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 Embed Chord Track Metadata Into Audioloops In PreSonus Studio One 4

Since it’s introduction in Studio One Version 4 - I’ve been trying my best to make use of the Chord Track wherever I can. Although I must admit that with the exception of using “Import Song Data” features, (chord track information on Audio Events will come in when using Import Song Data) this is usually on a song by song basis. ie: I use it in certain songs as a production tool - but it’s not yet 100% engrained into my workflow. I also haven’t seen any Soundset’s that make use of this feature - (yet).

Then one day it dawned on me - “Wouldn’t it be nice if I could export all my Audioloops with the Chord Track metadata already having been detected… There MUST be a way to do this!”

This would save me the step of having to detect chords (and verify they’re all correct in the Editor) if I wanted to use the chord track in my production workflow. Also, depending on how I have the tracks in my Studio One Song setup, those Audioloops could potentially “auto-conform” to my Chord Track (in my source Song) when dragged in. ie: if I had some blank tracks setup in a template for dragging in Audioloops - and they were set to follow the Chord Track.

furthermore, my guess is that we will eventually be able to audition Audioloops in the Studio One Browser against our Chord Track in our Studio One Song. IMHO - This seems like the next logical step to take. That being said, I’m simply hypothesizing here, so don’t quote me on this.. (Although it would be pretty cool).

However if that DOES end up happening, I thought to myself - wouldn’t it be nice to “future proof” all my Audioloops I’ve been creating by embedding the Chord Track data into them before exporting. In addition, this could also prove to be useful in the meantime for my own productions. But all of that depends on whether or not this is even possible!

Well the short answer is, Yes - it is..

In this video I demonstrate how to export Audioloops with Embedded Chord Track Metadata In PreSonus Studio One.

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

Studio One Quick Tip - When and Why To Enable 'Automatically Add Envelopes For All Touched Parameters'

Editing automation is an essential part of modern music production. But lets face it - it can sometimes be a bit of a pain. I think in general there are usually 2 school’s of thought. Those who prefer to ‘mouse in’ their automation, and those who would rather take a more tactile approach and ‘perform’ an automation pass - either by using the mouse, (clicking and dragging parameters in real time) or a controller.

To be completely honest, I use both methods. If i’m just needing to automate a simple filter sweep, I might opt to quickly draw it in. BUT - in the case where I feel the need to have more control, manually grabbing faders, and performing my automation moves is a great way to achieve that.

But there’s one thing that can be frustrating during this process. That being the need to first “add” an envelope for the parameter I need to automate. Once an envelope has been added, it’s simply a matter of choosing the automation mode, and performing a pass. But if you’re wanting to automate multiple parameters at the same time, you would first have to “add them”.

The great news is that there is a preference in Studio One that takes care of this issue all together - and all you need to do is simply enable it!

In this video I demonstrate the 'Automatically Add Envelopes For All Touched Parameters' automation preference in PreSonus Studio One. More specifically when (and why) to use it - and how it interacts when writing plug-in automation.

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

Track Based Automation vs Part Based Automation In PreSonus Studio One

Automating your instrument tracks is a fantastic way to add movement and interest to your productions. In fact, sometimes a simple tweak such as a basic filter sweep can literally add a night & day difference to a song!

That being said, it’s also important to have a solid understanding of the different ways in which you can apply automation. Case in point; Studio One allows users to go about this in a couple different ways.. One of them is a pretty standard approach that most DAW user’s would be familiar with - while the other is (imho) a little more modern, (and perhaps preferable in certain circumstances).

In this video I demonstrate the main differences between Track Based Automation vs Part Based Automation (a.k.a. Region/Event Based Automation) when working with Instrument tracks in PreSonus Studio One.

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

Cheers, Marcus

Studio One Quick Tip - When and Why To Use 'Collapse All Tracks' In PreSonus Studio One

Over the last couple of weeks, I’ve been doing my best to put together a series of videos that can be helpful for organizing your Arrange Window when working in Studio One. As many of you may have noticed, I tend to jump around quite a bit with my views - by doing things such as zooming in and out (both vertically and horizontally), as well as expanding and collapsing folder tracks as needed.

