condenser microphones on an XY stereo-microphone holder (bar). Position the microphones so that each one is at a 45-degree angle, pointed down at the drum kit, approximately 7 or 8 feet above the floor or drum riser.
Page 74 Studio One Artist software is included with the AudioBox USB. This powerful DAW includes an assortment of dynamics plug-ins. What follows is an excerpt from a brief tutorial on dynamics processing written by PreSonus president and founder Jim Odom. It is included to help you get the most out of Studio One Artist.
Page 75 Owner’s Manual Tutorials A Brief Tutorial on Dynamic Processing Why do the best consoles in the world put compressors on every channel? The answer is simply that most instruments need some form of compression, often very subtle, to be properly heard in a mix. Why do we need noise gates? Consider the compressed-vocal example discussed earlier;...
Page 76 PreSonus AudioBox ™ Tutorials A Brief Tutorial on Dynamic Processing How severely the compressor reduces the signal is determined by the compression ratio and compression threshold. A ratio of 2:1 or less is considered mild compression, reducing the output by a factor of two for signals that exceed the compression threshold.
Page 77 Owner’s Manual Tutorials A Brief Tutorial on Dynamic Processing Attack. Attack sets the speed at which the compressor acts on the input signal. A slow attack time allows the beginning envelope of a signal (commonly referred to as the initial transient) to pass through the compressor unprocessed, whereas a fast attack time immediately subjects the signal to the ratio and threshold settings of the compressor.
Page 78 PreSonus AudioBox ™ Tutorials A Brief Tutorial on Dynamic Processing the level of a signal by a factor of two. (e.g., if a level drops 5 dB below the expansion threshold, the expander will reduce it to 10 dB below the threshold.) Commonly used for noise reduction, expansion is very effective as a simple noise gate.
Page 79 5.2.3 Compression Settings: Some Starting Points The following are the compression presets that were used in the PreSonus BlueMax. We have included them as a jumping-off point for setting up compression in Studio One Artist. Vocals Soft. This is an easy compression with a low ratio setting for ballads, allowing a wider dynamic range.
Page 80 PreSonus AudioBox ™ Tutorials A Brief Tutorial on Dynamic Processing Left/Right (Stereo) Overheads. The low ratio and threshold in this setting gives a “fat” contour to even out the sound from overhead drum mics. Low end is increased, and the overall sound is more present and less ambient.
Page 81 Owner’s Manual Tutorials A Brief Tutorial on Dynamic Processing Stereo Mix Stereo Limiter. Just as the name implies, this is a hard limiter, or “brickwall, ” setting— ideal for controlling the level to a two-track mixdown deck or stereo output. Thresholdhold RatRatioio AttAttackack...
Page 82 PreSonus AudioBox ™ Tutorials Equalizers Equalizers Studio One Artist also includes several EQ plug-ins. Here’s a brief explanation of how an EQ functions, as well as some charts to help you navigate the frequency ranges of various instruments so you can quickly choose the best EQ settings for your recordings and live mixes.
Page 83 Owner’s Manual Tutorials Equalizers 5 kHz. By setting a narrow bandwidth and boosting the attack a bit, you can achieve a punchier kick drum without overpowering the rest of the mix. A broad bandwidth accentuates or attenuates a larger band of frequencies. The broad and narrow bandwidths (high and low Q) are usually used in conjunction with one another to achieve the desired effect.
Page 84 PreSonus AudioBox ™ Tutorials Equalizers High Mids (2 kHz to 4 kHz). The attack portion of percussive and rhythm instruments occurs in this range. High mids are also responsible for the projection of midrange instruments. Presence (4 kHz to 6 kHz). This frequency range is partly responsible for the clarity of a mix and provides a measure of control over the perception of distance.
Page 85 Owner’s Manual Tutorials Equalizers Table 1 Instrument What to Cut Why to Cut What to Boost Why to Boost Human Voice 7 kHz Sibilance 8 kHz Big sound 2 kHz Shrill 3 kHz and above Clarity 1 kHz Nasal 200-400 Hz Body 80 Hz and below Popping P’s...
Page 86 PreSonus AudioBox ™ Tutorials Equalizers Table 2...
Page 87: General Eq Suggestions
Owner’s Manual Tutorials Equalizers 5.3.3 General EQ Suggestions Studio One Artist includes two different EQ plugins, Channel Strip and Pro EQ. Like every plugin in Studio One Artist, both EQ plugins come with a complete collection of factory presets and allow you to both customize factory presets and create your own.
Page 88 PreSonus AudioBox ™ Tutorials Equalizers Percussion Snare LOW MID LOW MID LOW MID LOW MID ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN PEAK HI MID HI MID HI MID HI MID ON/OFF LO/HI FREQ (kHz) GAIN...
Page 89 Owner’s Manual Tutorials Equalizers Distorted Electric Guitar LOW MID LOW MID LOW MID LOW MID ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN PEAK HI MID HI MID HI MID HI MID ON/OFF LO/HI FREQ (kHz) GAIN ON/OFF PEAK/SHELF FREQ (kHz)
Page 90: Digital Effects
PreSonus AudioBox ™ Tutorials Digital Effects Digital Effects Studio One Artist includes an array of time-based and modulation effects. What follows is a brief description of how each type works. 5.4.1 Reverb Reverberation —or reverb, as it is more commonly known—is perhaps the most widely used effect.
Page 91: Modulation Effects
Owner’s Manual Tutorials Digital Effects 5.4.2 Delay A delay essentially creates an echo, although you can often use delays to create more complex time-based effects. The source signal is delayed so that it is heard later than it actually occurred. Delay Time.
Page 92: Instrument Input
PreSonus AudioBox ™ Technical Information AudioBox USB Specifications Technical Information AudioBox USB Specifications Microphone Preamp Type Combo, XLR, female, balanced Mic Preamp EIN -115 dB, 20 kHz BW, max gain, Rs=40Ω, A-wtd Frequency Response 14 Hz - 70 kHz, +/- 0.3 dB, unity gain THD+N 0.008%, 0 dBu, 1 kHz, unity gain, 20 kHz BW, A-wtd...
Page 93 Owner’s Manual Techincal Information AudioBox USB Specifications Digital: Host Interface USB 1.1 Bit Depth 24-bit Sample Rates 44.1 kHz, 48 kHz, Reference Level of 0dBFS +4 dBu ADC Dynamic Range 102 dB, 48 kHz sample rate, A-wtd DAC Dynamic Range 110 dB, 48 kHz sample rate, A-wtd MIDI I/O 5-pin DIN connectors...
Page 94: Troubleshooting
You can get individual technical assistance by calling PreSonus at 1-225-216-7887, Monday through Friday, between the hours of 9 a.m. and 5 p.m. Central Time (GMT -06:00 CST). PreSonus technical support is available via email during the same hours at support@presonus.com.
Page 95 PreSonus reserves the right to update any unit returned for repair. PreSonus reserves the right to change or improve the design of the product at any time without prior notice. This warranty does not cover claims for damage due...
Page 96 PreSonus AudioBox ™ Index Key Filter 39 Ableton Live 12 Key Listen 38 Attack 37, 38 Audio Device Studio One Artist 19 Audio I/O Set-up Limiter 36 Studio One Artist 24–29 Logic 11 Buffer Size (see also, Latency) 13 Makeup Gain 37...
Page 97 Note: No product support is available when you call the number above. Refer to your Certificate of Warranty in your Owner’s Manual for PreSonus’ Product Support telephone number. Baton Rouge • USA • www.presonus.com...
Page 98 PreSonus AudioBox ™ Current Section Current Sub Section...
Page 99 © 2012 PreSonus Audio Electronics, Inc. All Rights Reserved. PreSonus, StudioLive, XMAX, QMix, and AudioBox are trademarks of PreSonus Audio Electronics, Inc.. Studio One and Capture are trademarks of PreSonus Software, Ltd. Mac is a trademark of Apple, Inc., in the U.S. and other countries. Windows is a registered trademark of Microsoft, Inc., in the U.S.
Page 100 • Consult the dealer or an experienced radio/TV technician for help. CAUTION: Changes or modifications to this device not expressly approved by PreSonus Audio Electronics could void the user’s authority to operate the equipment under FCC rules. This apparatus does not exceed the Class A/Class B (whichever is applicable) limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications.
Page 113 CONTENTS GETTING STARTED Installation and Activation About this Manual PAGES Start Song Project (Studio One Professional) Quick Switch FUNDAMENTALS Nondestructive Editing and Undo/Redo ...
Page 114 RECORDING Audio Tracks Instrument Tracks Activating Recording Metronome Control Loop Recording on Audio Tracks Instrument Track Recording Modes Track Layers Audio Recording Format ...
Page 115 6.14 Editing Commands 6.15 Undo History 6.16 Navigating with Zoom 6.17 Editing Suggestions THE BROWSER The Browser Tabs and Search Importing Files with the Browser ...
Page 116 Signal Routing Groups Metering Automatic Plug-In Delay Compensation Manual Audio Track Delay Using the Marker Track Looping During Mixing Mixing Down 9.10 Export Stems from your Song ...
Page 117 12.2 Adding Tracks 12.3 Track Sequencing 12.4 Editing Tracks 12.5 Using Insert Effects 12.6 Master Device Rack 12.7 Metering 12.8 Publishing Your Project 12.9 Song and Project Integration ...
Page 118 VIDEO PLAYBACK AND SYNC 15.1 Video Player Interface 15.2 Supported Video Formats 15.3 Import Video 15.4 Sync to Video 15.5 Platform Differences EXTENSIONS 16.1 SoundCloud Client (Studio One Professional)
Page 119 Studio One users. Users in the USA also can reach us by email at techsupport@presonus.com or call us at +1- 225-216-7887 between 9 a.m. and 5 p.m. U.S. Central Time (GMT 05:00). Users in other countries should contact their local PreSonus distributors for technical support.
Page 120: Getting Started
If you are running the installer in Windows, an installation wizard will pop up and guide you through the installation process. In this, you will agree to the PreSonus Studio One End User License Agreement by clicking on 'I Agree', then choose the location to install Studio One and click on 'Install'.
Page 121 Click on “Run the free version” from the Activation menu, and Studio One will start immediately. Please refer to http://studioone.presonus.com/what-are-the- versions/ for an exact list of the limitations of this version and how it compares to the other...
Page 122 1.1.2.2 Studio One Demo If you are completely new to Studio One, we suggest you start by running the demo. The demo is essentially identical to Studio One Professional. This allows you the opportunity to experience nearly everything Studio One has to offer, while also ensuring that your system is compatible.
Page 123 Please be certain that the email address you provide is correct and that email from PreSonus will not be filtered or deleted by a spam filter or other software. Click on the link in this email to activate your account. If you do not see the email within a few minutes of clicking Submit, then the email probably ended up in a spam folder or was deleted automatically by your email client.
Page 124 on the Studio One package or provided via email. Click on Submit, and you will be taken to your Software List, which should list your version of Studio One. Next, click on the Activate link listed next to your version of Studio One and enter the activation code, as given in the Offline Activation menu.
Page 125 Install the Included Third-Party Content We have partnered with third-party software manufacturers Toontrack, Native Instruments, and Celemony to bring you some very cool instrument and effects plug-ins. The following will guide you through installing and activating each package. Installing the third-party software is relatively simple. Open the Studio One/Studio One Installation menu and click on the Third Party tab.
Page 126: About This Manual
(Melodyne trial version), and much more 25 Native Effects and 4 virtual instruments • Native Instruments Komplete Players • PreSonus Exchange Browser Integration • Studio One Producer Includes all Artist version features and content • Adds ReWire and third-party VST and AU plug-in support •...
Page 127 1.2.2 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. This helps you to discover features and provides a convenient, context-sensitive reference.
Page 128 1.2.5 Mapping Custom Key Commands In the Studio One/Keyboard Shortcuts menu, you can modify the existing key commands to be anything you like, as well as adding commands for functions that don’t have default key commands. To modify any key command: •...
Page 129: Pages
Pages Studio One is a complete music-production environment featuring three main pages: Start, Song, and Project (Studio One Professional only). Each page is designed to help you accomplish a specific task, and each is accessible at all times. In this chapter, we will discuss the general layout of the user interface for each page. For more detailed information on anything mentioned in this chapter, please refer to the Index.
Page 130 “Setup” chapter. 2.1.6 Check for Updates From time to time, PreSonus will issue software updates for Studio One to incorporate bug fixes and add features. To manually check for updates, click on the Check for Updates link.
