Music Computing - StudioBLADE Gen 3 Manual Full

StudioBLADE Generation 3 Keyboard Production Station 1 | P a g e
StudioBLADE™ Gen 3 Production Station

Contents
1.1 About Your New StudioBLADE (Gen 3) ........................................................ 5
1.2 StudioBLADE Gen 3 System Specifications................................................... 6
1.2.1 Audio Features ................................................................................... 7
1.2.2 Audio Interface Specification: ............................................................... 8
1.2.3 StudioBLADE Audio Connections ........................................................... 9
2.1 The StudioBLADE.................................................................................... 11
Top of the StudioBLADE ............................................................................. 11
Back of the StudioBLADE............................................................................ 12
2.2 Powering Up the StudioBLADE.................................................................. 12
2.1.3 StudioBLADE Computer Connections ................................................... 13
2.2.1 Wireless Keyboard and Optical Mouse.................................................. 14
2.2.2 Installing the batteries for the wireless keyboard and mouse.................. 14
2.3 The StudioBLADE Desktop ....................................................................... 18
3. SonicSource Introduction .......................................................................... 21
3.1.0 Quick Features .................................................................................... 22
3.1.1 Features in Detail.............................................................................. 23
3.1.2 SonicSource SoundSet Library ............................................................ 24
3.1.3 Learning and using SonicSource ............................................................ 26
3.1.4 SoundSet Image and Name................................................................ 26
3.1.5 ADSR Envelope................................................................................. 27
3.1.6 Velocity Sensitivity and Key Scaling .................................................... 27
3.1.7 The Filter ......................................................................................... 28
3.1.8 Three Band EQ ................................................................................. 28
3.1.9 LFO................................................................................................. 29
3.2 ~FM Switch Matrix.................................................................................. 29
3.3 Pitch Envelope ....................................................................................... 30
3.4 Master Controls...................................................................................... 31
3.5 Effect Racks........................................................................................... 32
3.5.1 MODULATOR Types and Description .................................................... 32
3.5.2 DELAY ............................................................................................. 35
3.6 The Key and Velocity Splits Interface ........................................................ 36

3.7 Mixer Strip............................................................................................. 37
3.8 Arpeggiator ........................................................................................... 38
3.9 Tips &Tricks ........................................................................................... 43
3.9.1 Global Menu and Settings ..................................................................... 44
3.9.2 MIDI implementation ........................................................................... 45
3.9.3 Banks and Presets ............................................................................... 46
3.9.4 Creating a Custom Preset/Bank ............................................................. 61
4.1 TriggerGRID 64 v1.0.0 ............................................................................ 67
4.1.1 Understanding the Interface............................................................... 68
4.1.3 Loading New Samples to the TriggerGRID Pad Library ........................... 76
5.1 Advanced Keyboard Functions.................................................................. 78
Using with a Foot Pedal.............................................................................. 78
The Advanced Functions Button .................................................................. 78
Octave Shift ............................................................................................. 79
Transposition............................................................................................ 80
MIDI Channel ........................................................................................... 80
Program Change ....................................................................................... 81
Bank LSB and Bank MSB ............................................................................ 81
The Modulation Wheel................................................................................ 82
Pitch Bend Sensitivity ................................................................................ 82
6.1 Music Computing Warranty Information..................................................... 83
6.2 Software License Agreement.................................................................... 84

1.1 About Your New StudioBLADE (Gen 3)
StudioBLADE™ (Gen 3) are powered by high-performance computer cores
utilizing Intel® Xeon® server platform processors that are perfect for today's
demanding musicians and the virtual instruments and software application they
use. Options include dual 6-core processors totaling 12-cores. Since the processors
are capable of hyper-threading, they create 24 virtual computer cores of pure
processing awesomeness for your favorite DAW or VST host software to use. The
Windows 7 Professional (64-bit) operating system is preconfigured for music
production and can run virtually any software application or plug-in. Capable of
running over 2,000 plug-ins at once, sequencing thousands of tracks
simultaneously, and storing millions of sound presets, the StudioBLADE (Gen 3) is
by far the highest performance keyboard available today.
The Most RAM: The StudioBLADE (Gen 3) has a total of twelve (12) RAM memory
slots, each capable of handling 16GB modules, totaling an unbelievable 192GB of
RAM. Each processor has six (6) dedicated slots equipped with triple-channel
capabilities making data access faster than virtually any other computer-based
music production system. By providing ample RAM to the system, you can run more
VSTs and samples than ever before
See More Clearly: StudioBLADEs are equipped with a built-in tilting 22‖ touch
screen that adjusts to your desired viewing angle, making it extremely ergonomic
to use. StudioBLADEs also provide two (2) additional external video ports so the
user can run up to three (3) monitors simultaneously in cloned or extended desktop
mode.
Thousands of Sounds: Music Computing‘s SonicSource™ (Chapter 3) is a robust
VSTi synth containing over 8GB of sound presets that is included with each
StudioBLADE, ready to use right out of the box.
Play That Sample: Music Computing‘s TriggerGrid™ is a sample player that allows
the user to trigger sampled sounds via any MIDI controller. Create unlimited
numbers of banks each containing up to sixty four (64) samples that can be loaded
and played. (Chapter 4)
Need Support? Music Computing is operated by avid musicians and technology
geeks who are passionate about music and their work. This is a standing
requirement for being part of the company, which means there will always be
answers and help when you need it. Email Support@musiccomputing.com

1.2 StudioBLADE Gen 3 System Specifications
StudioBLADE (Gen 3)
Keybed:
Number of keys: 61 or 88
Type of keys: Semi-weighted action
CPU:
Processor Type: Xeon Server Platform
Processor Options: 2-Core (2.0GHz) / 4-core (2.13GHz) / 6-core (2.4GHz)
Number of Processors: Single or Dual
RAM Memory:
Number of Slots: 6 per Processor (12 Total)
Type of RAM: Registered ECC
Size of RAM: 4GB / 8GB / 16GB
Maximum Amount of RAM: 192GB
Drives:
HD Bay 1: 500GB (7200RPM) Standard. Upgradeable to 1TB / 2TB / 3TB (7200RPM)
HD Bay 2: Optional 500GB (7200RPM) Standard. Upgradeable to 1TB / 2TB / 3TB
(7200RPM)
Optical Drive: DVD / CD Burner (Built-in)
Video:
TouchScreen: Built-in 22" touchscreen (1920X1080) resolution.
External Monitor Support: One DVI and One HDMI for dual display support in clone or
extended desktop mode.
Software:
Music Computing software: SonicSource (VSTi with thousands of sounds and effects),
and TriggerGrid
Third party software: Studio One Pro (Full Version) Digital Audio Workstation (DAW)
Connectivity:
USB: Two USB 2.0 Port + 4-port USB 2.0 Hub
FireWire: One Internal Firewire 400 Port + 2 External Firewire 400 Port
MIDI: IN / OUT/ OUT
Ethernet: 1000BASE-T
Construction material: Anodized aluminum
Size: 61-Key 40"(L) x 18"(D) x 6"(H), 88-Key 50"(L) x 18"(D) x 6"(H)

1.2.1 Audio Features
Hear the Difference: The standard configuration for StudioBLADEs include a 24bit-
48 kHz audio I/O with two (2) combo XLR & ¼‖ mic/instrument 48V phantom
power inputs, two (2) balanced outputs and a stereo headphone jack. The optional
upgrade gives you a 24bit-96 kHz audio I/O with two (2) combo XLR & ¼‖
mic/instrument 48V phantom power inputs, six (6) ¼‖ balanced inputs (line-level),
two balanced outputs and a stereo headphone jack. StudioBLADEs also offer
Firewire ports in the event outboard audio I/O or other Firewire devices are needed.
Features:
Audio Interface Options:
1.) Presonus Audiobox USB: Inputs - 2 XLR or (1/4") TRS (balanced or unbalanced)
combo inputs /w +48v phantom power and gain control: Outputs - 2 (1/4") balanced
TRS output + 1 stereo (1/4") headphone, MIDI (in/out) +1 direct keyboard MIDI out,
Sample Rate (24bit 48KHz)
2.) Presonus Firestudio Mobile: Inputs - 2 XLR or (1/4") TRS (balanced or
unbalanced) combo inputs /w +48v phantom power and gain control plus 6 balanced
line level (1/4"): Outputs - 2 balanced (1/4") TRS, S/PDIF (in/out), MIDI (in/out) +1
direct keyboard MIDI out, Sample Rate (24bit 96KHz)

1.2.2 Audio Interface Specification:
MICROPHONE INPUT
Type XLR Female Balanced
Frequency Response (±3.0 dB) 14 Hz to 70 kHz
Input Impedance (Balanced) 1200 Ω
THD+N (unwtd, 1 kHz @ +4 dBu Output, Unity Gain) < 0.008%
EIN (A-weighted, 55dB Gain, 150 Ω Input, 20Hz to 22 kHz) -115 dBu
S/N Ratio (Unity Gain, Ref. = +4 dBu, 20Hz to 22 kHz) > 95 dB
Common Mode Rejection Ratio (1 kHz, 55 dB Gain) > 45 dB
Gain Control Range (± 1dB) 0 dB to 35 dB
Max Input Level (Unity Gain, 1 kHz @ 0.5% THD+N) -3 dBu
Phantom Power (±2 VDC) +48 VDC
INSTRUMENT INPUT
Type 1/4‖
TRS Female Unbalanced Input Impedance 0.5 M Ω
LINE OUTPUT
Type 1/4‖ TRS
Balanced Output Impedance 51 Ω
HEADPHONE OUTPUT
Type ¼‖ TRS Active Stereo
Maximum Output 60 mW/Ch @ 60 Ω Load
Frequency Response(±1.0 dB) 20 Hz – 30 kHz
MIDI I/O
Type Dual 5-pin Female Din
DIGITAL AUDIO
ADC Dynamic Range (Awtd, 48 kHz Sample Rate) 102 dB
DAC Dynamic Range (Awtd, 48 kHz Sample Rate) 110dB
Bit Depth 24
Reference Level for 0dBFS +4 dBu
Internal Sample Frequency Selections (kHz) 44.1, 48

1.2.3 StudioBLADE Audio Connections
This chart shows the base model (AudioBox) audio connections.

This diagram shows the upgraded audio interface (FireStudio) connection chart.

2.1 The StudioBLADE
StudioBLADE™ keyboard production stations represent a giant leap in music
production technology. They are simply the most powerful, compact and affordable
keyboard production stations available today.
This section shows what is on a StudioBLADE.
Top of the StudioBLADE
1. Pitch and Mod wheel
2. Audio IO
3. Touchscreen Monitor
4. Transpose and Advanced buttons
5. Piano Keys

Back of the StudioBLADE
1. Power Supply power button – This is not the main system power switch.
2. Auto Voltage Switching Power Supply
3. MIDI Out Port – This MIDI port is connected directly to the piano keys.
4. Sustain Pedal – Best to use sustain pedals that have polarity switch
5. Audio Interface – Rear view.
6. Main System Power Button – Use this button to power up the StudioBLADE.
2.2 Powering Up the StudioBLADE
To power up the StudioBLADE, place the StudioBLADE on a flat surface that will not block
the air vents underneath the board.
 Plug the power cable into the back of the StudioBLADE. Then plug the three prong
connector into a regulated power source. Press the power switch labeled number ―6‖
to boot up the system. The first time you start up the system, give it 30 to 90
seconds to boot. You will not see any information on the touch screen until Windows
has finished loading.
Important information
 Always plug in Firewire devices before powering up the system.

2.1.3 StudioBLADE Computer Connections
Here is the diagram of the StudioBLADE computer connections.
1. VGA Connection – (Use number 6) Low res monitor connection best used for
testing.
2. Com Port 1 – Serial Connection
3. Ethernet Connection – Lan 1 and 2 used to connect to internet or local network
4. USB 2.0 Ports – USB ports 1 and 2
5. IPMI Dedicated LAN – Disabled by default
6. DVI Monitor Connection (Main External Monitor 1) – DVI-Integrated (DVI-I)
supports both digital and analogue connections to the display.
7. HDMI Monitor Connection (Main External Monitor 2) - An HDMI connection
carries both digital audio and digital video in an uncompressed high quality format.
HDMI is used for LCD, Plasma, and Projection displays.
8. Firewire 800 - Always plug in Firewire devices before powering up the system

2.2.1 Wireless Keyboard and Optical Mouse
The StudioBLADE Production station ships with a wireless keyboard and mouse.
1. Wireless QWERTY Keyboard
2. Mini USB Receiver. Plugs into a USB port.
3. Wireless Optical Mouse.
2.2.2 Installing the batteries for the wireless keyboard and mouse
Battery Types
1). AAA Batteries (Keyboard) – AA Batteries (Mouse)

Mouse
1. Press the battery compartment cover release latch at the bottom of the mouse,
and then remove the battery compartment cover from your mouse.
2. Install two AA batteries into the mouse following the battery orientation guide in
the battery tray.

4. Replace the battery compartment cover back onto the mouse until it securely
locks.

Keyboard
1. Press the battery compartment cover release latch at the bottom of the keyboard
and then remove the battery compartment cover from the keyboard.
2. Install two AAA batteries into the keyboard following the battery orientation
guide in the battery bay.
3. Replace the battery compartment cover back onto the keyboard until it securely
fits.
Plug the Mini USB receiver into any USB port on the StudioBLADE. The software will
auto install and an on screen message will tell you that the item has successfully
installed.

2.3 The StudioBLADE Desktop
The StudioBLADE ships with Windows 7 64bit Pro. Finding your way around the
operating system is very easy.
The above image is the Music Computing Desktop. The links to the included
software is pinned to the taskbar.

This diagram shows what each link in the task bar represents.
 Start Menu: The Windows Start menu is the master index to find everything
in the StudioBLADE computer.
 Studio One 64: This is the launcher for the 64 bit version of Presonus
Studio One Pro.
 Studio One 32: This is the launcher for the 32 bit version of Presonus
Studio One Pro.
 Presonus Universal Control: Presonus Universal Control is the control
panel for the Presonus Audio interface installed on the StudioBLADE
 On-Screen Keyboard: Use the On-screen Keyboard for quick text input.
 Recycle Bin: When you delete a file, it will go to the recycle bin. If you
accidently delete an item do not empty the recycle bin. Open recycle bin and
select the item then hit restore.

SonicSource™ VST Synthesizer v1.0.0

3. SonicSource Introduction
SonicSource™ by Music Computing is a virtual synth designed for use with
the Windows (VSTi) and Mac OS X (VSTi/AU) computer operating systems.
SonicSource contains three sample-playing layers, two multi-effect racks,
and a library of multi-sampled instruments. The sample playing layers allow
blending of waveforms and instruments into a wall of sound or alternatively,
the use of the three multi-timbral layers as a workstation. These layers can
then be further processed through SonicSource‘s powerful multi-effect
racks.
Over 8GB of modern sounds such as those produced by legendary electric
keyboards including the Rhodes electric pianos, Hammond and Vox organs,
Hohner clavinets, and Moog synthesizers are present as well as effects like
tape based delay lines, rotating speaker cabinets, guitar distortion pedals,
wah wah, phasing, and flanging are included. Additional sound libraries will
be made available from Music Computing in the near future.

3.1.0 Quick Features
Three wave player sections with:
 ADSR envelope
 Velocity sensitivity
 Double Key Track scaling
 LP, HP, BP, and BR filters with
resonance and envelope amount
 3 band equalizer
 Pitch, Amp and Pan LFOs
 Pitch envelope enable
 Semitone transpose
 Fine pitch
 Send to FX 1
 Send to FX 2
 Volume
 Mute switch
 VU meter
 Velocity Zone: min and max
 Key Zone : high and low
 Poly-timbral over 3 parts
 3 modes for each LFO:
o Free
o Sync
o Inv.
 'Fractal' randomization for filter
modulation
 FM and AM per oscillator
Additional controls
 Glide
 Mono mode
 LFO masters
 Fine tuning
 Two DSP sections:
 Echo (true stereo tape
delay emulation, with
Sync Chorus)
 Modulator
o Leslie
o Chorus
o Flanger
o Phaser
o Wah Filter
o OverDrive
 MIDI Learn: More than
100 parameters remotely
controllable by MIDI
Control Changes
 Arpeggiator
 Master Vibrato
 Stereo Layers
 Extra Quality option with
up to 16x oversampling!

3.1.1 Features in Detail
SonicSource contains the following features –
 A multimode filter (LP, HP, BP, BR) with control over cut, resonance and
envelope modulation, as well as a special ‗fractal‘ modulation parameter.
This expanded filter design provides further tools for balanced layering of
sounds, and deep pads.
 FM/AM modulation capabilities per layer can be done via the ~FM switch
matrix. AM and FM can be used to add interesting harmonic distortions to
the original instruments, or to manipulate new sounds from the existing
samples.
 A multi-effect MODULATOR rack that has the following: overdrive, phaser,
chorus, flanger, rotary, and filter effects.
 Routing options between the layers and the effects allow the MODULATOR
rack to function in both ‗send‘ and ‗insert‘ modes.
Master controls: glide, mono mode, fine tuning, and velocity sensitivity
MIDI Learn: More than 100 parameters can be controlled with Automation via any
Midi Controller or Sequencer automation.
Effects: SonicSource‘s effects are distributed over two effects slots, MODULATOR
and DELAY.
 MODULATOR - You can choose from any of six quality effects for this
module: Phaser, Chorus, Flanger, and Rotary (Leslie), Filter (with Wah) and
Overdrive. Each effect is specially coded with its own parameters
 Delay – SonicSource‘s delay is a true stereo delay unit modeled on an
analog tape delay device for a warm sound. As well as standard parameter‘s
you would expect from a stereo delay, SonicSource‘s delay features a ‗flutter‘
control for introducing modulations and artifacts similar to those heard with
tape degradation, a special chorus modulation for making pitch effects and
chorus sounds, and a ‗reflections‘ parameter which can be effectively used in
combination with the delay lines to create spring reverb type sounds.

3.1.2 SonicSource SoundSet Library
SonicSource comes with a comprehensive library of multi-sampled keyboards all
professionally captured from the original instruments. The default library features a
range of electric pianos, organs and those rare string machines, rounded off by a
nice selection of raw waveforms, including samples of the saw and square waves
from the Korg MS20 and the Minimoog. On top of this large selection of sounds,
there are a number of ethnic and experimental tones and percussive elements to
choose from.
The full default library includes:

While all the sounds in the default library stand on their own, the three layer design
of SonicSource is intended to achieve and expand the possibilities of the recording
technique of layering and blending tracks. In SonicSource, such layering is achieved
by blending and layering sounds within an intuitive interface.
This makes it easy to create, for example, a stack of 70‘s string machines with
dynamic movement, or a Mellotron string/flute ensemble supported by a harmonic
bass line, for big and dynamic layers.
Alternatively, you could layer a pure sine tone with a Rhodes key multi-sample to
reinforce the fundamental harmonic, or use the attack part from a Wurlitzer sample
to start a stack of strings and analogue square waves. You can find many examples
of such layering techniques in the default SonicSource preset bank. These can also
serve as a starting point for your own sound design. If you like to be creative and
love the vast range of sounds that where created in the classic period of ‗electric
keyboards‘ and effects, you will find how exciting it can be to compose with the
mini workstation that is SonicSource.
See Section 3.9.3 of this manual for a list of all current banks and presets within
them.

3.1.3 Learning and using SonicSource
In this section, we are going to go deeper into the features of SonicSource and how
they work, including some sound programming tips. To begin, we need to define
two basic terms used in this manual and in SonicSource. ‗Layer‘ and ‗SoundSet‘.
Layer: A ‗layer‘ is basically an oscillator except that in SonicSource you load single
samples or multi-mapped wave files which are in the DASHsnd format as the raw
sound for each layer. SonicSource has three layers, labeled A, B, and C
respectively.
You can think of each layer as actually being a separate sample playback engine,
with its own waveform, filter, envelope, mixer, EQ, LFO's and voice allocation.
SoundSet: A ‗SoundSet‘ is the basic set of multi-samples (or single shots samples)
that are mapped in the DASHsnd format. A SoundSet is not the same as a
SonicSource ‗preset‘, it being just one element of the synthesis settings that make
up a ‗preset‘. Any number of different presets can use the same SoundSet. Loading
up a SoundSet in a SonicSource layer is effectively the same as choosing a raw
shape for an oscillator on a standard synthesizer.
Layer Structure
3.1.4 SoundSet Image and Name
By clicking on the SoundSet name display, a submenu
will open showing all categories of SoundSets in the
default SonicSource library (Electric Piano, Ensemble,
Organ, and Waveform) plus any other add-on packs you
may have installed. Within each submenu is the list of
actual SoundSets that can then be loaded into each
layer. Once a SoundSet is loaded, the graphical strip
above the name display will either show a picture of the
device the SoundSet derives from, or a representation of
its waveform.
By left-clicking on the ‗A/B/C‘ buttons for each layer, the
SoundSet will automatically rotate to the next available
in that category. This can be very useful for auditioning
sounds without opening the menu.

3.1.5 ADSR Envelope
This option sets the Attack, Decay, Sustain and Release for the amplitude of the
layer, as well as for the filter when it is assigned to the envelope. Each envelope
has its own voice-allocation and settings. This is commonly referred to as ―ADSR‖
(ad–zer).
The envelope is not linear- it has logarithmic attack and exponential decay and
release times, thus you may notice extra CPU usage when doing longer attacks,
decays or releases. Also keep in mind that using very long release times will use
more voices. This could cause the sound of some voices to be "stolen" by newer
notes if there are many notes still ‗releasing‘ while you play more notes. If this
happens, and if it is a problem for the song mix, set voices to a higher value [16 is
the highest] or lower the release values on the envelope.
You can use "Shift + Mouse click" to fine tune the ADSR sliders, which can be very
useful for precise Attack, Decay and Release times.
3.1.6 Velocity Sensitivity and Key Scaling
Velocity Sensitivity: The ‗vel sens‘ dial allows you to set velocity sensitivity
independently for each layer. Setting ‗vel sens‘ to the hard left (zero) makes the
envelope insensitive to keyboard velocity pressure – this is useful for such sounds
as B3 and VOX organs, or Mellotron sounds, which as hardware simply feature a
note on/note off keyboard. Moving from the hard left position, the layer becomes
gradually more velocity sensitive for more dynamic playing, suitable for electric
pianos, for instance.
Key Scaling: The KEY dial is for ADSR keyboard tracking. It has two modes [see
icons at right of the + symbol] - ADSR Speed (the higher option) and ADSR Level
(the lower option).
Both modes are active at the same time, and by clicking on the symbols the GUI
toggles between each mode. With ADSR Speed tracking you can scale attack, decay
and release times along the selected key zone for the layer. With ADSR Level
tracking you can scale the envelope amplitude along the selected key zone for the
layer.

3.1.7 The Filter
With SonicSource 1.0.0 we introduce a 12 dB multimode filter per layer. This
filter features lowpass (LP), highpass (HP), bandpass (BP), and bandreject (BR)
settings. The multimode filter also features separate controls for cutoff frequency
(FRQ) and resonance (REZ). The filter frequency can be modulated by the ADSR
envelope adjusting the ENV control for positive or negative response. Centre
position (Ctrl + Left mouse click) of the filter envelope knob does not send any
ADSR modulation to the filter.
Fractal Modulation: The multimode filter also has a unique modulation feature
clicking the MOD button activates a ‗fractal‘ LFO for adding interesting and dynamic
movement to the filter. The ‗fractal‘ LFO is similar to a standard Sample&Hold
random modulator, but achieves much more musical results since it produces
patterns of modulation featuring the self-similarities typical of fractal figures. With
MOD activated, depth and rate are set for the fractal modulation by using the same
controls as AMP modulation in the modulation section for the layer. When MOD is
inactive, these controls serve their standard function for AMP modulation. Please
note that the LFO mode switch (OFF, FREE, INV, SYNC) does not affect the ‗fractal‘
LFO which modulates the filter frequency.
3.1.8 Three Band EQ
Each layer in SonicSource has a powerful three band equalizer for balancing low,
mid, and high frequencies of the sound. Each band uses its own separate code for
the highest quality, which also means that each band introduced at a non-zero
value will add CPU consumption. This flexibility also enables you to set any band
not in use at zero by a left mouse click on it holding down the control key, so that
the band will move to IDLE mode and will not process audio, thus minimizing CPU
consumption.

3.1.9 LFO
LFO stands for Low Frequency Oscillator. SonicSource‘s LFOs are modulation
sources that generate SINE waveforms aimed at specific modulation targets. Each
layer in SONICSOURCE has independent modulators for pitch (PTH), amplitude
(AMP), and panning (PAN). Further, each LFO can be used in three running modes –
FREE sets the LFO free running regardless of note messages, SYNC re-starts the
modulation with ever note, and INV also restarts on every note, but the wave
shape is inverted.
The send and rate controls of the AMP group also affect the depth and rate of the
‗fractal‘ LFO that can be used to modulate the multimode filter frequency (see the
multimode filter section for more details). Please remember that the ‗fractal‘ LFO is
activated by the MOD button, whereas the AMP LFO is activated by the switch
(OFF, FREE, INV, SYNC) in the AMP group.
3.2 ~FM Switch Matrix
The ~FM section is also an exciting feature of SonicSource,
introducing one more useful synthesis module to the
Electronic Ensemble. Here you have the possibility to
modulate the frequency or the amplitude of each or any of
SonicSource‘s three layers by the means of a tuned
oscillator called modulator.
At the heart of the ~FM synthesis module is the ‗switch matrix‘. Here you can select
FM, AM, or OFF individually for each layer, and also make interesting switches
between modes (manually, by automation or by midi-learned controls) for
interesting effects. The pitch of the modulator may be adjusted by the Ratio
control and the modulation signal is send individually to each layer through the
relevant dial: A, B or C. The depth of the FM/AM oscillator can itself be globally
modulated by an independent LFO. Use the rate dial to set the speed of the
modulation and amnt to set the amount of the signal to be modulated.