There are quite a few different way in which Studio One allows user’s to customize their views, and for this I am grateful. Furthermore, I tend to take full advantage of any view I need in order to accomplish the task at hand. But as soon as I’m complete - I tend to want to quickly return back to my “Zoom Overview” view - with all my automation envelopes hidden, and my folders collapsed.

This is where the Collapse All Tracks Command comes in super handy. :)

In this video I demonstrate the Collapse All Tracks Menu Command In Studio One. More specifically, why it's useful - and when to use it.

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

Cheers, Marcus

Studio One 4 - Two Chord Track Tips You May Not Know

The Chord Track in Studio One Version 4 has really changed the way in which it’s possible to work in a DAW. I know that it has opened up many new creative possibilities in my own personal workflow, which were simply not achievable before.

That being said, it does take a bit of getting used to, because it’s not just a set of Markers for adding Chord Data, but rather a Dynamic tool that can non-destructively change your entire song with a single click.

If you’re interested in learning more about The Chord Track, here are 3 different tutorials that I’ve done in the past covering some of the creative possibilities:

1. Producing With The Chord Track In Studio One 4 - Working With Instrument Tracks

2. Tip - How To Render Chord Track Changes Into Instrument Parts (MIDI Events) In Studio One 4

3. How To Create Instant 808 Bass Lines Using The Chord Track In Studio One 4

Now If you’ve spent any time using The Chord Track - one of the areas that may be familiar, is using both Instrument Parts & Audio Events to “extract” or “detect” chord information - which can then be added to the main Global Chord Track. It’s also worth pointing out that once you have this information, it can be applied in various different ways to Audio Tracks & Instrument Tracks alike.

But did you know that there are some simple shortcuts that can be used to help speed up the process?

In this video I demonstrate a couple miscellaneous tips that can be used when working with The Chord Track in Studio One Version 4 with both Audio Events, and Instrument Parts (MIDI Events).

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

Cheers, Marcus

Studio One Quick Tip - Using Folder Tracks And Console View Options To Streamline Your Workflow

In last weeks video we had a look at how to enable a preference within Studio One that would essentially “auto create” an Automation Track (in the Arrange Window) for Fx Channels, Bus Channels, and VCA Channels.

If you recall, I made mention of the fact that this is my personal preference to have happen by default. But that being said, I also mentioned that some people may argue that depending on the number of Automation Tracks being created - it may begin to clutter up your Arrange Window.

In this weeks video, I wanted to demonstrate a tip that can help combat that, and essentially gives the user the best of both worlds. The Automation Tracks can reside in your Arrange Window for easy editing - but with the added benefit of being organized in a simple yet effective way. Furthermore, by adjusting a few different preferences in the Console View Options - Studio One allows user’s to customize it’s behaviour to suit their needs based on personal preference.

In this video I demonstrate how to utilize Folder Tracks a Various Console View Options to help maintain a neat & tidy Arrange Window when working in PreSonus Studio One.

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

Cheers, Marcus

How To Get Arrange Tracks For Bus Channels - FX Channels and VCA Channels In PreSonus Studio One

I personally don’t make any efforts to conceal the fact that I am a former Pro Tools user of many years. In fact, as I’m sure you may have noticed - a lot of my content is created with the intent of showing other former Pro Tools users the “Studio One Equivalent” way of handling specific tasks that they may have been used to doing in Pro Tools.

That being said, when I first made the move to Studio One - one thing that I found really confusing was the fact that if I created a Bus Channel (Subgroup) or an FX Channel - it was not visible in my Arrange Window (by default). There were steps that could be taken to make it show up, but it didn’t happen by default (as would have been my preference). But this was was quite a while back, and as of one of the updates that we got in Version 3 - a preference was added to mitigate the issue.

Now before you start ambushing me with comments like “why would it show up - Its not a track?” Let me just say - YES, I’m fully aware of that. :) Im also fully aware that Studio One is not the only DAW that functions this way. For example: I know that this is also the default behaviour of Logic Pro.