Page 131: Song
Studio One, this feature saves you the effort of filling in meta-information for every Song. 2.1.9 News Feed The Studio One news feed comes directly from PreSonus. This news feed contains helpful information related to Studio One and will update automatically if your computer is connected to the Internet.
Page 132: Project (Studio One Professional)
2.2.1 Song Page Workflow The Song page is a complete multitrack audio-production environment with a single-window interface. On this page, any number of audio and instrument tracks can be recorded, edited, and arranged. Any number of audio effects, virtual instruments, and external effects and instruments can be used, and almost any parameter can be automated using track or part automation.
Page 133: Quick Switch
You can apply effects to individual tracks, as well as to the master output track, in order to achieve sonic continuity throughout the Project. An integrated Browser makes importing Songs, audio files, and audio effects quick and simple. High-quality master-output metering is displayed at all times, including Spectrum, Peak/RMS, and Phase meters.
Page 134: Fundamentals
Fundamentals The following chapter presents important, fundamental design aspects of Studio One. Familiarity with these aspects of Studio One will help to ensure that your experience is as enjoyable and creatively stimulating as possible. Nondestructive Editing and Undo/Redo Almost every editing action in Studio One can be undone and redone. There is no limit to how far back actions can be undone and to how far forward actions can be redone once they have been undone.
Page 135: Look Mom, No Midi
Look Mom, No MIDI! The Musical Instrument Digital Interface (MIDI) specification was created in 1983. While it has served musicians well for more than 25 years, it has limitations. Ironically, while the MIDI- device integration in Studio One provides revolutionary flexibility and ease of use, much of this functionality is made possible by not using MIDI internally.
Page 136: Setup
Setup This chapter contains information about system requirements, hardware-device setup, and software setup. A thorough knowledge of this information will be helpful before attempting to work in Studio One. System Requirements The following are the system requirements to run Studio One. ®...
Page 137: Set Up Your Audio Device
Set Up Your Audio Device Studio One automatically selects, from a list of devices installed on your computer, an audio device to use for audio input and output. To select a different device, navigate to Studio One/Options/Audio Setup (Mac OS X: Preferences/Options/Audio Setup). Then follow these steps to configure your audio device for use in Studio One: Select a device from the Audio Device drop-down menu under the Studio One/Options/Audio Setup (Mac OS X: Preferences/Options/Audio Setup) menu.
Page 138 By default, Studio One’s process precision is set at Single (32-bit). You may choose double precision (64-bit) from the Process Precision drop-down menu. If your computer has multiple processors or processing cores, Enable Multi-Processing will be checked by default. Unless you experience performance issues, it is recommended you leave this at the default setting for best performance.
Page 139: Audio Device Input/Output Setup
Audio Device Input/Output Setup 4.3.1 What Are Software I/O Channels? In most recording applications, audio tracks directly use your hardware audio device’s channels. 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.
Page 140 4.3.3 Add or Remove Software I/O Channels Click on 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 channel is added, the next unassigned hardware inputs or outputs will be assigned to the new channel by default. To remove any channel, click on the channel to select it and then click on the Remove button.
Page 141: Set Up Your Midi Devices
To do so, create software I/O channels for all of your audio device’s commonly used inputs and outputs and name them appropriately. Then, click on the Make Default button in the Audio I/O Setup menu, and a popup window will appear to confirm that you wish to make the current I/O setup the default for new Songs.
Page 142 To set up your Keyboard, navigate to Studio One/Options/External Devices (Mac OS X: Preferences/Options/External Devices) and follow these steps: 1. In the Options/External Devices menu, click on the Add button. 2. In the Add Device pop-up menu, select Keyboard. 3. Choose your device from the predefined device list or set this to New Keyboard if you do not see your device in the list.
Page 143 4.4.2 Set Up External Hardware Instruments In Studio One, an External Instrument is an 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. To set up your Instrument, navigate to Studio One/Options/External Devices (Mac OS X: Preferences/Options/External Devices) and follow these steps: 1.
Page 144 has a built-in sequencer or components (such as LFOs) that need to sync to Studio One. Enabling MIDI Clock Start will send MIDI Clock Start signals to your Instrument. 6. Finally, you can choose to send MIDI Time Code to this Instrument. You can set a Display Offset under Song/Song Setup/General to correct for time-code variances with external devices.
Page 145 To set up a Control Surface, do the following: 1. In the Options/External Devices menu, click on the Add button. 2. Choose your device from the predefined device list. Set this to New Control Surface if you do not see your device in the list. If set to New Control Surface, you may wish to type in a Manufacturer Name and a Device Name in the appropriate fields.
Page 146 Instrument Tracks while the QWERTY Keyboard device interface is open. 4.4.6 Using the PreSonus FaderPort If you have a PreSonus FaderPort connected to a computer running Mac OS X or Microsoft Windows Vista or 7, Studio One will automatically recognize it and configure it for use. Just open a Song or Project to use the FaderPort immediately.
Page 147: Managing Your Content
If this occurs, navigate to Studio One/Options/External Devices (Mac OS X: Preferences/Options/External Devices) and click on Reconnect at the bottom of the menu. Then reconnect your devices and click OK. The devices will now 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—...
Page 148 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 click on Remove to remove it. 4.5.3 Sound Sets Preconfigured packages of loops and samples are bundled with Studio One.
Page 149: Creating A New Song
continues to fail at startup—for instance, if it is not authorized correctly or a required iLok key is not present—Studio One will put the plug-in in a blacklist and ignore it at startup from that point on. To reset this blacklist and force Studio One to scan missing plug-ins again at startup, navigate to Studio One/Options/Locations/VST Plug-ins (Mac OS X: Preferences/Options/Locations/VST Plug-ins) and click on Reset Blacklist.
Page 150 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 is selected, which will create a completely empty Song with no tracks or preconfigured I/O setup beyond stereo inputs and outputs.
Page 151 4.6.5 Resolution “Resolution” refers to the bit depth of digital audio, which is related to the audio’s dynamic range. Standard CD audio has a 16-bit resolution, which results in roughly 96 dB of dynamic range. Thus, with “CD-quality” audio, the difference between the quietest and loudest sounds possible is 96 dB.
Page 152: Advanced Options
Advanced Options Studio One offers the following ways to customize your workflow. Click on each tab in the Studio One/Options/Advanced menu to access these options. 4.7.1 Editing Click on the Editing tab to access the following options. 4.7.1.1 Tools The Cursor Overlays Editor Window option is engaged by default. This will prevent a flickering timeline cursor in Windows Vista and 7 but may cause unwanted window-management problems.
Page 153 The Disable Events Under Automation Envelopes option is also engaged by default. This makes Events unavailable to the mouse tools while viewing an automation envelope, which helps prevent you from unintentionally editing underlying Events while editing automation. The Automatically Add Envelopes for All Touched Parameters option is not engaged by default.
Page 154 Stop Playback When Opening Options is engaged by default. It simply stops playback within a Song or Project when the Studio One/Options (Mac OS X: Preferences/Options) menu is opened. This will prevent changes in Studio One options from immediately affecting the sound during playback.
Page 155 Ignore MIDI Timestamps is not engaged by default. This option is useful when a MIDI • device exhibits timing issues, such as drift or a general offset. 4.7.5 Devices The Device Editor Follows Channel Selection Option is engaged by default and causes currently viewable channel devices, such as virtual effects or instruments, to automatically switch when a channel is selected.
Page 156: Recording
Recording The following chapter discusses aspects of recording 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 track on which to record. Studio One has two types of tracks for basic recording: the Audio Track and the Instrument Track.
Page 157 5.1.2 Use and Create Presets In Studio One, you can store presets of an entire chain of effects plug-ins as an FX Chain, allowing quick recall of complex effects setups on any track. Any factory-preset or user-created FX Chain can be selected as a Preset when creating a track. For more information, refer to the FX Chain section of the “Mixing”...
Page 158 5.1.3.2 Tempo Mode The Tempo mode, found in the Inspector, affects the way in which Audio Events are handled on any audio track. There are three Tempo modes: • Don’t Follow. Audio Events on the selected track will not be affected by Song tempo. •...
Page 159 Alternatively, if you press and hold [Alt]/[Option] on the keyboard, and then click on Record Enable, you will both record-enable the related track and disarm record-enable for all other tracks. In the Options menu, you will find the Audio Input Follows Selection option. Engaging this automatically record-and monitor-enables the last track selected in the Arrange view.
Page 160: Instrument Tracks
5.1.5 Setting Input Levels Setting good input levels is critical to making a good recording. This begins with the hardware audio interface. If the hardware’s input level is set too low, and you increase the level later in Studio One to compensate, you will also raise the level of any noise in the signal. If the level is too high, you can overload the hardware input, causing unpleasant clipping distortion that cannot be fixed.
Page 161 Once these options are configured, click on OK, and the tracks will appear in the Arrange view. It is important to note that Instrument Tracks do not appear directly in the Console, as they do not output audio. The virtual instruments generate sound and are represented in the Console by Instrument Channels.
Page 162 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 as a Keyboard. 5.2.3 Set Up a Virtual Instrument Studio One Producer and Professional support VST and AU virtual instruments, ReWire applications, and Studio One's Native virtual instruments.
Page 163 To activate the other possible virtual-instrument Output Channels in the Console: • Open the Console by pressing [F3] on the keyboard, then open the Instruments panel (open by default) by clicking on the Instr. button to the far left of the Console. •...
Page 164 If clicking on Open Application does not immediately launch your ReWire application, this means that the ReWire application does not support this function, so you need to manually launch the application. The application should launch in ReWire slave mode. Engaging “Allow tempo/signature changes” in the ReWire interface window allows the ReWire application to make tempo and time-signature changes within Studio One.
Page 165: Activating Recording
If you select the Instrument Input Follows Selection option in the Options menu, any Instrument Track you select will automatically have Monitor and Record enabled, and all other Instrument Tracks will have these disabled. 5.2.10 Monitoring an External Instrument To monitor and record the hardware audio output of an external instrument, one or more Audio Tracks need to be created to receive that output.
Page 166 5.3.2 Pre-Roll Recording with Pre-Roll engaged allows you to specify a number of bars that will play before recording begins. For instance, when you want to record a vocal part for a chorus, the vocalist will need to hear some reference portion of the recorded tracks before beginning to sing, and a guitarist recording a solo will need to hear the music leading into the solo.
Page 167: Metronome Control
• Set the Left Locator in the Timeline Ruler of the Arrange view at the position you wish to punch in—that is, where recording should begin. • 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.
Page 168 The Output Channels in the Console also feature Metronome buttons and level controls above the channel meter. These controls allow you to choose, for each output, whether or not the metronome will be heard and its level. 5.4.2 Set Up Metronome Behavior Clicking the Metronome Settings button, located next to the Metronome button in the Transport, can access the Metronome settings menu.
