Muteomatic - A Must Have Free Plug-In For Anyone Tracking In PreSonus Studio One

One thing is for certain, communication is KEY when it comes to the recording process - More specifically, being able to communicate with an artist as he/she is recording. If you’re working in a home studio, or small environment, this may be quite simple. ie: It might be as easy as having a conversation within ear shot of eachother. But the minute, you introduce any degree of separation, closed back headphones, or a Control Room / Live Room scenario - you need to set up a Talkback Mic.

The concept is simple - A Microphone that’s patched into the artists headphone Mix that allows them to hear you. Conversely, depending on the type of signal you are recording, this may also mean a additional Microphone set up for the artist / Band that’s used to clearly pickup any communication that’s happening in the live room.

Quite often, when working with Talkback Mic’s, it’s preferable that they’re not always “open” or active. For example, If a vocalist is about to cut some intimate vocals, the last thing they most likely want to hear is the engineer shuffling around in a squeaky chair or sipping on a Coffee. Also it can be awkward to have a conversation with a Large Plate Reverb and Ping Pong delay firing away over a conversation.

So, for this reason, we have the ability to toggle a talkback switch, and mute FX returns as needed. But wouldn’t it be nice if we didn’t have to worry about any of those tasks?
Well, thankfully - we don’t - thanks to the FREE Muteomatic by SoundRadix.

In this video, I demonstrate one on my favourite FREE plug-ins - Muteomatic by SoundRadix, in use in PreSonus Studio One. An incredibly useful utility plug-in that aims to simplify / automate the "Talkback Mic" workflow when tracking in a modern day DAW.

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

Workflow Tip - Transferring Your Studio One Song To Pro Tools - In Minutes

In addition to running my Music Production business, and creating content, I also do some work on behalf of PreSonus as a freelance Studio One clinician. Whenever I do any seminars, there are always a handful of Pro Tools users in the audience. And to be honest, the response I usually get is always the same. I’m paraphrasing here, but it goes a little something like this:

“I would love to use Studio One - and I do use it for my own production, but for certain projects, I have to work in Pro Tools - or at the very least, deliver a Pro Tools session. For this reason, I don’t use Studio One as much as I would like to.”

To which my reply is - In my humble opinion, Studio One has the best AAF Export workflow (with Pro Tools) that I have personally ever seen in a DAW. Meaning that I can get my whole entire Studio One Song - Over to Pro Tools, in minutes, no matter how complex it is, and whether I’m using Virtual Instruments or need to “Freeze” or “render” FX Plug-ins (such as Software Amp Simulators). It’s a really elegant solution.

Before I go any further, let’s address a few things quickly:

1. AAF is NOT a perfect translation - there is always something that needs to be taken into account.. This could be that it splits up stereo files to dual mono, or maybe the panning doesn’t always come across, or that it changes equal power Fades to linear. One BIG area for me, is that most AAF’s do not properly translate clip/region/event based gain - So your whole entire Gain staging could be off. This is just the way it is. And it has always been like this since I first starting using AAF’s. But In some cases, certain programs may handle one thing really nicely - but then they fail in other areas. But in all my time, I have never seen another DAW that can “hand off” an AAF to Pro Tools, and when it gets put back together - it’s not a complete disaster.

2. This is NOT about “DAW WARS” - I use Studio One because (for me) it’s the perfect fit, and I can work faster than I ever could in Pro Tools even when my Pro Tools chops were razor sharp. This is about a relatively painless workflow that can be used to get your Studio One Song over to Pro Tools when you need to! It’s also worth mentioning that I have done this (on the spot) in the middle of a session on more than one occasion when the situation called for it. ie: I was not able to track with my own interface, or computer, and had to use the Studio’s Computer / Pro Tools setup.

3. You don’t always need to deliver an AAF! - In fact, it may not be the best option. Before I create an AAF export, My first thought would probably be to Export Stems. This is a fantastic way to work, that’s used extensively in the industry. It’s super easy in Studio One, and there are also tons of different options in terms of exporting exactly what you need to deliver. If stems weren’t a good fit, then my next immediate thought would be to Export Raw Audio Files/Regions. In some cases, this may in fact be preferable. For example, If you were hired to deliver basic files, that are going to be mixed by someone else in another DAW all together. “Raw” audio Files consolidated to Bar 1 are great. BUT - When a song is in it’s production phase, where all the options are still on the table, and edits are not yet set in stone - nothing beats the flexibility of an AAF.

If this is something that seems like a familiar scenario, or you are someone that’s dabbling in Studio One, but still needs to deliver a Pro Tools session for your productions - then I hope this article / video helps!!