But what I will say is that when you are used to working a certain way (with a 1:1 parity between your Arrange Window & Console) for 15+ years, it’s tough to adapt to not having arrange tracks for all of the Channel’s in your Console. This becomes especially evident if you prefer to work primarily in the arrange window - with the inspector open for basic mixing requirements.

I will also say that 9 times out of 10, if I create a Bus Channel, FX Channel, or VCA Channel - chances are that I have the intentions of automating it’s parameters, be it volume, or plug-in settings. So I’d prefer it’s available by default to do so.

So having said all of the above, if this is something you would prefer - In this video I demonstrate how to set Studio One's preferences so that an Automation Track is automatically created for Bus Channels, FX Channels, & VCA Channels when using PreSonus Studio One.

For those coming from other DAW's such as Pro Tools, this may be preferable to the default behaviour.

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

Cheers, Marcus

Studio One 4 Quick Tip - Using The Automation "Reduction Level" Setting To Smooth Out Automation

Working With Automation

I find in general that there are usually 2 school’s of thought when it comes to automation, or more specifically - when it comes to recording / writing automation. Those who like to draw everything in perfectly, and those who prefer to record it in using a controller, or at the very least using a mouse.

I myself, am comfortable doing either method, but usually prefer to get some sort of hands on control whenever possible.

But have you ever felt like the result of your record pass isn’t quite what you performed?

Too Many Nodes - or Not Enough?

If you are part of the camp that likes to record in your automation manually using a controller of some sort, I’m almost certain that at some point you may have found yourself in either one of these 2 situations:

1. The automation has too many unnecessary nodes (breakpoints)

2. The automation doesn’t reflect the exact performance that was recorded! ie: It doesn’t have enough.

As most of you know - I come from a Pro Tools background, and in Pro Tools, we had a preference that allowed us to deal with this scenario that gave the user the option to “thin out” the automation at varying levels after each pass.

In case you weren’t aware - this is actually something that was recently added to Studio One in one of the final updates to Studio One Version 3’s life cycle.

In this video I demonstrate the recently added "Reduction Level" setting in PreSonus Studio One's Automation preferences. More specifically, what it's meant for - and when (and why) to use it.

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

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

Improved Manual Tempo Mapping In Studio One 4.1.1 - Part 2 - Tempo Scaling | Working With MIDI | Notion Integration

Picking up from where we left off in last weeks video - In this 2nd video I demonstrate some of the more advanced workflow concepts of the amazing Manual Tempo Mapping Improvements that were added in the Studio One V4.1.1 update.

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

Cheers, Marcus

Improved Manual Tempo Mapping In Studio One 4.1.1 - Part 1

Working With Free Time Performances

I’ve written about this before, and I’ll most likely write about it again, but there are MANY potential cases where a click track may not have been used during recording. Some basic examples of this could be anything from simple scratch tracks, to soulful performances by skilled musicians who let the music define the tempo. Not to mention decades worth of musical performances that were recorded without a click.

Personally, I’ve seen this many times, and in certain genres it’s actually completely “the norm”. And to be honest, I embrace the concept, and have no problems with it. BUT I WILL SAY THIS.. I sure do love having the luxury of having a song mapped out to (at a minimum) Bars in my DAW! It makes my life so much easier even if it’s just for basic navigation and thinking in musical terms during playback or editing.

The Battle In A Modern DAW

Having said the above, I will also say that many times I have opted to NOT tempo map a free-time performance simply because it’s “usually” a huge pain in the ass. So I’ll end up with tons of markers all over the place and I just force myself to think in terms of time based locations vs Bar/Beat based locations. (After all, I did this for years before I started working in a DAW).

But the issue really becomes evident if you want to incorporate things like Audio Loops (With Tempo metadata) or virtual instruments. Essentially without a Tempo Map that represents the musical performance in our timeline - we can’t really make full use of all the amazing tools a modern DAW such as Studio One allows us to use.

A Little Help From 3rd Party Applications

I think its worth mentioning that there are 3rd party applications such as Melodyne which can actually perform miracles (on the right material) and I have used them from time to time to help me out with the above. But I’m also a firm believer that a DAW should handle this process Natively - and that process should be relatively painless if it’s implemented properly.