Page 169: Loop Recording On Audio Tracks
5.4.5 Use Custom Sounds in the Metronome It is possible to use any audio sample in the Metronome. To add samples to the Metronome Settings menu, browse to the User Location, as specified in Options/Locations, and then copy- and-paste any WAV, AIFF, or MP3 audio file to the Clicks folder. Any audio file added to the Clicks folder will become available as a choice for the Downbeat and Accent Level sample in the Metronome Settings menu.
Page 170: Instrument Track Recording Modes
By default, the last recorded Take is selected. To select any other take, [Right]/[Control]-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 Take will splice all of the Takes contained in the Audio Event.
Page 171 5.6.1 Record Mode Overdub and Replace When in the Overdub recording mode, recording over any existing Instrument Part will result in the newly recorded material being overdubbed, or added to, the existing material. While recording, you will hear the previously recorded Event playing, along with the material currently being recorded, assuming that you are monitoring the Instrument Track.
Page 172: Track Layers
recording pass will erase existing notes of the same note value. This can be more convenient than using the mouse to click on Note Erase to switch the mode. Track Layers In Studio One, both audio and instrument tracks have optional layers that can be used to record multiple different ideas to a single track.
Page 173: Cue Mixes And Zero-Latency Monitoring
Cue Mixes and Zero-Latency Monitoring Studio One features powerful hardware integration with certain audio interfaces from PreSonus. In this section, we will discuss how to take advantage of this integration to create cue mixes and use zero-latency monitoring. 5.10.1 Creating a Cue Mix Output In Studio One, it is possible to quickly and easily create multiple cue mixes.
Page 174 Each Cue Mix object features an Activate button, horizontal level and pan faders, and a Lock to Channel button. When using a PreSonus FireStudio-series interface, on audio channels with an assigned audio input, the Cue Mix object will also feature a Zero Latency switch, the function...
Page 175 5.10.3 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 Studio One’s Cue Mix functionality, integrated with a PreSonus FireStudio-series interface, gets really cool.
Page 176: Print Effects While Recording
Note that when monitoring with the Zero Latency button engaged, you will not hear insert effects on that channel, as you are monitoring the signal before it is processed in software. If you need to hear insert effects, do not engage the Zero Latency button. 5.10.4 The Main Output as a Cue Mix It is possible to designate the main output in Audio I/O Setup as a cue mix.
Page 177: Editing
Editing After recording, the next step in production is usually editing the recorded Events to achieve a desired sound. The 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.
Page 178 Common editing actions are 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 access to the editing actions you most likely 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 Part, and the actions may vary slightly depending on your version of Studio One.
Page 179: Arrange View Mouse Tools
Arrange View Mouse Tools The mouse tools allow direct interaction with Events, using the mouse. It is helpful to remember that actions done using the mouse tools can be undone at any time, so feel free to explore them. Click the middle mouse button (scroll wheel) to display a list of the tools and then left-click to select the desired tool.
Page 180 Two adjacent events can be sized simultaneously so that no gap is created between them. To do this, float the Arrow tool to the bottom of where the two Events meet in the Timeline, where you will see the sizing icon with both left and right arrows illuminated, and then click- and-drag left or right.
Page 181 6.2.1.4 Select Multiple Events Multiple Events can 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: • Click outside of the range of an Event, and then drag over any other Events; a gray box will be drawn while you drag over the target-selection area.
Page 182 6.2.3 Split Tool Using the Split tool, single Events can be split into multiple Events. Click on the Split Tool button, or press [number 3] on the keyboard to select the Split tool. With the Split tool selected, a vertical and horizontal line will be drawn near the current mouse-cursor position.
Page 183: The Grid
Part is muted, it will appear grayed out, and an “m” icon will appear in the lower left corner of the Event or Part. To unmute an Event or Part, click on it with the Mute tool. Clicking and dragging the Mute tool over any number of Events and Parts in one motion will mute or unmute all of the Events and Parts touched by the tool.
Page 184 in the space of 8). These settings will determine the look and behavior of the grid in the Arrangement. For information on the Groove mode of the Quantize panel, refer to section 6.9.6. The Start percentage defaults to 100%, which means that the start of a selected note, Event or transient will snap to the grid if quantized.
Page 185: Common Editing Actions
Common Editing Actions 6.4.1 Cut, Copy, 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 perform these actions: • Cut. Press [Ctrl]/[Cmd]+[X] on the keyboard to cut the current selection. •...
Page 186 In Studio One, transposing and tuning are a part of the same set of advanced algorithms as timestretching, so the quality is extremely high. To transpose any audio event, 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.
Page 187 If you would like to duplicate an Event and push existing material to the right across the timeline to make room for the duplicated Event, press [Alt]+[D] on the keyboard to use the Duplicate and Insert command. 6.4.6 Explode Pitches to Tracks It is sometimes helpful to explode existing pitches within an Instrument Part to new tracks, placing each pitch within individual Instrument Parts on separate Tracks.
Page 188 Lots of Silence. Choose this for material that contains lots of silence and single hits—for instance, a clean, typical single-drum recording (hat, kick). Little Silence. Choose this for material that has some action going on but still has some silence—for instance, minimal techno/single drum loops, ride, or snare tracks.
Page 189 An Audio Part has two options in the Event Inspector: Play mode. • Normal will only play the topmost Events, and any overlaps are not played. Overlaps will allow any overlapping audio to play back mixed, rather than cutting off at the end of each individual slice. This often happens if individual slices are have been quantized but not timestretched.
Page 190: Audio Loops And Music Loops
6.4.9.2 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 quickly navigate to multiple edits for auditioning or further editing, without clicking in the Timeline.
Page 191: Edit Groups
6.5.2 Music Loops A Music Loop consists of 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.
Page 192: Timestretching
[Right]/[Control]-click on any currently selected Track. • Choose Group Selected Tracks from the pop-up menu. • All Tracks that were selected will now be a part of the new Edit Group. Edit Groups are automatically named based on the order in which they are created, and they are shown as Group 1, Group 2, and so on.
Page 193 switching to Follow or Don’t Follow from Timestretch will return any timestretched Audio Event that Track contains back to its original state. When timestretching, if the tempo is drastically changed (by about 30 bpm or more), the audio can become slightly distorted. While this can lead to interesting effects, you should be aware of the limitation of this technology.
Page 194 6.7.3 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. Many audio loops have this information encoded. Files without tempo information will not be timestretched, even if the Track’s tempo mode is set to Timestretch.
Page 195: Comping
Sound. Use this general mode on any other type of track. • Solo. Use this optimized mode on any solo instrument or vocal track to achieve the • best results. Audio Bend. Use this optimized mode when manipulating Bend Markers in any Audio •...
Page 196 transport loops back to the left locator. In order to then comp these takes together on the track, they must be placed in Layers. Takes can be recorded directly to Layers by engaging the Record Takes To Layers option in the Record panel, opened with [Shift]+[Alt]/[Option]+[R], before loop recording.
Page 197: Transient Detection And Editing
independent of this, so you can solo the Track or not, depending on whether you would like to hear the performances you are comping in the context of the other Tracks in your Song. Alternatively, the Listen tool is well suited to auditioning takes. With the Listen tool selected, you can simply click anywhere on any take to instantly hear it.
Page 198 the rest of the signal; the “louder” part is the transient, and the rest of the signal is commonly called the “tail.” Transients usually indicate rhythm in musical material, so that when the positions of transients are known, it becomes possible to quantize, or correct the timing of, recorded audio. For instance, if a drummer was early on the downbeat after a killer fill, you could fix it so that it is perfectly in time.
Page 199 6.9.2 Bend Markers Bend Markers are used in Studio One to stretch audio 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 manually added. When detecting transients, the default Threshold used to placed Bend Markers at transients is 80%, which can be adjusted at the top of the Event context menu or in the Inspector, so that Bend Markers are placed only at the transients with which you want to work.
Page 200 If you are manipulating Bend Markers on a Track, you should set the Timestretch mode of the Track to Audio Bend, so that the audio is processed with the correct algorithm. This algorithm will ensure that transients are unaffected, only stretching or compressing the “tail,” or harmonic content, that follows the transient.
Page 201 In the Action section, Quantize is selected by default, and a Strength percentage slider is displayed. Click on Apply to quantize any selected Event. The Strength setting will alter the Start percentage in the Quantize panel, providing a simple way to alter the strength of the quantize process.
Page 202 Therefore, when quantizing or slicing multitrack audio, it is important that all edits are performed across every Track in a way that preserves the phase relationships. This is referred to as phase-coherent editing. In Studio One, all that is required to ensure this happens is for the Tracks to be grouped.
Page 203: Track Transform
This is extremely useful for cleaning up multi-instrument performances, and it’s equally useful for creative purposes, such as extracting a great groove from a funk loop and applying it to a straight-eighth drum loop. You can also drag the groove itself to an Instrument Track, which will render the groove as a series of notes, one for each hit in the groove, even tweaking note velocity according to the relative level of the hits.
Page 204 Track Transform will also maintain output routing and Send configuration between the original and new Tracks, eliminating manual management of this aspect. Note that 32-bit floating-point wave files are always rendered for Track Transform. 6.10.2 Instrument Track Transform Instrument Tracks contain MIDI music performances that control virtual instruments. The virtual instruments output to one or more audio channels in the Mix Console, and you can configure insert effects, sends, and output routings for the channels.
Page 205: Event Effects
6.11 Event Effects It is possible to insert effects directly on an Audio Event in the arrangement, as opposed to inserting effects on 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 specific Events.
Page 206: Edit View Event Editing
6.12 Edit View Event Editing In many cases, editing actions will require a close look at the Events being edited. To perform these edits in the Arrange view would require zooming in to a level that would make it difficult to retain your sense of the overall Song structure, then zooming back out after the edits are performed.
Page 207 6.12.1.1 Tools Most of the tools in the Arrange view are available in the Audio Editor and function there exactly as they do in the Arrange view. 6.12.2 Music Editor Instrument Parts contain notes, which represent musical-performance data and are a type of Event.
Page 208 Note Off positions (ends) of all of the selected notes snapping to the same Note Off position of the note on which you clicked. 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 position is reached, and the selection will be duplicated to this position.
Page 209 Press and hold [Alt] on the keyboard with the Paint tool selected to enter Line Drawing mode. In this mode, you can draw a line of note Events in the Music Editor, and you can draw lines in automation envelopes, as discussed later in this manual. To momentarily select the Arrow tool while using the Paint tool, hold [Ctrl]/[Cmd] on the keyboard.
