Sample One XT Hack - How to Trigger Perfect 2nd Cycle Loops In PreSonus Studio One

Triggering Loops (with Ambient FX) as MIDI is one thing - but working with Audio Versions of the same Loop can be a completely different story.. In this video, I demonstrate a workflow that can be used to help trigger relatively seamless Loops that focus on repeating the "2nd Cycle Pass" of an Audio File, using Sample One XT.

**Note - This workflow also applies to Presence XT, providing you've purchases the Presence XT Editor Add On in the PreSonus Shop.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

How To Set The EXACT Song BPM for ANY Loop In PreSonus Studio One (Scale Tempo)

Working with Loops has become a staple in Modern Music Production. Whether it’s Harmonic / Melodic Loops being processed, and edited to tase, or Rhythmic Loops helping build the foundation of a track - Knowing the basic BPM of a Loop makes the editing process much easier.

Although most DAW’s allow users to snap the edge boundaries of Audio Regions to a Grid (Applying Time Compression & Expansion) In some cases, the desire may be to bring in a loop, and have your DAW timeline conform to the specific BPM of the Imported File (vs your DAW’s BPM) - so that one may continue to build a whole production around the Loop, at it’s original Tempo.

So, as one can imagine - Not all Loops are created with an exact BPM that can be rounded off to an even number ie: 110 BPM, or 95 BPM. This is where having the ability to quickly (and effortlessly) figure out the appropriate BPM of an imported Loop is a life saver.

In this video I demonstrate how to use the 'Scale Tempo' feature in PreSonus Studio One (Version 4.1.1 and above) to set the perfect Song BPM for ANY Loop.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

My Production Workflow - Cleaning Up a Tracking Session and Preparing For Overdubs

Last week I shared some tips and work-flow concepts with respect to the Pre-Production phase of working on a project in Studio One. Sidenote: This is something that (providing I have clearance from the artist) I’d like to do a lot more of in the coming months.

If you haven’t had a chance to catch that article / video yet - You can find it here.

Needless to say, I was pleasantly surprised to have received a lot of positive feedback - and thought to myself, what better way to pick up from where we left off, then to continue along the same course for this week.

But this time, pealing back an additional layer of the production process - with the basic tracking session(s) having been completed, and literally opening up up a Song and once again, working in real-time - explaining my decision’s and work-flow as I go.

In this video, I demonstrate the basic steps I take after a tracking session in PreSonus Studio One - including, session clean-up, editing, pre-mixing, optimizing phase on multi-track Drums, and more.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

3 Tips For Working With Layers In PreSonus Studio One

Amongst the many comforts afforded by working in a modern day DAW - the ability to work with multiple “Layers” with a given track is definitely one of the top features in my opinion. They may go by a different name from DAW to DAW, but in the end, the concept is pretty simple. One track can contain multiple Layers that can be utilized for anything from lightning fast comping, to archiving un-edited versions of performances.

That being said, there’s also a few other areas in terms of workflow, that can really benefit from incorporating Layers as well.

In this video I demonstrate 3 simple tips that can be used when working with Layers in PreSonus Studio One.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

How To Extract Groove Templates From Audio Files In PreSonus Studio One

In last week’s article / Video - we took a look at how we can create custom Groove Templates when working with MIDI Files in Studio One. If you haven’t checked it out already, you can do so by clicking here.

Although having MIDI files is a great way to create Groove Templates, let’s be honest, this isn’t always the case. In fact, I’d say that it is much more likely that one would have access to an Audio Loop (in some file format such as Wav, MP3, or Aiff, etc) vs an actual MIDI file of a performance.

Luckily, Studio One is able to perform a similar task when working with Audio. That being said, there are a few things that one needs to be aware of, in terms of how Studio One performs this task, and more specifically some things that user’s can do to help the process go a little smoother.