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

Cheers, Marcus

How To Use the IR Maker In PreSonus Studio One

If you’ve ever searched through the different categories of plug-ins within Studio One, there’s a good chance you may have come across the IR Maker. The “IR Maker” is a Native FX plug-in developed by PreSonus that essentially allows Studio One users to capture their own custom Impulse Responses for both Open Air, and Ampire.

Although it sounds a bit confusing - The concept of an IR (Impulse Response) is actually quite simple. You record the sonic finger print a piece of hardware. ie- the way that hardware reacts to a sound…

Whether it’s a Reverb preset from an external effects processor, or a Guitar Cab - by passing a “sweep” (frequency based) through the hardware, and recording the resulting file, we can essentially recall that “sound” for use in future productions. Without the need for having the hardware connected.

In this video, I demonstrate how to properly set up and use the IR Maker utility plug-in that ships with PreSonus Studio One, to record an Impulse Response of a Reverb in an External Hardware Effects Processor.

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

Cheers, Marcus

Adding Key-Switches to Custom Instruments in Presence XT

Before I get into the topic of today’s video, I just want to take a moment to point out one thing. In order to create custom Presence XT Instruments in PreSonus Studio One - You will first need to purchase (and install) the Presence XT Editor Add-On from the PreSonus shop, so that you can access the EDIT tab in Presence XT. That being said, if you enjoy creating custom sample libraries for your own personal use, or have any desire to create libraries to be sold - than this purchase is 100% worth the cost of entry.

Now that we’ve got that out of the way, let’s talk about articulations in Sample Libraries. If you’ve ever accidentally triggered some keys on the lower range of an instrument, and found yourself swimming through a bunch of odd sounding Samples, or Sound FX - then there’s a good chance that you know exactly what I’m talking about.

When playing a Virtual Instrument, it’s often preferable to be able to trigger different playing styles with the same range of keys, without having to load a new instrument preset. This allows you to be able to have one preset, that can cover a lot of different ground. A great example of this would be an Orchestral String Library. Within a single patch or preset - we have the ability to load multiple different playing styles or articulations such as: Sustain, Pizzicato, Tremelo, Trill (Half Steps & Whole Steps) Staccato, etc, etc.

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In the above example we can see the different articulations in the centre of the Presence XT GUI dropdown section, as well as being indicated with a red horizontal bar over top of the notes in the keyboard.

So needless to say, having keyswitches on your custom instruments can really help add value to the playability factor. In some sampler instruments, this task can be rather convoluted, and may involve complex scripting. But one of the things I love about Presence XT, is how easy this can be accomplished.

In this video I demonstrate how to add Key-Switches to your Custom Sample Library instruments created in Presence XT.

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

Cheers, Marcus

MIDI Workflow Tip - Aligning Sweeps and FX In PreSonus Studio One

I personally love working with transitional FX such as sweeps, Reverse Cymbals / Vocal FX, Risers, and Impact hits when it’s appropriate for the genre. When I have the time (and budget) I will often try to make my own, by pulling from content within the production, and layering / adding Spatial effects to taste. That being said, I’m not opposed to using samples / Virtual Instruments as well.

But one of the issues that comes up with these types of FX, is that they’re not necessarily linked to a specific BPM. If they are an Audio Sample, this is fairly easy to combat, but (for obvious reasons) it can be a little difficult to align them perfectly when working with MIDI.

In this video, I demonstrate a workflow tip that can be used to help align Sweeps & FX when working with content generated by Virtual Instruments in PreSonus Studio One.

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

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

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

Working With Instrument+FX Presets In PreSonus Studio One

Working With Presets

Working with presets is a great way to speed up the creative process and enhance your workflow when working in the studio. The obvious reason being that “some” of the heavy lifting is already done, and essentially there’s no need to start from Ground Zero. A simple analogy that comes to mind would be doing some prep work before cooking. Having everything “ready to go” makes the whole process go a lot smoother.

My guess is that many of you are already doing this, and have your favourite plug-ins set up with a handful of useful presets that can act as a great “starting point” to build upon. But this doesn’t just apply to plug-ins.. Having some basic Instrument’s that are set up and ready to go is also extremely useful. But in this case, we not only have to consider the preset within the V.I. - but also any additional FX processing that we’d like to add in our DAW.

Working With Virtual Instrument Presets

One question that I get asked a lot by colleagues and some of my viewers is “what’s the difference between Storing/Exporting a Preset vs Storing/Exporting an Instrument+FX Preset?”

Well - Here’s the simple answer. Most Virtual Instruments offer built in effects such as EQ, Reverb, and Delay. So these would obviously be recalled when storing a preset. But in certain cases, it may be preferable to utilize additional plug-ins and FX chains. An example of this would be using either 3rd Party plug-ins, or Native Studio One plug-ins for the above tasks.