3.3 Pitch Envelope
As listed in the LFO section (3.1.6), SonicSource features
a dedicated LFO for pitch modulation (vibrato) per layer.
On top of these, SONICSOURCE features a global pitch
envelope (Pitch Env) for automatic pitch bending on note
attack. You can set the distance from target pitch (+/-)
with the Offset dial, to a maximum range of +/- 12 semitones. The Time dial sets
the amount of time taken from the offset pitch to the destination pitch with a key
depression.

3.4 Master Controls
The section named Master Controls features a number of
global parameters –
PitchBd: Pitch bend adjusts the range for the standard
MIDI Pitch Bend wheel from 1 to 12 semitones.
Voices: Voices is a global control selecting the number
of voices each layer will play. Setting to 16 voices means
that each layer will play 16 voices. For example: Playing
a 16 note chord on each layer would result in a total 48
voices.
Glide: Glide is a portamento effect like you find in many synthesizers. The Glide
dial adjusts the time the pitch takes to shift from one note to the other in two
consecutively pressed keys. Employing this parameter puts SonicSource into MONO
mode (one voice only) as there is no support for polyphonic portamento. The „A‟
button next to Glide toggles between two portamento settings- [On] will glide only
tied notes, while [Off] will glide all consecutive notes.
Fine Tune: The synth can be globally fine tuned with this control.
Vel Sens: adjusts the velocity sensitivity curve of all layers. Turn left for slow
response, and right for fast response to velocity changes.
Digits (LED read out): This "LED" screen shows values for each parameter that
you either hover over with the mouse, or are currently changing. This can be very
helpful for fine tuning a particular sound.
Out Gain: This is a master control for the synth volume.
Limiter: You may use this limiter to avoid excessive level peaks going thru the
synth output. It is a soft-knee limiter, and thus will not totally prevent clipping and
distortion for output that is continuously too loud. If you experience unwanted
output distortion, adjust the layer levels in the SonicSource mixer section, or the
global Out Gain control instead.

3.5 Effect Racks
SonicSource has a comprehensive suite of effects through the ‗MODULATOR‘ and
‗DELAY‘ effect racks.
3.5.1 MODULATOR Types and Description
The MODULATOR rack features six effect options to choose between – Phaser,
Chorus, Flanger, Rotary, Filter (with Auto Wah), and Overdrive. One effect can be
loaded at a time, and the MODULATOR can function either as a send effect per layer
or as an insert effect per layer. See the mixer section for more details on the
send/insert switch. The default mode is Bypass, with no effect loaded into the rack.
Phaser
 Notches: 2 or 4 Notches model selection
 Rate: modulation speed
 Depth: range of modulation
 Shift: shifts the harmonic range
 Feedback: increases resonance of the phasing
Chorus
 Rate: both channels modulation speed
 Delay: delay time, affects pitch
 Depth: Range of modulation

Flanger
 Rate1: left channel modulation speed
 Rate2: right channel modulation speed
 Depth: range of modulation
 Feedback: detune effect
 Delay: delay time, affects pitch
Filter
SonicSource‘s effect rack filter is capable of a large range of sounds. In LP12 mode,
the filter‘s behavior will depend greatly upon the source signal that is being filtered.
Uses for the filter can range from slow filter openings on pads using the envelope,
to warm, gritty or lo-fi sounds with the resonance‘s auto saturation feature. In
Wah mode, functionality is the same, but with a filter algorithm for accurate
reproduction of classic Wah Wah tones.
NOTE: In order avoid too much filter distortion, keep the Out Gain in the effect rack
at maximum level and reduce the input level in the mixer‘s MODULATOR section
(see section 3.7 for the mixer strip).
 Freq: set the frequency cutoff point for the filter
 Reso: boosts resonance amount
 Mode Menu: the filter features two selectable modes - LP12 and Wah
 Env Depth: amount of modulation by the envelope follower. Please note that this is
very sensitive to the input level as set in the Mixer section
 Env Mode Menu: there are four selectable envelope modes - Sens1, Sens2, Soft1
and MIDI1. The first three variations depend on the sound used and the playing
style; experiment with them according to the sound. MIDI1 disables the envelope
follower allowing easy control of Freq by MIDI CC- see MIDI learn feature in the
MIDI implementation section of this manual for information about CC assignment.
 LFO Rate: speed of LFO modulation
 LFO Rate Menu: this allows you to sync the LFO to the song tempo
 LFO Depth: amount of LFO modulation

Rotary (Leslie)
The Rotary effect simulates the classic effect of Leslie rotating cabinets, famously
known as part of the classic Hammond organ sound, and used to great effect on a
range of instruments.
 ConeSep: Sets the frequency of the Cone (upper part of the Leslie) which goes back
and front
 SlowSpd: Slow speed of the Leslie for when Run is Off
 FastSpd: Fast speed of the Leslie for when Run is On
 Acceler: Acceleration from Slow to Fast and back, when you switch Run On/Off
 Amount: Amount of "Chorus" and Pitch-Fine-Detune when Leslie is moving
 Run: Modulates the Speed of the Leslie from Slow to Fast and back
Overdrive SonicSource‘s overdrive effect can be used for slightly overdriven and
saturation type effects, as well as for amplifier simulation with its cabinet modeling.
 Tone: Controls the color of the input signal. High frequencies can be reduced to
avoid harsh treble distortion
 Drive: The two drive dials control positive and negative portions of the signal
separately so that asymmetrical saturation, typical of tube amplifiers, is possible.
Different combinations of these two setting in conjunction with the Tone setting will
produce a variety of overdrive sounds
 Cabinet: ‗Size‘ sets the box size of the cabinet emulation and ‗Wet Mix‘ sets the
amount of the distortion signal to be sent through the cabinet.

3.5.2 DELAY
The DELAY effect in SONICSOURCE is a very powerful delay unit capable of
producing a range of sounds from tape based delays, to spring and slap reverbs, to
chorus modulations.
 Fbk: The amount of the delayed signal that is then fed back through the delay line.
 Filter: Sets the low pass filter frequency for the delayed signal
 Flutter: Adds distortions and modulations to the feedback path to recreate the
effects of tape wear in tape-based delay units. It also links the delay times so that
Delay Time 1 controls the length of each delay line
 Delay Time (1 and 2): Sets individual delay times for the left and right delay lines
respectively. Clicking the (+) buttons underneath each delay time dial enables you to
sync the delay lines to host tempo with a selection of time divisions. NOTE: enabling
‗Flutter‘ (values more than zero) disables the Delay Time 2 control
 Volume (L and R): Separate volume controls for the left and right delay lines
 Reflections: introduces cross-feedback of delay lines
 Chorus Pitch: slight delay and detune of original pitch
 Chorus Depth: Range of pitch modulation in the chorus sub-unit of the DELAY

3.6 The Key and Velocity Splits Interface
SonicSource features an intuitive interface for mapping its three layers across the
keyboard, both for key splitting purposes and for setting velocity zones for each
layer.
Velocity Zones: This is where you can set each layer (A, B, C) to play only within
a selected velocity range.
Velocity zone upper value: This sets the layer‘s upper value for velocity range.
Velocity zone lower value: This sets the layer‘s lower value for velocity range.
Key Split: Setting key splits for the three layers is simply a matter of left-clicking
the left or right end of the layer range bar above the keyboard, and dragging to the
appropriate position. You can also use right-click on the mouse to access a menu
with the option ‗Split Learn Low/High‘. After selecting this option on a particular
layer, you can use your keyboard midi controller (or the GUI mini keyboard in
SonicSource) to set the low and high keys that you wish to use as the key range.

3.7 Mixer Strip
Midi Channel: At the top of each layer‘s mixer strip is a
pop-up box for setting the midi channel from which each
layer will accept notes. This is useful for using SonicSource
as a multi-timbral interface, and also for reducing CPU by
setting any layers that are not in use to an unused midi
channel.
MODULATOR Send: This is for sending an amount of the
signal from each Layer to the MODULATOR effect rack.
MODULATOR „insert‟ switch: By activating this switch
the MODULATOR rack is routed as an insert effect, and the
dials serve as input gain dials, not as sends. This is useful
for effects that are particularly suitable for insert, such as
the filter and overdrive effects. It also provides different
sound possibilities by enabling the output of the
MODULATOR rack to be feed directly into the DELAY rack.
Use the ‗about‘ menu to see a visual representation of
routing combinations in SonicSource.
DELAY Send: This is for sending an amount of the signal
from each Layer to the DELAY effect rack.
Pan: Stereo Position (Panning) of the signal per layer.
Volume: Layer output in dB. This will affect the Signal that it sent to the
MODULATOR and DELAY effect racks.
Mute: Mutes the layer's audio (zero volume) but continues processing of its sound.
For CPU saving purposes change the midi channel (see above) instead.
Transpose: Transposes the layer's pitch scale up or down by semitones to a
maximum of +/- 24 (2 octaves).
Fine Tune: Adjusts the layer's tuning by +/- fractions of one semitone, for detune,
ensemble and ‗beating‘ effects with several layers slightly detuned.

3.8 Arpeggiator
SonicSource includes a great arpeggiator. The ARP is located in the bottom left
corner of the interface. The following ARP options are explained here.
Arpeggiator off
Arpeggiator on
Speed: Is the resolution of the note played. 1/2(half) is slow, whereas 1/128 is
super fast.

Mode: Determines how the notes are arpeggiated.
 Up: Held notes arpeggiate continuously from lowest to the highest pitch.
 Down: Held notes arpeggiate continuously from highest to lowest pitch.
 Up – Down: Held notes arpeggiate continuously from lowest to highest pitch, then
from highest to lowest, then repeat.
 Random: Held notes arpeggiate continuously using random pitches.
 Order: Held notes will play the notes in the same order as you pressed them on the
keyboard.

Step Mode: Step mode lets you choose the arpeggiator pattern. Exclamation
points represent Note Hold, Periods represent short staccato notes. There is a text
file in the Music Computing SonicSource – SonicSource DATA – SonicSource Extras
folder that allows you to create additional patterns. Please back up the original
before editing.
Velocity: Determines the velocity values of the arpeggiated notes.

Key Zone Low/High: This defines pitch ranges or limits in regards to
arpeggiation. You can set different zones for high or low arp zone using this.

MIDI channel: This determines what MIDI channel the arpeggiator triggers on. If
you change this make sure to change the channel of the selected patch to the same
MIDI channel.
Hold Settings: Holds the settings while you load another preset.

3.9 Tips &Tricks
 Avoid very long releases when they are not needed, since this can result
unnecessary CPU usage and currently sounding notes being "stolen" by newly
played notes.
 When using the layer multimode filter in LP mode, be careful with lower
frequency cuts. If you hear some distortion or over saturation, try to lower
the volume or slightly adjust the ADSR settings, for example, raise the
sustain level or lower the envelope release.
 Use ‗shift + left mouse click‘ to fine tune the ADSR sliders, this is very useful
for precise Attack, Decay and Release times. ‗Shift + left click‘ can also be
used on any SonicSource parameter; likewise ‗ctrl + let mouse click‘ returns
each parameter to its default setting, and ‗alt + left mouse click toggles
between circular and linear dial control.
 In order to avoid aliasing that can be caused in the upper keyboard range,
you can use ADSR level key tracking control high harmonics by fading out
right layers towards the upper range of the keyboard. To achieve this, just
turn the KEY dial to the hard left with the KEY switch on level, so the volume
for that layer will go gradually to zero at the key zone upper limit.
 By using the SYNC and INV LFO options for PAN on each layer – for example
layer ‗A‘ with SYNC and ‗B‘ with INV - you can make sounds cross fade from
left to right in the stereo field for a great stereo effect.

3.9.1 Global Menu and Settings
Global menu and settings are accessed by clicking on the [?] button, or the Music
Computing Logo.
Save default bank: Saves the current bank of presets as the User-Default Bank,
which will load up automatically when you insert a new instance of SonicSource.
Load factory bank: Reloads the internal factory bank.
About: Shows information about the synth authors, version number, and serial
number for this copy of SonicSource. There is also a picture of the SonicSource
routing schemes to help understand the different multi-effect configurations
possible.
Save controller presets: Saves the following parameters as ‗default‘: Volume
(Soft, Normal, High), and AutoGlide.
MIDIForget: Removes all learned Midi-CC information.
Volume: Sets the base volume level between High, Normal and Soft for VST hosts
which have variable volume outputs.
Quality: Oversampling reduces noise by giving you more frequency headroom.
You can oversample in SonicSource up to 16x!

3.9.2 MIDI implementation
Message Receive Transmit Comment
Note On X - Velocity
sensitive.
Adjustable
with curve and
amount per
layer
Note Off X -
After Touch - -
Pedal Volume
(CC11)
X - Each Channel
has its own
volume CC11
Pitch Bender X - Adjustable
Range 0 – 12
semitone
All CC data X - You can use
MIDI-Learn on
any
parameter,
just right-click
for the options
menu on each
knob
Program
Change
X -
All notes off X -
Sustain Pedal X -

3.9.3 Banks and Presets
SonicSource has tons of sounds
included from the factory. This section
shows you what sounds are included.
When SonicSource is launched, the
Default Bank will load.
Default Bank:

AOS:

Default - SonicSource:

Famous Keys 1:

Famous Keys 2:

Famous Keys 3:

Famous Keys 4:

Genesis 1:

Genesis 2:

Genesis 3:

Genesis 4:

Mellotronix:

Mellotronix TC:

Xenos Soundworks:

Zvon PRlight:

3.9.4 Creating a Custom Preset/Bank
Making new presets in SonicSOURCE
Open and create a new project in your host program... Studio One, Reaper,
Cubase, FL Studio etc....... Load SonicSource Vsti into a track on that project......
Load a blank bank.......
Load the "BLANK" bank preset...... Left or right-click on the window in the upper right
corner of the SonicSOURCE interface...

Select Browse Banks>Select the [BLANK] bank.
Once this is done all the presets in the window will be named "Init."

Using the blank preset slots....
Select one of the "Init" blank preset slots....
Add sounds into A, B, and/or C. Tweak them how you like.
You will find the raw content for SonicSOURCE in the [WaveForms] folder.
SonicSOURCE will automatically select this folder once you press the [Load Sound]
button.
After you have edited your new sound and ready to go
back to your new list of presets, select [Browse Presets]
this will take you back to the list.

Rename the preset to whatever you want by right-clicking the currently selected
blank preset and selecting [Rename].
Either select another "Init" preset in the list and repeat or….
If you want to blend sounds for
simultaneous playback using the
three sound slots of
SonicSOURCE, each engine slot
(A, B, or C) has to be on the
same MIDI channel. You can set
the channel at the top of the
window adjacent to the preset
browser, right above the text that
says A, B, C.).

Save your progress.......
To save your progress you need to save the project in the host program you are
using. This will give you a back up of your new preset bank, allowing you to resume
later. Don't save the Bank at this point unless you are finished.
Once you have made all the presets and ready to save the new bank....
The last step is to save the new Bank. Once you have a bank of presets ready, you
click on the "?" at the bottom right and click "Save Bank as Default".
Then click ―Yes‖ at the prompt ―Save Current Presets as User-Default Bank?‖

That will create a new .bnk file in "C:pluginsMusic ComputingSonicSource
DATASonicSource Banks" directory, the basic name given will be "User Default".
To give that new bank a unique name, you will have to browse to the
aforementioned folder and rename that bank to whatever you want and it's done.
Right-click the file and select [Rename]. That‘s it.

4.1 TriggerGRID 64 v1.0.0
TriggerGrid 64™ is a sample player that allows you to trigger sampled sounds
via the button grid of a MIDI controller, or the piano keys. You can also create
custom kits containing up to sixty four (64) samples.
Included with the StudioBLADE are the 32 and 64 bit versions of TriggerGRID. Use
the 32bit version in 32bit daws, and the 64bit version in 64bit daws.
TriggerGRID is not a standalone app, it requires a host.

4.1.1 Understanding the Interface
TriggerGRID has three areas. Pad Edit, Sound Browser, and Trigger Grid.
Pad Edit Controls:
When you have a sample loaded on a pad, select that pad and use these controls to
modify.
 Frequency: Turning this knob will raise
and lower the pitch of the selected
sample.
 Attack: Allows for adjusting how fast a
sample starts.
 Release: This allows for adjusting the
cutoff of a sample. If your sample
abruptly ends, turn this up and the
release of the sound will smooth out.
 Wave Editor: Dragging the pointer in this window allows you to trim/truncate
a sample.
 Reverse: Placing a check mark here makes the sample on the selected pad
play backwards.
 Pad Cutoff: The Pad Cutoff feature gives a specific color group the ability to
cutoff another sound in the same color group. For instance, when using an
open and closed hi-hat. Place an open hat on pad one, place a closed hat on
pad two. Use the drop down menu, select blue for pad one, blue for pad two.
Hit the open hat pad, while that sound is decaying press pad two, it stops the
hat mimicking how a drummer can choke an open hi hat.
 Gain: This is the volume for the selected pad.
 Pan: This knob allows for adjustment of the sound in the left/right audio
channel.

Sound Browser:
The Sound Browser is where you can load, save
and select kits.
You can also browse for samples using the Pads
tree. To expand the contents of any folder in
the browser, either double left-click or use the
right arrow key.
Once a tree has been expanded you can you
will see the content that is stored within.
To browse and preview samples inside a Pad
directory you can use the Touchscreen to select
the sample and you can use the up and down
arrow on your QWERTY keyboard.

Trigger Grid:
64 Trigger Pads: The trigger grid is where you touch a pad to trigger a loaded
sample. The pads start in the upper left corner on note number 36, and proceed left
to right on each row to note number 90.
Audio Routing: TriggerGRID offers 16 outs, this allows for assigning an audio bus
for the selected pad. Select a pad and pick an output. This only works within a host
that supports bussing.
Master Volume: This is the overall volume control for TriggerGRID 64
LED Meter: This shows the output level of a selected pad

Loading a Sample
Using the Pad Directory
TriggerGRID comes with an abundance of ready to use samples. To load a sample,
expand a tree. Drag the sample to a pad.

Loading an Individual Pad
You can also load a sample by right-clicking a pad and selecting ―Load Wav File‖.
Doing this will allow you to browse to a directory where your samples are stored.

Editing a Sample
TriggerGRID allows you to make edits to the sample on a selected pad.
To do a non destructive truncation to a sample:
Add a sample to a pad. Drag from either the left or right edge of the sample
window. This cuts off any unwanted region of the start or end of the selected
sample.
Freq: Turning this knob will raise and lower the pitch of the
selected sample.
Reverse: Reverse the selected sample.
Pad Cutoff: The Pad Cutoff feature gives a specific color group
the ability to cutoff another sound in the same color group. For
instance, when using an open and closed hi-hat. Place an open
hat on pad one, place a closed hat on pad two. Use the drop down menu,
select blue for pad one, blue for pad two. Hit the open hat pad, while that
sound is decaying press pad two, it stops the hat mimicking how a drummer
can choke an open hi hat.
To smooth out the start and ending of this edit, you can use the
attack and release knobs to make the start and end points.
Use the Gain knob to make a sample louder or softer. The Pan
knob is used for positioning a sample in the left or right channel.

Saving a Kit
The [Save] button is for saving the samples you add to the pad grid. A kit can have
up to 64 samples.
Saving will also save all the edits you have made to a sample pad.

Right-click Commands
Load Wav File: Use this to load a sample to the selected
pad.
Cut: Cutting removes the sample from its current
location and places it on the Clipboard. Once you cut the
sample, you can paste within the same kit, or into a
different kit.
Copy: Once you copy the sample, you can paste it within
the same kit, or into a different kit.
Paste: When you have placed a sample on the Clipboard by copying or cutting, you
can paste them within the same kit, or a different kit.
Unload: Unloads the sample of the select pad.
Unload All: Unloads all the samples of all the pads.

4.1.3 Loading New Samples to the TriggerGRID Pad Library
Prepare your samples in a folder. Name your folder accordingly. For instance, ―My
Kicks‖. Please do not put a sub folder inside of this folder. TriggerGRID can only
browse one layer into a folder. Once you have your new sample folders prepared,
copy them to the TriggerGRID pad library.
The TriggerGRID pad library is located in:
C:/Music Computing/TriggerGRID64/Content/Pads/
This is what this directory looks like.
Drag your new sample folder to this location.

Before you launch the host and TriggerGRID you need to delete the ―library‖ file
located at:
C:/Music Computing/TriggerGRID64/Settings/
Select the ―library file‖ right-click it and select delete.
THIS IS A NECESSARY STEP TO MAKE SURE TRIGGERGRID SEES THE NEW
SAMPLES.
After this is done you can launch the host and TriggerGRID expand the Pads tree
and you will see your new sample folders.

5.1 Advanced Keyboard Functions
Using with a Foot Pedal
A foot pedal can be used for sustaining the sound that you are playing, without having to
keep your hands on the keyboard (just like the sustain pedal on a piano). You can plug a
foot pedal of any polarity, sold separately, into the foot pedal input on your StudioBLADE
keyboard. The keyboard will automatically detect the correct polarity when powering up. If
you want to reverse the polarity, simply depress the pedal when you switch on the system
The Advanced Functions Button
The Advanced Functions button is used to access all the advanced functions of the keyboard
that are located on the keybed. When the Advanced Functions button is pressed, the
keyboard goes into ―Edit Mode.‖ In Edit Mode, the keys on the keyboard are used for
selecting functions and entering data. The light above the Advanced Functions button
indicates whether or not Edit Mode is engaged. In Edit Mode, the black keys on the
keyboard are used for selecting functions, while the white keys are used for data entry and
channel selection. Your keyboard will slip out of Edit Mode as soon as a function is selected,
or the CANCEL or ENTER keys are pressed (the light above the Advanced Functions button
will turn off). The keyboard can then be used to play notes again. The following diagram
shows what each key on the keyboard represents in Edit Mode:

Advanced Functions
In addition to setting an octave shift, the two octave ―+‖ and ―-‖ buttons discussed earlier in
the manual under the section ―Octave Buttons‖ can also be used to control one of five MIDI
functions.
In the diagram on the previous page, you will see that the first 6 black keys are labeled
―DATA = ________.‖ These keys are used to select the function of the octave buttons.
Some of the functions that these keys can be used for cannot send out a value less than 0.
When used to control these functions, both lights above the buttons will remain on,
regardless of the current setting of that function.
To select an alternate function:
 Press the Advanced Functions button, putting the keyboard into Edit Mode.
 Press the black key that represents the function you want. Edit Mode will finish as
soon as you have selected the function and you will be able to play notes again.
The five available alternate functions of the octave buttons are described below:
Octave Shift
The Octave “+” And “-” Keys
Another method of shifting the StudioBLADEs octaves is with the use of the keys labeled
octave ―+‖ and ―-.‖ After the Advanced Function button has been pressed, placing the
keyboard in Edit Mode, pressing these keys will shift the keyboard‘s pitch up or down one or
more octaves (one for each time pressed). The default octave shift designation is ―0‖ and
will be the octave setting each time you power up the keyboard. The lights above the octave
buttons indicate that 0 octave shift is set when both are on.
To assign the ―+‖ and ―-‖ keys to control the octave:
 Press the Advanced Functions button to get the keyboard into Edit Mode.
 Press the black key above C1 (named C# 1), representing DATA = OCTAVE. Edit
Mode will finish as soon as C# 1 has been pressed.
There is also a method of performing a quick octave change, which can be useful when
using the octave buttons to control another MIDI
function. This is accomplished as follows:
 Press the Advanced Functions button to put the keyboard in Edit Mode.
 Press the black key below B2 (Bb2)—in Edit Mode, this key functions as ―OCTAVE +‖,
increasing the octave by 1 (you may press it again to increase the octave by 2, and
so on).
 Press the black key above F2 (F# 2)—in Edit Mode, this key functions as ―OCTAVE -‖,
decreasing the octave by 1 (you may press it again to decrease the octave by 2, and
so on), OR, you can press the black key above G2 (named G# 2)—in Edit Mode, this
key functions as ―OCTAVE 0‖ to reset the octave shift to 0.
 When you have chosen your octave shift press C5, representing ―ENTER,‖ to leave
Edit Mode.