Audio vs MIDI

When working with MIDI files - things are pretty simple. We have Musical Data that gets translated to a Musical Performance. Hence, the concept of extracting a Groove Template from a MIDI File (or an “Instrument Part” in Studio One terminology) is relatively straight forward. The Note Data within the instrument part, and more specifically it’s timing, and Velocity become MIDI “triggers”.

Given that when working with drums in particular, each of these triggers, will be triggering an audio sample of some sort, there is a 1:1 relationship between each MIDI trigger and the Audio Sample that’s set to play on each pitch. Providing each sample is cut close to the first Zero Crossing point - this results in a very tight performance - where the Audio “should” follow the MIDI timing extremely well. But when it comes to audio, things are slightly different.

Timing is in the Transient Detection

When it comes to audio, and more specifically creating MIDI Triggers that are accurate and reliable, it’s all about the transients. This becomes a little more complex when we take into account that most of these loops are stereo Mixdown’s that have all of the elements of the drums rendered into a single File. But the great part is that Studio One has some tools to help streamline this process, and the actual workflow of extracting the Groove From a file (after the transient detection has been completed) couldn’t be easier.

In this video, I demonstrate how to extract an accurate Groove Template from Audio Files in PreSonus Studio One. In addition, we will also take a look at how to Quantize other Audio Loops and MIDI Files to the Groove Template - Covering everything you need to know from Beginner level to Advanced.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

How To Create Groove Templates From MIDI Files In PreSonus Studio One

Groove

It’s the thing that makes you bob your head a certain way when listening to a track. The thing that can make you feel a certain emotion, and the driving force of any great song. Also referred to as the pocket, soul, feel, or vibe - A good Groove is hard to beat.

Over the last 3 or 4 weeks, I have been spending a lot of time working on my programming chops across multiple genres, and during this period, I’ve been studying some of my favourite Grooves in an effort to quantify what it is about a Groove that makes it feel so great. The short answer is that it’s tough to define.

Perfection In The Imperfections

If I had to sum it up, I’d say that the perfection of a good Groove lies within the imperfections. This may seem like a cheesy answer, but it’s true. It’s truly amazing what the subtle nuances of timing ‘in between the beats’ can add.

I mean let’s face it, we live in a world of click tracks and quantized performances, and in many ways, our ears have become accustomed to listening to this type of material, but no matter who you are, what genre you listen to, everyone knows a good Groove when they hear it.

The Grid

Working in a Grid based DAW timeline is both a blessing and a curse. On one hand, it affords the benefits of flawless editing, reliable timing, and in general - a fine-tuned workflow for music production. But on the other hand, it has the ability to strip away the soul of a good Groove if you’re not careful.

So in a world of Quantizing, click tracks, and Grid based music production - how do we inject a little Soul back into our tracks? Well, there’s a number of different way’s to approach this. One of the best options (just my personal opinion of course) is actually “playing” or “performing” vs programming. But this is much easier said than done. Another one that comes to mind is going through the process of “Humanizing” our MIDI tracks - either by adding random (automated) deviations in timing and Velocity, or manual editing. But in the end, getting a Groove to “feel” right can still be difficult.

MIDI Groove Templates

Thankfully there are other ways we can approach this as well, with respect to programming or sequencing. One of which is actually quite a simple concept. “Borrowing” the timing (and potentially the variations in Velocity) of a performance - and applying it to your own productions. MIDI affords us the ability to translate musical performances into musical Data, and it just so happens that the Data extracted from a performance can be stored AND applied to other files, such as Audio and MIDI.

So with all these MIDI Files available - it’s just a matter of importing, and extracting. There are those who say that an MPC has a certain type of Swing, that’s unique to the unit. The same can be said for various pieces of hardware. Quantizing your performances to a Groove extracted from MIDI (from these devices) may be just the ticket. And having the ability to store those Grooves for instant recall at a later date, is super convenient.

In this video, I demonstrate how to create & store Groove Templates from external MIDI Files in PreSonus Studio One.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

Impact XT Layer Modes Part 2 - Stack Mode and Edit Sample Offsets

Impact XT is an extremely powerful and easy to use Virtual Instrument that ships with PreSonus Studio One. Although this “style” of PAD based instrument is most often associatewd with Hip-Hop & Pop based productions, I personally find that it’s useful for multiple Genres.