Page 210 • Choose from one of the preset transpositions, or use the horizontal fader to set the number of semitones by which the selected Part will be transposed. A positive number results in the Part being transposed up, and a negative number results in the Part being transposed down.
Page 211 6.12.2.10 Quantize and Restore Timing To quantize an entire Instrument Part, select the Part in the Arrange view and press [Q] on the keyboard or choose Quantize from the Musical Functions menu. To quantize an individual note or notes, select the notes in the Music Editor and then apply quantization, as before. Alternatively, if notes are selected in the Music Editor, and then the Quantize value is changed with Auto engaged, the selected notes are automatically quantized using the newly selected Quantize value.
Page 212 6.12.3 Multitrack Music Editing It is possible to view and edit more than one Instrument Track at a time in the Music Editor. To quickly view more than one Track in the Music Editor, hold Shift and select Instrument Parts on different Tracks in the Arrangement.
Page 213: Pitch Correction With Melodyne Integration
Chase Long Notes should be engaged if you would like Studio One to play back a long note even if playback begins after that note's Note On position, effectively treating the playback position as the Note On. This is very useful when working with long, synthetic drone parts, for instance, which may have a Note On at bar 1 and then continue throughout the rest of the Song.
Page 214 The audio in the event is analyzed automatically, and the detected notes are displayed, ready for editing. Note that the Melodyne Edit view can be maximized and detached in the same way as the Audio and Music Editors. When the Melodyne Event Effect is active (meaning the Event FX have not been rendered), double-clicking on the Audio Event will open the Melodyne Edit view.
Page 215: Editing Commands
6.13.3 Drag Audio to Instrument Track When an Audio Event is edited with Melodyne, the notes resulting from analysis will appear on the waveform, as with Music Loops. In this state, it is possible to drag the Audio Event to an Instrument Track lane in the Arrangement to extract the notes, resulting in an Instrument Part that perfectly matches the audio performance.
Page 216: Navigating With Zoom
6.16 Navigating with Zoom When editing or arranging in a Song, zooming in and out on the timeline can be beneficial in both the Edit and Arrange views. Studio One’s key commands make zooming a quick and easy alternative to using a mouse. The following key commands affect zooming: Zoom horizontally Zoom In [E] •...
Page 217: Editing Suggestions
6.17 Editing Suggestions 6.17.1 Making Clean Edits In audio production, the editing process can be unforgiving. Small inaccuracies when splitting, moving, or performing other actions on recorded audio can lead to unwanted audible artifacts. The following describes some recommended editing practices. 6.17.2 Listen While Editing Listening to your edits as you make them will save time and frustration in nearly every case.
Page 218: The Browser
The Browser The Browser is a powerful feature that allows quick navigation of virtual instruments, effects, and a variety of file types on your computer, including audio and musical-data files. The Browser works somewhat like Windows Explorer or Mac OS X Finder, in that it allows you to navigate file directories on your computer in specific ways.
Page 219: Importing Files With The Browser
The Browser plays a key role in the workflow of Studio One, so be sure to familiarize yourself with everything it offers. Importing Files with the Browser It is possible to import several file types from the Browser into your Song or Project, including WAV (BWF and RF64), AIFF, REX, Apple Loops (CAF only in Mac OS X), Ogg Vorbis, FLAC, and MP3 audio files, as well as Standard MIDI Files, and of course Studio One's Audio Loops and Music Loops.
Page 220 When the Preview Player appears, you can listen to the selected file directly within the Browser. To start file playback, double-click on the file in the Browser or click on the Play button in the Preview Player with the desired file selected. Preview Player playback is independent of the main Song playback, so you will notice the playback-position cursor does not move across the Arrange view while previewing a file.
Page 221 It is possible to select multiple files in the Browser and drag all of them in at once, making the transfer of recordings done in another DAW a one-click process. For virtual instruments that support audio-file importing using drag-and-drop (such as many drum samplers), you can drag-and-drop audio files from the Browser directly onto the instruments to load audio files.
Page 222 Some MIDI files will contain more than one MIDI Part in the sequence. If this is the case, a drop- down arrow will be next to the file in the Browser; click the drop-down arrow to reveal the independent Parts. If you drag in a file with multiple Parts, they will all be shown when dragging the file into your Song.
Page 223: The Pool
7.2.9 Export Music Loops and Audio Loops You can drag any Instrument Part to the Browser to export a Music Loop, or press [Alt] while hovering the Part over the Browser to switch to exporting a Standard MIDI File. You can also drag any Audio Part from the Arrangement to the Browser to export an Audio Loop.
Page 224 7.3.1 Navigate the Pool The Pool displays audio Clips as waveforms. These Clips can be sorted using the Sort By menu at the top of Pool. The following Sort By options are available: Flat. View all Clips alphabetically. • Track. View Clips by the Track on which they are currently used or were previously •...
Page 225: File And Folder Commands
7.3.4 Copy External Files to the Song Folder If audio loops and other files used in your Song are stored in many different file locations on your computer, it can be difficult to find them, especially if files are moved or deleted. Scattered files also make it difficult to back up your Song and all of its contents to a single location or to share your Song with a collaborator.
Page 226: Instruments And Audio Effects
Use [Alt]/[Option]+[Up Arrow] to collapse all of the directories when navigating the Files Browser. 7.2.7 Pool Commands [Right]/[Control]-click in the Pool Browser window to select from the following commands: Rename File. Rename the currently selected Clip. • Locate File. Locate a file for the currently selected Clip (e.g., to find a missing file). •...
Page 227 7.5.2 Sort the Instruments View The list of virtual instruments can be sorted to help you find what you are looking for. Click on the Sort By window at the top of the Browser to sort by the following: Flat. Sorts the instruments in alphabetical order in a continuous list. •...
Page 228: Sound Sets
Folder. Sorts the effects based on the storage location folders in which they reside. • Vendor. Sorts the effects in folders by vendor. • Category. Sorts the effects in folders by the type of plug-in (Native, VST2, VST3, AU, FX •...
Page 229: Importing Other Application Project Files
Simply click-and-drag any of this content directly from the Browser into a new Song or Project. Importing Other Application Project Files Studio One can open several other application project-file types. These include PreSonus Capture™ Sessions (.capture), Steinberg Cubase Track Archives (.xml), Steinberg Sequel Projects (.steinberg-project), Kristal Audio Engine Projects (.kristal), and Open TL (.tl).
Page 230: Arranging
Arranging Arranging can entail repositioning recorded or imported audio and musical data to change the song structure, inserting tempo or time-signature changes, and many other processes. The following chapter discusses aspects of arranging in Studio One, including importing files, working with audio loops, the Tempo Track, and more. Quickly Duplicating Events Events are often copied and pasted across a certain region to quickly build an arrangement.
Page 231: Tempo Track
the Track Column with a Duplicate Track tooltip while dragging the Tracks to indicate the Duplicate function. Tempo Track Many modern recordings sound mechanical, like a machine playing music. This is often because the recording has a single, static tempo, whereas the tempo in a natural performance tends to drift slightly.
Page 232: Time Signature
Time Signature The time signature is a convention used in Western music notation to specify how many beats are in each bar and what note value constitutes one beat. The time signature is notated as a fraction, where the numerator (the upper number) equals the number of beats in the bar, and the denominator (the bottom number) equals the note value for each beat.
Page 233: Bouncing
Bouncing 8.5.1 Bouncing Instrument Parts When working with musical-performance data, users often want to print the audio being generated by external MIDI and internal virtual instruments to audio so that the part can be treated like a normal Audio Track. Studio One offers a special feature to accommodate this. To quickly bounce any Instrument Part to an Audio Track, select the Instrument Part, and then select Bounce Selection in the Event file menu or simply press [Ctrl]/[Cmd]+[B] on the computer keyboard.
Page 234 Note that Bounce Selection is unaffected by Track Volume, Pan, and Insert settings, as it is only dealing with the Audio Events exactly as they exist in the Arrange view. Thus, the result of this process will not affect what you hear; it is simply an organizational tool. Similarly, drag-and-drop any Audio Event or selected range of audio to a location in the File Browser to export an audio file to that location.
Page 235: Adding Time To The Arrangement
Adding Time to the Arrangement It is often useful to insert a range of silence into an arrangement, effectively adding time to a section. To do this, select the Range tool in the Arrange view, then select a range across any tracks on which you wish you insert silence.
Page 236: Folder Track Grouping
8.8.2 Folder Track Grouping Clicking on the Group icon on a Folder Track will create a Group with the name of the Folder Track and will place all Tracks it contains in the Group. This is exactly the same as selecting all of the Tracks and grouping them with [Ctrl]/[Cmd]+G: The Tracks will be selected together in the Mixer and Arrange views, and the events on the Tracks will be edited together.
Page 237: Track List
8.8.4 Folder Track Nesting When Folder Tracks are nested—that is, when one Folder Track is placed inside another—the Folder Track Grouping and Busing options still only apply for the Tracks within each folder. Here is an example: Tracks 1 through 8 are in Folder Track A, which has Group enabled and is routed to Bus A. Tracks 9-12 are packed to a new Folder B, Group is enabled there, and a new Bus B is created.
Page 238 8.9.1 Track List Presets Configurations of shown and hidden Tracks can be stored as Presets, making it possible to quickly focus on desired Tracks in an instant. To create a new Track List Preset, configure the hidden and shown Tracks as desired, then click on the "+" icon under the Track Type icons at the bottom of the Track List.
Page 239: Mixing
Mixing Mixing is the part of the production process where all recorded and arranged material is balanced in relative volume, frequency, and dynamic content in order to achieve a desired cohesive sound. The following chapter discusses basic aspects of mixing in Studio One, including the Console, the channel types, and inserts and sends.
Page 240 Audio Channels show the hardware audio-input selection, and Bus and FX Channels display no input, as their input source is usually from multiple channels. Instrument Channels display the name of the virtual instrument from which they get their input. Click on any input or output to display and choose from a list of available routing options for any channel.
Page 241 9.1.7 Expand Channel All channels feature an Expand Channel button, which expands the visible channel to the right, revealing further Console routing possibilities. Audio, Instrument, and Bus Channels will include Insert and Send Device Racks. FX Channels will only have an Insert Device Rack. 9.1.8 Channel Types 9.1.8.1 Input Input channels represent the configured hardware audio inputs.
Page 242 track could be routed via sends to an FX Channel with a reverb inserted so that they sound like they are in the same space. 9.1.8.6 Output Output channels are routed directly to hardware audio outputs and can be stereo or mono, depending on the configured outputs to which they connect.
Page 243 9.1.9.1 Inputs and Outputs The Inputs panel is closed by default and can be opened and closed by clicking on the Inputs button in the Console navigation column. The Inputs panel will display Audio Channels in the Console for each configured hardware audio input, as described in the Channel Types section of this chapter.
