Category Archives: Advanced

How To Export A Tempo Map From Studio One To Use With 3rd Party DAW’s

As much as we would all love to be able to hand off a neat & tidy Studio One Song to another engineer for additional tracking/overdubs, this simply isn’t possible all the time. I mean let’s face it, we now live in a day & age where producers and engineers are all using various DAW’s in their workflow. In fact a lot of colleagues I know, are proficient in at least 2! Couple that with the fact that for now – a lot of the major Studio’s are still running Pro Tools HD/HDX systems as their main DAW for various reasons such as a significant financial investment in the platform. But thats another topic all together.

This isn’t a bad thing by any means, it’s simply the way it is. However, speaking from personal experience of being the “overdub studio”, there is nothing more tedious than having to redo a complex tempo map when receiving audio/stems from another Studio. Time Signatures, Tempo Information, and Markers are really key to keeping a session organized, and as we all know – time is money.

I got a call from a client today, asking me to prep a song we are working on for his upcoming album, for some overdubs that would be happening at a Pro Tools based studio. Essentially they will be doing some overdubs and need to work with what we’ve laid out thus far. The tracks they lay down, may or may not come back to me for the final mix, but as a professional courtesy to the engineer who will be doing the overdubs, exporting a tempo map is something that I don’t mind doing.

Having spent 15+ years in Pro Tools, thankfully I understand what Pro Tools needs to be able to import a Tempo Map, Time Signatures, and Markers. Although I must admit, the first time I had to do this – it did initially take a bit of digging for me to figure out how to go about it from Studio One’s side. But while I was prepping this session today, I thought it may be useful information to some of you, so why not do an article / video on the subject.

This same method can also be used for various other DAW’s, although its worth mentioning that each DAW may have a slightly different / unique approach on how it deals with importing that same tempo map.

In the meantime, if this is of any interest to you, have a look at the above video for how to tackle this process!

Cheers,

Marcus

How To Edit Macros Manually in Studio One

Macros are how we automate a string of commands in Studio One. You can create and edit them in an intuitive way from within the program, but sometimes, you may find it useful to dive inside a macro and edit it from the code level. If you want to program a very long macro (with hundreds of commands, for example), it’s many times faster to copy/paste the code than to make them in the usual way using the interface. And it’s easier than you think!

Firstly, create your macro in the normal way. Click

Studio One > Macro Organizer > New

and add your commands. 

 

For this example, we’re going to make a macro that splits an event every bar for 200 bars. The commands we need to add are

  • Split at Cursor
  • Forward Bar

For now, we’ll just add these two commands once each.

When you name your macro and save it by clicking OK, Studio One generates a special kind of XHTML file with a  “.studioonemacro” file extension in the folder

UserDocumentsStudio OneMacros.

Close Studio One.

Navigate to that folder and locate your macro. It will be named

“[yourMacroName].studioonemacro”

Right click it, and select

Open With > Notepad/text edit [MAC]

You’ll now see the inner workings of the macro. At the top, it contains a tag displaying the xml version, as well as the name and description of the macro. Below, each command you added is represented by a line of code.


<CommandElement category="Edit" name="Split at Cursor"/>

<CommandElement category="Transport" name="Forward Bar">

                                <CommandArgument name="Bars" value=""/>

                </CommandElement>

 

Each command you entered is represented by text within a <CommandElement> tag.

Copy and paste these two lines of code until you are satisfied you have enough iterations. Notice that the forward bar command contains arguments that you need to include in your copy. Be sure not to over-write or otherwise delete the final

</Macro> 

tag at the end.

Save and close. Now, re-open Studio One and find your macro in the macro organizer. Verify that the commands you copy/pasted have been added to the command list for the macro, and you are all sorted.  Enjoy!

How To Save Virtual Instruments With Multiple Outputs As A Preset In Studio One

In this free video tutorial for PreSonus Studio One, David Mood demonstrates a way to save a multi-output configuration of a virtual instrument as a preset in Studio One 3.

How To Set Up The Dante Virtual Soundcard

In this free video tutorial Russ shows how to set up the Dante Virtual Soundcard, a software application that allows up to 64 channels of bi-directional audio to pass between either computers or Dante equipped hardware devices like the PreSonus Dante enabled mixers.