It’s worth mentioning that in addition to being used for traditional Drum and Percussion based productions, Impact XT can also trigger Loops in all sorts of different ways, and can also be used for Live Performances as well.

However the focus of today’s article is to build upon last weeks video, which was specifically to do with the different Layer Modes that can be utilized in Impact XT when mapping multiple samples to a single Pad.

In this 2nd Part of a 2 Part video series, I pick up from where we left off with our Layer Modes, and demonstrate how (and when) to use the "Stack" Layer Mode in Impact XT - in addition to the "Edit Sample Offset" function in PreSonus Studio One 4.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

Impact XT Layer Modes Part 1 - Velocity - Round Robin and Random

Impact XT is an extremely powerful and easy to use Virtual Instrument that ships with PreSonus Studio One. Although this “style” of PAD based instrument is most often associatewd with Hip-Hop & Pop based productions, I personally find that it’s useful for multiple Genres.

It’s worth mentioning that in addition to being used for traditional Drum and Percussion based productions, Impact XT can also trigger Loops in all sorts of different ways, and can also be used for Live Performances as well.

However the focus of today’s article is specifically to do with the different Layer Modes that can be utilized in Impact XT when mapping multiple samples to a single Pad.

In this 1st video of a 2 Part series, I demonstrate 3 of the 4 Layer Modes in Impact XT - more specifically what each of them do, and when to use them.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

Combining Instrument Parts With Pattern Parts In PreSonus Studio One

Working With Pattern Parts

If you've ever used Pattern Parts in Studio One, you'll know that they are an extremely useful tool for quickly building basic drum Grooves - but there's one area where they fall a little short, and that is when needing to add a different Rhythmic pattern for a given element / lane.

So for example, although we have the simple option to add repeats and offset the probability percentage - this is still limited to the resolution and amount of steps within a given lane. And obviously the global amount of steps in the Pattern Part. This is where traditional MIDI editing is still king when needing to vary the programmed sequence.

In this video I demonstrate how (and why) to combine Instrument Parts (Midi Regions) with Pattern Parts, in PreSonus Studio One.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

Workflow Tip - Manual Drum Editing Using Fill Gaps In PreSonus Studio One

For anyone who has ever done any manual editing inside a DAW - they’ll understand how useful “back-filling” gaps (where audio has been split) can be.

This is especially true when working with sources like multi-track drums, and / or percussion tracks where manual editing or a slicing workflow is preferred over time compression / expansion style quantizing.

In this video I demonstrate how the Fill Gaps command can be used when Manual Editing in PreSonus Studio One. An extremely useful command when editing sources like multi-track drums.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

Drum Slicing Tip - How To Simulate Beat Detectives Trigger Pad Setting In Studio One

One of the biggest questions I get from former / current Pro Tools users with respect to Drum Slicing in Studio One, would be "Is there an equivalent to the 'Trigger Pad' setting when using the Slicing mode for quantizing Multi-track Drums?"

The short answer is no, BUT - I have come up with a simple workaround that I have begun using and just thought I would share it for those who may be interested. :)

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

Studio One 4.5 - Activate Previous and Next Layer Key Commands

No need for a drawn out written explanation on this one - Here’s a simple one that some of you may find useful. :)

I love it when new Key Commands are added, especially when it's something I use. In this video, I demonstrate the Activate Previous / Next Layer Key Commands that were added in Studio One 4.5 - more specifically what they do, and when one might consider using them.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

Working With Musicloop's In PreSonus Studio One

The Musicloop File Format In Studio One

When I first began to dip my toe’s in the ‘Studio One’ water’s - One of the first things I noticed when scrolling through the included content in the Browser was Musicloop’s. My first initial thought was - “oh, ok - these are MIDI loops” But they are actually so much deeper than that. Because the minute you drag and drop a Musicloop File to your timeline, you’ll note that a Virtual Instrument get’s loaded, the Preset used to create the Musicloop is loaded, and in addition, any plug-ins used to help create the “sound” of the loop get loaded as well.