Transposition
In some cases it may be useful to reduce or increase the pitch by a number of semitones
rather than an entire octave. For example, if you are playing a song with a singer that is
having difficulty hitting the top notes, you may want to reduce the pitch by one or two
semitones.* This is achieved using a MIDI function called ―Transpose.‖
Transpose works in the same way as Octave Shift above, except the shift is +/- 12. As with
Octave Shift, there are two ways of transposing the keyboard. You can use the Octave ―+‖
and ―-‖ buttons, or the black keys F# 3, G# 3 and Bb3. These black keys represent
―TRANSPOSE -,‖ ―TRANSPOSE 0‖ and ―TRANSPOSE +,‖ respectively.
To assign the Octave ―+‖ and ―-‖ buttons to transpose:
 Press the Advanced Functions button to engage Edit Mode.
 Press the black key above D1 (named D# 1), representing ―DATA = TRANSPOSE.‖
(Edit Mode will disengage as soon as D# 1 has been pressed.)
 Press the ―+‖ key and you will hear the pitch of the note you play go up.
 Press both ―+‖ and ―-―together to cancel transpose.
*A semitone represents the change in pitch from one note to another. Therefore, changing
two semitones is the same as playing a note two notes higher.
MIDI Channel
MIDI data from the keyboard can be sent on any of 16 MIDI Channels. However, certain
MIDI devices and MIDI software applications require the keyboard to send data on a
specified channel. If this is the case, you can change the channel the data is sent using the
following method:
 Press one of the 16 Channel keys from D1 to E3, according to the Channel that you
need.
For example, if a device specifies that you need to send data on Channel 10, press the
Advanced Functions button, and then key F2 to select Channel 10.
The Channel can also be assigned to the Octave ―+‖ and ―-‖ buttons. Once assigned,
pressing ―+‖ or ―-‖ will increase or decrease the channel incrementally. When Channel 16 is
reached and ―+‖ is pressed, Channel 1 will be selected. If the Octave ―+‖ and ―-‖ keys are
selected to vary the Channel, the lights above the buttons will not change, since it is not
possible to have a Channel with a negative value. Pressing both the ―+‖ and ―-‖ buttons
together will recall Channel 1.

Program Change
Program Changes are used to change the instrument or voice you are using. For the sake of
example, we will change the instrument to a bass sound. To do this we need to send a
program change of 32. There are two ways to send a program change:
1. Incremental/Decremental Program Change:
 Press the Advanced Functions button.
 Press the black key above F1 (named F# 1).
 Now the Octave ―+‖ and ―-‖ keys can be used to change the program.
 Press ―+‖ and continue to play notes until you find the instrument you want.
2. Quick Select Program Change:
 Press the black key above F4 (named F# 4), representing ―Program.‖
 Press keys C4, then E3 then C5. This enters the combination: ―3,‖ ―2,‖ ―ENTER.‖
Alternatively, you can use the ―+‖ and ―-‖ buttons to change the value, then press
ENTER. Now the keyboard will play a bass sound: Number 32 as listed in the General MIDI
Instruments list.
The first method is useful if you want to cycle through different instruments to see which sounds best in
your song. The second is more useful if you want to select a specific number, as is the case here.
If the Octave “+” and “-” keys are selected to vary the Program number (Method 1), the lights above the
buttons will not change, since it is not possible to have a Program with a negative value. Pressing both
the “+” and “-” buttons together will recall Program 0, which selects a grand piano sound.
Bank LSB and Bank MSB
Program Changes are most commonly used to change instruments and voices. However, the
number of instruments accessible via Program Changes is limited to 128. Some devices
have more than 128 voices and require a different method to access these extra voices.
Generally, these devices use Bank LSB and Bank MSB messages.
1. Incremental/Decremental Bank LSB and Bank MSB Changes:
 Press the black key above G1 (named G# 1).
 Now the Octave ―+‖ and ―-‖ keys can be used to change the program.
 Press ―+‖ and continue to play notes until you find the instrument you want.
2. Using the Quick Select Method:
 Press the black key above G4 (named G# 4), or A4 (named A# 4), representing
Bank LSB or Bank MSB respectively.
 Press keys C4, then E3 then C5. This enters the combination: ―3,‖ ―2,‖ ―ENTER.‖
Alternatively, you can use the ―+‖ and ―-‖ buttons to change the value, and then
press ―ENTER.‖

As with Program Change, if the Octave ―+‖ and ―-‖ keys are selected to vary the Bank LSB
or MSB number (Method 1), the lights above the buttons will not change, since it is not
possible to have a Bank with a negative value. Pressing both the ―+‖ and ―-‖ buttons
together will recall Bank 0.
The Modulation Wheel
It is possible to assign MIDI effects to the Modulation Wheel. Some useful effects are
 01 Modulation
 07 Volume
 10 Pan (balance)
 05 Portamento
There are 131 effects in total. However, for these effects to have any affect on the sound,
the receiving MIDI device must be able to read and respond to these MIDI effect messages.
Most devices will at least respond to volume, modulation, and pan data. (The full list of
effects is given at the back of this manual.)
To assign an effect to the Modulation Wheel:
 Press the black key above C4 (named C# 4), representing ―WHEEL ASSIGN.‖
 Use the Numerical Data Entry keys G3-B4 to enter the number of the effect you want
to assign to the Modulation Wheel.
Alternatively, you can use the ―+‖ and ―-‖ buttons to change the value.
 Press the ENTER key (C5).
 Move the Modulation Wheel upwards to increase the value of the effect.
If you have made an error while entering the numerical data value, you can press the
CANCEL key (C1) to exit Edit Mode without changing the effect assigned to the Modulation
Wheel.
Note that each time the keyboard is turned off, the data assigned to the Modulation Wheel
will be lost. Each time the keyboard is powered up, the Modulation Wheel will be assigned to
modulation (effect number 01) by default.
For the sake of example, we will assign effect number 10 (pan, or balance) to the
Modulation Wheel.
 Press the black key above C4 (named C# 4), representing ―WHEEL ASSIGN.‖
 Press A3 to enter ―1.‖
 Press G3 to enter ―0‖ so you have entered ―10.‖
 Press C5 for ―ENTER.‖
Pitch Bend Sensitivity
It is possible to alter the sensitivity of the Pitch Bend Wheel by assigning effect number 128
to the Modulation Wheel or Volume Slider. This will allow you to alter the pitch bend range
up to one octave up and down.

6.1 Music Computing Warranty Information
USA WARRANTY
 All parts and workmanship of this Music Computing product are fully
guaranteed to be free of manufacturing defects under normal use and service
for a period of one (1) year from the date of purchase.
 Registration of the product is required.
 Any damage resulting from the mis-use or failure to follow instructions and
precautions as stated in the product manual will void this warranty.
 Should this Music Computing product require repair during the warranty
period, Music Computing will assume responsibility for the repair service. DO
NOT RETURN THE PRODUCT TO THE DEALER. Contact Music Computing
directly using these methods.
o Phone: 512-777-4298
o Email: support@musiccomputing.com
o Support Online: http://www.musiccomputing.com/techsupport
 This warranty is void if the original serial number has been altered or
removed, or if the unit has been altered in any way.
 Music Computing reserves the right to make changes in the design and/or
improvements upon their products without any obligation to include those
changes in any products previously manufactured.
Return Policy
 If a product is defective, Music Computing can elect to repair or replace the
product at its sole discretion
 If DOA, Music Computing will pay for Ground shipping both ways, otherwise
customer is responsible for shipping to Music Computing and Music
Computing will be responsible for return Ground shipping to customer
 Upgraded return shipping will be an additional charge
 Returning products MUST be shipped in original shipping packaging,
otherwise contact Music Computing for replacement packaging. A fee of
$100 will be charge per replacement shipping package
At Music Computing, we have tried to keep our warranty and service policies simple
and easy to use. Should you encounter any problems with your Music Computing
product, you should first contact our Customer Support Department at 512-777-
4298.

6.2 Software License Agreement
SOFTWARE LICENSE AGREEMENT
BEFORE YOU USE THIS SOFTWARE, CAREFULLY READ THE TERMS AND
CONDITIONS OF THIS AGREEMENT. BY USING THIS SOFTWARE, YOU ARE
CONSENTING TO BE BOUND BY AND ARE BECOMING A PARTY TO THIS
AGREEMENT. IF YOU DO NOT AGREE TO ALL OF THE TERMS OF THIS AGREEMENT,
DO NOT INSTALL, COPY, DOWNLOAD, ACCESS OR USE THE PRODUCT.
This End-User License Agreement ("Agreement" or "License") is a legal contract between
you ("You" or "Licensee") and Music Computing, Inc ("Music Computing") for use of the
Music Computing software programs TriggerGRID 64™, which includes computer software
and its resources (the "Software") and the Software user guide and support files (the
"Software Documentation") accompanying this License (collectively the "Product").
1. General Grant of License
The Product is not sold. Music Computing grants You a nonexclusive, nontransferable license
to use the Product only under the terms of this Agreement. This Agreement gives You
limited rights to use the Software for the purposes described in the Software
Documentation. This Agreement does not grant You any ownership or intellectual property
rights to the Product in part or whole. The Product and any copies that you are authorized
by Music Computing to make are the intellectual property of and are owned by Music
Computing Inc.
2. Permitted License Uses and Restrictions
2.1 You may not copy, decompile, attempt to discover the source code or resources,
reverse engineer, disassemble, modify, or create derivative works of the Software in whole
or part, including translation to another language, computer language or format. You may
not attempt to unlock or bypass any copy protection or authentication algorithm utilized by
this Product. You may further not remove, hide or change any textual or graphical
information like labels, copyright or license notices.
3. Copyright
The Product is protected by United States of America copyright laws and international
treaties. Unauthorized reproduction or distribution of the Software or documentation is
subject to civil and criminal penalties. TriggerGRID 64™ and GeoMIDI™ are both
trademarks of Music Computing. VST is a trademark of Steinberg GmbH. All other
trademarks are the property of their respective owners.
4. Terms
This license is effective until terminated. You may terminate it by destroying the complete
Product and all copies thereof. This license will also terminate if You fail to comply with any
terms or conditions of this agreement. Upon termination of this Agreement, You shall cease
all use of the Product, and destroy all copies of any portion of the Product in your
possession.

5. Disclaimer of Warranties
THE PRODUCT IS PROVIDED "AS IS AND WITH ALL FAULTS" WITHOUT WARRANTY OR
CONDITIONS OF ANY KIND. THE PRODUCT MAY CONTAIN BUGS, ERRORS, OR OTHER
PROBLEMS. YOU EXPRESSLY ACKNOWLEDGE AND AGREE THAT USE OF THE PRODUCT IS
AT YOUR SOLE RISK AND THAT YOU AGREE
TO ACCEPT THE PRODUCT "AS IS AND WITH ALL FAULTS". MUSIC COMPUTING MAKES NO
WARRANTIES AND CONDITIONS WITH RESPECT TO THE PRODUCT, EITHER EXPRESS,
IMPLIED OR STATUTORY, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES
AND/OR CONDITIONS OF MERCHANTABILITY, OF SATISFACTORY QUALITY, OF FITNESS
FOR A PARTICULAR PURPOSE, AND NON-INFRINGEMENT OF THIRD PARTY RIGHTS. MUSIC
COMPUTING RESERVES THE RIGHT TO REVISE THE PRODUCT WITHOUT OBLIGATION TO
NOTIFY ANY INDIVIDUAL OR ENTITY OF SUCH REVISIONS. MUSIC COMPUTING DOES NOT
AND CANNOT WARRANT THAT THE PERFORMANCE OR RESULTS YOU MAY OBTAIN BY
USING THE PRODUCT WILL MEET YOUR REQUIREMENTS, OR THAT THE PRODUCT WILL BE
ERROR-FREE OR UNINTERRUPTED, OR THAT DEFECTS IN THE PRODUCT WILL BE
CORRECTED. THE PROVISIONS OF SECTION 5 AND SECTION 6 SHALL SURVIVE THE
TERMINATION OF THIS AGREEMENT, HOWEVER CAUSED, BUT THIS SHALL NOT IMPLY OR
CREATE ANY CONTINUED RIGHT TO USE THE PRODUCT AFTER TERMINATION OF THIS
AGREEMENT.
6. Limitation of Liability
IN NO EVENT SHALL MUSIC COMPUTING , ITS MEMBERS, MANAGERS, EMPLOYEES, AND
AFFILIATES (COLLECTIVELY REFERRED TO AS "MUSIC COMPUTING" FOR THE PURPOSES OF
SECTIONS 5 AND 6) BE LIABLE TO YOU OR OTHERS FOR ANY INDIRECT, INCIDENTAL,
CONSEQUENTIAL OR SPECIAL DAMAGES WHATSOEVER (INCLUDING, BUT NOT LIMITED TO,
DAMAGES FOR LOSS OF PROFITS, LOSS OF GOODWILL, LOSS OF SAVINGS, LOSS OF
DATA, LOSS OF BUSINESS INFORMATION, BUSINESS INTERRUPTION OR ANY OTHER
COMMERCIAL DAMAGES OR LOSES), RESULTING FROM ANY DEFECT IN THE PRODUCT
WHETHER FORESEEABLE OR NOT, ARISING OUT OF THE USE OR INABILITY TO USE THE
PRODUCT, HOWEVER CAUSED, REGARDLESS OF THE THEORY OF LIABILITY (CONTRACT,
TORT OR OTHERWISE) AND EVEN IF MUSIC COMPUTING HAS BEEN ADVISED OF THE
POSSIBILITY OF SUCH DAMAGES. IN PARTICULAR, MUSIC COMPUTING SHALL HAVE NO
LIABILITY FOR ANY DATA STORED IN OR USED WITH THE PRODUCT, INCLUDING THE COST
OF RECOVERING SUCH DATA. THE FOREGOING LIMITATIONS, EXCLUSIONS AND
DISCLAIMERS APPLY TO THE EXTENT PERMITTED BY APPLICABLE LAW. IN NO EVENT SHALL
MUSIC COMPUTING'S ENTIRE LIABILITY UNDER ANY PROVISION OF THIS AGREEMENT
EXCEED THE AMOUNT ACTUALLY PAID BY YOU FOR THE PRODUCT, IF ANY.
© 2010 Music Computing, Inc. All Rights Reserved.

IntroductionReferenceAppendixIndex
Studio One
Reference Manual

Studio One
2
Contents
Introduction 4
1 Getting Started 5
1.1 Installation and Use 5
1.2 About This Manual 7
2 Pages 9
2.1 Start 9
2.2 Song 11
2.3 Project 11
2.4 Quick Switch 12
3 Fundamentals 13
3.1 Nondestructive Editing and
Undo/Redo 13
3.2 High-Precision Mix Engine 13
3.3 Automatic Delay Compensation 14
3.4 The 64-Bit End-to-End Signal Path
14
3.5 Look Mom, No MIDI! 14
3.6 Drag-and-Drop Support 14
3.7 Control Link 15
Reference 16
4 Setup 17
4.1 System Requirements 17
4.2 Set Up Your Audio Device 17
4.3 Audio Device Input/Output Setup
19
4.4 Set Up Your MIDI Devices 21
4.5 Managing Your Content 25
4.6 Creating a New Song 27
4.7 Advanced Options 29
5 Recording 32
5.1 Audio Tracks 32
5.2 Instrument Tracks 36
5.3 Activating Recording 40
5.4 Metronome Control 42
5.5 Loop Recording on
Audio Tracks 44
5.6 Instrument Track Recording
Modes 45
5.7 Track Layers 46
5.8 Audio Recording Format 46
5.9 Creating a Good Monitor Mix 46
5.10 Cue Mixes and Zero-Latency
Monitoring 47
5.11 Print Effects While Recording 49
6 Editing 51
6.1 Events 51
6.2 Tool and Event Snapping 51
6.3 Arrange View Mouse Tools 52
6.4 Common Editing Actions 56
6.5 Edit View Event Editing 57
6.6 Editing Audio Events 58
6.7 Editing Instrument Parts 58
6.8 Editing Commands 63
6.9 Edit Groups 64
6.10 Timestretching 65
6.11 Navigating with Zoom 68
6.12 Editing Suggestions 69
7 The Browser 70
7.1 Importing Files with the
Browser 70
7.2 The Pool 74
7.3 Instruments and Audio Effects 76
7.4 Sound Sets 79
7.5 Browsing Song and Project
Content 79
7.6 Importing Other Application
Project Files 80
8 Arranging 81
8.1 Quickly Duplicating Events 81
8.2 Duplicating Tracks 81
8.3 Tempo Track 82
8.4 Time Signature 82
8.5 Bouncing 83
8.6 Adding Time to the
Arrangement 84
9 Mixing 85
9.1 The Console 85
9.2 Signal Routing 92
9.3 Groups 98
9.4 Metering 99
9.5 Automatic Plug-In Delay
Compensation 101
9.6 Manual Audio Track Delay 101
9.7 Using the Marker Track 102
9.8 Looping During Mixing 103
9.9 Mixing Down 104
9.10 Export Individual Tracks from
your Song 106
9.11 Mixing Suggestions 107
Table of Contents

Reference Manual
3
Table of Contents
10 Automation 111
10.1 What is Automation? 111
10.2 Track Automation 111
10.3 Editing Track Automation
Envelopes 113
10.4 Automation Modes 115
10.5 Instrument Part Automation 117
11 Control Link 119
11.1 What is Control Link? 119
11.2 Set Up Your External Devices 119
11.3 Map Your Keyboard 119
11.4 Control Linking 121
11.5 Global and Focus Mapping 122
11.6 Automation with Hardware
Controllers 124
12 Mastering 127
12.1 Creating a New Project 127
12.2 Adding Tracks 128
12.3 Track Sequencing 130
12.4 Editing Tracks 131
12.5 Using Insert Effects 132
12.6 Master Device Rack 133
12.7 Metering 133
12.8 Publishing Your Project 134
12.9 Song and Project Integration 136
13 Built-In Effects 139
13.1 Built-In Effect Micro Views 139
13.2 Built-In Effect Metering Options 139
13.3 Analysis 139
13.4 Delay 142
13.5 Distortion 145
13.6 Dynamics 147
13.7 Mastering 152
13.8 Mixing 154
13.9 Modulation 157
13.10 Reverb 162
13.11 Pipeline: 164
14: Built-in Virtual Instruments 167
14.1 SampleOne 167
14.2 Impact 171
14.3 Presence 174
14.4 Mojito 177
Appendix 180
Table 1 Key Commands 180
Table 2 Features Excluded from
Studio One Artist 185
Index 186

Studio One
4

Introduction
This part of the Studio One Reference Manual contains general informa-
tion, including information about this manual and about the basic layout
and workflow of Studio One.
This is a great place to start for experienced and new audio-software
users alike. Chapter 1: Getting Started

Reference Manual
5
1 Getting Started
1.1 Installation and Use
Studio One will be installed from either a physical installation disc or a
downloaded installer package, depending on the method of your pur-
chase. Once installed, Studio One must be activated in order to use the
program. The following sections describe the required steps to install and
use Studio One.
1.1.1 Installing Studio One
To install Studio One, insert your Studio One installation disc into your
computer’s DVD drive or launch the installer package previously down-
loaded to your computer. Follow the onscreen instructions to complete
the installation process.
1.1.2 Create a User Account
After installing Studio One, launch the program, and the Activate Studio
One menu will appear. If you are a new Studio One user, you will need to
create a user account. Follow the Create Account link if your computer is
connected to the Internet. Once you have created your account, skip to
the Activate Studio One section of this chapter.
If your computer is not connected to the Internet, visit the Studio One
product page at www.presonus.com on another computer to create your
account. After you have created your account, you will need to follow the
offline-activation instructions in the Activate Studio One section of this
chapter.
1.1.3 Activate Studio One
Now that you have created a user account, you can activate your copy of
Studio One. Launch Studio One, and the Activate Studio One menu will
appear.
If the computer on which Studio One has been installed is connected to
the Internet, click on the Activate Online link and enter your previously
created account Username, Password, and the Product Key you received
with the Studio One installation disc or in an email, if you made a pur-
chase online. Click on the Activate button to finish the activation process.
If the computer on which Studio One has been installed is not connected
to the Internet, click on the Activate Offline link in the Activate Studio
One menu. Follow the instructions to log in to your previously created
user account, register the product, and obtain a license file. Next, copy
Getting Started 1

Studio One
6
1 Getting Started
the license file to the computer on which Studio One has been installed
and locate the license file as instructed in the Activate Studio One menu.
The activation process is now complete.
1.14 Installing Studio One Content
Studio One comes bundled with an array of demo and tutorial
material, sampled instruments, loops and samples, and unique
third-party content. The basic Studio One Artist bundle includes all
that you need to begin producing music. Studio One Pro expands
on the content found in Studio One Artist.
The content available to install is based on the version of Studio
One you have activated. If you upgrade from Studio One Artist to
Studio One Pro at any time, you will be able to install the additional
content at that time.
Upon completing the Studio One installation and activation proc-
ess, the Studio One Content Installer will appear. If it does not ap-
pear, navigate to Help/Studio One Installation.
At the top of the installation menu, select the source from which
the content will be installed, as well as the location where you wish
to install the content. The source of the content will either be a
physical DVD included with Studio One or a downloaded installer
package. By default, Studio One will point to your DVD drive as the
content source.
Listed in the installation menu are separate entries for each avail-
able item. Click in the checkbox next to each item you wish to
install, then click on the Install Packets button at the bottom left of
the menu to install the selected content. Notice that under each
listed item, the expected source DVD is listed.
When finished installing content, click on the Done button to exit
the menu.
Studio One content can be installed at any time by accessing the
Help/Studio One Installation menu. If you are not sure that you
want to install any portion of the content, you can decide to do so
at a later time.

Reference Manual
7
1.2 About This Manual
1.2.1 Versions
There are currently two versions of Studio One: Studio One Pro and
Studio One Artist. Both run under the Windows and Mac OS X operating
systems. This reference manual will serve both versions; however, Studio
One Artist will not include certain features. A detailed list of these exclu-
sions is provided in Appendix Table 5.
All screenshots provided in this manual are taken from the Windows
(Vista 32-bit) version.
1.2.2 Tips
This manual presents many shortcuts and alternative methods or func-
tions. These tips are intended to improve your workflow, and will be
shown as follows:
Helpful information.
Also note that if you float the mouse over any tool, button, or window in
Studio One for a few seconds, a Tooltip will appear that names the func-
tion the tool, button, or window serves.
1.2.3 Key Commands
Many operations in Studio One have associated key commands, or key-
board shortcuts, that can be used in lieu of navigating menus with the
mouse. Some key commands use modifier keys, and some modifier keys
differ depending on the operating system.
In this manual, key commands with modifier keys are shown with the
Windows modifier key first, as follows: [Win modifier key]/[Mac modifier
key]+[key]. For example: [Ctrl]/[Cmd]-[C] means“press [Ctrl]/[Cmd]+C in
Windows, or press [Cmd]+C in Mac OS X.”
Where there is no difference between the Windows and Mac version of a
key command, only one key command will be displayed. Example: [F3].
In several instances, options are located in the File menu for the Windows
version but in Preferences in the Mac OS X version. In these cases, the
Windows location is given first, and the Mac location follows in [brackets].
A complete list of key commands is provided in Appendix Table 1.
Getting Started 1

Studio One
8
1 Getting Started
1.2.4 Key Commands for Migrating Users
If you are migrating from another DAW to Studio One, you might find it
helpful to switch the key-command set you are using to one specifically
created to make the transition from another DAW easier.
In File/Options/General, you will find a heading called Keyboard Map-
ping Scheme. Here, you can select from keyboard maps for several other
DAWs. Selecting one of these maps will allow Studio One to recognize
and apply common key commands from that DAW.
Lists of key commands used for each DAW are provided in supple-
mental PDF files that can be downloaded from the Technical
Support>Downloads>Tutorials/Manuals area of the PreSonus Web site
(www.presonus.com).
1.2.5 Menu Functions
Many functions can be reached using hierarchical menus. Where menu
navigation is referenced in this manual, it will appear as follows: Menu/
Menu Entry/…/Function.

Reference Manual
9
2 Pages
Studio One is a complete music-production environment featuring three
main pages: Start, Song, and Project. Each page is designed to help you
accomplish a specific task, and each is accessible at all times.
In this chapter, we will discuss the general layout of the user interface for
each page. For more detailed information on anything mentioned in this
chapter, please refer to the Index.
2.1 Start
When Studio One is launched, by default you will be taken to the Start
page. On this page, you will find document-management and device-
configuration controls, as well as an artist profile, a news feed, and links to
demos and tutorials. The following section provides a brief description of
the Start page.
2.1.1 Tasks
In the top portion of the Start page, you will find three options: Create a
New Song, Create a New Project, and Open an Existing Song or Project. A
Song is where you can record, edit, arrange, and mix audio and musical
data. A Project is where multiple Songs or audio files can be arranged and
mixed on a single timeline for mastering purposes. Songs are accessed in
the Song page, and Projects are accessed in the Project page.
2.1.2 Recent Files
The recent-files list will include links to the most recently accessed docu-
ments. Click on any of these links to quickly open the associated Song or
Project.
2.1.3 Setup
This window will display your currently selected audio device and con-
tains links to configure your audio device, configure external devices,
check for updates, and view information about Studio One.
2.1.4 Configure Audio Device
Studio One automatically selects, from a list of devices installed on your
computer, an audio device (such as an audio interface) to use for audio
input and output. To select a different device, click on the Configure
Audio Device link to access the Audio Setup tab in the Options menu. For
Pages 2

Studio One
10
2 Pages
in-depth information on how to set up your audio device, refer to the Set
UpYour Audio Device section of the“Setup”chapter.
2.1.5 External Devices: Keyboards, Instruments, and Control Surfaces
Studio One can send and receive musical data to and from any MIDI
device connected to your computer. Studio One’s advanced use of MIDI
devices requires you to tell it a few things about your devices. For details
on how to set up these devices, refer to the Set UpYour MIDI Devices sec-
tion of the“Setup”chapter.
2.1.6 Check for Updates
From time to time, software updates will be issued for Studio One to
incorporate bug fixes and/or new functionality. To manually check for any
updates, click on the Check for Updates link.Your version number, as well
as the most current version number, will then be displayed. If a newer ver-
sion of Studio One is available, a link to download the newer version will
also be displayed.
2.1.7 About
Click on the About link to view your current license and version informa-
tion, as well as information about the Studio One development team.
2.1.8 Artist Profile
Here you can specify certain meta-information that is used to tag your
Songs, including an image, artist name, genre, and artist Web-site link. To
add an image to the artist information, drag-and-drop it onto the image
icon from any location on your computer. In addition to personalizing
Studio One, this feature is functional in that it saves you the effort of fill-
ing in this meta-information for every Song.
2.1.9 News Feed
The Studio One news feed comes directly from PreSonus. This news feed
contains helpful information related to Studio One and will update auto-
matically if your computer is connected to the Internet.
2.1.10 Demos and Tutorials
Any installed demo or tutorial songs will appear in the Demos list, which
can be launched by clicking on the demo-song name. Use these demo
songs to check out various aspects of Studio One.