Native Manual Tempo Mapping In Studio One

First off, I’ll say that in the past - Studio One has been able to do manual tempo mapping, but there was definitely room for improvement. There was a specific way you had to go about it, and in the end, you could get there if you had the patience..

But when they released Version 4.1 it became increasingly more user-friendly. In fact they were SO CLOSE to really nailing it with the exception of one area! And that was snapping to transients. Needless to say, I think PreSonus listened to the that feedback provided by their user base and as a result - we now have a really streamlined workflow for Manual Tempo Mapping In Studio One as of the latest maintenance update. 😊

In this video I demonstrate the basic workflow of the amazing Manual Tempo Mapping Improvements that were added in the Studio One V4.1.1 update.

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

Cheers, Marcus

How To Create Instant 808 Bass Lines Using The Chord Track In Studio One 4

First off, let me start off by saying that I’m a huge fan of MUSIC. And to me it doesn’t matter what the genre is, because I’ll listen to anything as long as it has some substance or something that moves me in a certain way. Now having said that, I’ll also add that my taste’s are constantly evolving, and I think that’s a good thing.

Over the last 2 years or so, I’ve spent a great deal of time showing my son lot’s of different types of music, and as you would imagine - he does the same with me. Now just to add a bit of context here, my son is 13 years old, and needless to say is pretty heavy into trap music, so I find that a lot of our long car rides are spent with him showing me music that (to be completely honest) I would have never heard had it not been for him. For this, I’m grateful because I will always love being shown a cool new track regardless of the genre.

Well, even though this may have not always been the case, it turns out that now I really like certain elements of trap. Furthermore, it would also seem that this is apparent for the rest of the world as the fusion of Top 40 charts meshes with certain stylistic elements in trap as well. Just listen to some of the current tracks that are sitting on the charts and I’m sure you’d agree. Case in point - the 808 Bass Line.

First off - full disclaimer here, I am not (nor would I consider myself) a “beat-maker” or someone who specializes in this specific genre by any means…

(**Side-note - If you are interested in those genres, and you work in Studio One, you should definetly check out a couple of my good friends channels Craftmaster Productions & KsndDEF.)

But what I will say is that as a producer - I love pulling elements from different genres into my productions. I will also say that as someone who is very much set in my ways (which can limit you as a producer) - I find it both inspiring and refreshing to see the younger generation of beat-makers and producers working. It reminds me that I still have much to learn in terms of keeping a fresh perspective on things.

So now back to the point..

I was working with my son this past weekend and we were fleshing out a track, and he pulled up a nice 808 sample and loaded it into Sample One XT - and asked me what’s the best approach to use when adding in an 808 Bass Line? My answer to him, was something along the lines of: “Well, there’s really no “best approach” BUT - if you’re just trying to get something down quickly to keep a session moving, you can copy the kick drum MIDI (Note Data in Studio One terminology) over to your 808 track then edit a Bass Line by keeping the same basic rhythmic pattern & editing the midi notes”

His answer was “Hmmmm, I’d rather just play it in” and to be honest, I agree that this is the best overall approach. But going back to a point I make over and over, and what I said to him was: “well that’s true but - sometimes you might not have a controller! And you should be able to both perform & edit the MIDI in your DAW. Because both workflow’s are useful”

Needless to say, that experience was the source of inspiration behind today’s video. So I basically thought to myself, that there must be SOME type of way to streamline that work-flow - and the short answer is yes! There is! By using The Chord Track in Studio One 4.

In this video I demonstrate a workflow that can be used to generate instant 808 Bass Lines (Borrowed from The Kick Track's MIDI) using The Chord Track in Studio One Version 4.

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

Cheers, Marcus

Studio One 4 Quick Tip - Using Invert Selection & Select Lowest Notes To Speed Up Editing

The New Select Notes Options In Studio One 4

Continuing on from some of the other video’s we’ve covered. I wanted to re-visit some of the new “Select Notes” options that were recently added in Studio One Version 4. More specifically, using the “Select Lowest Notes” built in Macro button in the Musical Editor.