In addition, you may also note that when selecting a Musicloop from within the Broswer, Studio One also has the ability to play an Audio Preview of the Musicloop without having to load the Instrument and FX Chain. This of course can also be auditioned at the BPM of your current Song in the case where the Tempo is different.

More Than Meets The Eye

The reason for this is because Musicloops are actually an encapsulated file format that contains multiple pieces of information under the hood so to speak. For example, if a user wanted to use the Musicloop in it’s entirety - they could simply drag it in, and everything need to re-constitute that “sound” would load. Or perhap’s, they just want the Note Data (MIDI) from that file, so that they could trigger another Virtual Instrument in their current song. Or maybe you just want to drag in a consolidated audio file of the Musicloop into your current song - again, entirely doable. Lastly, let’s say that you really like the FX Chain / plug-in’s used in a Musicloop - yep, that’s accessible too.

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Right Clicking a Musicloop in the browser and clicking “Show Package Contents”

A Slight Refresh - Musicloops and Pattern Parts

It’s also worth mentioning that something not shown in the video, is that as of the launch of Studio One Version 4 - Musicloop’s got an update. For example, not only is it possible to create Musicloops from instrument Parts, (AKA MIDI Regions/Events) but we can also do the same with Patterns! So take a moment to think about how powerful this aspect can be… As you know, Patterns, can hold Multiple variations, all contained within a single Pattern. So essentially a simple Drag & Drop has the ability to load a preset, and FX Chain, a Pattern with Variations, and in addition - in the cases where you’re working with Virtual Instruments that support Multi-Out configurations (ie: Impact XT), we can also have Custom Named channels.

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Take a look at how Musicloops can work with Patterns! It includes, it’s an incredibly powerful tool - all this information is contained in ONE FILE.

In the video I demonstrate the basic's of working with Musicloop's in PreSonus Studio One. More specifically - what they are, what's included in the Musicloop file format, and how they can be used in productions.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

Mixing With The CTC-1 Pro Console Shaper In PreSonus Studio One

Mixing In The Box

Mixing in a DAW can be both a blessing and a curse. On one hand, we have pristine digital audio, with no noise, non-linear artifacts, or colour added to our tracks. On the other hand - well… we have pristine digital audio, with no noise, non-linear artifacts, or colour added to our tracks. All kidding aside, the bottom line is that sometimes things can be so clean - that they begin to lack a certain character. I might also add that there is such thing as “too clean”.

Hands On Control

But first, let me set the record straight - I love mixing in a DAW. That being said, I think it’s worth mentioning that I mix using a Faderport 16 and a Console 1 - with a handful of my favourite plug-ins. Both Native (Studio One) and 3rd Party. In the end, I love the feeling of ‘grabbing faders’ and massaging things into place. Actually to be honest I didn’t realize how much I missed it until I fully embraced the Faderport 16 into my workflow and got off the mouse all together. Quite simply, I find that my mix comes together in a much different way then it does if I’m just moving faders with a mouse.

Injecting Some Character

Having said that, I will also add that I really love using tools that give me a certain “colour” or vibe that I can impart upon my tracks in their digital world. As mentioned, I use a Console 1 by Softube - and this is a great place to start. But it’s not the only option. In fact, I will often use the Console 1 in addition to using the CTC-1 Pro Console Shaper (made by PreSonus).

The purpose of this article is not to explain everything there is to know about Mix FX - or how they work, but more specifically, just going over how I will typically use the CTC-1 in a mix.

Essentially, PreSonus changed the way we can approach Mixing in a modern-day DAW with Mix FX Plug-ins when they were released in Version 3.2. In this video I demonstrate my basic workflow when mixing using the CTC-1 Pro Console Shaper in PreSonus Studio One.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

How To Fix The Phase of Multi Mic Performances Using Editing In PreSonus Studio One

Using Multiple Microphones on sources is a great way to thicken up and contour the sound of a recording. That being said, it also has the potential to introduce some un-welcomed issues if not done properly.