Reference Manual
11

2.2 Song
When a new Song is created, or an existing Song is opened, you will be
taken to the Song page. This page contains all of the necessary tools to
record, edit, arrange, and mix multitrack audio.
2.2.1 Song Page Workflow
The Song page is a complete multitrack audio-production environment
with a single-window interface. On this page, any number of audio and
instrument tracks can be recorded, edited, and arranged. Any number of
audio effects, virtual instruments, and external effects and instruments
can be used, and almost any parameter can be automated using track or
part automation.
An integrated Browser makes it fast and easy to find and import audio
and musical data files, VST/AU audio effects, and VST/AU virtual instru-
ments and applications. Audio files can be imported and automatically
time-stretched to fit the current tempo. Virtual instruments can be
dragged from the Browser directly into the Song for instant setup of all
parameters, allowing a fast workflow when inspiration hits.
For more information on the Song page, refer to the Reference section of
this manual.
2.3 Project (Studio One Pro only)
When you create or open a Project, you will be taken to the Project page.
This area contains the tools you need to master and publish audio.
2.3.1 Project Page Workflow
The Project page is a dedicated mastering solution integrated into Studio
One Pro. Here, you can burn industry-standard Red Book audio CDs and
create high-quality MP3 albums. Songs and audio files are arranged as a
sequence of tracks on a continuous timeline.
You can apply effects to individual tracks, as well as to the master output
track, in order to achieve sonic continuity throughout the Project. An
integrated Browser makes importing Songs, audio files, and audio effects
quick and simple.
Pages 2

Studio One
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2 Page
High-quality master output metering is displayed at all times, including
Spectrum, Peak/RMS, and Phase meters. These tools will help you know at
a glance exactly what is going on in your Project.
As mentioned, Songs can be imported directly into your Projects with-
out having to export a Song mix. After a Song has been imported into a
Project, you can go back and change the Song mix, and the Project will
be automatically updated.
For detailed information on the Project page, refer to the“Mastering”
chapter.
2.4 Quick Switch
In Studio One Pro, you can have multiple Songs and Projects open
simultaneously and can switch between them quickly. The fastest way to
switch between any open Song or Project, as well as the Start page, is to
press [Ctrl]+[Tab] and continue to hold [Ctrl] on the keyboard. This will
display a pop-up list of all open documents.
While holding [Ctrl], press [Tab] to cycle through the open documents.
Release [Ctrl] when the desired document is selected; now you can view
that document.

Reference Manual
13
3 Fundamentals
The following chapter presents important, fundamental design aspects
of Studio One. Familiarity with these aspects of Studio One will help to
ensure that your experience is as enjoyable and creatively stimulating as
possible.
3.1 Nondestructive Editing and Undo/Redo
Almost every editing action in Studio One can be undone and redone.
There is no limit to how far back actions can be undone or to how far for-
ward actions can be redone once they have been undone. Most actions
that cannot be undone or redone are accompanied by verification dialog
boxes. Even Console and plug-in changes can effectively be undone by
using the Console’s Trash Bin.
So feel free to explore without fear that you will permanently alter any-
thing. In fact, just pressing buttons might be the quickest way to learn,
and it often leads to results not achievable in any other way!
3.2 High-Precision Mix Engine
Studio One features a cutting-edge high-precision mix engine. A mix
engine is the“number cruncher”that does the mathematical summing
required to mix multiple sources of digital audio. Studio One Pro employs
a 32-/64-bit floating point, mixed-mode engine. This means that the
audio engine can automatically switch between using 32-bit, single-pre-
cision floating-point and 64-bit, double-precision floating-point math, on
the fly, depending on the capability of the plug-ins (VST/AU effects, etc.)
inserted into the signal chain.
In Files/Options/Audio Setup (Mac OS X: Preferences/Options/Audio
Setup), set Process Precision to Double (64-bit) to activate 64-bit
processing. Otherwise, all processing will be done in single precision
(32-bit).
Studio One will process audio as accurately as current technology allows,
ensuring that your audio maintains the highest quality possible.
Fundamentals 3

Studio One
14
3 Fundamentals
3.3 Automatic Delay Compensation
Studio One automatically compensates for the time delay that results
from some VST and AU processing. This saves having to manually realign
tracks to compensate for the delay and keeps all tracks perfectly in sync
regardless of the number of virtual plug-ins and effects you run. If you do
not want Studio One to automatically compensate for this, select Ignore
Plug-in Latency from the Transport menu. For more information on this
topic, refer to the Automatic Plug-in Delay Compensation section of the
“Mixing”chapter.
3.4 The 64-Bit End-to-End Signal Path
Studio One Pro includes a built-in 32/64-bit effects suite, in which every
effect can process audio using 64-bit, floating-point math. So, if you use
only the built-in effects suite for all of your processing needs, you can
have a full 64-bit signal path from end to end. In this way, Studio One Pro
offers you the very best that current audio technology can offer.
3.5 Look Mom, No MIDI!
The Musical Instrument Digital Interface (MIDI) specification was created
in 1983. While it has served musicians well for more than 25 years, it has
limitations. Ironically, while the MIDI-device integration in Studio One
provides revolutionary flexibility and ease of use, much of this functional-
ity is made possible by not using MIDI internally.
As an example, near sample-accurate parameter automation is provided
within virtual instrument parts, rather than much lower-resolution MIDI
control-data automation. The Control Link system is also made possible
by abstracting MIDI from our internal processes. As MIDI evolves, and
new potential standards are developed, Studio One remains prepared for
the innovations of the future.
3.6 Drag-and-Drop Support
Many functions in Studio One have integrated drag-and-drop support.
This means that objects can be clicked on and then dragged to various
locations and over other objects in order to accomplish certain tasks. For
example, you can find an audio effect in the Browser, and then click-and-
drag it directly onto a track to insert the effect onto that track.You can
then click-and-drag that effect onto another track to copy that effect and
its settings to a new track.
You can drag a virtual instrument from the Browser and drop it in a blank
space in the Arrange view to create a new Instrument Track with that
virtual instrument.You can also drop the virtual instrument on top of an
Instrument Track to replace the existing virtual instrument. This allows
you to work very quickly, without having to stop for menu navigation or

Reference Manual
15
other distracting processes. Give your left brain a break and stay in the
creative zone!
3.7 Control Link
In order to use hardware MIDI devices to control software parameters,
one has generally needed a thorough understanding of MIDI architec-
ture—and lots of patience. Studio One changes all this with the Control
Link system, the most intuitive MIDI-mapping system available. With very
little configuration, you can achieve a lot of control over your software
and external equipment. Simply moving the hardware and software
controls to be linked and then clicking the Link button accomplishes in
seconds what used to require an entire afternoon. Furthermore, with
Global and Focus Mapping modes, the Control Link system offers unpar-
alleled flexibility.
For more on the Control Link System, refer to the“Control Link”chapter.
Fundamentals 3

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Reference
This part of the Studio One Reference Manual contains detailed informa-
tion on all aspects of the software and is organized by the various pro-
cesses and functions you will encounter in producing your recordings.
We recommend that all users become familiar with the general layout
and workflow of Studio One as presented in the Introduction of this
manual before reading the Reference section. You also may wish to refer
to the Appendix or Index.

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4 Setup
This chapter contains information about system requirements, hardware-
device setup, and software setup. A thorough knowledge of this informa-
tion will be helpful before attempting to work in Studio One.
4.1 System Requirements
The following are the system requirements to run Studio One.
Macintosh••
Operating Systems:••
Mac OS X 10.4.11 or Mac OS X 10.5.2 or higher••
Hardware:••
Minimum:••
PowerPC G4 1.25 GHz or Intel Core•• Solo 1.5 GHz processor
1 GB RAM••
Recommended:••
PowerPC G5 or better or Intel Core Duo or Intel Xeon processor••
or better
2 GB or more RAM••
Windows PC••
Operating Systems:••
Windows XP or Vista••
Hardware:••
Minimum:••
Intel Pentium 4 1.6 GHz processor or AMD Athlon 64 (Turion)••
1 GB RAM••
Recommended:••
Intel Pentium 4 2.8 GHz EM64T or better or AMD Athlon 64••
3000+ or better
2 GB or more RAM••
4.2 Set Up Your Audio Device
Studio One automatically selects, from a list of devices installed on your
computer, an audio device to use for audio input and output. To select
a different device, navigate to Files/Options/Audio Setup (Mac OS X:
Preferences/Options/Audio Setup). Then follow these steps to configure
your audio device for use in Studio One:
Select a device from the1. Audio Device drop-down menu under the
Files/Options/Audio Setup (Mac OS X: Preferences/Options/Audio
Setup) menu .
Setup 4

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4 Setup
If you wish to change the settings for the selected device, click on the2.
Control Panel button next to the device-selection drop-down menu
and make your changes within the device’s control panel.
When using a Core3. Audio device, you will see a Device Block Size set-
ting. The Device Block Size is the audio device’s buffer size, which has
a direct impact on your audio device’s performance.You can increase
or decrease the Device Block Size by sliding the horizontal fader left or
right. The appropriate setting depends upon your specific use of Stu-
dio One. For more on this refer to the Maximizing Computer Process-
ing Power section of the“Mixing”chapter.
In the Windows version of Studio One, Internal Block Size can be4.
locked to the Device Block Size by checking the Lock box (checked by
default). The Internal Block Size is the software buffer size, which will
have a direct impact on your computer system and on Studio One’s
performance. For more on this refer the Maximizing Computer Pro-
cessing Power section of the“Mixing”chapter.
If unlocked, the Internal Block Size can be selected from a drop-••
down menu. If you are unsure of the best setting, leave Internal Block
Size locked to Device Block Size.
For hardware-driven effects and virtual instruments, such as the TC••
Electronic Powercore and Universal Audio UAD card, locking the
Internal Block Size of your Audio Device is critical to ensure proper
operation.
By default, Studio One’s process precision is set at Single (32-bit).You5.
may choose double precision (64-bit) from the Process Precision drop-
down menu.
If your computer has multiple processors or processing cores, Enable6.
Multi-Processing will be checked by default. Unless you experience
performance issues, it is recommended you leave this at the default
setting for best performance.
When the aforementioned settings are selected, your system’s cur-7.
rent total input and output latency, sample rate, and bit depth will be
reported below the Audio Setup menus.
4.2.1 Supported Devices
Studio One supports most audio devices, including ASIO, Core Audio
(Mac OS X), Direct Sound (Windows XP), and Windows Audio Session API
(Windows Vista) devices.
When using a WASAPI audio device in Windows Vista, note that WASAPI
supports an Exclusive and Shared Mode. In Exclusive mode, lower latency
can be achieved but other applications (such as Windows Media Player)
cannot use the audio device at the same time. Refer to the Windows Vista

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Control Panel/Hardware and Sound/Sound to configure the options avail-
able for your WASAPI device.
4.3 Audio Device Input/Output Setup
4.3.1 What Are Software I/O Channels?
In most recording applications, audio tracks directly use your hardware
audio device’s channels. In Studio One, there is a layer of Software I/O
Channels between your hardware audio-device channels and your tracks.
This setup affords many advantages over the traditional method.
For instance, let’s say you produce a Song in your studio, using a multi-
channel interface, then take your Song file to your friend’s studio, where
you will use a different audio interface. Simply connect your friend’s hard-
ware audio-device channels to the correct Software I/O Channels. When
you get back to your studio, the original I/O configuration for the Song
will automatically be loaded for you, as if you never left.You can do the
same thing if you need to open the Song on your laptop using its built-in
audio hardware.
This is possible because Studio One stores I/O configurations with your
Song, per computer and per audio-device driver, ensuring that your Song
remains highly portable and is never“broken”by changing audio devices.
4.3.2 Audio I/O Setup Menu
Each track in a Song will receive a signal from an input source and will
route to an output destination. The input sources and output destina-
tions made available to each track are determined by the Software I/O
Channel Configuration created in the Audio I/O Setup menu. To view this
menu and set up a default I/O configuration for each Song, create a new
Song by clicking on Create New Song in the Start Page and navigate to
Song/Song Setup/Audio I/O Setup.
The configuration of the Audio I/O Setup is done within each Song,
so that it is possible for each Song to have a separate I/O setup. As
discussed in the Default I/O Setup section, a default I/O setup can be
created so that each new Song defaults to a particular I/O setup if you
desire.
In the Audio I/O Setup menu, you will find two tabs: one for input config-
uration, one for output configuration. In each tab, a Matrix Routing view
shows the current configuration, with the vertical columns indicating
hardware audio-device channels (Hardware I/O) and the horizontal rows
indicating created Software I/O Channels. Software I/O Channels function
as the input sources and output destinations available to individual tracks
in Studio One.
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4 Setup
4.3.3 Add or Remove Software I/O Channels
Click on the Add (Mono) or Add (Stereo) button to add an Input or Out-
put Channel, depending on which tab you are currently viewing. When a
new Channel is added, the next unassigned hardware inputs or outputs
will be assigned to the new Channel by default.
To remove any Channel, click on the Channel to select it, and then click on
the Remove button. To rename any Channel, double-click on the name of
the Channel, type a new name, and press Enter. In order for Software I/O
changes to occur, be sure to click Apply before exiting this menu.
4.3.4 Assigning Hardware I/O to Software I/O Channels
Hardware I/O is assigned to Software I/O Channels in a matrix router,
which is a visual representation of the routing. Software Channels (mono
and stereo) are each given a horizontal row, and hardware inputs and
outputs are given vertical columns. The points at which these rows and
columns intersect represent potential connections, or routes, between
the hardware I/O and Software I/O Channels.
By default, three Input Channels—one stereo and two mono—are cre-
ated. These channels will be labeled Input L+R (stereo), Input L (mono),
and Input R (mono). By default, the stereo Input Channel will receive
input from the first stereo hardware input pair of your selected audio
device. The two mono channels will receive input from the same stereo
hardware input pair.
The Output Channel is labeled Main Out (stereo) and will be routed by
default to the first stereo hardware output pair of your selected audio
device.
To create a route between Software I/O channels and hardware I/O, click
on the empty square at the intersection of the desired hardware input or
output and the Software Channel Input or Output. A colored square will
appear with an L, R, or M label, indicating the whether the route is the left
or right side of a stereo route (L or R), or a mono route (M).
While it is uncommon for Audio I/O Setup changes to be required in the
middle of Song production, the Audio I/O routing can be changed at any
time. However, you should be aware that routing changes will affect all
associated tracks, possibly switching inputs for audio tracks, changing the
hardware output for the Main Output, and so on.
When making new routes in the Audio I/O Setup menu, notice the meters
to the left of the Software I/O channels. By displaying signal levels on
each channel, these meters help you ensure that the appropriate routings
have been made.

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4.3.5 Default Device I/O Setup
We recommend that you create a default Audio I/O Setup that can be a
starting point for all new Songs. This will allow you to immediately begin
working in your new Song with little or no preliminary setup.
To do so, create Software I/O Channels for all of your audio device’s com-
monly used inputs and outputs and name them appropriately. Then, click
on the Make Default button in the Audio I/O Setup menu, and a popup
window will appear to confirm that you wish to make the current I/O
Setup the default for new Songs. Click onYes, and from that point for-
ward, all new Songs will be created with this Audio I/O Setup.
4.3.6 Audition Channel
The Preview Player in the Browser and in the Import File menu uses the
Audition channel for audio playback. Any stereo output channel can be
used as the Audition channel, allowing you to audition sounds from an
output other than your main output.
4.4 Set Up Your MIDI Devices
All MIDI-capable hardware devices are collectively referred to as Exter-
nal Devices in Studio One. There are three types of External Devices,
including Keyboards, Instruments, and Control Surfaces. While each
device type functions in a slightly different way, there is one menu
to add and set up any External Device. The menu can be found by
navigating to Files/Options/External Devices/Add Device (Mac OS X:
Preferences/Options/External Devices/Add Device).
4.4.1 Set Up MIDI Keyboards
A MIDI keyboard controller is a hardware MIDI device that is generally
used for playing and controlling other MIDI devices, virtual software
instruments, and software parameters. In Studio One, these devices are
referred to as Keyboards. To use a Keyboard and record a performance,
the hardware must first be set up. Once a Keyboard is set up, it will be
available at all times for use in Studio One.
To set up your Keyboard, navigate to Files/Options/External Devices (Mac
OS X: Preferences/Options/External Devices) and follow these steps:
In the1. Options/External Devices menu, click on the Add button.
In the Add Device pop-up menu, select Keyboard.2.
Choose your device from the predefined device list or set this to New3.
Keyboard if you do not see your device in the list.
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4 Setup
If set to New Keyboard, you may wish to type in a Manufacturer••
Name and a Device Name in the appropriate fields. This will make
working with your Keyboard easier.
Specify which4. MIDI channels will be used to communicate with this
Keyboard. All MIDI channels are selected by default.
If you are unsure of the appropriate•• MIDI channels to use, just leave
this at the default setting.
Specify the device to which the Keyboard is sending and the device5.
from which it is receiving via Studio One. Select your device driver
name from the drop-down menu for both Receive From and Send To.
You can choose to use this Keyboard as your Default Virtual Instru-6.
ment Input by checking the appropriate box. If you are using only one
Keyboard with Studio One, you should check this box.
Your Keyboard is now ready for use in Studio One.7.
Click on the Add External Device button in the External window of••
the Mixer to quickly set up a new Keyboard or other External Device.
4.4.2 Set Up External Hardware Instruments
In Studio One, an External Instrument is an external MIDI hardware
synthesizer, workstation, or other device that can generate or manipulate
sound. External Instruments are set up globally and then are available for
use in any Song.
To set up your Instrument, navigate to Files/Options/External Devices
(Mac OS X: Preferences/Options/External Devices) and follow these steps:
In the left-hand browser, choose your device from the predefined2.
device list. Set this to New Instrument if you do not see your device in
the list.
If set to New Instrument, you may wish to type in a Manufacturer••
Name and a Device Name in the appropriate fields. This will make
using your New Instrument easier.
Specify which3. MIDI channels will be used to communicate with this
Instrument. MIDI channel 1 is selected by default.
If you are unsure of the appropriate•• MIDI channels to use, just leave
this at the default setting.
Specify the device to which Studio One is sending4. MIDI and the device
from which the software is receiving MIDI. Select the appropriate MIDI
device from the drop-down menu for Send To and (optionally) Receive
From.

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It is likely your External Instrument is not connected directly to your••
computer. In this case, your External Instrument must be physically
connected to another MIDI device (such as a MIDI interface) that
does connect to your computer; you will need to select the driver for
that device.
You can choose to send5. MIDI Clock to this Instrument and/or use MIDI
Clock Start by checking the appropriate boxes.
Youshouldsend•• MIDIClocktoyourInstrumentifithasabuilt-insequenc-
erorcomponents(suchasLFOs)thatneedtosynctoStudioOne.
Enabling•• MIDI Clock Start will send MIDI Clock Start signals to your
Instrument.
Your External Instrument is now available for use in any Song. To use an
External Instrument in a Song, be sure that an Instrument Track is routed
to it and that the appropriate Audio Tracks have been added and config-
ured. Refer to Monitoring an External Instrument for more on this topic.
Note that if your External Instrument is also a controller (such as a key-
board workstation), you need to set it up twice. First, set it up as an
External Instrument without a Receive From selection, and then set it up
as a Keyboard, without a Send To selection. This allows the keyboard-con-
troller section of the workstation to be used as a source for Instrument
Tracks, while allowing the synthesizer section to be used as an External
Instrument.
4.4.3 Set Up Control Surfaces
In Studio One, a Control Surface is a hardware device that includes trans-
port controls, faders, and other specialized controls. The control surface
might use MIDI directly or via a special control layer such as Mackie
Control.
To set up a Control Surface, do the following:
Choose your device from the predefined device list. Set this to New2.
Control Surface if you do not see your device in the list.
If set to New Control Surface, you may wish to type in a Manufactur-••
er Name and a Device Name in the appropriate fields. This will make
using the Control Surface easier.
Specify the device to which the Control Surface is sending and the3.
device from which it is receiving via Studio One. Select your MIDI
device-driver name from the drop-down menu for both Receive From
and Send To.
Setup 4

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Studio One
4 Setup
You will not need to specify the4. MIDI channels your Control Surface
will use, as control surfaces use alternative protocols, such as Mackie
Control, to communicate with Studio One.
Your Control Surface is now ready for use in Studio One.5.
4.4.4 Use Your Computer Keyboard as a MIDI Keyboard
You can use your regular QWERTY computer keyboard as a MIDI Key-
board to play virtual instruments and record musical data in Studio One.
To do this, add a new device in the Options/External Devices/Add Device
menu, choosing the QWERTY Keyboard device from the PreSonus device
folder.
With the device added, to use your keyboard as a MIDI Keyboard, open
the interface for the QWERTY Keyboard device by double-clicking on
it in the External panel of the Console. Any record-enabled Instrument
Track will then receive input from the QWERTY Keyboard, as shown in
the QWERTY Keyboard device interface.Your keyboard will only transmit
data to Instrument Tracks while the QWERTY Keyboard device interface is
open.
4.4.5 Using the PreSonus FaderPort
If you have a PreSonus FaderPort connected to a computer running Mac
OS X or Microsoft Windows Vista, Studio One will automatically recognize
it and configure it for use. Just open a Song or Project to use the Fader-
Port immediately.
If you are using Windows XP, follow the Set Up Control Surfaces instruc-
tions to set up your FaderPort, which can be selected from the list of
predefined devices in the External Devices/Add Device menu.
4.4.6 Reconnect Devices
In most applications, when MIDI devices become disconnected while the
application is running, you usually have to restart the application, and
the software may crash. In contrast, if an external MIDI device becomes
disconnected while Studio One is running with a Song or Project open,
the device can be reconnected without restarting Studio One.
If this occurs, navigate to Files/Options/External Devices (Mac OS X:
Preferences/Options/External Devices) and click on Reconnect at the bot-
tom of the menu. Then reconnect your devices and click OK. The devices
will now work normally in Studio One.
If an external device is not present when Studio One is started—for
instance, if you’re traveling and don’t have some of your gear with you—
the application still will run normally.You should see a warning message
that makes you aware of the situation. If your setup frequently changes,

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you may wish to turn off this warning message by disengaging the Notify
Me If Devices Are Unavailable When Studio One Starts option.
Later, when you start Studio One with the device connected to your com-
puter, Studio One will recognize the device automatically, and it can be
used exactly as before, with no further setup required.
4.5 Managing Your Content
Content management and file management can become unwieldy
quickly when working with digital audio workstation software due to the
sheer volume of loops, effects, song ideas, individual tracks, and so on. In
Studio One, you only need to locate your preexisting content once, after
which all of the locations will be remembered. Any content you create
using Studio One will be similarly managed. In Studio One, your content
is kept in distinct categories.
The following describes the process of managing your content using
Studio One’s Files/Options/Locations (Mac OS X: Preferences/Options/
Locations) menu.
4.5.1 User Data
Any content you create using Studio One will be automatically stored in
the location you specify. This includes Songs, Projects, Effects Presets, and
all of the files these categories contain. All of your creative output will be
logically organized and kept in a single place, which makes future loca-
tion and backup a breeze.
When creating a new Song or Project, the User Data folder will be the
default save location. While we recommend using this location, you can
specify any save location when creating any new Song or Project.
4.5.2 Sound Sets
Preconfigured packages of loops and samples are bundled with Studio
One. The Browser’s Sound Sets folder makes finding this content quick
and easy. These packages also contain information about each content
vendor, which is displayed in the Browser when a package is selected.
Click on the vendor link in the Browser for more information about the
vendor and the content they supply.
Setup 4

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4 Setup
4.5.3 Instrument Library
Studio One includes a native virtual instrument called Presence that
utilizes built-in sounds and SoundFonts. SoundFonts contain one or more
audio samples that can be resynthesized at different pitches and dynamic
levels. Using the Instrument Library, Presence can browse for sounds,
which are seen as presets.
To add SoundFont files to your Instrument Library, in the File/Options/Lo-
cations/Instrument Library [Mac OS X: Preferences/Locations/Instrument
Library] menu, click on the Add button and specify a file location, then
click OK.You can specify as many locations as you need.
For more information on the Presence built-in virtual instrument, refer to
the Presence section of the“Built-In Virtual Instruments”chapter.
4.5.4 Locating Plug-ins
When Studio One is started for the first time, most of your plug-ins are
located automatically and are ready to use immediately. If you find that
certain plug-ins are not found, adding them is easy.
To add any missing VST plug-ins to Studio One, navigate to the
Files/Options/Locations/VST Plug-ins (Mac OS X: Preferences/Options/
Locations/VST Plug-ins) menu and click on the Add button, then specify
a location and click OK.You can also drag-and-drop any folder from the
Explorer/Finder into the Locations list. Studio One Pro will then scan these
locations at startup, including searching for new plug-ins you’ve added.
You can always add more locations if needed.
AU, VST3, and ReWire-enabled plug-ins and applications have their own
file path in the OS and will not have to be located manually.
4.5.5 Failed Plug-ins
If any plug-in fails to start correctly when scanned at startup, a
notice will appear next to its name in the startup message list, and
a warning message should appear. If the plug-in continues to fail at
startup—for instance, if it is not authorized correctly or a required
iLok key is not present—Studio One Pro will put the plug-in in a
blacklist and ignore it at startup from that point on.
To reset this blacklist and force Studio One Pro to scan missing plug-ins
again at startup, navigate to Files/Options/Locations/VST Plug-ins (Mac
OS X: Preferences/Options/Locations/VST Plug-ins) and click on Reset
Blacklist. The next time you start Studio One Pro, the previously blacklist-
ed plug-ins will be scanned again. If the issues that caused the plug-ins to
fail the scan have been resolved, the plug-ins will be made available.