Page 244 objects, including channels, virtual effects, and virtual instruments. Each object in the list will contain the exact state of the entire channel, effect, or instrument when it was removed, making it possible to restore previous settings and states in the Console at any time. To restore an object in the Trash Bin to its previous state and location in the Console, [Right]/[Control]-click on it in the Trash Bin and select Restore from the pop-up menu.
Page 245 9.1.9.4 Instruments The Instruments panel is open by default and is closed and opened by clicking on the Instrument button in the Navigation column. The Instruments panel displays all currently loaded virtual instruments. If no Instrument Track is connected to the Instrument, it will appear grayed out.
Page 246 9.1.9.5 Banks The Banks panel is open by default and is closed and opened by clicking on the Banks button in the Navigation column. The Banks panel controls which channels in the Console are visible, as well as which channels are available to a configured Control Surface. Channels that appear in the Banks panel list can be shown or hidden in the Console.
Page 247 9.1.10 Alternative Console Layout The Console has been designed to meet the needs of most users. It has two possible modes: Small and Large. Additionally, each mode can be made Narrow. The Console can also be detached from the rest of the single-window user interface. The Console layout is strictly a matter of preference: There is no audible difference between the Small and Large mode, nor does detaching the Console affect its functions.
Page 248 9.1.10.2 Narrow Mode Both the Small and Large Consoles can be made narrow via the Narrow/Normal button to the far left of the Console. Narrow mode has been designed to maximize the number of visible channels from left to right in the Console. When in Narrow mode, the Small Console channels will change so that a volume-fade handle is overlapped on the channel level meter, with Mute and Solo controls below the meter.
Page 249: Signal Routing
9.1.10.3 The Detached Console The Console can be detached from the main window and placed in an independent window so that it can be located freely onscreen or on a second computer monitor. To Detach the Console, click on the Detach button at the top of the Console navigation column.
Page 250 When audio effects are inserted on the same channel, all of the plug-ins will appear in tabs at the top of the plug-in header GUI. This makes switching between effects in the same Insert Device Rack and signal path quick and easy. The user interfaces for effects from third-party manufacturers will vary drastically;...
Page 251 an insert effect to the left or right edge of the viewable Console will scroll the Console left or right to expose any channels beyond those currently viewable. It is also possible to click on the Copy button in the plug-in header GUI, then switch to another instance of the same plug-in and click on Paste to copy settings from one instance to another.
Page 252 Pipeline plug-in (only in Studio One Professional). The Pipeline plug-in can be found in the PreSonus folder of the Effects Browser when sorted by Folder, Vendor, or Category. The Pipeline plug-in routes audio to a hardware processor and then back from that processor through specific inputs and outputs on your audio interface, while automatically compensating for the round-trip latency incurred in the process.
Page 253 Click-and-drag on the horizontal Level fader to adjust the send level between -∞ and +10 dB. Click-and-drag on the Pan fader to adjust the balance of the source material going to the send destination. Click on the Pre/Post Fader button to switch the send source to pre-fader or post- fader.
Page 254 9.2.18 Store a Preset To store a preset containing the current settings of an effect, click on the Store Preset button and choose Store Preset. Type a name for the preset in the pop-up menu and click OK to store the preset.
Page 255 FX Chains can be found in the FX Chains folder in the Audio Effects Browser. To insert the FX Chain in the Insert Device Rack of a channel, drag any FX Chain from the Browser to the channel. Click on the menu arrow next to the FX Chain name in the Audio Effects Browser to view and select the individual effects.
Page 256 You can then choose that bus as the Output or Send destination for any Audio or Instrument Channel in the Console. The bus sends its summed signal to the Main Out by default but can also be routed to Sub Out Channels. Buses have sends that can be used the same way as other sends in Studio One.
Page 257: Groups
Groups As discussed in the Edit Groups section of the “Editing” chapter, it is possible to group multiple tracks together so that any edits done to an Event on one track in the group are automatically done to all Events for all Tracks in the group. These same Edit Groups affect how their related channel faders will behave in the Console.
Page 258 9.4.1 Peak Meters Peak meters measure the instantaneous audio level from moment to moment at a very fast resolution and display the highest output level at any instant. These meters help ascertain the relationship between a given audio level and other audio levels in the mix. Many effects plug- ins feature peak meters at the input and output so that any level attenuation the effect imparts on the audio signal can be seen.
Page 259 “The K-20 meter is for use with wide dynamic-range material, e.g., large theater mixes, ‘daring home theater’ mixes, audiophile music, classical (symphonic) music, hopefully future ‘audiophile’ pop music mixed in 5.1, and so on. The K-14 meter is for the vast majority of high- fidelity productions for the home, e.g., home theater and pop music (which includes the wide variety of moderately compressed music, from folk music to hard rock).
Page 260: Automatic Plug-In Delay Compensation
Automatic Plug-In Delay Compensation Some plug-in effects inherently have some delay, or latency. It takes a certain amount of time for these plug-ins to process the audio routed to them, which means the resulting output audio is slightly delayed. This especially applies to dynamics-processor plug-ins that feature a look-ahead function, such as the included Compressor.
Page 261: Using The Marker Track
Using the Marker Track You’ll probably want to quickly navigate to various areas of your Song during mixdown. In Studio One, the Marker Track is used to place Markers at desired places in the timeline, after which navigation to the Markers is easy. To open the Marker Track, click on the Marker Track button above the Track Column in the Arrange view.
Page 262: Looping During Mixing
9.7.3 Song Start and End Markers When a new Song is created, you can specify a Song Length. The default length is 5 minutes or 151 bars at the default 120 bpm tempo. At the beginning and end of the specified region, Song Start and End Markers are automatically placed in the Marker Track.
Page 263: Mixing Down
Mixing Down Most often, you’ll record multiple tracks in each Song, but you will need to mix these tracks to stereo for distribution on CD, DVD, or the Web. With a DAW such as Studio One, this simply means saving your mix to a stereo file. 9.9.1 Create a Mixdown To create a mix of your Song in Studio One, navigate to Song/Mixdown to Audio File or press [Ctrl]/[Cmd]+E on the...
Page 264 Start/End Marker will export the range of your Song between the Song Start and End Markers, as seen in the Marker Track. Choose Export Between Each Marker to export separate mixdown files for the ranges between each marker. Choose Export Between Selected Markers to export a mixdown between two specific markers.
Page 265: Export Stems From Your Song
9.10 Export Stems from your Song It can be helpful to quickly export individual tracks from your Song. For instance, you might wish to send the tracks to someone who will prepare a different mix or will remix the Song. The Export Stems feature in Studio One provides an easy way to accomplish this.
Page 266: Mixing Suggestions
Select a time range to export by selecting Loop, Between Song Start/End Marker, Between Each Marker, or Between Selected Markers. The Export Loop Range option will only export the range of your Song between the Left and Right Locators. Export Between Song Start/End Marker will export the range of your Song between the Song Start and End Markers, as seen in the Marker Track.
Page 267 If your Song lacks personality, vibe, or feeling before you start mixing, it is unlikely to • gain any of these subjective qualities during mixdown. In this case, take the time to re- record certain parts, rearrange the Song, or even start over from scratch. 9.11.2 Mixing Workflow While mixing requires an objective knowledge of many tools, the process is an art form.
Page 268 9.11.5 Preparing Your Mix for Mastering Too often, mixes are sent to the mastering phase of production after they have been compressed, equalized, limited, and generally processed to the loudest possible levels. This is usually the result of people comparing their unmastered mixes to finished, mastered, published songs.
Page 269 The most flexible option you have is to use Track Transform to render Audio and Instrument tracks and temporarily remove the related virtual instruments or effects, as described in the “Editing” chapter. Alternatively, you can do the following to accomplish this: Select all of the Instrument Parts on the Instrument Tracks that you would like to •...
Page 270: Automation
Automation Automation is a critical part of modern mixing. The following chapter discusses aspects of automation in Studio One, including Track and Part automation, automation modes, and automation envelopes. 10.1 What is Automation? Automation lets you record changes in parameter values; thereafter, Studio One can perform these value changes for you.
Page 271 10.2.1.1 Automation Envelopes On the Track To view automation envelopes one at a time, superimposed on top of Events on the Track, Press [A] on the keyboard or click on the Show Automation button at the top of the Track column in the Arrange view.
Page 272 10.2.2 Turn Automation On/Off Automation envelopes can be turned on and off, so you can decide when they will affect the controlled parameter. To turn an envelope on or off, click on the On/Off button for that Envelope. Each automation envelope can be turned on/off independently. Turning an automation envelope on/off during playback has different results depending on the current Automation mode for the Track.
Page 273: Editing Automation Envelopes
10.2.4 Automation Tracks Studio One features a track type dedicated to automation that only contains automation envelopes. An Automation Track can contain automation envelopes related to any Track and any plug-ins. To add an Automation Track, press [T] on the keyboard to open the Add Track menu, and select Automation.
Page 274: Move An Automation Point
10.3.3 Move an Automation Point To move any point on an automation envelope, using the Arrow tool, click-and-hold on any existing point on the envelope. While holding the click, moving the selected point vertically changes its parameter value, and moving the point horizontally changes its time position. When moving an automation point, notice the pop-up value indicator.
Page 275 10.3.6.1 Draw an Automation Envelope To draw an automation envelope using the Paint tool, click-and-drag in the Track Lane. While you are drawing the envelope horizontally, points will be added at different time increments based on the current Timebase. However, when the mouse button is released after drawing an envelope with the Paint tool, the drawn curves of the envelope will be intelligently and accurately approximated to achieve the desired result with as few points as possible, which may or may not remove some unnecessary points from the envelope.
Page 276: Automation Modes
10.4 Automation Modes In Studio One, automation modes are specific to devices on each Track. A delay effect on an Audio Track might be in Touch mode, while the volume, pan, and other effects on that Track are in different modes. This allows a great deal of flexibility. With Show Automation selected, the current automation mode is visible.
Page 277: Instrument Part Automation
Touch mode can be used even if your hardware controller does not have touch sensitivity. In this case, automation is written when you move the hardware controller, and existing automation will be read when you are not moving the hardware controller. 10.4.5 Latch When Latch is selected in the Automation Mode window, automation will be read until a hardware control is manipulated, at which point automation will be written continuously until...
Page 278 10.5.2 View Part Automation To view and edit Part automation for an Instrument Part, select the desired Instrument Part and open the Edit view by pressing [F2] on the keyboard, double-clicking on the Instrument Part, or clicking on the Edit button. Below the Music Editor (which shows the musical notes for the selected Instrument Part), you will notice the Part Automation lane.
Page 279 Editing Part-automation envelopes is nearly identical to editing Track-automation envelopes, as described in the Editing Automation Envelopes section of this chapter. The one exception is that if you press [Alt]/[Option] on the keyboard when using the Paint tool to draw an automation envelope, you can draw straight lines of any length, which will only use two envelope points.