Furthermore, if we take a look at Multi-Out V.I.’s then there are other aspects to take into consideration as well, such as the multi-Out routing, Channel names, etc.

In this regard, using Instrument+FX Preset’s can REALLY come in handy.

In this video I demonstrate how (and why) to work with Instrument+FX Presets in PreSonus Studio One. More specifically, how they differ from using traditional Presets.

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 - How To Edit Adjacent MIDI Notes (Legato Phrases)

Not every tip needs a long explanation. :) This one is both extremely simple AND extremely useful. Have you ever found yourself in the situation where you needed to move the ending of one MIDI note and the beginning of another that were “butted up” against each other?

In this video I demonstrate how to edit adjacent MIDI Notes (AKA Legato phrases) in PreSonus Studio One - essentially allowing a user to move the beginning and ending position of 2 MIDI notes at the same time.

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

Cheers, Marcus

How To Export Raw Audio Files (Regions) In PreSonus Studio One

If you’re collaborating with other engineer’s, producer’s, songwriter’s, or studio’s - then there’s a good chance that you’ve been asked to deliver “RAW Audio Files” (aka regions) before. If you haven’t - then my guess is that you will be eventually. :)

First off, let’s take a moment to talk about what this term means.. Well, essentially we can think of Raw Audio Files, as the actual files that are created when recording to your hard drive. Another term for RAW files could also be “un-processed” but in my personal experience, the term RAW is used more often. In fact If I had to narrow it down even further, I’d say “Raw Audio Files / Regions Consolidated from Bar 1” is the phrase I’ve heard the most.

Regardless of whether you are recording a vocal, a kick drum, or an acoustic guitar - whatever source is being recorded through the preamp (after it has passed through the A > D Converters) INTO your DAW would be the raw audio. It’s also important to note that the actual gain that the files have been recorded at will have been determined by your preamp’s gain settings, and the level at which you recorded them. So any fader levels and panning done within the console / mixer of your DAW - would not have any bearing on the levels of the files.

There are certain cases where having access to the RAW audio files (vs exported stems) may be preferable, but without getting into too much detail, the main reason would be to have maximum flexibility/control in terms of mixing or producing. Case in point, you’ve done some vocal tracking, and someone has requested that you deliver RAW tracks so that he or she may continue to work on the song, and have full control over any processing that may be added.

“Translation - Don’t do any mixing, I’ll handle that on my end… Just record the tracks as best as you can, and send them to me..”

One last thing to point out, is that I think it’s also important to note that in most cases - even when delivering RAW Audio files, it’s pretty common practice to do some basic house keeping, such as deleting unwanted sections of audio in between phrases, and adding basic fade in’s & fade out’s. But the end goal is to usually render a new contiguous audio file that starts at “Bar 1” with no additional processing.

In this video I demonstrate how to export Raw Audio tracks (Regions) in PreSonus Studio One 4 using a Drag & Drop workflow from the Arrange Window to the Browser.

Although this video was done using Version 4, the same concepts can be applied to previous version of Studio One.

Exporting Stems In PreSonus Studio One - Follow-Up Q & A Video

Its safe to say that although it sounds simple enough, exporting Stems can be a tricky subject. Especially when there’s parallel processing, FX Returns, & Mix Bus Processing involved. That being said - In last weeks video we covered the basics on using the ‘Export Stems’ function in Studio One, and more specifically - the difference between using Tracks vs Channels.

In this weeks video, I wanted to dig down a little further into some of the questions and comments I received from last weeks video "Tracks vs Channels - Exporting Stems In PreSonus Studio One”.

So essentially - a Q & A Video Response that will hopefully help clear things up a bit more for those who had further questions.

Furthermore, last week was all about how to export Stems from your Studio One Song - (and the difference between Tracks vs Channels) whereas this week I wanted to focus more on routing options, and how to go about structuring your Studio One Song to ensure that exporting Stems doesn't become a tedious process. Not necessarily any hard rules - but more along the lines of some guidelines and tips that I’ve picked up over my years of having to deliver stems for various clients.

However - one thing that I do want to mention with respect to exporting Stems, is that the minute you involve ANY Mix Bus Processing (on your Main Outs) the whole entire concept of ‘Stems’ kind of goes out the window.. Or to be more clear, Specifically when dealing with things like Mix Bus Compression, or any dynamics processing that may be potentially reacting to the whole mix vs individual elements.

Case in point: If you have some epic SFX Tracks that are kicking your Mix Bus Compressor or Limiter into overdrive - if you muted those tracks and played back the same mix - you would most likely note that your levels would be different. This is because the tracks are summing together and effecting the cumulative level that your dynamics processing is responding to.