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4.5.6 VST Support
Studio One Pro supports VST 2.4 (including VSTXML for hierarchical
parameter structure) and VST 3. As VST 3 is a new technology, and Studio
One Pro is one of the few non-Steinberg host applications that support it,
there may be incompatibility problems with some plug-ins. These prob-
lems will need to be resolved over time.
4.6 Creating a New Song
A Song is where all recording, editing, arranging, and mixing takes place.
To create a New Song, do one of the following:
From the•• Start page, click on the New Song link.
Navigate to File/New•• Song.
Press [Ctrl]/[Cmd]+N on the keyboard.••
From the•• Project page, if no Song is currently open, click on the Song
quick-access button.
4.6.1 Song Templates
On the left side of the New Song creation menu (see Fig. 4-12), you will
find a list of preconfigured Song templates, which are designed to help
get you started quickly with various recording tasks. The templates can
include particular I/O and track setups, effects plug-in and virtual-instru-
ment processing, and all other aspects of a Song. By default, the Empty
Song template is selected, which will create a completely empty Song
with no tracks or preconfigured I/O setup.
4.6.2 Create a Song Template
If there is a particular Song setup you will be using again and again, it can
be helpful to create a template. To do so, first create a new Empty Song.
Next, configure the I/O and create and configure all tracks, and virtual
instruments, effects plug-ins, and any other aspects of the Song that you
need in your template. Then, in the File menu, select Save as Template.
Type in a title and description, choose an image for the Template icon,
if you like, and select OK.You can also drag an image from Windows
Explorer/Mac Finder onto the image icon to use that image. The exact
current state of the Song will now be available as a template in the New
Song creation menu.
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4 Setup
4.6.3 Title and Location
The title of your Song will be the Song file name (Title.song) and the
name of the default folder that contains all data related to your Song.
The default location where new Songs and all related data will be saved
is in your User Data location, under Files/Options/Locations/User Data
(Mac OS X: Preferences/Options/Locations/User Data). If you like, you can
choose a different file location by clicking on the New Location button
and browsing to any location.
4.6.4 Sample Rate
Sample Rate refers to the rate at which incoming analog audio is sampled
per second in conversion to a digital signal. The most common setting
is the standard sample rate for audio CDs: 44.1 kHz, meaning 44,100
samples per second.
The Studio One sample rate should match the sample rate of your audio in-
terface, so by default, the sample rate is set to your current audio interface’s
sample rate, and changing this setting will initiate a sample-rate change
in that device. If the sample rates don’t match, Studio One will resample
all audio files to match the sample rate of the hardware, but this can cause
performance problems and should be avoided. Studio One is capable of
recording at any sample rate your hardware audio device offers.
Not all devices allow a third-party software application to change the
hardware sample rate. The desired sample rate should be set before cre-
ating a New Song.
File size is directly proportional to the sample rate and resolution. The
higher the sample rate and resolution, the larger the resulting audio file
will be.
4.6.5 Resolution
Resolution refers to the bit depth of digital audio, which is related to the
audio’s dynamic range. Standard CD audio has a 16-bit resolution, which
results in roughly 96 dB of dynamic range. Thus, with“CD-quality”audio,
the difference between the quietest and loudest sounds possible is 96 dB.
The most common resolution setting in professional recording is 24-bit,
which produces a dynamic range of approximately 144 dB.
Studio One can record audio with 16, 24, or 32-bit (floating point) resolu-
tion. Which resolution to use is a matter of preference. If you are unfamil-
iar with these concepts, try experimenting with recording at each resolu-
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4.6.6 Timebase and Song Length
The timebase of your New Song will determine the way the timeline is
represented. The timebase selection can be changed at any time.You
have the option of the following:
Seconds: The timeline division will be an expression of hours:minutes:s••
econds:milliseconds.
Samples: The timeline division will be an expression of samples.••
•• Bars: The timeline division will be an expression of musical bars and
beats.
•• Frames: The timeline division will be an expression of frames.
4.6.7 Stretch
When creating a new Song, you can choose to automatically time-stretch
any imported audio file that has tempo information in order to match
your Song’s current tempo. This is highly recommended to avoid having
to manually stretch audio or place tracks in Timestretch mode.
However, if you do not intend to work with Timestretching in your Song
and want to ensure that nothing gets timestretched automatically by
mistake, make sure this option is deselected.
Only audio tracks with encoded tempo information will be stretched au-
tomatically with this option engaged. Studio One will remember tempo
information you specify within the Inspector view for any audio file.
4.7 Advanced Options
Studio One offers the following ways to customize your workflow. Click
on each tab in the File/Options/Advanced menu to access these options.
4.7.1 Editing
Click on the Editing tab to access the following options.
4.7.1.1 Tools
The Enable Crosshair Cursor for Tools option is engaged by default. It en-
ables a large, white, vertical-and-horizontal crosshair in the Arrange view
that aids in displaying the exact position of the various mouse tools.
The Disable Events Under Automation Envelopes option is also engaged
by default. This makes Events unavailable to the mouse tools while view-
ing an Automation Envelope; this helps prevent you from unintentionally
editing underlying Events while editing automation.
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4 Setup
4.7.1.2 Event Appearance
The Draw Events Translucent option is not engaged by default. It en-
ables the Timeline grid in the Arrange and Edit view to be seen in the
background, through Events. Seeing the grid may help some users with
various editing tasks.
The Don’t Show Event Names option will remove the name labels from
events in the Arrangement view. This is purely an aesthetic difference and
will not change any functions.
The Smooth Edges of Automation Envelopes option provides anti-
aliasing support for the graphic lines of Automation Envelopes, helping
them to look smooth and straight. This option only affects the look of the
envelopes themselves and does not affect the behavior of envelopes.
4.7.2 Devices
Click on the Devices tab to access the following options.
4.7.2.1 Audio Engine
Stop Playback When Opening Options is engaged by default. It simply
stops playback within a Song or Project when the File/Options (Mac OS X:
Preferences/Options) menu is opened. This will prevent changes in Studio
One options from immediately affecting the sound during playback.
The Use Cache for Timestretched Audio Files option is engaged by de-
fault. It is described in depth in the Using Timestretch Cache section of
the“Timestretch”chapter.
The Record Tempo Information to Audio Files option is not engaged
by default. When engaged, this option enables tempo tagging for any
audio file recorded in Studio One. The Song tempo at the time position
of the recording will be saved with the file, so that automatic timestretch-
ing can be accomplished. This may also help ensure compatibility with
timestretching processes in other application.
The Use Non-Buffered Audio File Access option is engaged by default.
This option disables the caching done by the operating system when
reading from a file. The operating system usually reads more data than
was requested by the application when caching, which has a negative
impact on playback performance, especially on slow machines. We rec-
ommend you leave this option engaged unless you encounter a related
technical issue.
Engage the Use Realtime Processing When Updating Mastering Files op-
tion to ensure that real-time processing is used when the mastering file
for a given Song is automatically updated. This is necessary when Songs
utilize certain devices, such as External Instruments, that require a real-
time mixdown in order to be included in the mix.

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4.7.2.2 Console
The Device Editor Follows Channel Selection Option is engaged by
default, and will result in the currently viewable channel devices, such
as virtual effects or instruments, to automatically switch when a channel
is selected. This ensures you are only viewing the devices related to the
selected channel at any given time.
If you would like Audio or Instrument Track monitoring to be enabled
automatically when recording is enabled on a Track, engage the Audio
Track Monitoring Follows Record and Instrument Track Monitoring Fol-
lows Record options.
4.7.3 Enable and Disable Services
It is possible, in Studio One, to selectively enable and disable particular
services, or modules, that enable specific features. This may be helpful
when troubleshooting. For instance, if a ReWire device seems to be caus-
ing a problem, you can disable the ReWire service to see if that resolves
the issue. This kind of troubleshooting will enable the Studio One techni-
cal-support team to quickly locate and resolve specific issues with your
computer system and to identify any previously unknown problems in
the program.
All services are enabled by default. To disable any service, click on the
Services tab in the File/Options/Advanced menu and click on the confir-
mation button, paying special attention to the disclaimer message. Then
click on any service in the list, and click on the Disable button to disable
that service.You must restart Studio One for these changes to take effect.
If a service has been disabled, follow the instructions above, and click on
the Enable button for the service in order to re-enable it. Again, Studio
One will need to be restarted for any of these changes to take effect.
Setup 4

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5 Recording
The following chapter discusses aspects of recording in Studio One, in-
cluding Audio and Instrument Tracks, recording modes and formats, and
recording tips.
5.1 Audio Tracks
Before recording can take place, you need at least one track on which to
record. Studio One has two types of tracks for basic recording: the Audio
Track and the Instrument Track. Audio is recorded to Audio Tracks, while
musical-performance data is recorded to Instrument Tracks.
5.1.1 Creating an Audio Track
To create an Audio Track, navigate to Track/Add Tracks or Press [Ctrl]/
[Cmd]+T to open the Add Tracks menu. The following options are avail-
able in this menu:
Name: Click here and type in a name for the new track••
Count: Choose the number of tracks you would like to create••
Format: Choose a mono or stereo•• Audio Track
Preset: Choose an•• FX Chain to be preloaded on the tracks
Color: Choose a color••
Auto-Color: Check this box if you would like your tracks auto-colored••
Once these options are configured, click on OK, and the tracks will appear
in the Arrange view.
Navigate to Track/Add Audio Track to quickly add a mono audio track.
[Right]/[Control]-click in blank space in the Track Column and select Add
Tracks For All Inputs to quickly add a track for every configured input in
Audio I/O Setup.
Alternatively, you can right click in any blank space in the Track Column of
the Arrange view and select Add Audio Track (Mono) or Add Audio Track
(Stereo) to quickly add an audio track.
5.1.2 Use and Create Presets
In Studio One, you can store presets of an entire chain of effects plug-ins
as an FX Chain, allowing quick recall of complex effects setups on any
track. Any factory-preset or user-created FX Chain can be selected as a
Preset when creating a track. For more information, refer to the FX Chain
section of the“Mixing”chapter.

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5.1.3 Configuring an Audio Track
This section describes the editable Audio Track parameters.
5.1.4 Input/Output Selection
An Audio Track’s I/O channel(s) can be selected from three places: the
Track Column, the Console, and the Track Inspector.
Selecting an Input Channel from the Track Column:
Set the•• Arrange view Track size to medium or larger to be able to access
the current Input Channel selection for any track.
Click in the window immediately below the horizontal track fader to••
choose from any configured Input Channel.
Selecting an Input or Output Channel from the Console:
Open the•• Console by clicking the Mix button, or press [F3] on the key-
board, and be sure either All Channels or Audio is selected in the Banks
window.
Click in the window above each track’s•• Fader and Pan controls to
choose an Input and/or Output Channel. The Input Channel selector is
on top, with the Output Channel selector beneath.
Selecting an Input or Output Channel from the Inspector:
Open the•• Inspector window by clicking on the Inspector button above
the Track Column or pressing [F4] on the keyboard.
At the top of the•• Inspector window, you will find the currently selected
track’s Channel Mode toggle (mono or stereo) and Input and Output
Channel selectors)
Click on the Input or•• Output Channel selector to choose a channel.
The available Input Channels for an Audio Track will be based on the
track’s channel mode (mono or stereo), which can be toggled with the
Channel Mode button.
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5.1.5 Tempo Mode
The Tempo Mode, found in the Inspector, affects the way in which Audio
Events are handled on any audio track. There are three Tempo Modes:
Don’t Follow:•• Audio Events on the selected track will not be affected by
Song tempo.
Follow: The start position of•• Audio Events on the selected track will be
adjusted with tempo changes, so the events stay in sync with their Bars
(bars and beats) position. The length of the Event will not be affected.
Timestretch: Assuming that the•• Song file contains tempo information,
tempo changes will cause Audio Events on the selected track to be
dynamically stretched so that the events’start and end times stay in
sync with their Bars (bars and beats) positions. The length and internal
timing of the Event will be affected in the stretching process; however
the pitch of the audio will remain unaffected.
If the Stretch Audio Loops to Tempo option is selected when creating a
new Song, Timestretch will be the default tempo mode for all new Audio
Tracks.
5.1.6 Record-Enabling an Audio Track
To record to an Audio Track, the track must be record-enabled (see Fig.
5-6). To record-enable an Audio Track, click on the track’s Record Enable
button once or select the track and press [R] on the keyboard. Select mul-
tiple tracks and record-enable any of them to record-enable all selected
tracks. The Record Enable button will turn red when active, and the track’s
meter will begin to move up and down if there is live audio input on the
track’s selected Input Channel.
Alternatively, if you press and hold [Alt]/[Option] on the keyboard, and
then click on Record Enable, you will both record-enable the related track
and disarm record-enable for all other tracks.
In the Track menu, you will find the Record+Monitor Follows Selection
option. Engaging this automatically record- and monitor-enables the last
track selected in the Arrange view.
When an Audio Track is record-enabled, a clip indicator will appear at the
top of the input-level meter for that track in the Arrange view. If clipping
occurs at the input, the clip indicator will turn on. When clipping occurs,
you should adjust the input gain/level on your audio interface, as once
the distorted signal is recorded, it cannot be fixed.
Once an Audio Track is record-enabled, you are ready to record. Refer to
Activating Recording for more on this topic.

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5.1.7 Software Monitoring
To monitor (listen to) live audio input on an Audio Track in Studio One,
click on the Monitor enable button once. This button should turn blue,
and you should begin to hear your live audio input and see its input level
on the track meter.You can also hold [Alt]/[Option] on the keyboard and
then click on the Monitor enable button to simultaneously engage moni-
toring on a track and disengage monitoring on all other tracks.
It may be helpful to picture the signal path to understand exactly what is
happening. For example, if the audio source you are listening to is a guitar
plugged into channel 1 on your audio interface, then Studio One receives
the guitar input on Hardware Input 1.
In Audio I/O Setup, you will have created a mono Input Channel with
Hardware Input 1 as its source.Your Audio Track will have that Input
Channel selected as its input. The output of your Audio Track is likely to
be the Main Output, which is a stereo Output Channel. That Output Chan-
nel will output to a designated stereo pair of outputs on your hardware
audio interface, which normally would be connected to your monitor
speakers or headphones.
When monitoring live audio input from a microphone, avoid listening
with speakers that are in close proximity to the microphone. It is possible
in this case to create a feedback loop that can quickly generate danger-
ously loud audio levels, possibly harming your ears and your speakers.
5.1.8 Hardware Monitoring
Some audio interfaces feature the ability to monitor the hardware inputs
and outputs directly, as opposed to monitoring through software. This is
referred to as“hardware monitoring”or“zero-latency monitoring.”When
using this type of interface, it is recommended that you monitor live
audio input via hardware monitoring instead of software monitoring. This
will help you avoid common problems that result from software latency,
such as hearing a delay on your voice while you record vocals, or record-
ing off-beat.
5.1.9 Setting Input Levels
Setting good input levels is critical to making a good recording. This
begins with the hardware audio interface. If the hardware’s input level is
set too low, and you increase the level later in Studio One to compensate,
you will also raise the level of any noise in the signal. If the level is too
high, you can overload the hardware input, causing unpleasant clipping
distortion that cannot be fixed. Therefore, you should set the input gain
on your audio interface as high as possible without overloading the in-
put. There is usually a clip indicator for each input on the audio interface
to assist you in detecting overloads.
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As long as the input levels are not clipping in your audio interface or on
the track to which you are recording in Studio One, you can always adjust
the levels of recorded material after the recording is made. To visually
monitor the input levels for any input in Studio One, it is best to view the
Input Channels in the Mix Console by selecting the Inputs bank in the
Banks window.
5.2 Instrument Tracks
Instrument Tracks are where performance data is recorded, drawn, and
edited. This data usually comes from a Keyboard, which is used to play a
virtual instrument. The performance data is not audio; the virtual instru-
ment being played by the Keyboard is the audio source.
In Studio One, MIDI controllers are referred to as Keyboards. If you have
not set up a Keyboard, refer to the Set UpYour MIDI Devices section of
the“Setup”chapter.
5.2.1 Creating an Instrument Track
To create an Instrument Track, navigate to Track/Add Tracks or Press [Ctrl]/
[Cmd]+T to open the Add Tracks menu. The following options are avail-
able in this menu:
Name: Click here and type in a name for the new track.••
Count: Choose the number of tracks you would like to create.••
Format: Choose Instrument Track.••
Color: Choose a color.••
Auto-Color: Check this box if you would like your tracks auto-colored.••
Once these options are configured, click on OK, and the tracks will appear
in the Arrange view. It is important to note that Instrument Tracks do not
appear directly in the Console, as they do not output audio. The virtual in-
struments generate sound and are represented in the Console by Instru-
ment Channels.
Alternatively, [Right]/[Control]-click in a blank space in the Track Column
of the Arrange view and select Add Instrument Track from the pop-up
menu to quickly add an Instrument Track.
5.2.2 Configuring an Instrument Track
In Studio One, an Instrument Track can only receive input from a Key-
board that has been set up in the External Devices menu. To set up a
Keyboard, refer to the Set UpYour MIDI Devices section of the“Setup”
chapter. If you have a Keyboard set up as the default Instrument Track
input, all Instrument Tracks will default to using that Keyboard.

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An Instrument Track can trigger a virtual instrument that has been set
up in a Song or an External Instrument. The Instrument Track Input and
Output can each be selected in one of two places:
Selecting an Instrument Track Input or Output from the Track Column:
Set the Arrange view Tracksize to medium or larger to be able to access••
the current Instrument Track Input.
There are two selection windows on the Instrument Track. Click in the••
bottom window to choose from any configured Keyboard input. Click
in the Top window to choose an output to any previously set up virtual
or external instrument.
Selecting an Instrument Track Input or Output from the Inspector:
Open the•• Inspector window by clicking on the Inspector button above
the Track Column or by pressing [F4] on the keyboard.
Click in the Input or Output selector window to select from any con-••
figured Keyboard input or to trigger any previously set up virtual or
external instrument.
Press [F11] to open the instrument editor for the selected Instrument
Track.
5.2.3 Set Up a Virtual Instrument
Studio One Pro supports VST and AU virtual instruments, ReWire appli-
cations, and Studio One Pro’s Native virtual instruments. The difference
between these types of virtual instruments is transparent to the user in
Studio One Pro, as they are all handled in the same manner. To use any
VST or AU virtual instrument, you will need to be sure Studio One knows
where they are installed on your computer. Refer to the Locating Plug-
ins section of the“Setup”chapter for more information on locating your
plug-ins.
5.2.4 Add a Virtual Instrument from the Browser
To add any VST, AU, ReWire, or built-in virtual instrument to your Song:
Open the Browse view and click on the•• Instruments tab to view your
virtual instrument.
Do one of the following:••
Click on and drag any virtual instrument to an empty space in the••
Arrange view to simultaneously add the virtual instrument to your
Song and create an Instrument Track with its output routed to the
virtual instrument. The Instrument Track will conveniently inherit the
name of the virtual instrument.
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Click on and drag any virtual instrument on top of an existing Instru-••
ment Track to replace the track’s current virtual instrument.
Click on and drag any virtual instrument to the•• Instruments window
in the Mixer to simply add the virtual instrument to your Song. In or-
der to control or play this virtual instrument, you will need to select it
as the output for an Instrument Track.
The virtual instrument is now set up and ready to play and will have••
one or more dedicated audio channels in the Mixer.
Once a virtual instrument is added to your Song, be sure that an Instru-
ment Track is routed to it so that the instrument can be played.
5.2.5 Set Up Multiple Virtual Instrument Outputs
Many virtual instruments have the capability to send audio on more than
one channel. In Studio One, only the first output or output pair of any
virtual instrument will be active by default. To activate the other possible
virtual-instrument output channels in the Console:
Open the•• Console by pressing [F3] on the keyboard, then open the
Instruments panel (open by default) by clicking on the Instr. button to
the far left of the Console.
Click once on the virtual instrument in the•• Instruments panel, and the
output-channel activation menu will expand.
Click on the checkbox next to any output to activate that output for the••
virtual instrument.
Each active virtual-instrument output will have a dedicated audio chan-••
nel in the Console.
You can also activate virtual-instrument outputs in the plug-in window.
Any virtual-instrument plug-in that offers multiple output channels will
have a Channels button at the top of the plug-in window. Click on this
button to view and activate the available outputs.
5.2.6 Set Up a ReWire™ Application
ReWire applications are set up in a similar way to virtual instruments. Any
ReWire applications known to Studio One Pro will be listed in the Browser
Instruments tab, along with all known virtual instruments.You can drag in
the ReWire application just like an instrument, and Studio One Pro has a
special ReWire object to represent the application.
The ReWire interface window is similar to the virtual-instrument interface
windows.There are also two special controls, Open Application and Close
Application, which can open and close most ReWire applications, so you do
not need to leave Studio One Pro to open or close the ReWire application .

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If clicking on Open Application does not immediately launch your ReWire
application, this means that the ReWire application does not support this
function.You will need to manually launch the application, as you nor-
mally would; the application should launch in ReWire slave mode.
5.2.7 Record Enabling an Instrument Track
To record musical performance data to an Instrument Track, the track
must be record-enabled. To record-enable an Instrument Track, click on
the Record Enable button once; it should turn red.
Also, note that monitor-enable is, by default, automatically engaged
when Record Enable is engaged. This behavior can be configured in the
File/Options/Advanced/Devices menu. If musical data arrives from the
track’s selected Keyboard, the Instrument Track’s meter will move up and
down, corresponding to that input.
Once an Instrument Track is record-enabled, you are ready to record
musical performance data to that track. Refer to Activating Recording for
more on this topic.
5.2.8 Monitoring an Instrument Track
Instrument Tracks record and output musical-performance data, not
audio. The virtual or external instrument to which the Instrument Track
is routed generates the audio. The following describes how virtual and
external instrument audio output is monitored.
5.2.9 Monitoring a Virtual Instrument
Virtual instruments usually load with a default sound; however, you
should be sure that the virtual instrument you wish to monitor is set
up correctly to generate audio. With the output of an Instrument Track
routed to the virtual instrument you wish to monitor, click on the Monitor
button, and it will turn blue.
You should now be able to play the Keyboard that you selected as the
input to the Instrument Track and should see the track meter moving, as
well as hear the audio output of the virtual instrument. If you cannot hear
the audio output of the virtual instrument, make sure that your virtual
instrument is set up correctly and that the corresponding audio channels
in the Mix Console are not muted.
If you select the Instrument Input Follows Selection option in the Track
file menu, any Instrument Track you select will automatically have Moni-
tor and Record enabled, and all other Instrument Tracks will have these
disabled.
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5.2.10 Monitoring an External Instrument
To monitor and ultimately record the hardware audio output of an
external instrument, one or more Audio Tracks need to be created to
receive that output. This means that your external instrument needs to be
physically connected to one or more inputs on your audio interface. Thus,
monitoring an external instrument involves the following:
The output of an Instrument Track is routed to the external instrument,••
which has been set up to receive MIDI input from Studio One.
The Instrument Track is monitor-enabled.••
One or more•• Audio Tracks have been created and configured to use
the Input Channels to which the external instrument’s audio output is
connected.
The•• Audio Tracks are monitor-enabled.
With the above conditions met, you will be able to play your Keyboard
and see the Instrument Track meter moving.You will also see the related
Audio Track meters moving, as well as hear the live audio input from the
external instrument.
5.3 Activating Recording
Once you have the desired tracks created, setup, and record-enabled, the
next step is to record. The following illustrates several ways to activate
recording, each associated with a different purpose.
5.3.1 Manually
Manually activating recording is the most basic way to record. Recording
will start at the current Playback Cursor position and will continue until
you manually stop recording. To manually activate recording, click on the
Record button in the Transport or press [NumPad *] on the keyboard. The
Record button in the Transport will turn red, the Playback Cursor will start
to scroll from left to right, and a new Event will be recorded to any record-
enabled tracks. Recording will continue until you manually stop it.
5.3.2 Pre-Roll
Recording with Pre-Roll engaged allows you to specify a number of bars
that will play before recording begins. For instance, when you want to
record a vocal part for a chorus, the vocalist will need to hear some refer-
ence portion of the recorded tracks before beginning to sing. A guitarist
recording a solo will need to hear the music leading into the solo. Pre-Roll
allows you to specify the number of bars you will hear before record-
ing automatically starts and saves you the trouble of deleting the space
before the recorded part actually begins.