Page 280: Control Link
Control Link Studio One features Control Link, a cutting-edge system for integrating external hardware controllers with your virtual instruments, effects, and other software parameters. The following chapter describes this system. 11.1 What is Control Link? In most DAW software, you can use external hardware devices to control software parameters. For instance, you could map several knobs on a hardware MIDI controller to the software knobs of an EQ effect, so that when the hardware knobs are turned, the software knobs will turn.
Page 281 • When editing the control map for a Keyboard device (MIDI Learn enabled), you can select Transmit Value from the contextual menu for each control. This option will send parameter updates for a given hardware control out of the Keyboard device's MIDI Out port when the software parameter to which the control is linked changes.
Page 282 11.3.1 Controller Map Object Types The default Knob object is used when hardware controls are mapped for the first time. This object can be changed for each control to better reflect the actual hardware control type, making your mapped controls much easier to recognize. To change the object for any mapped control, do the following: 1.
Page 283: Control Linking
11.4 Control Linking With a Keyboard set up, and its control map created, you are one click away from controlling almost any software parameter using Control Link. The following describes the various ways to use Control Link. 11.4.1 Parameter Windows To the far left of the Arrange view toolbar in the Song window, you will notice two windows separated by a button.
Page 284: Global And Focus Mapping
Finally, you can [Right]/[Control]-click on any knob or fader in the Console, or in a plug-in editor, to link a hardware control to a software control. To accomplish this, do the following: 1. Manipulate the desired hardware control; for instance, turn a knob. That control should appear in the right parameter window.
Page 285 In this way, Focus mapping allows different control maps to be made for each plug-in, using the same hardware controls for each. Each Focus map is stored with the plug-in, making it usable in any Song. Thus, you can make Focus maps for each of your favorite plug-ins and never worry about them again.
Page 286: Automation With Hardware Controllers
11.5.4 Using Multiple External Devices Any number of External Devices can be used simultaneously. As long as the device has a control map with some learned controls, it can be used with the Control Link system. In each plug-in window, you will notice mapping controls to the right of the preset and automation controls.
Page 287 For example, if you are using a touch-sensitive, endless rotary encoder to control a software parameter that has an automation envelope on a track, setting the track to the Touch automation mode will have the following results: • During playback, touching the rotary encoder will begin to write automation until the encoder is no longer being touched.
Page 288 Track automation cannot be written using an external control if Read or Off mode is selected on the track. 11.6.5 Writing Instrument Part Automation Using external controls with Part automation is similar to using them with Track automation, except that there are no automation modes. Existing Part automation is read and can be overwritten, and new automation can be written at all times while recording to a Part, as explained in the Recording Part Automation...
Page 289: Mastering
Mastering Mastering is the process of preparing and transferring the final mix to a master copy from which all distribution copies will be made. In the mastering process, the source material is usually processed using equalization, compression, and so on. Editing, level adjustments, fades, noise reduction, and other signal restoration and enhancement may also be done during mastering.
Page 290: Adding Tracks
12.1.1 Project Setup In the New Project menu, you can specify a Project Title and save a location, as well the Project sample rate. Click on OK to create the New Project. 12.2 Adding Tracks The first step in the mastering process is to place the desired source material into a Project. 12.2.1 The Browser Just as on the Song page, the Project page has an integrated Browser, allowing you to browse for audio effects and files to add to your mastering Project.
Page 291 Adding the Song to your Project will place it in the Track column. If no master file exists for the Song, you will be asked if you would like to create a mix of the current state of the Song, which can then be rendered and added to the Track Lane.
Page 292: Track Sequencing
edited on a track-by-track basis, or multiple Tracks may be selected and their fields edited simultaneously. Meta-information is used when publishing your Project to any medium. You should fill in this information so your production is accurately labeled when published and distributed to your adoring fans.
Page 293: Editing Tracks
To move any Track manually across the Timeline, click-and-drag the Track left or right. Notice that the sequencing of all other Tracks in the Project is maintained when any Track is moved across the Timeline. 12.4 Editing Tracks 12.4.1 Sizing Tracks Tracks in the Track Lane can be sized with the Arrow tool, as described in the Size an Event section of the “Editing”...
Page 294: Using Insert Effects
Any Track that begins after another Track in time will normally be the beginning of a new Track on a CD or other medium, with the starting position serving as the beginning of the Track, regardless of the timing of crossfades. 12.4.4 Splitting Tracks To split any Track, set the playback cursor where you want the split and press [Alt]+[X] on the keyboard.
Page 295: Master Device Rack
12.5.1 Track Device Rack Inserts in the Track Device Rack can be used to process each Track individually. The most common use is to achieve a balance with other Tracks in the mastering Project, so that any Master Device Rack processing will affect each Track in a similar way. For instance, each Track will probably require individual equalization.
Page 296: Metering
Audio Devices and File Export option in the Studio One/Options/Advanced/Audio menu. Note that by default, Studio One only dithers when necessary (e.g., for reducing bit depth within a device or during file export) and always uses triangular-type dither with no noise-shaping. A Master Channel output fader is available to dial in the master output level of your Project, and you can select the output for your audio device (audio interface).
Page 297: Publishing Your Project
The Goniometer displays left- versus right-channel amplitude on an X/Y oscilloscope. A vertical line in the Goniometer represents a mono signal. The horizontal Correlation Meter compares the amount of in-phase and out-of-phase audio signal in the left and right channels. The parameters of the Correlation Meter range from +1 (mono signal) to -1 (reversed-phase mono signal), with 0 indicating the presence of totally independent signals (true stereo).
Page 298 12.8.3 Make a Disc Image Publishing your project might require a disc-image file. For instance, sending your Project to a professional CD duplicator might require digital transmission of the content of your CD, rather than sending a potentially imperfect physical copy. Also, you may wish to use a different application to burn your CDs, in which case you need an image file.
Page 299 Internet, which obviously is required for this feature, log into your PreSonus user account; then your Web browser will open to a special page to allow Studio One to connect with your SoundCloud account. Log into your SoundCloud account, click on Allow Access, and then copy the verification code.
Page 300: Song And Project Integration
12.9 Song and Project Integration At the center of Studio One Professional’s design is Song and Project integration. This is where the usual gaps between mixing and mastering have finally been eliminated. When Songs are placed in a Project, a link is established that allows the Song and Project to be intelligently aware of each other so that changes to either are known to both.
Page 301 The Song will be automatically closed. • A report will be displayed in the Project indicating which files were updated and how • long the entire process took. Note that when Songs are automatically updated, and a new mix is rendered, the length of the mix is determined by the Song Start and End markers, as seen in the Marker Track of the Arrange view.
Page 302: Built-In Effects
Built-In Effects Studio One features a number of high-quality, 64-bit, built-in audio effects and virtual instruments. The following chapter describes each audio effect in detail. Virtual instruments will be covered in a separate chapter. 13.1 Built-in Effect Micro Views All of the built-in effects feature Micro Views, which are small, expandable control panels within the Insert Device Rack that allow control over the critical parameters of each effect.
Page 303: Metering, Analysis, And Signal Generation
13.3 Metering, Analysis, and Signal Generation 13.3.1 Phase Meter The Phase meter is helpful when checking stereo-playback issues and mono compatibility. There are two components to this meter: a large goniometer at the center of the plug-in window and a correlation meter at the very bottom. The goniometer displays left versus right channel amplitude on several axes.
Page 304 13.3.2 Spectrum Meter The Spectrum meter is helpful when determining the frequency content of an audio signal. For instance, you might know that a drum loop needs some EQ, but you might not be sure what frequencies to bring up or down. Or there might be an annoying ring in a guitar part that you want to get rid of but you do not know the frequency of the ring.
Page 305 • FFT. A Fast Fourier Transform, or FFT, displays frequency content divided into many bands. It’s useful for accurate metering of a specific range of the frequency spectrum. When FFT is selected, you can select the FFT window size (FFT size = time vs. frequency resolution).
Page 306 13.3.3 Tuner The Tuner proves invaluable when inserted on guitar, bass, and other instruments that require frequent tuning. The Tuner features a switchable standard/strobe display, with exact Frequency and Difference readouts in the upper left-and right-hand corners. A Calibration knob enables calibrating the Tuner to a center frequency from 415 Hz to 465 Hz. Click on the Strobe Mode button to enable the strobe display, in which the rotation speed is a measure of the amount you need to tune.
Page 307 13.3.5 Scope The Scope provides the functions an engineer would expect from a digital oscilloscope and is useful for debugging problems in the studio, such as analyzing crosstalk and noise levels. There are three signal channels and one math channel. Each channel can either show the left or right signal of the insert channel, or sidechain input, while the math channel can show the difference between two of the signal channels.
Page 308 Note that the scope does not clear its buffer on stop, so there may be unwanted signal shown until another display trigger occurs. The Hold control adjusts the length of time shown for a trigger signal, and during this period, no new signal will trigger the scope.
Page 309: Delay
Off/Gated/On. Default is Off. Gated allows the output to be turned on via a note • played on a Keyboard (set the output of an Instrument Track to Tone Generator), and On simply turns on the output. Level. The output level of Tone Generator, from -144 dB to +24 dB. (Use caution!) •...
Page 310 Sync disengaged will result in Speed expressed as frequency, from 0.01 Hz to 5 Hz. Sync engaged will result in Speed expressed as beats, from 4/1 to 1/64, with triplet and dotted-time variants. Synced LFO and synced delay with LFO slower than delay means that modulation will not be perceptible (except with high inertia).
Page 311 • Beats. Delay time expressed as beats. Variable from 4/1 to 1/64, with triplet and dotted-time variants. Offset. Adjusts a time offset from -30 to +30% of the specified Beats value. • Feedback. Percentage of delayed signal added back into the delay input. Variable from 0 to 99.99%.
Page 312 • Level, Pan, Cutoff, Swing. Click on these buttons to display and edit the respective parameter for each tap in the Grid display. Level. Adjusts the output level and timing for each tap. Pan. Adjusts the pan and timing for each tap. Cutoff.
Page 313: Distortion
Beats/Speed. Adjusts the speed of the LFO. Beats variable from 4/1 to 1/64 with triplet and dotted time variants. Speed is variable from 0.1 Hz to 30 Hz. Sync. Click to engage Cutoff Mod LFO sync; enables LFO speed adjustment in beats (synced to Song position).
Page 314 channel differences, and tone-stack behavior. Select Legacy Amp from this menu to access the models available in Studio One 1. • Input Gain. Trim the input gain directly at Ampire’s input to pull up weak instrument signals or to attenuate loud, processed signals. With a good input level, the signal will be in the optimal range for dynamic distortion within Ampire.