What Is Dante Virtual Soundcard?

Dante Virtual Soundcard turns your computer into a Dante-powered workstation, seamlessly integrating your PC or Mac with Dante audio devices on your network. Instantly connect to record, process and playout using any audio application and any combination of Dante-enabled devices.

Learn more about Dante Virtual Soundcard’s compatibility with the following operating systems:

Virtual Direct I/O

Dante Virtual Soundcard uses the Ethernet port you already have—no snakes, no converters, no special cables and connectors*, no external devices—none of that.

Record up to 64 channels of pristine audio from your Dante network using your favorite DAW such as ProTools, Logic, Cubase or others
Playout audio from any application like iTunes for background music, theater sound, and effects

Presentations and Conferences

Amplify your message with high quality audio that everyone can hear, using the network and Dante-enabled sound equipment that is already in place.

Share VoIP calls from Skype with your entire audience
Play sound from any application to enhance demonstrations and videos
Send rich, powerful audio from your PowerPoint or Keynote slides to any Dante-enabled sound system

The PreSonus SL-Dante-MIX option card

The PreSonus SL-Dante-MIX option card

Multichannel Powerhouse

Dante Virtual Soundcard gives you as many channels of audio as you need. Playing out background music from iTunes? Two is enough. Recording a huge live production? Capture up to 64 channels while streaming stereo mixdowns at the same time.

Route audio to different destinations and devices with any number of channels, including splits
64 channels of uncompresed, bidirectional audio means no-compromise multi-track recording
Virtual Sound Check up to 64 channels of playout for live shows

Dante Virtual Soundcard delivers the legendary audio quality that has made Dante the leading choice for audio networking by sound engineers, manufacturers and installers the world over.

  • Windows: ASIO and WDM drivers
  • Mac OS X: Core Audio integration
  • 16, 24 and 32-bit audio at 44.1, 48, 88.2, 96, 176.4** and 192** kHz
  • 4ms, 6ms and 10ms fixed latencies
  • Ultra precision time alignment (1 μsec)
  • Up to 64×64 bidirectional audio channels

How To Get Pretty Much Any Vintage Drum Machine In Studio One

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I’ve been a fan of drum machines since 1985 when I bought a Roland TR-707. Since then, I’ve also owned Yamaha’s gritty RX5, Roland’s R8, Alesis’ HR16 and HR16B and a couple of others (including a rather twitchy Oberheim DX). I loved all of these machines for one particular reason or another and, admittedly, miss them all for their own special sounds. And I know I’m not alone in that. It’s no surprise, then, that so many people have turned to sample libraries to recreate some of those classic sounds. There have also been several virtual instruments designed to emulate some of these classic boxes.

I was pleasantly surprised recently when I discovered a website dedicated to samples of many classic drum machines. This is, in fact, the largest collection of drum machine samples I’ve ever seen. The website is samples.kb6.de and there are samples to download from over 300 different drum machines including the venerable TR-808, the TR-909 and even some modern classics like Roger Linn’s Tempest and Elektron’s MachineDrum. What’s more…they’re free! If you decide that you really like the samples, you can donate to help keep the site alive and the owner will even send you download links to every sample on the site as one large download and he even includes several more sets of samples that aren’t listed directly on the site. So, you get a bonus if you are kind enough to contribute.

So…how do you get those samples into Studio One in such a way that you can use them in your productions? Let’s take a look at three ways you can use them very easily in Studio One…

Drag and Drop

As with any pretty much any DAW, Studio One allows you to drag samples onto audio tracks and copy and paste to your heart’s content. This is the most obvious way, but can be a bit tedious at times.

Select the folder to tab.

Select the folder to tab.

1.  Let’s start by creating a tab in Studio One’s browser for all the drum machine samples. Press [F5] and select files (you can also choose [F9] to go straight to the Files section). Choose the folder where your KB6 samples are stored and [Right]-Click on it and select “New Tab From Here.” This will give you a Tab where all these samples can be quickly found.

 

2.  Now find the samples you want to use. For this tutorial, I went for a classic and used Roland TR-909 samples. First, I grabbed a kick drum that I liked and dragged it onto the blank arrange area. This creates a new audio track with that sample on it. Now, just repeat the clip as many times as you want either using [Alt/Option]-Click and drag. You can also repeat a note with it’s timeline position using the duplicate command [D].