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Follow these steps to use Pre-Roll:
Click on the•• Pre-Roll button in the Transport or press [O] on the key-
board to engage Pre-Roll.
Click on the•• Metronome Setup button to open the Metronome Setup
menu.
Under•• Precount in the Metronome Setup menu, enter a number in
the Precount Bars field for the number of bars you wish to play before
recording begins.
Set the•• Playback Cursor to the timeline position at which you wish to
begin recording.
Click on the Record button in the•• Transport or press [NumPad *] to
begin recording. Playback will begin at the specified number of bars
before the position you chose, with the Playback Cursor moving from
left to right.
•• Recording will automatically activate at the position you chose. The
Record button in the Transport will turn red, the Playback Cursor will
continue to scroll from left to right, and a new Event will begin record-
ing to any record-enabled tracks.
•• Recording will continue until you manually stop it by pressing [Space
Bar] on the keyboard or clicking Stop in the Transport.
5.3.3 Auto Punch
It is sometimes useful to automate the point at which recording will
begin and end. For example, if you wish to record over a specific phrase
of a vocal part, but not before or after that phrase, you can automatically
begin and end recording at specified points. This process is commonly
referred to as“punching in and out,”and the resulting new Audio Event is
referred to as the“punch-in.”
In Studio One, punching in/out is achieved with the Auto Punch feature.
Follow these steps to engage Auto Punch:
Set the Left Locator in the•• Timeline Ruler of the Arrange view at the
position you wish to punch in—that is, where recording should begin.
Set the Right Locator in the•• Timeline Ruler of the Arrange view at the
position you wish to punch out, that is, where recording should stop.
Click on the Auto•• Punch button in the Transport, or press [I] (the letter
‘i’) on the keyboard.
With tracks record-enabled, begin playback at any point before the Left••
Locator position.
•• Recording will automatically activate at the Left Locator position. The
Record button in the Transport will turn red, the Playback Cursor will
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continue to scroll from left to right, and a new Event will begin record-
ing to any record-enabled tracks.
•• Recording will automatically stop at the Right Locator position. Howev-
er, playback will continue beyond the Right Locator position until you
manually stop it by pressing [Space Bar] on the keyboard or by clicking
Stop in the Transport.
If you use the Auto-Punch feature in Studio One to record your punch-ins,
or if you punch in manually, the newly recorded audio is automatically
crossfaded at its edges with the existing Audio Event, so the transition
between the old and new audio is not audible. The crossfade time will be
very small and not audible; however, you can edit the crossfade manually.
5.4 Metronome Control
A metronome makes audible clicks or other sounds that correspond to
beats at a selectable tempo, providing the musicians with a tempo refer-
ence while recording. This is especially useful when recording drums or
other rhythm-intensive tracks, as the editing and arranging processes are
made much easier when the recorded audio lines up with musical bars
and beats.
In Studio One, the metronome can be engaged and disengaged both
globally and for each hardware output in the Console, including the Main
Out and any Sub Outs.
5.4.1 Turn the Metronome On/Off Manually
In the Transport, the Metronome button is to the left of the Master
Volume fader and meter. Click on the Metronome button, or press [C] on
the keyboard, to globally engage and disengage the metronome. The
metronome is globally disengaged by default.
The Output Channels in the Console also feature Metronome buttons and
level controls to the right of the Mute and Solo buttons. These controls
allow you to choose, for each output, whether or not the metronome will
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5.4.2 Set Up Metronome Behavior
The Metronome settings menu can be accessed by clicking the Metro-
nome Settings button, located next to the Metronome button in the
Transport. In this menu, you will find Audio Click and Precount settings.
In the Audio Click settings, you can choose a Click sample and corre-
sponding level, as well as an Accent sample and corresponding level. The
Accent will always be the downbeat, or first beat, of each new bar.You
can choose from four default samples for the Click and Accent, including
Click, Clave, Rim Shot, and Tambourine. By default, the Accent Level set-
ting is higher than the Click Level setting, as most musicians like to have
the downbeat of each bar emphasized to help keep time.
The metronome can also click at double tempo. For instance, if the time
signature is set at 4/4, the metronome can output eight-note clicks in-
stead of quarter-note clicks, providing a subdivision of the beat. This may
help keep time at slower tempos, or guide a performer through a com-
plex rhythm. Engage the Double Tempo option to enable this behavior.
5.4.3 Click in Playback
The Click in Playback option in the Metronome setup menu allows you
to enable/disable the Metronome during playback, as opposed to while
recording. Disabling Click in Playback allows you to leave the Metronome
engaged in the Transport at all times, so that if you are recording, you will
hear a click, but if you are playing back, you will not hear the click. Click in
Playback is engaged by default; click on the Click in Playback checkbox to
disengage the Metronome during playback.
5.4.4 Click Only in Precount
When recording is triggered with Pre-Roll engaged, as discussed in the
Pre-Roll section of this chapter, a specified number of Precount bars will
play before reaching the current playback cursor position. The number
of Precount bars is specified in the Metronome Setup menu. In this same
menu, there is a checkbox to engage the Click Only in Precount option,
which is disengaged by default.
With Click Only in Precount engaged, the metronome will provide a tra-
ditional count-in during the Precount bars and will not be heard beyond
those bars.
5.4.5 Use Custom Sounds in the Metronome
It is possible to use any audio sample in the Metronome. To add samples
to the Metronome Settings menu, browse to the Content folder for
Studio One on your computer and create a new folder inside of it called
“Clicks.”Then copy and paste any WAV, AIFF, or MP3 audio file to that
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folder. Any audio file added to the Clicks folder will become available as
a choice for the Downbeat and Accent Level sample in the Metronome
Settings menu.
5.5 Loop Recording on Audio Tracks
It can be very useful to loop a specific section while recording in order to
capture multiple performances or takes of the same musical passage. In
Studio One, this is called“Loop Recording.”
Follow these steps to accomplish Loop Recording:
Set the•• Left and Right Locators in the Timeline Ruler at the beginning
and end, respectively, of the area in which you wish to record.
Click on the•• Loop button in the transport or press [NumPad /] on the
keyboard to engage Looping.
Activate•• recording manually or via Pre-Roll or Auto Punch.
When the•• Playback Cursor reaches the Right Locator position, it will
loop back to the Left Locator Position.
•• Recording will continue until you manually stop it by pressing [Space
Bar] on the keyboard or clicking Stop in the Transport.
When Loop Recording with Audio Tracks, multiple Takes will be created.
These Takes represent each recorded pass over the looped region, and
they are contained in a single Audio Event. Only one Take is accessible at
any given time in the Arrange view, and only the currently selected take
will be seen and heard.
5.5.1 Selecting Takes of an Audio Event
When there are multiple Takes available for an Audio Event, the Take icon
will appear in the lower left corner of the Event in the Arrange View.
By default, the last recorded Take is selected. To select any other take,
[Right]/[Control]-click on the Audio Event to expose a list of Takes. Click
on any numbered Take to select it. Takes are edited as a single Audio
Event, so sizing or splicing any Take will splice all of the Takes contained in
the Audio Event.
It is possible to splice an Audio Event that contains multiple Takes, then
select a different Take for each splice of the original Event. As an example,
if you recorded three Takes for a vocal verse, you could split that Audio
Event in between each vocal phrase, and then for each phrase select the
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5.5.2 Unpack Takes to New Tracks
When two or more Takes exist for an Audio Event, it is possible to unpack
the individual takes to separate Events on new Tracks. To do this, [Right]/
[Control]-click on the Event and select Unpack Takes to New Tracks. Each
Take will be placed at the appropriate time on its own new Track. Note
that the settings of the originating Track are not duplicated for the new
Tracks.
5.6 Instrument Track Recording Modes
When recording to an Instrument Track, there are several recording
modes. To switch between these modes, navigate to the Transport file
menu and select Record Mode Overdub or Record Mode Replace, and
Loop Record Takes or Loop Record Mix. The following describes each
Instrument Track recording mode.
5.6.1 Record Mode Overdub and Replace
When in the Overdub recording mode, recording over any existing Instru-
ment Part will result in the newly recorded material being overdubbed, or
added to, the existing material. While recording, you will hear the previ-
ously recorded Event playing, as well as hearing the material currently
being recorded, assuming that you are monitoring the Instrument Track.
When in the Replace recording mode, recording over any existing Instru-
ment Part will result in the new material being recorded to a new Event,
which replaces that portion of the original Event. While recording, you
will not hear the previously recorded Event playing back, as the purpose
of this mode is to replace the existing material.
5.6.2 Loop Record Takes and Mix
If Loop is engaged in the Transport while recording, the recording mode
will change to Loop Record Takes or Loop Record Mix. These modes are
functionally similar to the regular Record Mode Overdub and Record
Mode Replace.
When Loop Record Takes is selected, each pass through the looped
region is recorded to a new Take within a single new Instrument Part.
When recording is stopped, eachTake is individually selectable by [Right]/
[Control]-clicking on the Instrument Part and choosing one of the num-
bered takes from the top of the pop-up menu. Only one Take can be
selected at a time for any Instrument Part.
Takes on Instrument Parts can be unpacked to new Instrument Takes, as
with Audio Event Takes, described in the Unpack Takes to New Tracks sec-
tion of this chapter.
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When Loop Record Mix is selected, each pass through the looped region
is added to the existing material within a single new Instrument Part. For
instance, if you are looping a four-bar region to record a new drum part,
this would allow you to play one piece of the drum kit during each pass
until you have recorded the whole part.
5.7 Track Layers
In Studio One, both audio and instrument tracks have optional layers
that can be used to record multiple different ideas to a single track. For
instance, you might want to compare one set of lyrics for a vocal track
to another set of lyrics. In this case, you could record two different per-
formances on a single track to two separate layers, and then be able to
quickly switch between the two without the need for a second track.
To create a new layer on any track, open the Inspector by pressing [F4]
on the keyboard and select“Add Layer”from the Layer selection box. The
new layer is effectively like having a whole new track, without the need
for duplicating inserts, sends, and I/O setup.You can also duplicate layers
by selecting Duplicate Layer from the Layer selection box, which enables
you to try out and compare two completely different edits of the same
events on two layers.
5.8 Audio Recording Format
Studio One records in the Broadcast Wave file format. This is the only for-
mat supported, as it is the most widely used format, and it contains time
stamps for when recordings start within a Song.
When recorded Broadcast Wave audio files get bigger than 4 GB, the RF64
file format is automatically used as the standard file format.
The recommended file system for the recording partition on your com-
puter is NTFS on Windows and HFS+ on Mac OS X.
5.9 Creating a Good Monitor Mix
When recording any performance in the studio, it is highly recommended
that you take the time to build a great monitor mix for the performers.
It’s critical that they clearly hear their performance and that of the other
musicians, and a good monitor mix helps inspire a better performance.
The general philosophy is for each performer to feel like they are playing
on a finished record.
For instance, it is common in many styles of music for the lead vocals to
have some reverb so that they sit well in the space of the overall mix.
Therefore, when recording vocals, it is sometimes a good idea to include
reverb in the vocalist’s monitor mix. This way, the vocal will sound more
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guitars, keyboards, and other instruments, as well.
If your audio device supports zero-latency hardware monitoring, use that
as the primary monitor source, so that no delay is heard. In addition, you
can use sends and FX channels in the Console, as you normally would in
a mix, to build a better monitor sound. For instance, on the audio track to
which you are recording, you could add a send to an FX channel with a
reverb.You could then route the FX Channel output to a Sub Out Channel
and back to your audio interface, where it can be mixed with the zero-
latency dry signal.
When adding time-based effects, such as reverb or delay, you generally
don’t have to be concerned about plug-in delay and latency that could
result from using software plug-ins on a live input source. A few millisec-
onds of processing delay on a reverb will probably not be audible.
5.10 Cue Mixes and Zero-Latency Monitoring
Studio One features powerful hardware integration with the FireStudio
line of audio interfaces from PreSonus. In this section, we will discuss how
to take advantage of this integration to create cue mixes and use zero-
latency monitoring.
5.10.1 Creating a Cue Mix Output
In Studio One, it is possible to quickly and easily create multiple cue
mixes. A cue mix is separate from the main mix and is usually provided to
musicians for monitoring purposes during recording.
For instance, when recording vocals, the engineer and vocalist will prob-
ably want to hear different mixes. Most vocalists want to hear more of
their vocals in the mix, possibly with some reverb to make it sound natu-
ral, while the engineer might focus on how the performance balances
with the rest of the mix. Together, Studio One and a FireStudio interface
make this simple.
The first step in building a cue mix is to create another output channel.
To do this, open the Song/Song Setup/Audio I/O Setup menu in a Song,
switch to the Outputs tab, and add a new Stereo Output channel. Next,
specify that this output is a cue-mix output by clicking on the channel’s
Cue Mix checkbox.You can create as many cue mixes as your audio inter-
face has available stereo outputs.
Now that you have created a Cue Mix output, you will notice a special
Send object in the channels of the Console. This Send object is called a
Cue Mix object. In the Small Console view, Cue Mix objects appear in the
far left column of the extended channel. In the Large Console view, Cue
Mix objects appear below the Send device rack on each channel.
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Each Cue Mix object features an Activate button, horizontal level and pan
faders, and a Lock to Channel button. When using a PreSonus FireStudio
interface, on audio channels with an assigned audio input, the Cue Mix
object will also feature a Zero-Latency switch, the function of which is
described below.
5.10.2 Mixing the Cue Mix
Cue mixes are mixed using Cue Mix objects. By default, the level and pan
values are locked to the Channel level and pan faders. This means that
each Cue Mix will be identical to the main mix in the Console. Changing
the level or pan in the Cue Mix object will unlock both settings, allowing
independent control of level and pan for each channel in each Cue Mix.
Thus, the level and pan for channels in a Cue Mix can be completely dif-
ferent from the related level and pan in the main mix.
At any time, you can lock the cue-mix level and pan back to the channel
settings by clicking on the Lock to Channel button. To completely remove
any channel from a cue mix, simply deactivate the Cue Mix object for that
channel.
5.10.3 Monitoring Live Input in a Cue Mix
Cue mixes are normally used in a recording situation in which one or
more live inputs need to be monitored. This is where Studio One’s Cue
Mix functionality, integrated with a PreSonus FireStudio interface, gets
really cool.
FireStudio interfaces feature internal hardware mixers that provide zero-
latency monitoring. While these mixers are easy to use, Studio One makes
it even easier by allowing you to control the mixers from within the soft-
ware. Using this feature only involves clicking on one button.
Let’s return to our example of recording live vocals. For a vocalist to be
comfortable and perform well, it is important that the performance
sound as natural and as polished as possible. Vocalists need to hear them-
selves well, with no audible delay of their voices in the mix. Adding some
reverb provides a little ambience, so the voice is not dry and lifeless.
Here’s how this scenario would look in Studio One:
Set up a Cue•• Mix output for the vocalist.
Record-enable and monitor-enable the vocal track.••
Engage the Zero•• Latency button on the Cue Mix object for the vocal
channel. This enables zero-latency monitoring straight from the hard-
ware (as opposed to monitoring through software) for that channel in
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Create a Send on the vocal channel to an FX Channel with your favorite••
reverb effect.
The vocalist will then hear the live, zero-latency input from the hard-••
ware, as well as the rest of the cue mix, including the output of the
reverb. Adjust the level of the vocal and other channels in the cue mix
to the vocalist’s liking, and you’re ready to record.
In a few seconds, you can ensure that vocalists hear their voices with no
latency, in a custom mix that includes effects. Simultaneously, you can
listen to a completely independent main mix, allowing you to focus on
engineering while the artist focuses on the performance.
Note that when monitoring with the Zero-Latency button engaged, you
will not hear insert effects on that channel, as you are monitoring the
signal before it is processed in software. If you need to hear insert effects,
do not engage the Zero-Latency button.
5.10.4 The Main Output as a Cue Mix
It is possible to designate the main output in Audio I/O Setup as a cue
mix. This is helpful if you often record yourself with a FireStudio interface
and require quick access to zero-latency monitoring for live inputs. When
the main output is designated as a cue mix, a Zero-Latency button will
appear on any audio channel with an assigned audio input in the Con-
sole, below the Mute, Solo, Record, and Monitor buttons.
With the Zero-Latency button and Monitor Enable both engaged, you
will hear the live zero-latency input straight from your FireStudio inter-
face (as opposed to through software). As such, you will no longer hear
the effects of any inserts on the channel. However, you will still hear the
result of any sends on the channel, as Bus and FX Channels will still out-
put normally.
5.11 Print Effects While Recording
Some people prefer to place insert effects on Input Channels so that
those effects may be printed to the track while recording. For instance,
you might place a compressor, EQ, or other effect on a vocal Input Chan-
nel in order to save time and computer resources later, when mixing. This
is easy to accomplish in Studio One. It may be helpful to review the Mix-
ing chapter in order to better understand these instructions.
To insert an effect on an Input Channel, open the Console and click on
the Inputs tab on the far left to view the Input Channels. If you’re work-
ing in the Small Console view, double-click on the Input Channel to open
its Insert Device Rack. Insert an effect in the Insert Device Rack on any of
the Input Channels, and those effects will be recorded at the input of any
track that uses that source.
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Note that when insert effects are used on Input Channels, and effects are
recorded to a track, there is no way to go back and change the sound of
the recording. To avoid this scenario, you might consider placing effects
on the audio channels to which you are recording, for monitoring pur-
poses only, and printing with effects at mixdown.