Page 315 • Stomp Boxes. Ampire XT features the following effects, which are each bypassed by default. The Pre/Post switch sets the effect for pre- or post- amplifier processing. All effects are pre-cabinet processing, except for the Delay and Reverb, which can be switched to pre- or post-processing.
Page 316  Beats. Selects a beat value for the synced flanger speed. Feed. Adjusts the amount of feedback from 0 to 100%. Width. Adjusts the flanger LFO width from 0 to 100%. Depth. Adjusts the flanger depth from 0 to 100%. Phaser.
Page 317  Speed. Adjusts the delay speed from 0.01 to 10 Hz. Sync. Engage this if you want to sync the delay speed to • tempo. Beats. Selects a beat value for the synced delay speed. •  LC. Sets the frequency of the low-cut filter from 20 Hz to 1 kHz. ...
Page 318 13.5.2 Red Light Distortion Red Light Distortion is an analog-distortion emulator with several selectable distortion models. The following parameters are available in Red Light Distortion: • In. Input gain to the distortion. Variable from -12 dB to 24 dB. • Distortion.
Page 319: Dynamics
13.6 Dynamics Dynamics processing is a key aspect of mixing and mastering. Studio One features very high- quality dynamics processors that give you complete control. The following contains fundamental information on dynamics processors to help in your use of Studio One’s dynamics processors.
Page 320 Ratio. Click the top right handle to adjust when Auto-Gain is not engaged. Threshold. Click the middle handle to adjust when Auto-Gain is not engaged. Knee. Use the mouse wheel while floating the cursor over the middle handle to adjust when Auto-Gain is not engaged. If you don’t have a mouse wheel, type in a value or use the Knee knob.
Page 321 Internal Sidechain. Click to activate internal filter sidechain (for frequency-dependent compression). Uses 48 dB filters. Listen Filter. Click to listen to the filtered control signal of the internal sidechain. Helps find specific target frequency for control signal when de-essing, transient damping, etc. LC/HC Freq.
Page 322 • Attack. Adjusts attack time for dynamics processing, reaction speed to falling signal. Variable from 0.1 ms to 500 ms. • Release. Adjusts release time for dynamics processing, reaction speed to rising signal. Variable from 50 ms to 2s. • Sidechain.
Page 323 Close. Set the level at which the gate closes relative to the threshold. Variable from -24 dB to 24 dB from the Threshold value. • Range. Adjusts the maximum amount of reduction. Variable from -72 dB to 0 dB. • Reduction Display.
Page 324 13.6.4 Limiter The Limiter is a brickwall-limiting processor with optional K-System metering. Use it to prevent your output signal from clipping or to maximize signals with very dynamic peaks. The following parameters are available for Limiter: Input. Adjusts the input level into the limiter. Variable from 0 dB to 18 dB. •...
Page 325: Mastering
13.7 Mastering 13.7.1 Multiband Dynamics (Studio One Professional) Multiband Dynamics is a compressor/expander with five completely independent compression/expansion bands, optional simultaneous adjustment over all bands, and multiband metering. Use it to reduce unwanted signals or banded noise and to emphasize or limit instruments.
Page 326 • Bands. L, LM, M, HM, H. Low, Low Mid, Mid, High Mid, High. Frequency Knob. Adjust crossover frequency between bands. You must have at least one octave between adjacent bands. M, S, Bypass. Mute, Solo, and Bypass engage buttons for each band. Editing the crossover frequencies in the display will move other bands when the bandwidth is below one octave.
Page 327 Release. Adjusts release time for dynamics processing. Variable from 4 ms to 200 Dynamics speeds are adapted to provide a comparable smoothness at the same setting for expansion and compression, so expansion will be slightly slower than the shown length. 13.7.2 Tricomp™...
Page 328: Mixing
• Knee. Adjusts the distance/curve of the compressor knee. Variable from 0 dB (hard knee) to 6 dB (soft knee). • Sat. Saturation emulates the saturation sound found in famous leveling amplifiers. Variable from 0 to 100%. 13.8 Mixing Many tools can help to achieve proper balance and create space for the various parts of your mix.
Page 329 13.8.2 Dual Pan Dual Pan is a fully variable stereo panner with input balance control, selectable pan law, and independent left/right panning. The following parameters are available for Dual Pan: Input Balance. Adjusts the balance of the stereo input signal from full left to full right. •...
Page 330 • MS Transform. Click to perform a Mid-Side transform on the Mixtool Input Channels. Stereo tracks only. Generally used to decode MS-recorded signals or to create MS signals for stereo image processing. When used on a mono track, the Mixtool plug-in has one control to invert the phase of the signal.
Page 331 • All. Simultaneously displays curves for each band and for the resulting EQ curve being applied to the signal (white). • Current. Displays the resulting EQ curve (white), as well as one curve for any band being actively edited. • Spectrum.
Page 332 13.8.5 Channel Strip Channel Strip features three processors in one, including a low-cut filter, dynamics processor, and three-band parametric EQ. Channel Strip optionally applies automatic gain correction to the EQ so that the input-signal power matches the output-signal power. Use Channel Strip on any mono or stereo Track that needs basic channel processing.
Page 333: Modulation
13.9 Modulation Modulation processors are great tools for creating interesting and innovative sounds. Studio One features the following modulation processors. 13.9.1 Auto Filter Auto Filter features two resonant filters with six selectable filter models. The filter-cutoff frequency and resonance can be modulated by an LFO using standard waveforms, a 16-step sequencer, and an envelope.
Page 334 • Reso. Adjust the resonance of the filters. Variable from 0 to 100%. Can be modulated by the envelope or LFO. Adjust the modulation amount from each using the Env and LFO vertical faders. Variable from -100% to 100%. Negative values are phase-inverted. LFO modulates around the value.
Page 335 • Spacing. Adjusts the delay of the Chorus voices. • The Spacing value is the delay time between voices. • Voices. Adjusts the number of added voices in the chorus; select from 1, 2, or 3. • LFO. The LFO modulates the Spacing parameter. LFO Speed.
Page 336 Beats. Select from 4/1 to 1/64 with triplet and dotted-time variants. Depth. Adjusts the wet/dry mix of the Chorus output. • Feedback. Adjusts the amount of delayed output to be fed back into the input. Variable from -90% to 90%. Negative value results in inverted feedback. •...
Page 337 • Feedback. Adjusts the amount of the filtered output signal to be fed back into the input. Variable from 0 to 95%. • Stages. Adjusts the number of allpass filter stages for the phaser. Variable from 2 to • Spread. Adjusts the spread of each delay stage from 0 to 100% •...
Page 338: 13.10 Reverb
16 Gates. Click in the LFO display to open/close the gate at each step. The steps divide the current Speed/Beats time value. For each step, no color fill means the gate is closed, and total color fill means gate is open. 13.10 Reverb Reverb effects are used in almost all music productions and for a variety of purposes.
Page 339 Gate Thresh. Adjust the threshold of the gate. Variable from -36 dB to 12 dB. Gate Release. Adjust the release time of the gate. Variable from 10 ms to 250 ms. • Width. Adjust the width of the stereo field. Variable from 0 to 100%. Only for stereo tracks.
Page 340 Height. Adjusts the height relative to size. Variable from 0.1 to 1. • Geometry. Dist. Adjusts the relative distance between the source and the listener position within the virtual room. Variable from 0.1 to 1. Asy. Adjusts the left and right asymmetry between the source and the listener position.
Page 341 13.10.3 OpenAIR (Studio One Professional) OpenAIR is a highly efficient convolution reverb capable of delivering ultra-realistic reverberation based on impulses captured from both real spaces and classic hardware reverbs. OpenAIR provides the following parameters: Predelay. Defaults to 0 ms; adds predelay to the impulse response with a positive •...
Page 342 Fade-Out. Fades out the impulse response, from 1 ms to the length of the impulse response. Shorten with Stretch. When this is activated, and the length is smaller than the original impulse response, the impulse response is not cut and is instead timestretched between the ER/LR breakpoint and impulse-response end.
Page 343 Then, create an Input Channel in Song/Audio IO Setup, configured with the physical • input on your interface that IR Maker will get the return signal from. A microphone, or the output of a hardware processor, will connect to this input when capturing the IR. Now create an Audio Track in a Song, set its input and output to the input and output •...
Page 344: Pipeline (Studio One Professional)
13.11 Pipeline (Studio One Professional) As mentioned in section 9.2.9 of this manual, Pipeline allows hardware processors to be inserted on audio channels in much the same way that virtual effects are inserted. This feature is commonly called a “hardware insert.” 13.11.1 Configuring an Instance of Pipeline Insert an instance of Pipeline on any channel just like any other effect, either by dragging it in from the Browser, or through the Add menu in the Insert Device Rack.
Page 345 • Input Selection. Select the Input Channel that is used to route audio from your hardware processor into Studio One. • Mix. Adjust the mix of send and return signal. This makes parallel processing possible. • Phase Invert. Invert the phase of the return signal (relative to the send signal). This is useful when auditioning for calibration purposes To the far left and right of the Pipeline interface are Send and Return meters with separate clip indicators, enabling you to accurately monitor send and return levels.
Page 346 • The return signal is likely to be slightly behind the send signal in time, indicating some amount of signal-path latency is present. You will compensate for this time using the Offset value. You can turn the knob, or enter a value directly to set a positive Offset value that will bring the return signal back in time to align with the send signal on the scope.
Page 347 13.11.5 Mixing Down with Pipeline When Pipeline is being used in any Song, you must render a mixdown in real time, as this is required in order for your hardware insert to be incorporated in the mix. This is handled automatically, so that when any instance of Pipeline is inserted in a Song or Project, the mixdown will always be done in real time.
Page 348: Built-In Virtual Instruments
Built-in Virtual Instruments Studio One has four built-in virtual instruments: SampleOne, Impact, Presence, and Mojito. These instruments provide a solid foundation for music production in any style. The following sections describe each instrument in detail. 14.1 SampleOne A sample player is closely related to a synthesizer. However, instead of generating sounds, a sample player starts with an audio clip, or “sample,”...
Page 349 14.1.2 Add and Play a Sample To add a sample to SampleOne, drag any audio clip from the Browser, or any Audio Event or selected range from the Arrange view, into the sample list. The waveform for the audio clip will appear in the main display.
Page 350 14.1.4 Loop a Sample To loop playback of a sample, click on the Loop button above the main display. A Loop Range display will appear above the sample waveform, indicating the section of the sample to be looped. Any range of the sample can be looped. If the loop range begins after the initial playback range begins, the sample will play from the beginning of the playback-range position to the end of the loop-range position;...
Page 351 14.1.8 Edit Pitch, Filter, and Amplifier Envelopes The output of each sample loaded in SampleOne can be modified with pitch, filter, and amplifier envelopes. Note the Edit All button, which allows the simultaneous editing of all sample parameters at once when engaged. The following describes the use of these envelopes.
Page 352 Env. Adjusts the range within which the envelope affects the cutoff frequency. Variable from -10 octaves to 10 octaves. Resonance. Adjusts the relative resonance of the filter. Variable from 0 to 100. Filter Type. Selects the filter type. Choose from LP, BP, and HP and between 12 and 24 dB.
Page 353 • Sustain. Adjusts the sustain level. Variable from -64 dB to 0 dB. The sustain period continues until the sample trigger stops. • Release. Adjusts the amount of time it takes to reach a level of -∞ after the sample trigger has stopped.
Page 354: Impact
14.2 Impact Impact features a grid of pads into which samples are loaded and played back independently, as with many popular hardware drum-sample players. Each pad has its own pitch, amplifier, and filter controls with accompanying envelopes. There are multiple stereo and mono outputs for each pad, making sophisticated output busing simple.