3.  When you’re happy with your first track (or 4 bar loop or whatever), move on to the snare. Just repeat Step 2 and drag the snare to the blank area in the arranger. Now arrange your snares as you see fit.

4.  Continue this arrangement using individual samples. If you find your sounds are too static you can adjust the timing of individual notes or change the individual volumes of each clip (like on hi-hats) to give a more natural feel.

5.  Now, mix your tracks. The beauty of this method is that you already have individual tracks for each sound so you can process each track the way you see fit.

Audition samples with these controls.

Audition samples with these controls.

NOTE: When auditioning samples, click the loop icon at the bottom of the browser and then double-click the sample you want to hear. Two things will happen: (1) You’ll hear the sample repeated over and over; (2) You’ll be able to use the up and down arrows to move from one sample to the next and still hear them looped over and over.  Oh, and if you rename your sample clip before you start copying it, it will retain the name you’ve given it (ie. Kick, snare, conga, etc.).

Create Custom Kits with Impact

This is, in my opinion, much easier in the long run than dropping samples on audio tracks.

1.  We’ll start the same as in the previous section with Step 1 being to create your own custom drum machine samples tab.

2.  Now, drag an instance of Impact from the Instruments section of the browser to empty space in the Arrange area. This will create an Instrument Track and route it for you.

3.  The next step is to start grabbing your samples and dragging them onto the pad in Impact. Once you’ve chosen all your samples for your custom kit, you should save it. Now the fun begins…

4.  Just below each pad in Impact, there’s a Solo button, a Mute button, and an output dropdown menu. Use the dropdown menu to select mono outputs for each of your main drum instruments (kicks, snares, claps, hats, etc). This makes mixing and processing much easier later. It also means you can add FX to individual drums on the mixing channels.

5.  This is where Impact really shines. Impact features Choke Groups. These allow drums elements to function more realistically. For instance, click your closed hi-hat pad and select Choke Group 1. Now, click the pedal hi-hat pad and choose Choke Group 1. Finally, click the open hi-hat pad and (you guessed it) choose Choke Group 1. When you are banging along on your closed hi-hat and then hit an open hi-hat, the closed hi-hat will stop playing until the open hi-hat sample is finished. This makes the hi-hats sound more natural. The same can be accomplished with other percussive elements like shakers.

6.  The other cool think about Impact is that you can take several samples of the same instrument (snare, for example) that are all at different volumes and drop them on one pad. Suddenly, you have a multi-velocity snare. As you hit it harder, the louder snares sound. As you hit it more quietly, softer snares sound. This can be adjusted to your liking and can make your drums much more expressive.

Adding Multi-Samples to Impact.

Adding Multi-Samples to Impact.

7.  Now double-click on the instrument track to create a note container. Then, double-click on the container and it will bring up a drum note grid. Each percussion element will be listed at the left side and the lane next to each is where you’ll place your notes. At the bottom of this window is where you can adjust the velocity of each note.

NOTE: There are some other cool features in Impact like:

  • Round Robin (where multiple samples on one pad are played one after another so it doesn’t sound so machine-like).
  • Random (where samples on a pad are played randomly)
  • Pitch (where you can transpose and tune samples per pad to your liking)
  • Filter (this section lets you filter and tailor the sound of each sample)
  • Amp (this section lets you adjust the attack, decay and sustain of the sample. You can also adjust the relative volume and panning of each sample and create a nice stereo kit).

Explore Impact – It’s a very flexible way to create (and recall) custom drum kits in Studio One!

Sample One

The third option is to use Sample One and create a drum instrument. This is just like creating a drum kit in a classic hardware sampler where each sample is assigned to a different key across the keyboard.

1.  We’ll start the same as in the previous section with Step 1 being to create your own custom drum machine samples tab.

2.  Now, drag an instance of Sample One from the Instruments section of the browser to empty space in the Arrange area. This will create an Instrument Track and route it for you.

3.  Now, go through and drag samples onto Sample One. They will stack one-by-one in the right column of the Sample One interface.