This can also be the case when dealing with saturation as well.. It’s a cumulative effect. So the short answer is that “usually” (not all the time) this is something to be taken into consideration when printing stems. In my personal experience, things like basic EQ curves usually translate pretty well and don’t drastically alter the sonics - unless of course you are aggressively pushing gain or drive to saturate the Mix Bus on purpose.

At the end of the day, your deliverables will usually provide the best insight as to how to deliver your stems, and how to set up the routing in your DAW. So if it’s a matter of having to deliver stems that perfectly match your Stereo Mix Down - there are way’s to accomplish this. And in some cases Getting your stems to come ‘close’ to your final mix might be good enough as well.

But regardless, there is NOTHING worse than getting an email AFTER you’ve mixed a track saying “oh yeah, by the way, we’re gonna need stems printed for this mix” and having to go though your mix and find a way to print stems that even remotely resemble your finished Mix. Needless to say, you will only need to go though this once to see how much of a pain it is. And my guess would be that once you do have to go through this, you will most likely find a way to structure your songs to avoid being burnt a second time.

All in all, Stems are a regular part of my world - I deal with them all the time, but they don’t have to be a pain, as long as you think ahead, exporting stems can be a breeze.

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

Cheers, Marcus

Tracks vs Channels - Exporting Stems In PreSonus Studio One Demystified

Working With Stems

If you’ve spent any time working in a DAW then you’ve most certainly heard of the term “Stems” before. Without getting into too much detail - the concept is actually pretty simple. If you are looking to collaborate with another person, whether that may be a producer, a mixer, or an artist, you will most likely be asked to deliver Stems to them - so that they may import the audio files into their DAW of choice and continue working on the song.

The general concept with Stems is that certain elements may be ‘grouped together’ and rendered out as an audio file. In some cases, this may be quite simple, such as: Drums & Percussion, Bass, Guitars, Keys, Vocals, FX.

In other cases it may be more complex, such as: Kick, Snare, Hats, Toms, Over Heads, Room, High Percussion, Low Percussion, Bass, Acoustic Guitars, Electric Guitars, Lead Vocal, BG Vocals, etc etc..

In addition, Stems can also have different channel width’s as well. Such as 4.0, 5.0, Stereo, Mono, etc etc.. But for the sake of today’s example, let’s keep it simple and deal with stereo.

**Before we move on, I also want to point out that there is another approach to exporting audio files as well, which would be “Raw” tracks.. Meaning that NO processing is applied during the exporting - but this is something that I plan to tackle on another day. For all intents and purposes - let’s assume that we want our Stems to have any plug-ins, Fader level’s, and Panning rendered into the Stereo File.

The Benefit’s of Stems

There are many different reasons why stems are a preferable way to work. The most obvious being that in the case where someone is using a different DAW - they would quite obviously NOT be able to open up a session from YOUR DAW (we do have AAF options available - but that’s a different article all together). Another good example would be when someone may have the same DAW, but NOT the same plug-ins.

And lastly, In all honesty it’s just a great way to keep things clean, tidy, and simplified when collaborating with others, or archiving your productions. Case in point, if you are 100% completely happy with your drum sound - then why complicate things any further? Just print a Drum Stem and be done with it. Your Drums will now be 1 Stereo track and 1 Fader in any DAW that the stem was imported into.

Conversely if you feel the need to leave your options open, then perhaps it’s better to “Stem Out” the drums into all of the individual elements to allow for additional processing and mixing further down the line.

But regardless, using Stems is a fantastic workflow - that simplifies the production / recording / mixing process immensely.

Exporting Stems In PreSonus Studio One

If we take the above into account - it’s quite easy to see how having different methods of exporting Stems can be useful. And thankfully - Studio One offers a plethora of different options for rendering audio depending on what needs to be accomplished - whether it’s a simple Stereo Lead Vocal Stem with ALL the FX and processing rendered in, or discrete Stems for each element of the Vocal.

The 'Export Stems' option in Studio One is an extremely useful way to quickly render out Stems from your Song. But did you know that there are some fundamental differences between using Tracks vs Channels?

In this video, I demonstrate the key differences between the 2 methods - as well as when (and why) to use one method over the other.

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

Cheers, Marcus

How To Rename Audio Events & Instrument Parts (MIDI Events) To Match Track Names In Studio One

If you’ve ever done a session in a hurry, you may very well have found yourself in the situation where your Audio Events, and Instrument Parts end up with names like “Track 1” or “Kontakt 5”. It’s really quite annoying (especially if you’re the type of person like me who get’s a little O.C.D. with organizing your sessions) But In all honesty, let’s face it - it happens.

But did you know that there is a REALLY easy way to combat this in Studio One?

In this Studio One Quick Tip video, I demonstrate how to quickly Rename Audio Events & Instrument Parts (MIDI Events) To Match Track Names In PreSonus Studio One.

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

Cheers, Marcus