Page 355 14.2.2 Add and Play Samples To add a sample to a pad, drag any audio clip from the Browser, or any Audio Event or selected range from the Arrange view, directly onto the desired pad. If you drag in a selected range from the Arrange view, the range will be bounced to a separate audio file and then added to Impact.
Page 356 14.2.3 Multiple Velocity Layers It is possible to add more than one sample to a pad, enabling you to trigger different samples based on velocity. For instance, you may want to have three different samples for a single snare drum pad: one soft, one medium, and one loud. This way, when you play Impact, the snare drum will sound much more realistic than if you used a single sample.
Page 357 14.2.5 Amplifier Control To adjust the amplitude for each pad, use the following parameters: • Amp Env Attack. Adjusts the amount of time from when the pad is triggered to when maximum amplitude is reached. Variable from -∞ (no attack, sample starts at maximum amplitude) to 0s to ∞.
Page 358 • Velocity. Adjusts the maximum value in octaves affected by velocity. Variable from - 10 to 10 (the maximum value when triggered note velocity equals 127). • Cutoff. Adjusts the cutoff frequency of the filter. Variable from 30 Hz to 16 kHz. •...
Page 359: Presence
14.3 Presence Presence is a virtual sample-player instrument that enables you to play an enormous variety of sounds. Presence uses a native sound format packaged into Sound Sets and can also load and play any SoundFont. The Sound Sets include a wide variety of instruments, such as pianos, strings, horns, and percussion.
Page 360 To do this, click on Add in the Instrument Library menu, browse to the appropriate location, and click OK. SoundFonts found in the specified location will be added to the preset list in Presence. 14.3.3 Relative Control Parameters Multiple samples are used to create sounds in a single instrument, and presets can potentially comprise multiple instruments.
Page 361 14.3.5 Amplifier Control The Amplifier allows you to modify the amplitude characteristics of the audio output using the following parameters: • Volume. Amplifies or attenuates the relative volume. Variable from -100% to 100%. • Pan. Adjusts the relative pan of the audio output. Variable from -100 (L) to 100 (R). •...
Page 362 14.3.7 Modulation Control Use Modulation to change Presence parameters over time, using the following parameters: • Attack. Adjusts the relative amount of time it takes to reach full modulation when a note is played. Variable from -100% to 100%. • Decay.
Page 363 14.3.9 FX Presence has seven built-in effects processors, which can each be enabled independently. The processed signal can then be mixed with the original signal. The following global effects controls are available: • Bypass. Bypass all effects. Each effect can be bypassed independently directly from the main Presence display by clicking on its name.
Page 364 Speed/Beats. Adjusts the speed of the phaser from 0.1 Hz to 30 Hz or 1/64T to 4 bars, respectively. Mod Width. Adjusts the modulation width of the phaser from 0 to 100%. Depth. Adjusts the relative depth of the phaser from 0 to 100%. •...
Page 365: Mojito
• High Cut Filter. Adjusts the frequency of the high-cut filter from 1 kHz to 20 kHz. • Mix. Adjusts the mix of the delayed signal with the source signal from 0% to 100%. Reverb • Predelay. Adjusts the predelay of the reverb from 0 ms to 450 ms. •...
Page 366 synthesis. Sawtooth waves contain the fundamental and all harmonics whereas pulse waves have only the fundamental and odd harmonics. Mixed settings will effectively adjust the level of the even harmonics. • Width. Adjusts the pulse width of the pulse wave from almost zero to square. This will adjust the balance between the fundamental and the higher and lower harmonics.
Page 367 • Retrigger. An overlapped note will retrigger the current envelope, starting at its volume at the moment it is retriggered. This also slowly changes the note’s pitch. • Note. Velocity will not be applied or updated for overlapped notes. The Time knob adjusts the glide speed (that is, the duration of the pitch change) when using portamento.
Page 368: Video Playback And Sync
Video Playback and Sync Studio One Professional has a built-in video player that enables you to score to picture by syncing Song and video playback. The following chapter describes how to use this video player in detail. 15.1 Video Player Interface Open the Video Player by clicking on the Video Player icon in the toolbar or by selecting it from the View menu.
Page 369: Supported Video Formats
In the upper right corner of the video player, are buttons to maximize the video player window and to close the video player. 15.2 Supported Video Formats QuickTime is the only supported video technology for the Studio One video player. QuickTime plays any video format for which a codec is installed in the system.
Page 370: Platform Differences
In common practice, it will be good for you to know the frame rate of the video you are working with and to set that frame rate in the Song/Song Setup/General menu. You may choose from 24 fps, 25 fps, 29.97 fps, 29.97 dfps, 30 fps, and 30 dfps. Ideally, you should have a reference time code burned into the video itself so that you can compare the Song frame position with the video time code position and ensure accurate frame sync.
Page 371: Extensions
Studio One—the SoundCloud Client—and it is installed by default. You can view installed Extensions from the Studio One/Studio One Extensions menu. More Extensions are now available at the PreSonus Exchange (http://studioone.presonus.com/exchange), including the Exchange, Sound Set Builder, and Macro Toolbar Extensions.
Page 372 Index Events, 59 A Music Editor, 89 Nudge, 68 Advanced Options, 34 Slip, 67 Audio Loops, 72 Snapping, 60 Audio Track Strip Silence, 69 Input/Ouput Selection, 39 Tab to Transient, 80 Monitoring, 41 Timestretching, 74 Record-Enabling, 40 Tools, 61 Tempo Mode, 40 Transient Detection and Editing, 79 Automatic Delay Compensation, 16...
Page 373 Note Erase, 53 Pre-Roll, 48 © 2012 PreSonus Audio Electronics, Inc. All Rights Reserved. The following are trademarks or registered trademarks of PreSonus Audio Electronics, Inc., all rights reserved: AudioBox, Capture, FireStudio, MixVerb, TriComp, PreSonus, SampleOne, StudioLive, Studio One, and XMAX. Mac, Mac OS, and Macintosh are registered trademarks of Apple, Inc., in the U.S.
Page 374 Studio One 2.5 Manual Addendum Table of Contents Introduction to this Addendum....................2 Arrangement ......................... 3 Instrument Track Recording Modes ..................3 5.6.1 Record Mode Overdub and Replace .................... 3 5.6.2 Loop Record Takes and Mix ......................3 5.6.3 Note Repeat ..........................3 5.6.4 Note Erase ............................
Page 375: Introduction To This Addendum
Versions ..........................17 Introduction to this Addendum This document is an addendum to the existing PreSonus Studio One 2 Reference Manual and is organized by functional areas in Studio One. Version 2.5 brings many enhancements and features, so it is necessary to readdress some of the features described in the Reference Manual.
Page 376 Arrangement 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 the Record panel or press [Shift]+[Alt]/[Option]+[R] on the keyboard. In the Record panel, you can engage Record Mode Overdub or Record Mode Replace and Loop Record Takes or Loop Record Mix.
Page 377 5.6.4 Note Erase If Note Erase is selected in the Record panel, any notes played during the current recording pass will erase existing notes of the same note value. For instance, if you start recording a drum pattern, and the kick pattern is on C1 and has an extra eighth-note hit on beat 4, you could switch to Note Erase while recording and play C1 on beat 4 for one eighth-note, and that would erase the previously recorded note.
Page 378 To hide or show layers, [Right]/[Control]-click on a track and click on Expand Layers. Layers have their own track controls, including Solo, Activate, Duplicate, and Remove. Click on the layer’s Solo button to solo the layer on the track. Clicking on the Activate button will place that layer on the track, and the current contents of the track will take the place of that layer on a new layer located under the track.
Page 379 existing range on the track, an automatic crossfade will be applied to help avoid clicks or 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 will alter the track accordingly.
Page 380 Check Preserve Realtime 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 will want to render beyond the event length on the track.
Page 381  Render All Channels. If the connected Instrument has more than one audio output engaged, this option will appear. If this option is disengaged, only the channel related to the selected track will be rendered, as specified in the Track Inspector. ...
Page 382 Folder Tracks Keeping the Arrange view organized can be critical to workflow, and Folder Tracks have traditionally helped in this area. Studio One's Folder Tracks also include grouping and busing options, extending improvements to editing and mixing workflow. 8.8.1 Create a Folder Track When organizing existing tracks, the simplest method of placing the tracks into a new Folder Track is to select them all in the Track column, then [Right]/[Control]-click and choose Pack Folder from the contextual menu.
Page 383 8.8.3 Folder Track Editing When a Folder Track is collapsed, you will see a single "event” with lanes representing each track in the Folder across the arrangement. It is possible to directly edit this consolidated event, including Size, Move, Cut, Copy, Paste, and Duplicate. This ability saves time in cases where simple edits do not require viewing a particular track in the Folder or even grouping the tracks within.
Page 384 To edit an automation envelope, you first need to show automation by clicking on the Show Automation button at the top of the Track column or by choosing Expand Layers from the Track contextual menu. A track must also be selected in order for the automation envelope points to appear. 10.3.1 Arrow Tool Editing an automation envelope with the mouse, using the Arrow tool, allows you to add new points to the envelope, move existing points, and select and delete existing points.
Page 385 Note that when Audio events or Instrument parts are moved, any underlying track automation will be moved along with the events, by default. To disengage this option, see the Options/Advanced/Editing/Tools menu and uncheck the Automation Follows Events option. 10.3.4 Delete an Automation Point To delete an existing point on an automation envelope using the Arrow tool, first click on a point to select it.
Page 386 10.3.6.2 Draw with Figures When selecting the Paint tool, scroll the mouse wheel to reveal several figure-drawing tools, including a Line tool and Square, Saw, Triangle, and Sine waveform tools. With any of these tools selected, click- and-drag on any automation envelope to draw the desired envelope. When using the waveform tools, hold [Alt] to adjust the frequency of the waveform while dragging.
Page 387: Audio Engine
When dragging in effects from the browser onto tracks in the arrangement, hold [Alt]/[Option] to load the effects as Event Effects instead of Insert Effects. Note that the drop target will change from the entire track to specific events when doing this, as every event can have its own Event Effects. When merging mono files to stereo in the browser using the [Right]/[Option]-click menu, the files will be merged consecutively (first selected file becomes L channel, second becomes R channel) when the suffix .L or .R is not found.
Page 388: Fx Set
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 recording to audio, hybrid analog mixing, etc.). FX Set  A Mix parameter has been added for all Dynamics and Distortion effects, making parallel processing very easy.
Page 389 o Note + Cent tooltip added for frequencies.  ProEQ o Waterfall- and Curve-Mode added. o Sidechain input added, which can be used for comparison. o Note + Cent tooltip added for frequencies. o The controls can be hidden, so that only the EQ curves are shown, by clicking on the Up Arrow icon in the center, between the curve and control panels.
Page 390 order. This helps, for instance, to quickly create Audio tracks for recording as an alternative to "Add Tracks for All Inputs." This is also helpful when working with multitimbral instruments, where with one action you might create 16 instrument tracks at once, with each track connected to individual MIDI channels.

PRESONUS AudioBox Stereo Quick Start Manual

™ Quick Start Guide

1 Overview

2 Hookup

3 Connecting to a Computer

And Recording

Bundle

Recordings

Audiobox™ Usb 5.0 Tutorials - 30

Table of Contents

1 Getting Started

2 Pages

3 Fundamentals

4 Setup

5 Recording

6 Editing

7 The Browser

8 Arranging

9 Mixing

10 Automation

11 Control Link

12 Mastering

13 Built-In Effects

14 Built-In Virtual Instruments

15 Video Playback and Sync

16 Extensions

Quick Links

Chapters

Related Manuals for PRESONUS AudioBox Stereo

Summary of Contents for PRESONUS AudioBox Stereo