4.  Once you have all your samples in Sample One we can start assigning them to a key. The best way to do this is to select a Root Key by double-clicking the root key selection at the top-left of the interface. Repeat this step with the Low and Hi assign keys as well. Make sure you use the same note as the Root Key or your drum samples will overlap each other.

5.  Once you’ve assigned all your samples across the keyboard, you can go back and select each sample for processing. Start by selecting a sample from the right column list.

6.  Now you can Tune, Filter, change the Amp settings, and even set an LFO to modify the sound of the sample (although this is more intended for longer samples, you can certainly experiment here).

7.  One last thing to mention here: You can also adjust whether the sample loops, sustains or plays as a one-shot sample by clicking the drop-down at the top of the sample window. Selecting Loop or Sustain will also allow you to change the start and end times of the sample.

8.  Now that you’ve processed all your drum samples to your liking, remember to save your kit!

Sample One is also a very flexible instrument, which allows you to process your drums in many different ways and store your drum kit creations for instant recall. You could even create kits of just snares or just kicks so that you can audition tons of the same instrument – all from the keyboard.

Oh, One Last Thing…

Save your instruments with FX in Studio One 3!

Save your instruments with FX in Studio One 3!

One thing I haven’t mentioned yet is that, as of Studio One 3, you can now add FX to any instrument and store the whole thing as an Instrument/FX preset. This adds tons more flexibility to drum creation. Instead of just storing as a preset, you would store as an Instrument+FX Preset.

Conclusion

Studio One offers some excellent ways to create drum tracks. Each option has its strengths and weaknesses. You should try each and see what works best for you. Adding the KB6 Drum Library will provide you with almost any drum machine you could possibly want. You can also mix and match elements from several different machines and process them with the instruments in Studio One to give you the ultimate drum machine for use in your productions!

How to Make Your Own Reverbs for Use in Studio One 3

In practical music terms, Impulse Responses (IRs) are audio snapshots of an acoustic space. They allow us to capture the natural acoustic response of that space and use it in a convolution reverb. A convolution reverb will take these IRs and (through a very technical process of multiplying a sample one sound by every sample of another sound) recreate the room’s acoustic properties as a reverb. This process is not limited to just room acoustics, either. This can also be done with musical instruments, guitar amps, buckets, tin cans, glass jars…anthing that alters sound. Capturing unusual sounds like these and more can provide you with a very unique library of sounds to work with.

Historically, plug-ins like Logic’s Space Designer, Waves’ IR-1, Audio Ease’s Altiverb and others have been the convolution processors of choice for creating and playing back Impulse Responses. Well, now you can do the same thing with Studio One’s IR Maker plug-in. I’ll show you how…

The Equipment

There are a couple of things you’ll need in order to record your own impulse responses. Here’s the list and what you do with each:

  • First, you’ll need a recording device. Your computer will do nicely.
  • Now you need an audio interface. I’m using a PreSonus Audiobox iTwo for this tutorial.
  • At least one condenser microphone.  I’m using a 12Gauge Microphones’ stereo mic for this tutorial.
  • Cables for each microphone.
  • A pair of patch cables (for latency testing).
  • Headphones.
  • A starting gun or anything else you can use to make a loud, sharp sound (hands clapping, ruler on the floor, your mother-in-law).
  • NOTE:  You can also do this using the built in sweep function in IR maker instead of one of the items above. If you go this route, you’ll need a monitor speaker, guitar amp, keyboard amp or something like that to send the sweep sound out of.
  • A space that you want to record.

The Setup – Connections

Stereo microphone.

Stereo microphone.