Generally speaking, when I’m using Multi Mic setups to record a source, I’m paying careful attention to the phase relationship between both microphones and the source. Flipping (or inverting) the polarity on one of the channels is a great way to check this.

Example: When using a Top Microphone & Bottom Microphone on a snare drum - in order for the phase relationship to be correct - the bottom mic would need to have its polarity inverted . Failure to do so may result in a a thin, weird sound - that loses all it’s bottom end.

But not every case is this cut & dry. For instance in the case of using multiple microphones on an Acoustic Guitar track - it’s not really a case of using a Top & Bottom Mic, where one of them will be 180 degrees out of phase with the other. Having said that - inverting the phase of one of the channels may still very well provide telling results. But furthermore, it may be a case where the phase is “close” but not perfect.

In these cases, I usually try to aim to get things as close as possible while tracking, and if I feel there is a need for further refinements - I will turn to good old trusty manual editing in my DAW.

BUT before I go, one thing I wanted to add (that I really should have mentioned in the video), is that if you can visually see that the waveforms are completely out of phase with each other - you’d definitely want to make sure to invert the phase using a plug-in such as Mix Tool in Studio One. And it might even be worth rendering this into the file using Event FX - so that visually the Waveform updates. The way to see this visually would be that the Waveform would be going down (from the Centre) as opposed to going up from the centre.

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Note that the Waveforms (although not identical) are similar in terms of their positive and negative direction that they are both flowing.

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Note that the Waveforms are heading in exact opposite directions - and hence 180 degrees out of phase with each other.

In this video I demonstrate some basic concepts on how to fix the phase of multi mic performances using basic editing when working In PreSonus Studio One. And to be clear - this is assuming that the Audio files are both generally ‘in phase’ to begin with.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

Working With VCA's In PreSonus Studio One - Part 2 - VCA Automation Demystified

One of the biggest feature requests in Studio One (especially from former Pro Tools users) was VCA Faders. Having said that - Studio One added VCA's in Version 3.

I find that it’s kind of tough to explain to people exactly why mixing with VCA’s is such a killer way to work. The usual responses are something along the lines of “Well how is that different then creating a group?” or “Isn’t that that same as creating a BUS Channel for selected tracks?”

My answer is always the same. Once you fully understand (and start using) VCA’s - it’s hard to imagine NOT having them. So with that being said, I wanted to do a 2 part series that would (hopefully) get people accustomed to using VCA’s and explain some of the advantages in terms of incorporating them into one’s workflow.

Before I go any further - If you haven’t already seen the first video - You can watch Part 1 by clicking here.

In this 2nd video of a 2 part series, I demonstrate how to work with VCA's with respect to automation. More specifically, how to render VCA Automation into source tracks - as well as how to merge VCA Automation (static offsets) when needed.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

Working With VCA's In PreSonus Studio One - Part 1 - VCA Basics and Setup

One of the biggest feature requests in Studio One (especially from former Pro Tools users) was VCA Faders. Having said that - Studio One added VCA's in Version 3.

I find that it’s kind of tough to explain to people exactly why mixing with VCA’s is such a killer way to work. The usual responses are something along the lines of “Well how is that different then creating a group?” or “Isn’t that that same as creating a BUS Channel for selected tracks?”

My answer is always the same. Once you fully understand (and start using) VCA’s - it’s hard to imagine NOT having them. So with that being said, I wanted to do a 2 part series that would (hopefully) get people accustomed to using VCA’s and explain some of the advantages in terms of incorporating them into one’s workflow.