But in addition to that, I also wanted to touch upon another function that’s pretty well hidden in Studio One - that function being Invert Selection.

Using Invert Selection

For any one who has ever used Photoshop or any other related programs, you will most likely be accustomed to seeing and/or using the invert selection function. Essentially this does exactly what you would expect. It inverts the selection, providing a short cut for many various editing functions from that point.

Now I think it’s important to point out that in Studio One, this can be used on either Audio Events and instrument parts, OR on the actual Note Data (the MIDI Notes) that reside within an instrument part. This in itself can come in really handy when working with editing MIDI in Studio One.

Using Both Of The Above Together

In this Studio One 4 Quick Tip video, I demonstrate how to go about using the Invert Selection option when editing MIDI to quickly create a Bass part in a song. In addition, I also take a look at how it can be used in tandem with some of the new Note Selection Musical Editing Functions in Studio One 4.

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

Cheers, Marcus

Drag & Drop Tempo Map Extraction From Audio Events In Studio One 4.1+

Let’s Talk About Click’s

Once upon a time, people made Music - and believe it or not, they made music without using a click track! 😱 Fast forward to 2018 and (for the most part) this is simply not the case anymore. In fact I’d go as far as to say that I can’t recall more than 20 or 30 tracks that I’ve worked on in the last couple years that were done free-time - without a click.

Whenever I talk about this type of thing, I always like to equate it to the concept of; learn the rules first, then you can break them all you want. What do I mean by this? Well quite simply, I think it’s important for musicians to be able to play with a click and maintain tight timing, but I also think it’s just as important for a musician to be able to move freely depending on what the song needs, and pay zero attention to a click.

But make no mistake, there’s a huge difference between someone playing with horrible timing, (who could actually use some practice playing with a click) and someone with amazing timing who is letting the music guide the timing of the song.

Best Of Both World’s - The Tempo Map

So first off, I’ll be the first to admit that the benefits and merits of working with a click track are definitely useful in a modern day DAW when it comes to editing, virtual instruments, and even plug-ins with timed delay’s, etc. But that doesn’t mean that we have to simply lock down one static BPM for a whole entire song. Now for the most part, that’s what happens for some of the more popular genres, but it isn’t always the case.

To me, this is where Tempo Maps come in handy.. Essentially if we pre-define or “map out” a tempo track for a performance, we can still utilize all the modern tools that make’s life easier for us in the studio like, MIDI Quantizing, bar/beat accurate editing, etc etc. The benefit of course being that we can let our music “breathe” a bit.

Now before you get your panties in a bunch - I’ll be the first to say that yes - a really top notch musician can still do this while playing at a static BPM. I’ve worked with some percussionist’s or drummers for example that were able to stay perfectly in time while being “off the grid” for all intents & purposes. But I will also say that it doesn’t happen that often, and it’s also very genre specific as to when that works for the song. But this is where the Groove comes from - Everything in between the grid.

Working With Audio Files With Tempo Maps

As of the recent release of Studio One Version 4.1 - we got some much needed updates in the tempo dept. And Personally I was really happy to see them. In addition, these new features also prompted me to explore the options of getting more creative with my tempo tracks in general, or more specifically not being afraid of free-time performances. After all, this is usually whats sent to me by an artist in terms of scratch tracks that lay the foundation of the song we are going to be working on.

If you’ve ever programmed any tempo changes into your music, or taken the time to tempo map a rough scratch track, and re-record to its “tempo” you may have noted that upon inspection of the audio file, the word “Map” appears vs a specific BPM. However one thing that you may not have known, is that the Tempo Map of this audio event created in Studio One can easily be extracted to the Tempo Track in new Songs!

If you’ve ever found yourself in the position where you’ve wanted to somehow get the Tempo Map from an audio file (created in Studio One) into the Studio One Tempo Track - In this video I demonstrate how to extract a Tempo Map from Audio Events in Studio One Version 4.1 and above. In addition, I also cover some preferences or concepts to keep in mind when using this type of workflow.

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

Cheers, Marcus