  1. Walk around your space clapping your hands and find the spot in the room that sounds the best to your ears. This is your sweet spot.
  2. Plug your interface into your computer and launch Studio One.
  3. Ensure that Studio One is setup to record the input(s) where your mic(s) are going to be connected.
  4. Although you can lay your microphones on the floor, it is highly recommended that you mount them on good quality microphone stands.
  5. Connect your microphone cables to the microphones and the inputs on your interface.
  6. Since these are condenser mics, turn on phantom power on the front panel of your interface. This powers the condenser mics. The power should be turned on at least 5 minutes before you intend to record so the mics have a chance to fully power up.
  7. Plug in your headphones and adjust the volume so you can hear clearly.
  8. Now place your mics in the sweet spot that you found in Step 1.
  9. (For a 2 microphone setup) Place your microphones side-by-side so that the front of each mic is 90° from the front of the other mic. This should capture a nice spread of the acoustic response. Make sure that your mics are as close together as possible so you don’t get any weird phasing issues.
  10. (For a 1 microphone setup) Place your microphone in the sweet spot and angle it so that it sounds best through your headphones.
  11. Open SongSetup and go to the Audio I/O tab. Here, you’ll need to create the mono/stereo output channel set to the physical outputs (if you’re using the sweep from IR maker).  If you’re using an external sound, skip the output step.
  12. Now create the mono/stereo input channel connected to your mic(s) that will capture the actual impulse response. You can now close SongSetup.
  13. Create a stereo track in Studio One and add IR Maker as an Insert on the track. Set the track’s inputs/outputs to match what you just created in the SongSetup.

The Setup – Latency

Latency is a big issue in capturing IRs. The best way to ensure properly signal latency (which can affect the IR you’re trying to capture) is to create a loopback from your interface’s output directly into its input.

Connect the outputs to the inputs to test the latency.

Connect the outputs to the inputs to test the latency.

  1. Use your patch cables and connect the output of each channel you’re using to its equivalentinput.
  2. Now click the “Detect” button in the Latency Compensation section. This little test should tell you how much latency there is in the signal path.
  3. Now disconnect the patch cables and re-connect your regular outputs that will send the sweep signal (if you’re using it) and inputs (that will record the IR results).
IR Maker's Setup Options Panel  

IR Maker’s Setup Options Panel  

The Setup – Options

  1. Output Path – This is where you set where the impulse responses will be stored. First is the Base Part, which is the folder where all your IRs are stored. Next is the Device Part, which is the folder within the IR folder where you separate them by type of space (or cabinet in the case of speaker cabinet impulse responses). Finally, you have the IR-Base Name. This can be whatever you want, but it’s best to name it by the mic used or maybe even the mic position.
  2. Now you have to choose the Sweep Length. Typically about 60 seconds is enough to capture what you need. The longer the length of the sweep, the higher the resolution and the less noise you’ll get.  And if you need to, you can shorten it later…just make sure it captures the whole impulse response.
  3. I wouldn’t worry about normalizing for now. You can always play with this later if you need to get maximum loudness out of your responses.
  4. Make sure you’ve set your screen so you can see IR Maker (pin it to the screen) and the Inputs/Outputs. This will allow you to monitor your levels.
  5. Trigger the sweep.
  6. Adjust your levels accordingly and trigger the sweep again. You may need to trigger it several times in order to maximize your levels without clipping.
  7. The last option is the “Open” checkbox.  This one is up to you, but having it open the impulse response for you when it’s finished allows you to drag it onto a track for editing.
Studio One 3's OpenAIR Convolution Reverb  

Studio One 3’s OpenAIR Convolution Reverb  

When you’re happy with your newly created impulse response, you can drag it into OpenAir and save it as a preset.

Not Just For Reverbs

One thing I should mention:  Impulse Responses are also an excellent way to capture the sound of guitar amp (and effects processors). The difference would be sticking a mic in front of the amp and recording the sweep through that. Additionally, your sweep length would be much shorter (0.1 seconds or so). These IRs can then be used in Ampire XT. What does that mean for you?

Let’s say your buddy is single and doesn’t have a spouse to tell him “NO!” So, he goes out buys an amazing and incredibly expensive Marshall, Bogner, or Hughes & Kettner (or whatever) stack. All you have to do is invite him over with his new amp (to jam) and offer him lots of beer. When he goes to relieve the little monster, you take an impulse response from his mega amp and, suddenly, you have the same amp in Ampire XT for use at your leisure and you don’t ever have to invite him back around to borrow his….or listen to him brag about how good it sounds!

I hope this little tutorial has helped.

Resources

Oh, and if you’d rather just download IR’s that others have created (or share your own with others), here are a couple of excellent resources for you:

Samplicity’s Excellent Free Bricasti M7 Impulse Response Library (You can donate if you’d like!)

http://www.samplicity.com/bricasti-m7-impulse-responses/

Open Air Library of Free Impulse Responses (Download theirs and share your own!)

http://www.openairlib.net