In this 1st video of a 2 part series, I demonstrate the basics of VCA's - more specifically how to set them up, what they do, and why they're so incredibly useful.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

Studio One Quick Tip - Using 'Define Tempo' To Timestretch Audio Events In Studio One

I always love finding a new feature that I didn’t know existed in Studio One.. And it just so happens that this happened to me a couple of weeks ago - and I wanted to share. :)

For anyone who has ever worked with Audio Loops in Studio One, be it Wav Files, MP3 Files, or AIFF - You’ll know that there are a bunch of different options we have at our disposal with respect to tempo - but a really simple way to “snap” an audio loop to your songs Tempo (when it’s BPM is undefined) is to simply use the alt / option modifier when clicking + dragging - and snapping an Audio Events edge to a Bar Boundary.

This works as expected for most cases, but one thing to note is that although it does snap the loop to work within your current song - there is still no File Tempo metadata information in the Audio Event. The simple solution for this is to do a quick bounce and create a new file. The new file takes on your Studio One Song’s BPM and all is well in the world again… So if you do end up making any changes to the BPM - your loop will play back at the proper BPM as long as the track is set to Timestretch in the inspector.

But did you know that Studio One has 2 completely different approaches that a user can utilize to Timestretch Audio Files? Well - to be completely honest, I’ve been on Studio One since ~2014/2015 and I had no idea until a couple weeks ago…

In this video, I demonstrate how to stretch Audio Files (Loops) using 'Define Tempo' vs the traditional 'Stretch Event' approach. Whats the difference? Well, Define Tempo is a unique approach that can be used when timestretching Audio Events - which (in some cases) may be preferable to use vs basic timestretching.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

How To Properly Export One-Shots and SFX Samples In PreSonus Studio One

Have you ever noticed that sometimes when you're trying to import One-Shot samples into your time-line - that they end up time-stretching to your song's BPM? In reality, when dealing with One-Shots, this isn't really what we want.

Regardless of whether you’re using drum samples or SFX samples, the whole idea of using One-Shot samples is that if it’s a kick drum, or a snare hit, or hi-hat - the duration does not really matter.. If we’re talking Loops - then sure, but simple One-Shot samples (IMHO) shouldn’t need to be time-stretched. In fact it’s my preference that they aren’t.

This becomes even more evident when there’s drastic differences in Tempos. So let’s say that you import a sample that has an embedded BPM of 120 (the usual default) into an 75 BPM song. If a user has the “Stretch Audio Files To Song Tempo” preference enabled, (which most user’s do) Studio One will automatically time-stretch the sample to play back at 75 vs 120. This amount of time-stretching can really degrade a sample.

So the obvious thing to do here, is open the inspector and delete the tempo field of the audio event - and all is well. The file will play back with no processing and no extra artifacts. But wouldn’t it be easier if we could just avoid the issue all together?

Well, if you’re into creating and exporting your own samples, there’s a way we can handle this when working in Studio One.

In this video I demonstrate a workflow that can be used to remove Tempo Metadata when using a drag & drop workflow to export One-Shot Audio Files via the Studio One browser.

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus

Quick Tip - How To Multi-Select Impact XT Pads In Studio One 4.1.1 & Above

I’m a big fan of keeping things simple these days, and hence I find myself turning to the stock plug-ins and instruments that are included with Studio One on a daily basis. So needless to say Impact XT has replaced my use of Battery in about 99% of the cases when I’m looking to trigger a basic kit with drum samples.

BUT!!

I must admit that in one thing that’s always bugged me about using Impact / Impact XT in the past was not being able to select multiple pads and change their outputs together. Not to mention other parameters as well - but mostly, changing the outputs!

Well, in case you happened to miss it, there was one line in the release notes of Studio One 4.1.1 that definitely caught my attention:

[Impact XT] Multiselect for pads (Shift or CMD)

In this Studio One Quick Tip video I demonstrate how to select multiple pads in Impact XT in Studio One Version 4.1.1 & above. This can be extremely useful when adjusting the outputs of multiple pads at once (in addition to other parameters).

And as always, if you enjoy this content, please - Share, Subscribe, and hit that like button. :)

Cheers, Marcus