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6 Editing
After recording, the next step in production is usually editing the record-
ed Events to achieve a desired sound. The following chapter discusses as-
pects of editing in Studio One, including Arrange- and Edit-view editing,
mouse tools, Event envelopes, edit groups, and timestretching.
6.1 Events
All audio and musical data that exists within the timeline of your Song
will be visually represented by Events. Events that contain audio are
called Audio Events and can only be located on Audio Tracks. Audio
Events are distinct in that they display audio waveforms. Events that
contain musical data are called Instrument Parts and can only be located
on Instrument Tracks. Instrument Parts are distinct in that they display
musical-performance information.
Audio Events and Instrument Parts are referred to collectively as Events
in this manual. Event editing can take place both in the Arrange view and
the Edit view. Audio Events and Instrument Parts can be edited in similar
ways, but each has special considerations.
6.2 Tool and Event Snapping
Snapping allows editing actions to occur only at specified divisions in
time, such as bars and beats. For instance, Snapping makes it possible to
rearrange specific beats from a bar of a drum loop while keeping the rest
of the loop in time. Snap is engaged by default and can be disengaged
by clicking on the Snap to Grid checkbox.You can also temporarily defeat
Snapping by pressing the Shift key while moving the mouse.
If Snap is engaged, the current Snap Setting will affect the behavior of
Tools and Event editing by snapping the tool or Event to nearby time
values, as follows:
Adaptive: The default setting, where snapping will occur at the near-••
est logical subdivision of the current Timebase, based on the current
Timeline zoom level.
Bar:•• Snapping will occur at the nearest musical bar line.
•• Quantize: Snapping will occur at the nearest musical subdivision of the
current Quantize Setting.
•• Frames: Snapping will occur at the nearest frame subdivision.
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6.3 Arrange View Mouse Tools
The mouse tools allow direct interaction with Events, using the mouse. It
is helpful to remember that actions done using the Mouse Tools can be
undone at any time, so feel free to explore them. Click the middle mouse
button (scroll wheel) to display a list of the tools; then left-click to select
the desired tool.
In the Arrange view, the following
Mouse Tools and related functions
are available.
6.3.1 Arrow Tool
This tool is selected by default. Click on the Arrow Tool button or press
[number 1] (above the regular QWERTY keys) on the keyboard to select
the Arrow Tool.
Holding [Ctrl]/[Cmd] on the keyboard while the Arrow Tool is selected will
temporarily switch to the Range Tool.
The Arrow Tool can be used for the following purposes:
6.3.1.1 Move an Event
To move an Event using the Arrow Tool, click anywhere on the Event and
drag left, right, up, or down. Dragging the Event left or right will move the
Event backward and forward in time, relative to the current Timebase and
Timeline zoom. Dragging the Event up or down will move the Event to
another existing track of the same type. If the Event is dragged to a posi-
tion where no track currently exists, Studio One will create a new track of
the same type.
6.3.1.2 Size an Event
Events can be thought of as windows into audio files and musical perfor-
mances, where what you see is what you will hear. Sizing is a fundamental
technique wherein Events are made shorter or longer, so that only a por-
tion of the audio or musical data they contain is seen and heard.
To size any Event using the Arrow Tool, float the mouse to the left or right
edge of the Event to reveal the Sizing Tool. When this tool appears, click-
and-drag left or right to size the Event. Events can be sized and resized
nondestructively any number of times.
Holding [Alt]/[Option] on the keyboard and then sizing an Event from
the right edge will result in the Event being Timestretched. Refer to the
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6.3.1.3 Adjust Audio Event Volume Envelopes
All Audio Events feature a basic volume envelope that allows the volume
of the audio to be shaped in several ways. Using the volume envelope,
you can create a fade-in and fade-out, as well as set a constant volume
level between the fades.
To create a fade-in or fade-out, click-and-drag left or right on the Fade
Flag in the upper left or right corner of an Audio Event . By default, a lin-
ear fade will be created over the length you have moved the Fade Flag.
To change the curve of the Fade, click on the Fade Curve box in the
middle of the Fade curve and drag up or down. The Fade Curve will deter-
mine how quickly or slowly the Fade occurs and changes over time. If you
press and hold Shift while editing the fade length or the curve, you can
edit both at once. Dragging up or down edits the curve, and dragging left
or right changes the length.
To adjust the overall volume level of an Audio Event, click on the volume
box in the center of the volume envelope and drag up or down. As the
volume envelope is adjusted, the audio waveform will be redrawn to ap-
proximate the effect of the adjustment.
6.3.1.4 Select Multiple Events
Multiple Events can be selected at once in order to edit them all at once,
with a single action. To select multiple Events with the Arrow Tool, do one
of the following:
Click outside of the range of an Event, and then drag over any other••
Events; a gray box will be drawn while you drag over the target-selec-
tion area. Release the mouse button once the box is drawn over all of
the Events you wish to edit, and these Events will be selected for edit-
ing.
Click on any Event; then, while holding [Shift] on the keyboard, click••
on any other Events to select them. This allows you to select multiple
Events that are not in close proximity to each other. All selected Events
can then be edited at once.
6.3.2 Range Tool
The Range Tool is used to select a range, or area, within Events. Click on
the Range Tool button or press [NumPad 2] on the keyboard to select the
Range Tool.
To select a range within an Event, using the Range Tool, click-and-drag
over the area to be selected; a gray box will be drawn over the target
selection area. Release the mouse button when the box is drawn over
the range of the Events you wish to select. The range you have selected is
now treated as a single consolidated Event.
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For instance, you can use the Range Tool to select the content of several
Audio Events across multiple tracks in bar 12, and then use the Arrow
Tool to move that section of audio to bar 14. Another common use of
the Range Tool is to quickly select and delete a range of audio within an
Event, rather than using the Split Tool to make two splits, then selecting
and deleting the section with the Arrow Tool.
When a range has been selected and the mouse cursor is floated over the
selected range, the Arrow Tool will temporarily appear. This makes it easy
to quickly select and edit a range of Events.
To select multiple discontiguous ranges across any Event, on any track,
hold the Shift key while using the Range Tool. Continue to hold Shift
and use the Arrow Tool to select whole Events. For instance, when using
the Arrow Tool, if you press and hold Ctrl, you get the Range Tool. Press
and hold Ctrl and Shift to select multiple ranges, then continue to hold
Shift but release Ctrl; now you have the Arrow Tool and can select whole
Events. All of your selections will remain selected.
Selected ranges can be sized by floating the Range Tool at the left/right
edge of the selection.You also can split a selected range at the left and
right edges of the selection by choosing Split Range from the Edit menu
or by pressing [Ctrl]/[Cmd]+[Alt]+X after selecting a Range.
6.3.3 Split Tool
Using the Split Tool, single Events can be split into multiple Events. Click
on the Split Tool button, or press [NumPad 3] on the keyboard to select
the Split Tool.
With the Split Tool selected, a vertical and horizontal line will be drawn
near the current mouse-cursor position. The vertical line indicates the
exact time position of the Split Tool, while the horizontal line underscores
the track on which the Event to be split resides. The Split Tool is directly
affected by the current Snap settings.
Click on any Event with the Split Tool to split the Event at that position. By
splitting a single Event, you create two Events that can be edited inde-
pendently. If multiple Events are selected across multiple tracks, the Split
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6.3.4 Eraser Tool
The Eraser Tool is used to delete an Event. Click on the Eraser Tool but-
ton or press [NumPad 4] on the keyboard to select the Eraser Tool. To
delete any Event using the Eraser
Tool, simply click on the Event. The
Eraser Tool is unaffected by the cur-
rent selection and will only affect
the Event that is directly clicked on.
However, if you click on a selected element with the Erase Tool, all cur-
rently selected elements will be erased.
6.3.5 Paint Tool
In the Arrange view, the Paint Tool can only be used to create an empty
Instrument Part on an Instrument Track. Click on the Paint Tool button or
press [NumPad 5] on the keyboard to select the Paint Tool.
To create a new, empty Instrument Part on an Instrument Track with the
Paint Tool, click-and-drag over any empty area in the track lane of the
Instrument Track. Clicking once with the Paint Tool will create an empty
Instrument Part that varies in length according to the current Timebase
setting.
The Paint Tool will become the Arrow tool when the mouse cursor is
floated over any area of an Audio Track.
6.3.6 Mute Tool
In the Arrange view, the Mute Tool is used to mute audio events and
instrument parts. Click on the Mute Tool button or press [NumPad 6] on
the keyboard to select the Mute Tool. To mute any Audio Event or Instru-
ment Part, simply click on it with the Mute Tool. When an Event or Part is
muted, it will appear grayed out, and an“m”icon will appear in the lower
left corner of the Event or Part.
To unmute an Event or Part, click on it with the Mute Tool. Clicking and
dragging the Mute Tool over any number of Events and Parts in one mo-
tion will mute or unmute all of the Events and Parts touched by the tool.
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6.4 Common Editing Actions
6.4.1 Cut, Copy, Paste
As with most software applications, Studio One supports cut, copy, and
paste actions. Once you have selected an Event or a range of Events, you
can perform these actions:
Cut: Press [Ctrl]/[Cmd]+X on the keyboard to cut the current selection.••
•• Copy: Press [Ctrl]/[Cmd]+C on the keyboard to copy the current
selection.
•• Paste: Once a selection is cut or copied, press [Ctrl]/[Cmd]+P on the key-
board to paste the selection. The Events will be pasted on the selected
track, at the current Playback Cursor position. If you select and copy
Events on multiple tracks, then select another timeline location on the
first track, and then paste, the copied Events will be pasted in the ap-
propriate tracks and locations, starting with the first (selected) track.
Let’s say you wanted to copy and paste an Event from one Song into
another Song or another version of the Song, and you want the Event to
be at its original location in the timeline.You can do this by copying the
Event and then pasting with [Ctrl]+[Shift]+[V].
6.4.2 Audio Event Slip
Often, after an Audio Event has been sized to fit a particular region of
time, the audio clip the Event contains needs to be moved ahead or
behind in time without changing the Event’s length and volume enve-
lope. This action is commonly called“slipping,”or“slip,”and it is often used
alongside splitting, or splicing, to correct the timing of rhythm tracks.
For instance, if one snare-drum hit is off the beat by a little bit, you could
split the Event on either side of that section and then slip the audio into
perfect time.
To use Slip, select the Arrow Tool, and then press and hold [Ctrl]/
[Cmd]+[Alt] on the keyboard, while floating the mouse over an Audio
Event. The Slip Tool icon will appear. Click-and-drag on the Event to Slip
the audio left or right across the timeline. Multiple Audio Events can be
selected and slipped at once, even across multiple tracks.
When slipping the audio in an Audio Event, note that all of the Event
characteristics remain unchanged, including the Event size, position,
Inspector parameters, and volume envelope.
An Audio Event can be slipped only as far as the length of the audio clip it
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6.4.3 Duplicate
The Duplicate action essentially combines the Copy and Paste actions
and intelligently places the pasted selection based on the musical timing
of the selection in the Song. Press [D] on the keyboard to duplicate the
current selection. The duplicated Event will always be placed after the
original Event, and it is automatically selected once duplicated (see Fig.
6-18). As with the other editing actions, Duplicate can apply to any num-
ber of currently selected Events.
A good use of the Duplicate command is to quickly create copies of
a loop across a region in a Song by selecting an Event and repeatedly
pressing [D] on the keyboard. Another interesting use involves selecting
very short regions within a loop, using the Range Tool, and duplicating
them several times, consecutively,
in order to create a stutter effect
that is popular in electronic music.
6.4.4 Return to Start Position on Stop
Many people prefer that when playback is stopped, the playback cursor
returns to the position from where it started. This allows fast audition-
ing of edits by repeatedly starting and stopping playback from a specific
position in the timeline.
To enable this behavior, select the Return on Stop option in the Transport
file menu.
6.5 Edit View Event Editing
In many cases, editing actions will
require a close look at the Events
being edited. To perform these
edits in the Arrange view would
require zooming in to a level that
would make it difficult to retain
your sense of the overall Song
structure, then zooming back out after the edits are performed. The Edit
views allow you to avoid this inefficiency. To open the Edit view for the
selected Event, click on the Edit view button, press [F2] on the keyboard,
or double-click on any Event. While there is a common Edit view, Audio
Events open in the Audio Editor,
and Instrument Parts open in the
Music Editor.
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The Edit view will display the currently selected Event on a Timeline that
is independent of the Arrange view Timeline. By default, the Edit view
Timeline is zoomed in further than the default Arrange view Timeline.
The center position of the display is based on position in the Event that
was last clicked in the Arrange view, and clicking on a new position in the
Event in the Arrange view will recenter the Edit view display.
6.6 Editing Audio Events
6.6.1 Timebase and Quantize
The Audio Editor display operates independently of the Arrange view
and has independent Timebase and Quantize settings. The options for
these settings are the same as in the Arrange view and will affect tools
and Events in the same way. On the far left side of the window, you’ll see
Follow Song (located below the Display setting) and Snap (located next
to the Quantize setting); these can also be turned on or off independently
from the Arrange view settings.
6.6.2 Tools
All of the tools in the Arrange view are available in the Audio Editor and
function there exactly as they do in the Arrange view.
6.7 Editing Instrument Parts
Instrument Parts contain Notes, which represent musical-performance
data and are a type of Event. Notes can be moved, cut, copied, pasted,
duplicated, and drawn using mouse tools, key commands, and certain
Event menu commands. Multiple Notes can be selected and edited to-
gether as with Events.
6.7.1 Timebase, Quantize, and Scale
Like the Audio Editor, described earlier, the Music Editor has independent
Timebase, Auto-Follow, Quantize, and Snap settings. While Quantize af-
fects the horizontal time-value snapping, the Music Editor also features
Scale, or vertical note-value, snapping. The Scale settings allow snapping
to specific note values within different musical scales. Select a scale by
choosing the starting note and the musical scale in the respective selec-
tors. The Notes contained in the selected scale are marked on the single-
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6.7.2 Arrow Tool
The Arrow Tool in the Music Editor is used with Notes in essentially the
same way as the Arrow Tool in the Arrange view is used with Events.
Multiple Notes can be selected and edited together in the same way as
Events.
To move a Note using the Arrow Tool, click anywhere on the Note and
drag left, right, up, or down. Dragging the Note left or right will move
it backward and forward in time, relative to the current Edit view Time-
base and Timeline zoom. Dragging the Note up or down will transpose
(change the pitch of) the Note. The transposition interval can be de-
termined by using the vertical keyboard display to the left of the Music
Editor.
To size any Note using the Arrow
Tool, float the mouse to the left or
right edge of the Note to reveal the
Sizing Tool. When this tool appears,
click-and-drag left or right to size
the Note. As with Events, Notes can
be sized and resized nondestruc-
tively any number of times.
To duplicate selected Notes using the Arrow Tool, hold [Alt]/[Option] on
the keyboard, click on the selection, and drag left or right. Release the
mouse button when the desired position is reached, and the selection
will be duplicated to this position.
To temporarily switch to the Paint Tool, press and hold [Ctrl].
6.7.3 Paint Tool
The Paint Tool in the Music Editor is used to draw Notes in an Instru-
ment Part. The Paint Tool will snap when drawing to certain vertical and
horizontal positions based on the Scale and Quantize settings. When the
mouse cursor is floated over the Music Editor with the Paint Tool selected,
the Note value for the current cursor position is highlighted on the key-
board display.
Note that the Keyboard display can be switched to a Drum Map display
by clicking on the Drum Map button above the Keyboard display. The
Drum Map display essentially removes the virtual keyboard and allows
more room to display sample names horizontally for each vertical note
position.
To draw a Note with the Paint Tool, click at the desired position. If you
click once, the new Note will have a length equal to the time value of the
current Quantize setting. If you click-and-drag to the right, you can make
the Note any length you desire. With the Paint Tool selected, float the
mouse cursor to the edge of any existing Note to size the Note, as with
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the Arrow Tool. To delete a Note, click on it using the Paint Tool.
To edit the velocity of a Note while drawing the Note with the Paint Tool,
drag up and down after you click to draw the note. To edit the velocity
of a single existing Note, using the Paint Tool, hold [Alt]/[Option] on the
keyboard and click-and-drag up or down on the desired Note.
You can also edit the velocity of a Note(s) in the Part Automation lane of
the Music Editor, which is discussed in the Instrument Part Automation
section of the“Automation”chapter.
Press and hold [Alt] on the keyboard with the Paint Tool selected to enter
Line Drawing mode. In this mode, you can draw a line of Note Events in
the Music Editor, and you can draw lines in Automation Envelopes, as
mentioned later in this manual.
To momentarily select the Arrow Tool while using the Paint Tool, hold
[Ctrl]/[Cmd] on the keyboard.
6.7.4 Eraser Tool
The Eraser Tool in the Music Editor is used to delete Notes. With the Eraser
Tool selected, click directly on any Note to delete it.
6.7.5 Mute Tool
The Mute Tool is used in the Music Editor much as it is used in the Ar-
range View. With the Mute Tool selected, click on any note to mute it, and
cick on any muted note to unmute it. Click and drag over any number of
Notes in one motion to mute or unmute the entire group of notes.
6.7.6 Cut, Copy, Paste, and Duplicate Notes
You can cut, copy, paste, and duplicate Notes exactly as you can with
Events in the Arrange view, as describe in the Common Editing Actions
section of this chapter.
6.7.7 Transposing Notes, Instrument Parts, and Tracks
Transposing notes, or changing a group of notes by a given interval, is a
common action that takes advantage of the flexibility of musical data. It
is possible at any time to transpose any notes, a whole Instrument Part, or
all of the contents of an Instrument Track.
To transpose a note or group of notes within an Instrument Part, open the
Music Editor by double-clicking on the desired Part, and do the following:
Select all of the notes you wish to transpose.••
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Choose from one of the preset transpositions or use the horizontal••
fader to set the number of semitones by which the selected notes will
be transposed. A positive number results in the notes being transposed
up, and a negative number results in the notes being transposed down.
To transpose an entire Instrument Part:
Select the Part you wish to•• Transpose in the Arrange view.
Select•• Transpose from the Event menu.
Choose from one of the preset transpositions, or use the horizontal••
fader to set the number of semitones by which the selected Part will be
transposed. A positive number results in the Part being transposed up,
and a negative number results in the Part being transposed down.
When transposing notes or Parts, the musical notes will be moved graphi-
cally to represent the change. In this case, the notes displayed will be the
notes you hear.
To transpose all of the contents of an Instrument Track:
Select the Instrument Track you wish to transpose.••
Open the•• Inspector by pressing [F4] on the keyboard.
Enter a value in the•• Transpose field for the number of semitones by
which the Track will be transposed.
When transposing a Track via the Inspector, the transposition will not be
reflected graphically. The positions of the notes in all Parts on the Track
will remain unaffected. In this case, the notes displayed may not be the
notes you hear. This parameter will also affect the notes you hear when
you play your Keyboard.
6.7.8 Quantizing Instrument Parts
Quantizing Instrument Parts is the process of realigning notes in time to
match a given musical time subdivision more closely. In practice, quantiz-
ing is generally used to clean up musical timing to more closely match
the intended timing, although it can also be used creatively.
The results of quantizing are determined with the Quantize Controls to
the far left of the Music Editor. The Quantize selection box allows you to
choose the musical subdivision of time, or of note value, to which you
would like to quantize. By default, 1/16 (16th
note) is selected. Subdivi-
sions to 1/64 notes are available, as well are other presets.
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The Swing fader allows you to ap-
ply a percentage of musical“swing”
to the quantization process. The
current Quantize note value setting
will affect how Swing is applied.
6.7.9 Quantize and Restore Timing
To quantize an entire Instrument Part, select the Part in the Arrange view
and press [Q] on the keyboard or choose Quantize from the Event file
menu. To quantize an individual Note or Notes, select the Notes in the
Music Editor and then apply quantization, as before.
Alternatively, if Notes are selected in the Music Editor, and then the Quan-
tize value is changed, the selected Notes are automatically quantized
using the newly selected Quantize value.
To restore the original timing to quantized Instrument Parts or Notes,
select the Part or Notes and press [Shift]+Q on the keyboard or select
Restore Timing in the Event menu.
6.7.10 Humanize
Strictly quantizing every note so that rhythms are perfectly precise can
cause the music to sound lifeless or mechanical. The Humanize function
randomly alters note start and end times and velocity (within a small
threshold), providing just enough variation to make a performance
sound more like a human played the parts.
To use this function, select any notes and then choose Humanize from
the Edit/Musical Functions menu. Note that the results are random, and
there are no user controls.
6.7.11 Music Editor Inspector
When a note is selected, its start and end positions are labeled, as are its
pitch, velocity, and mute status. Each of these parameters can be edited
directly in the Inspector. When editing notes using the Inspector, all se-
lected notes will be affected.
The simplest way to edit start and end positions, pitch, and velocity is to
place the mouse cursor over the parameter and scroll the mouse wheel
up or down. Another way to edit a selected note’s velocity is to click-and-
drag the horizontal Velocity fader in the Music Editor. When you release
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6.8 Editing Commands
6.8.1 Common Music Editing Commands
When editing in the Music Editor, several editing commands are likely to
be used often. We have placed these commands in a menu that allows
quick access to them, to the right of the Tool icons in the upper left of
the Music Editor. Click on the Wrench icon to reveal a drop-down menu
of commands with which you can edit any selected notes in the Music
Editor.
6.8.2 Event Menu Commands
The following is a list of all Event menu commands with their correspond-
ing descriptions.
Event Menu Command Function
InsertMarker InsertamarkerintheMarkerTrackatthecurrenttimelineposition.
RenameEvents RenamethecurrentlyselectedEvents.
MuteEvents MutethecurrentlyselectedEvents.
UnmuteEvents UnmutethecurrentlyselectedEvents.
ToggleMute ToggleMuteforthecurrentlyselectedEvents.
SelectinPool SelectthecurrentlyselectedEventsinthePool.
CreateCrossfades Createcrossfadesforanycurrentlyselected,overlappingAudioEvents.
CreateAutofades Createautofades,orfadeinsandfadeoutsforthecurrentlyselectedAudio
Events.
BounceSelection BouncethecurrentlyselectedAudioEvents.
ReverseAudio ReversethecurrentlyselectedAudioEvents.
NormalizeAudio NormalizetheaudioforthecurrentlyselectedAudioEvents.
IncreaseVolume IncreasethevolumeforthecurrentlyselectedAudioEvents;onlypossibleif
thevolumefortheAudioEventhasbeendecreased.
DecreaseVolume DecreasethevolumeforthecurrentlyselectedAudioEvents.
QuantizeAudio SnapthebeginningofaselectedAudioEventstothenearestbar.
InsertPart InsertanewInstrumentPart,onebarinlength,atthecurrenttimeline
position.
MergeInstrumentParts MergethecurrentlyselectedInstrumentPartsonasingleInstrumentTrack
intoasingleInstrumentPart.
BounceInstrumentPart BouncethecurrentlyselectedInstrumentPartstoanAudiofile,whichwill
beplacedonanewAudioTrack.
RemovePartAutomation RemovethePartAutomationforthecurrentlyselectedInstrumentParts.
MakeSharedPartsIndependent WhenyouduplicateInstrumentParts(MIDIEvents),changesmadeto
onecopyaremadetoallcopies.Thiscommandmakesthesesharedparts
independentofeachother.
Velocity EdittheVelocityforanycurrentlyselectedNotesorentireInstrumentParts.
Transpose TransposeanycurrentlyselectedNotesorentireInstrumentParts.
Length ChangethelengthofanycurrentlyselectedNotesorentireInstrumentParts.
Stretch StretchanycurrentlyselectedNotesorentireInstrumentPartsbyacertain
factor.
Quantize QuantizeanycurrentlyselectedNotesorentireInstrumentParts.
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RestoreTiming RestorethetimingforanycurrentlyselectedNotesorforentireInstrument
Parts.
DeleteDoubleNotes Deletedoublenotes,orsimultaneousoccurrencesofthesamenote,forany
currentlyselectedNotesorforentireInstrumentParts.
DeleteShortNotes Deleteshortnotes,ornoteswithextremelyshorttimevalues,foranycur-
rentlyselectedNotesorforentireInstrumentParts.
6.9 Edit Groups
It can be useful to group multiple tracks together so that any edits done
to an Event on one track in the group are automatically done to all Events
for each Track in the group. For instance, you may wish to group all of
your drum tracks together so that when the Events are cut and/or moved,
the relative timing between the tracks remains intact.
6.9.1 Creating Edit Groups
To create a new edit Group, do the following:
Select the Tracks you wish to group.••
[Right]/[Control]-click on any currently selected Track.••
Choose•• Group Selected Tracks from the pop-up menu.
All Tracks that were selected will now be a part of the new Edit Group.
Edit Groups are automatically named based on the order in which they
are created, and they are shown as Group 1, Group 2, and so on. The
name of the new Edit Group will be shown in the Edit Group selector box
under the Track Type icon on all Tracks in the Group.
To add a Track to an existing Edit Group, click on the Edit Group box (un-
der the Track Type icon) on the desired Track in the Arrange view. Then, in
the pop-up menu, choose the Edit Group to which you wish to add the
Track.
When a Track is included in an Edit
Group, selecting the Track will se-
lect all Tracks in the Group. Any edit
actions performed on any Event
for any Track in the Group will be
performed on all Events for each
Track in the Group.
In Studio One, Edit Groups also group the faders for the related Channels
in the Group. This topic is discussed further in the Groups section of the
“Mixing”chapter.
If a Track is in an Edit Group, and an Event from the Track is viewed in
the Edit view, the Group icon will appear at the top left of the Edit view,
indicating that any edits performed on the Event in view will affect other
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6.9.2 Dissolving Edit Groups
To Dissolve, or ungroup, an Edit Group, [Right]/[Ctrl]-click on any Track in
the Group in the Arrange View. Then select Dissolve Group (1, 2, 3…), and
the Group will be dissolved. Both the Grouping and Dissolving actions
can be undone and redone, as with most user actions.
6.9.3 Temporarily Suspending Edit Groups
Certain actions—such as moving a fader, muting, and soloing—can be
performed on a track within an Edit Group, without affecting the group
as a whole, by temporarily suspending the group. To do this, hold [Alt]/
[Option] on the keyboard while performing an action on a track.
6.10 Timestretching
It is possible to stretch an Audio Event to fit a tempo other than its
original tempo, without changing the pitch. This is called Timestretching,
and it can be used to effectively slow down or speed up an Audio Event.
For instance, a 1-bar drum loop recorded at 120 bpm (beats per minute)
can be stretched to fit into 1 bar at 100 or 140 bpm, without significantly
changing the pitch and overall sound of the original audio.
Timestretching and defining a file tempo are nondestructive, so they can
be undone and redone. It is also possible to switch Tempo modes for any
Audio Track, on the fly. For example, switching to Follow or Don’t Follow
from Timestretch will return any timestretched Audio Event that Track
contains back to its original state.
When Timestretching, if the tempo is drastically changed (by about 30
bpm or more), the audio can become slightly distorted. While this can
lead to interesting effects, you should be aware of the limitation of this
technology.
In Studio One, Timestretching can occur automatically or manually. The
following describes these functions.
6.10.1 Manual Timestretching
With manual Timestretching, you can stretch an Audio Event indepen-
dently of the Song tempo or audio file tempo.
To manually stretch an Audio Event with the Arrow Tool, float the mouse
cursor to the edge of the target Audio Event and hold [Alt]/[Option] on
the keyboard (see Fig. 6-32). The Timestretch tool will appear, allowing
you to click on the edge of the Event and drag left or right to Timestretch
the Event, making it shorter or longer (see Fig. 6-32). In this case, the
length of the Event will change, using the Speedup factor, but the pitch
of the audio the Event contains will remain the same. Only the Event that
you selected for timestretching will be affected.
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Speedup factor is a timestretching function for making an audio clip
shorter or longer while maintaining its pitch. Values greater than 1
increase the length of the clip, while values less than 1 make the clip
shorter. This is used to stretch audio events when you do not wish to
define a tempo for the original audio clip, which would affect all events
associated with that clip. The Speedup factor can be entered in the Event
Inspector.
6.10.2 Automatic Timestretching
Automatic Timestretching is based on the relationship between the Song
tempo and the audio file’s tempo.
Each Audio track has a Tempo mode that controls the behavior of the
events on the track, based on the Song tempo. The Tempo mode can be
selected in the Track Inspector. The following modes are available:
Don’t Follow: Events on this•• track are independent of the Song tempo.
They are never moved or stretched automatically.
Follow: The start positions of Events on this•• track are tied to the musical
grid. Thus, the Events move when the Song tempo changes but they
are not stretched.
Timestretch: Event start positions follow the•• Song tempo, as in Follow
mode. In addition, the Events are stretched to fit the Song tempo.
6.10.3 Audio File Tempo Information
For Automatic Timestretching to work as described, Studio One needs to
know the original tempo of an audio file. The software can then calculate
how to stretch the file to fit the Song tempo. Many audio loops have this
information encoded.
Files without tempo information will not be timestretched, even if the
Track’s tempo mode is set to Timestretch.
Studio One offers two ways to define or change the original tempo infor-
mation of an audio file.
A powerful feature in Studio One is the ability to graphically define the1.
tempo of an audio file. If the original tempo for an Audio Event is un-
known, the Arrow Tool Timestretch function can be used to manually
fit the Audio Event to a specific length of time (bars and beats, etc).
To do this, set the Tempo mode of the track to“Timestretch.”Float the
mouse cursor to the edge of the target Audio Event and hold [Ctrl]+[Alt]/
[Command]+[Option] on the keyboard. The Define tempo tool will ap-
pear, allowing you to click on the edge of the Event and drag left or right
to stretch it. In this case, the tempo for the original clip will be set based
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the Song that use this original clip will be updated.
If the original tempo for an Audio Event is2. known but is not encoded
in the original file that the Event references, you can easily set the file
tempo for the Event in the Inspector. Click in the File Tempo box, type
in a new value (see Fig. 6-33) and press [Enter] on the keyboard to en-
ter a new file tempo. If the corresponding Audio Track’s Tempo Mode
is set to Timestretch, entering a new value in File Tempo will stretch
all Events in the Song that use this original clip, based on the entered
tempo value.
6.10.4 Tap Tempo
You can use the Tap Tempo function to set the current Song tempo to the
tempo that you hear in your Audio Events. To do this, repeatedly click on
the word“Tempo”in the Transport, clicking once on every beat you hear.
Studio One will determine the Audio Event tempo based on the timing of
your clicks and will set the tempo for the Song accordingly. Be sure that
the Tempo mode for the Audio Track is set to“Don’t Follow”; otherwise,
the Events will be stretched or moved while you are using the Tap Tempo
function, making it impossible to find a consistent tempo.
6.10.5 Timestretching Material Modes
Studio One features several optimized Timestretching modes that may
yield better results with certain types of audio material. To access these
modes, open the Inspector by pressing [F4] on the keyboard and click
in the Material display. Click on any mode to select it for the currently
selected Track. The modes are:
Drums: Use this optimized mode on any percussion track to achieve the••
best results when stretching percussive audio.
•• Solo: Use this optimized mode on any solo instrument or vocal track to
achieve the best results.
Sound: Use this general mode on any other type of track.••
6.10.6 Using Timestretch Cache
By default, Use Cache for Timestretched Audio Files is engaged. This
option also can be selected in the File/Options/Advanced menu (Mac:
Preferences/Options/Advanced). Timestretch Cache creates a cache file at
the correct tempo for any files that need timestretching, based on what
is currently being stretched in your Song. This improves Studio One’s
performance, as the timestretch process no longer needs to occur during
playback. Studio One also can use a higher-quality timestretch setting
when it creates the cache file.
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Using Timestretch Cache requires a certain amount of available space on
your hard drive. If you know that space is relatively limited on your hard
drive, or if performance issues arise, disable this feature. When Use Cache
for Timestretched Audio Files is de-selected, Studio One will timestretch
the file in real time, during playback, as the file is being read from the
computer hard drive.
6.10.7 Default Tempo Mode for New Tracks
When creating a New Song, notice that the New Song setup menu in-
cludes a Stretch Audio Loops to Song Tempo checkbox. With this option
engaged, any new Track that is created in this song will have the Tempo
mode set to Timestretch, and the software will attempt to automatically
stretch audio files to the current Song tempo when they are imported
into the Song. Otherwise, the default Tempo mode for new Tracks will be
Follow.
6.11 Navigating with Zoom
When navigating a Song for editing or arranging, zooming in and out on
the timeline can be beneficial in both the and Edit and Arrange views.
Studio One’s key commands make zooming a quick and easy alternative
to using a mouse. The following key commands affect zooming:
•• Zoom Horizontally
•• Zoom In [E]
•• Zoom Out [W]
•• Zoom Vertically
•• Zoom In Vertical [Shift]+[E]
•• Zoom Out Vertical [Shift]+[W]
Other•• Zoom Commands
•• Zoom to Loop [Shift]+[L]
•• Zoom to Selection (Horizontally vertically) [Shift]+[S]
•• Zoom to Selection Horizontally [Alt]+[S]
•• Zoom Full [Alt]+[Z] (Zooms out horizontally as much as possible.)
6.11.1 Zoom History
The most recent horizontal and vertical zoom states in an arrangement
or editor are remembered in the Zoom History.You can go back to the
previous state using Undo Zoom [Alt]+[W] or forward with Redo Zoom
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6.11.2 Toggle Zoom
You can quickly toggle between two zoom states with the Toggle Zoom
command [Z]. This command swaps the current zoom state with a stored
zoom setting. The current state is stored, and the state from the memory
gets restored. Pressing [Z] again takes you back to the original state.
The Store Zoom State command [Shift]+[Z] only stores the current state,
however will not switch states. This can be used to set an anchor zoom
position that you want to recall later with the Toggle Zoom command [Z].
6.12 Editing Suggestions
6.12.1 Making Clean Edits
In audio production, the editing process can be unforgiving. Small inac-
curacies when splitting, moving, or performing other actions on recorded
audio can lead to unwanted audible artifacts. The following describes
some recommended editing practices.
6.12.2 Listen While Editing
Listening to your edits as you make them will save time and frustration in
nearly every case. For instance, when sizing the edges of a vocal part to
remove unwanted sounds between words, it is tempting to make edits
based on the graphic representation of the waveform. Sometimes that
works, but even when you edit visually, it is a good idea to loop the sec-
tion you are editing and listen as you size the Events to be sure you are
not removing a critical part of the vocals.
To quickly loop a precise selection, select a range with the Range Tool,
and then press [P] on the keyboard to set the Left and Right Locators
around that range. Then, click on the Loop button in the Transport, or
press [Num Pad/] on the keyboard, to loop the playback over the selected
range.
6.12.3 Eliminating Audible Artifacts
In Studio One, we make every effort to streamline the editing process
and avoid tedious tasks. For instance, we apply fades automatically to
punch-in recordings to be sure the new audio blends seamlessly with the
existing audio. However, for reasons beyond the scope of this manual,
there will be cases when editing audio leads to audible artifacts.
These artifacts may sound like short clicks or ticks of noise, and they
usually occur at the beginning or end of an audio event that has been
split or cut. When this happens, use the fade envelope provided on every
Audio Event to apply a quick fade-in or fade-out, experimenting until the
artifact can no longer be heard.
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7 The Browser
7 The Browser
The Browser is a powerful feature that allows quick navigation of virtual
instruments, effects, and a variety of file types on your computer, in-
cluding audio and musical-data files. The Browser works somewhat like
Windows Explorer or Mac OS X Finder, in that it allows you to navigate file
directories on your computer in specific ways. Audio and musical-data
files, as well as virtual instruments and plug-in effects, can be dragged
from the Browser directly into your Song or Project.
7.1 Importing Files with the Browser
It is possible to import several file types into your Song or Project from
the Browser, including WAV (BWF and RF64), AIFF, Ogg Vorbis, FLAC, and
MP3 audio files, as well as Standard MIDI Files.
7.1.1 Find an Audio File in the Browser
The Browser is the fastest way to find an audio file to import into your
Song. Open the Browser by clicking on the Browse button, or press
[F5] on the keyboard, and click on the Files button at the bottom of the
Browser to view your files.You also can press [F9] on the keyboard to
open the File Browser directly.
By default, the File•• Browser will display four folders:
Desktop: This will contain all folders and files on your desktop.••
Documents: This is the default Documents folder for your computer••
(Windows and Mac OS X).
Content: This is the Content folder as specified in File/•• Options/Loca-
tions/User Data setup menu (Mac OS X: Preferences/Options/Loca-
tions/User Data), which will contain all Songs, Projects, Presets, and
other Studio One files.
Volumes: This folder will contain all file-storage locations on your••
computer, such as the (C:) drive in Windows.
Navigate the Browser by clicking on any folder to view its contents, as you
would with Windows Explorer or Mac OS X Finder.
It is possible that files added to or moved in your computer while Studio
One is open will not appear in the Browser. If you encounter this, right
click in the Browser and select Refresh to reload the views of the storage
locations on your computer.
To find audio files, such as loops and samples, that are included with
Studio One, click on the Sounds tab at the bottom of the browser or press
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7.1.2 Preview an Audio File in the Browser
When an audio file is selected in the Browser, the bottom window of the
Browser will become the Preview Player, displaying transport controls
and information about the selected file. When the Preview Player ap-
pears, you can listen to the selected file directly within the Browser. To
start file playback, double-click on the file in the Browser or click on the
Play button in the Preview Player with the desired file selected.
Preview Player playback is independent of the main Song playback, so
you will notice the playback-position cursor does not move across the
Arrange view while previewing a file. The Preview Player has its own
playback position indicator that moves left to right to indicate the cur-
rent playback position in the selected file. The position indicator can be
clicked and dragged to navigate through the selected file during play-
back. A volume fader controls the playback level of the Preview Player.
The Preview Player playback can be synced to Song playback to allow
auditioning of files along with Song playback. Click on the Play at Song
Tempo button, which is engaged by default, to allow the Preview Player
to sync to the current Song tempo.
If the currently selected file’s tempo is known, and Play at Song Tempo
is engaged while previewing, the file will be Timestretched on the fly to
match the current Song tempo. To preview while hearing your Song play-
back, start Song playback first, and then select a file and preview it.
To loop the selected file during preview playback, click on the Preview
Player’s Loop button, which is engaged by default. Looping during pre-
view playback makes it easy to listen to the selected file in the context of
your Song.
An easy way to audition many audio loops from a single folder, such as
a loop library, is to set the left and right locators around the range of
the Song into which you will import the loop, then loop playback in the
Transport within that range. Next, preview the first loop in the folder and
then use the up and down arrow keys on your keyboard to cycle through
every loop in that folder.
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7.1.3 Import an Audio File into Your Song
Importing an audio file from the
Browser into your Song is as easy as
clicking on the file and dragging it
into the Arrange view of the Song.
When the file is dragged to empty
space, a mono or stereo Audio
Track will be created with the file
placed on it as a new Audio Event,
located at the position to which
it was dragged. When the file is
dragged to an existing Audio Track,
it will be placed as a new Audio
Event on that Track, at the position
to which it was dragged. If you
import a stereo file to a mono Track, the Event created will be stereo, but
the output will be mono, since the Track is mono. If you import a mono
file to a stereo track, the output will be dual mono, that is, the same signal
equally on both sides.
It is possible to select multiple files in the Browser and drag all of them in
at once, making the transfer of recordings done in another DAW a one-
click process.
For virtual instruments that support audio-file importing using drag-and-
drop (such as many drum samplers), you can drag-and-drop audio files
from the Browser directly onto the instruments to load audio files.
7.1.4 Automatic MP3 to WAV Conversion
When an MP3 file is imported into your Song, it is automatically convert-
ed to a WAV file. This is done to ensure high-quality audio playback and
performance, helping to make the overall production more uniform and
consistent.
The WAV file created during MP3 conversion will be stored in the Media
folder of the Song in which the MP3 was imported, and will have the
same name as the original MP3 file, with the .wav file extension. The
newly created WAV file will inherit the Song’s sample rate and resolution
(bit depth), as set in Song/Song Setup.
7.1.5 Importing MIDI Files with the Browser
To import a MIDI file using the Browser, navigate to the desired file, as you
would for an audio file, and click-and-drag it into your Song. If the MIDI
file is dragged to an empty space in the Arrange view, a new Instrument
Track will be created with that file placed on the Track at the position to
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file will be placed as a new Instru-
ment Part on the Track, at the posi-
tion to which it was dragged.
Some MIDI files will contain more
than one MIDI Part in the se-
quence. If this is the case, multiple
Parts will be shown when dragging
the file into your Song.
As with all Instrument Tracks, you
will need to ensure the new Instru-
ment Track is routed to a virtual
or external instrument in order
to hear the new Instrument Part. Refer to the Monitoring an Instrument
Track section of the“Recording”chapter for more information.
You can also drag a MIDI file directly onto virtual instruments that sup-
port drag-and-drop MIDI importing.
7.1.6 Export a MIDI File
To export an Instrument Part to a MIDI file, [Right]/[Control]-click on the
Part and select Export Instrument Parts. Choose a file name and storage
location in the pop-up menu and click OK. A Standard MIDI File will be
created with a .MID file extension.
Multiple Instrument Parts can be exported at once to a single file. To do
this, select the desired Parts and use the same process as above. One MIDI
file will be created that includes individual MIDI clips for each Part, in the
correct sequence, with a common start time.
Standard MIDI Files exported from Studio One can be used by virtually
any application that supports MIDI.
7.1.7 Make Finding Your Favorite Files Easy
It is common that groups of files, such as drum loops, are stored in one
folder on the computer. If you know you will constantly access such
folders in the Browser, you can create Tabs for these locations. By default,
there is only one Tab at the top of the File Browser, called“Files.”
To create a Tab for any file location, navigate to that location and select
either the location folder, or any file within that folder. Then [Right]/
[Control]-click on the location, select New Tab From Here in the pop-up
menu, and a new Tab will appear at the top of the File Browser with the
name of the folder, allowing instant
access.
You can rename a Tab if you don’t
want to use the default name. To
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rename a Tab, [Right]/[Control]-click on the tab and select Rename Tab.
Type a new name in the pop-up menu and click OK.
Tabs you create in the File Browser will appear for all Songs and Projects,
and you can create as many Tabs as you need. When the Browser runs
out of space for Tabs to be displayed, a dropdown list is created to the far
right of the Tab bar. Click on the Tab drop-down button to choose a Tab
from the list.
To close or remove Tabs, [Right]/[Control]-click on the desired Tab and
select Close Tab from the pop-up menu. To move up one level in the File
Browser, [Right]/[Control]-click and select“Up.”
7.2 The Pool
When audio is recorded on an
Audio Track, or when an audio
file is imported, an Audio Event is
created in the Arrange view of the
Song, and a representation of the
original audio file associated with
the Event, called a Clip, is placed in
the Pool. The Pool will thus contain
all audio files that are at any point
associated with an Audio Event in
your Song.
To open the Pool, first open the
Browser by clicking the Browse
button, then click on the Pool but-
ton.You also can press [F10] on the
keyboard to open the Pool directly.
7.2.1 Navigate the Pool
The Pool displays audio Clips as waveforms. These Clips can be sorted
using the Sort By menu at the top of Pool. The following Sort By options
are available:
Flat:•• View all Clips with no order.
Track:•• View Clips by the Track on which they are currently used or were
previously, used.
Type:•• View Clips by Clip Type (Audio or Sounds)
Location:•• View Clips by the storage location in which they exist on your
computer.
Record Take:•• View Clips by the order of record takes within your Song.

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7.2.2 Use Audio Files from the Pool
The audio Clip associated with any Event in your Song will always be
available in the Pool, regardless of whether the Events associated with
that Clip remain in the Arrange view of the Song. This means that the
original state of a Clip with which an Event is associated can be quickly
restored by loading it directly from the Pool.
Click-and-drag any Clip from the Pool into the Arrange view, as you
would when importing any file from the Browser.
7.2.3 Import Audio Files to the Pool
If you know a certain set of files will be used in a Song but do not want to
import them into the Song directly, you can simply import the files into
the Pool. Later, you can quickly import files from the Pool. If you want
copies to be placed in the Song’s Media folder when you import files into
the Pool, [Right]/[Control]-click in the Pool and select Copy External Files
from the pop-up menu. This ensures that all of the elements of your Song
are contained in the Song folder.
To import a file into the Pool, [Right]/[Control]-click on it in the File
Browser and select Import to Pool. Alternatively, you can simply drag files
from Windows Explorer or the Mac Finder into the Pool.
7.2.4 Copy External Files to the Song Folder
If audio loops and other files used in your Song are stored in many differ-
ent file locations on your computer, it can be difficult to find them, espe-
cially if files are moved or deleted. Scattered files also make it difficult to
back up your Song and all of its contents to a single location or to share
your Song with a collaborator.
To quickly copy all external files used in your Song to the Song’s Media
folder, [Right]/[Control]-click in the Pool and select Copy External Files
from the pop-up menu. Only those files that did not previously exist in
the Song folder will be copied and placed into the Media folder.
7.2.5 Backup or Share Your Song
Once all of the external files have been copied to your Song folder, you
can back up your Song and all of its contents simply by copying the Song
folder to an external hard drive or DVD. To share your Song with another
Studio One user, you can simply compress the Song folder in a .zip or .sit
archive, and then email or transfer the archive.
It’s unwise to rely on a compressed archive for backup, as future compat-
ibility with the archive type is uncertain, and file-write errors could lead
to an unusable archive. The best practice is to create a Wave file for every
track in your Song and store these files, uncompressed, along with the
original Song file.
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7.2.6 Useful Pool Commands
[Right]/[Control]-click in the Pool Browser window to select from the fol-
lowing commands:
Rename File: Rename the currently selected Clip.••
Locate File: Locate a file for the currently selected Clip (e.g., to find a••
missing file).
Show in Explorer: Open the file location for the currently selected Clip••
in Windows Explorer/Mac Finder.
Select on Track: Select any Events associated•• with the currently selected
Clip in the Arrange view.
Remove from•• Pool: Remove the currently selected Clip from the Pool.
This does not delete the file.
Delete File Permanently: Permanently delete the file associated with••
the currently selected Clip.
Convert Files: Convert selected files in the•• Pool to the current Song’s
sample rate and bit depth. The Convert Files menu will appear with file
options. A new file will be created for each selected file and placed in
the current Song’s Media folder.
Refresh: Refresh the contents list of the•• Pool to reflect the current state
of your Song and computer.
Locate•• Missing Files: If any files are missing in your Song—usually this
occurs because the files were moved—use this command to locate the
missing files.
Remove Unused Media: Remove any•• Clips from the Pool that are not
currently used in the Song. This will not delete the files.
Show Media Folder in Explorer: Open the Media Folder for the current••
Song in Windows Explorer or the Mac Finder.
7.3 Instruments and Audio Effects
The Browser makes finding and using your virtual Instruments and Audio
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7.3.1 Browse for Virtual Instruments
Click on the Instruments tab in the Browser or press [F6} on the keyboard
to browse your virtual instruments.
7.3.2 Sort the Instruments View
The list of virtual instruments can be sorted to help you find what you are
looking for. Click on the Sort By window at the top of the Browser to sort
by the following:
Flat: Sorts the instruments in alphabetical order in a continuous list.
Folder: Sorts the instruments based on the storage location folders in
which they reside.
Vendor: Sorts the instruments in folders by vendor.
Category: Sorts the instruments in folders by type (Native, ReWire, VST2,
VST3, AU).
7.3.3 Drag a Virtual Instrument into Your Song
When you have found a virtual
instrument you wish to use in
your Song, you can simply click-
and-drag it into the Arrange view
from the Browser. If you drag the
instrument into blank space, the
virtual instrument will be loaded
in the Instruments Device Rack,
and a new Instrument Track will be
created that is routed to the Instru-
ment. The new track will be record-
enabled and monitor-enabled by
default, so you can play the virtual instrument immediately with your
default Keyboard.
If you drag-and-drop an instrument from the Browser on top of another
instrument or onto an existing Instrument Track that is routed to another
virtual instrument, the previously loaded instrument will be replaced by
the new instrument. A pop-up menu will appear to verify this action.
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7.3.4 Instrument Presets
The presets for Studio One’s built-
in virtual instruments, including
Impact, SampleOne, and Presence,
can be loaded into your Song in
the same way as the instruments.
Drag-and-drop a preset from the
Browser to load the instrument
into your Song, with that preset
already loaded. Alternatively, when
the instrument is open, you can
load any preset for that instrument
by simply double-clicking on the
preset in the Browser or by clicking on the preset to select it and then
hitting [Return].
7.3.5 Browse for Audio Effects
Click on the Effects tab in the Browser or press [F7} on the keyboard to
find your Audio Effects.
7.3.6 Sort the Audio Effects View
You can sort the list of Audio Effects to help you find what you are look-
ing for. Click on the Sort By window at the top of the Browser to sort by
the following:
Flat: Sorts the effects in alphabetical order in a continuous list.••
Folder: Sorts the effects based on the storage location folders in which••
they reside.
Vendor: Sorts the effects in folders by vendor.••
Category: Sorts the effects in folders by the type of plug-in (Native,••
VST2, VST3, AU, FX Chains).

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7.3.7 Drag an Audio Effect into your Song
Audio Effects can be dragged into your Song in a number of ways, with
slightly different results. To load an effect on an existing Audio Track,
drag-and-drop the effect from the Browser onto the Track in the Arrange
view.You can also drag-and-drop an effect onto any Channel in the Con-
sole. If you prefer, you can even drag-and-drop an effect from the Browser
directly into a particular position in the Insert Device Rack of any Channel.
To create a new FX Channel in the Console with a particular effect pre-
loaded, drag-and-drop the effect from the Browser into any blank space
in the Console. The new FX Channel will automatically be given the name
of the effect.
7.3.8 Audio Effects Presets and FX Chains
The presets for Studio One’s built-
in Audio Effects can be loaded
into your Song in the same way as
third-party Audio Effects. Drag-
and-drop a preset from the Brows-
er into your Song to load the effect
with that preset. Alternatively, if
an Audio Effect is open, you can load any preset for the effect by double-
clicking on the preset in the Browser or by clicking on the preset to select
it and then hitting [Return]. FX Chains can be loaded in the same way,
as described in the FX Chains section of the“Mixing”chapter. This makes
configuring even the most complicated mix quick and easy.
7.4 Sound Sets
The audio loops, samples, and instrument presets included with Studio
One are bundled into Sound Sets and can be quickly located and used
by clicking on the Sound Sets tab in the Browser. The Sound Sets and are
carefully organized to make finding what you want very easy.
7.5 Browsing Song and Project Content
When working in a new Song or Project, incorporating previously used
elements can be helpful in a variety of ways. For instance, you may want
to reuse a particular synth sound or Instrument Part, or perhaps you want
to use a particular effect setting or chain of effects on a channel. Brows-
ing the contents of previously created and saved Songs and Projects is a
quick and easy way to find reusable material.
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To browse previously created Song content, open the Files tab in the
Browser and navigate to the Content folder (which contains all of your
Songs, Projects, and associated files, by default) or to the location you
have chosen for these files. Open the Song or Project folder to view the
Song or Project file and then [Right]/[Control]-click on this file and select
Show Package Contents from the pop-up menu.
The file will then have a navigation arrow next to it that, when clicked,
will expose one or two folders—Performances and Presets— depending
on the contents of the Song or Project. The Performances folder contains
all Instrument Parts recorded in a Song, which are saved as an internal
“.music”file type. The Presets folder contains a Channels folder that stores
the current settings for each audio effect used and an Instruments folder
that contains the settings for any virtual instruments.
Simply click-and-drag any of this content directly from the Browser into a
new Song or Project.
7.6 Importing Other Application Project Files
Studio One can open several other application project-file types. These
include PreSonus Capture Sessions (.capture), Steinberg Cubase Track Ar-
chives (.xml), Steinberg Sequel Projects (.steinberg-project), Kristal Audio
Engine Projects (.kristal), and Open TL (.tl). To open any of these project-
file types in Studio One, navigate to File/Open and select the desired file.

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8 Arranging
Arranging can entail repositioning recorded or imported audio and musi-
cal data to change the song structure, inserting tempo or time-signature
changes, and many other processes. The following chapter discusses
aspects of arranging in Studio One, including importing files, working
with audio loops, the Tempo Track, and more.
8.1 Quickly Duplicating Events
Events are often copied and pasted across a certain region to quickly
build an arrangement. For instance, you might want a one-bar drum
loop to continue for eight bars, or you might want a 4-bar synth melody
to continue for the next 12 bars.You can use the Duplicate function to
quickly copy and paste any Event in this fashion.
To Duplicate any Event, select it and press [D] on the keyboard. The
results are affected by the current Arrange view Snap and Timebase set-
tings. With Snap disengaged, the Event will be copied and a new instance
of the Event will be placed precisely at the end of the original Event . With
Snap engaged, when an Event is duplicated, the new in-
stance of the Event will be placed at the next logical Snap
position. For example, an Event approximately one bar in
length will be placed at the beginning of the next bar, whereas an Event
one-half bar in length would be placed at the next half-bar.
Press [D] on keyboard multiple times to quickly copy and paste a se-
lected Event across any region. If multiple Events are selected, they can
all be duplicated simultaneously in the same way as a single Event. For
instance, you could duplicate an entire verse and chorus for 24 tracks in a
few seconds. This is often done to build a rough arrangement of a Song,
after which unique parts for each section are later recorded.
To understand the Duplicate function in Studio One, experiment with
Events of various lengths and with various Snap and Timebase settings in
the Arrange view.
8.2 Duplicating Tracks
Tracks can also be easily duplicated, with or without the Events they
contain. To duplicate a Track, select the Track or any Event it contains and
then select Duplicate from the Track menu. This will duplicate the Track
and all of its settings, including Inserts and Sends.
If you want the Events the Track contains to be duplicated as well, select
Duplicate with Events from the Track menu. If multiple Tracks are selected
when the Duplicate Tracks function is used, each of the selected Tracks
will be duplicated.
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Alternatively, you can duplicate selected Tracks by holding [Ctrl] on the
keyboard and clicking-and-dragging the Tracks up or down in the Track
Column. A horizontal blue line will appear in the Track Column while
dragging the Tracks to indicate the Duplicate function, as opposed to the
regular function of reordering Tracks in the Track Column.
8.3 Tempo Track
Many modern recordings sound mechanical, like a machine playing mu-
sic. This is often because the recording has a single, static tempo, whereas
the tempo in a natural performance tends to drift slightly. Interesting and
musical results can be achieved by varying the tempo in your recordings.
Using Tempo Changes will not affect your ability to sync recordings to the
tempo, as the click track and all other elements in Studio One will follow
the Tempo as it changes.
8.3.1 Inserting Tempo Changes
To insert a Tempo Change, open the Tempo Track by clicking on the
Tempo Track button above the Track Column. Then select the Draw Tool
in the Arrange View. Click at any position in the Tempo Track to insert a
Tempo Change and drag up or
down to adjust the Tempo value at
that position.
To change an existing Tempo value in the Tempo Track, float the Draw or
Arrow Tool to the top of the Tempo region and click-and-drag the tempo
value up or down (see Fig. 8-6).You can also click-and-drag the beginning
of any new Tempo region left or right across the Timeline to reposition
the tempo change in the Tempo Track (see Fig. 8-7).
The tempo value set by the Tempo Change will continue for the rest of
the Song or until the next Tempo Change. Also, the tempo value in the
Transport will be immediately updated at the appropriate time, according
to each Tempo Change.
8.4 Time Signature
The time signature is a convention used in Western music notation to
specify how many beats are in each bar and what note value constitutes
one beat. The time signature is notated as a fraction, where the numera-
tor (the upper number) equals the number of beats in the bar, and the
denominator (the bottom number) equals the note value for each beat.
By default, the time signature is set to 4/4 for all new Songs. This means
there will be four quarter-notes per bar. To change the time signature for
your Song, do one of the following:

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Click on upper or lower number of the time signature in the•• Transport
and select a new value from the pop-up menu.
Double-click on the•• Time Signature Marker to the far left of the Ruler in
the Arrange view and select new values from the pop-up menu.
••
Metronome behavior will be affected by the time signature. The down-
beat and other beats determine the sample and level used for the Accent
and Click respectively.
8.4.1 Inserting Time Signature Changes
It is possible that your Song requires more than one time signature, in
which case you will want to insert time-signature changes at various
places. To insert a time-signature change, [Right]/[Control]-click in the
Timeline ruler where you wish to insert the change and select Insert Time
Signature. Enter the values for the new time signature in the pop-up
menu and click OK, and a new Time Signature marker will be inserted at
that position.
You can click-and-drag a Time Signature marker to any bar-line position
in the Ruler; the time signature must change on a new bar. Double-click
on the Time Signature marker and choose new values to change the time
signature at that marker’s position.
Your Song can contain any number of time-signature changes, and the
current time signature is always displayed in the Transport.
8.5 Bouncing
8.5.1 Bouncing Instrument Parts
When working with musical-performance data, users often want to print
the audio being generated by external MIDI and internal virtual instru-
ments to audio so that the part can be treated like a normal Audio Track.
Studio One offers a special feature to accommodate this kind of workflow.
To quickly bounce any Instrument Part to an Audio Track, select the
Instrument Part, and then select Bounce Instrument Parts in the Event file
menu or simply press [B] on the computer keyboard. This will render the
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selected Instrument Part to a new Audio Event and place it at the correct
Timeline position on a new Audio Track.
When an Instrument Part is bounced, the Part will be muted, since the
new Audio Event is taking its place. The Instrument Part will be grayed
out to indicate this. To toggle the mute on the Part, select the part and
press [Shift]+[M] on the keyboard.
Any number of Instrument Parts can be selected and bounced to audio at
once, even across multiple Instrument Tracks. A new Audio Track will be
created for each Instrument Track whose Part is bounced to audio.
If you want to create a single Audio Event, you should first merge various
Instrument Parts on an Instrument Track to create a single continuous
Instrument Part. To do this, select the desired Parts and choose Merge
Instrument Parts, or press [G] on the keyboard.
8.5.2 Bouncing Audio Events
When many edits have been performed across an Audio Track to one
or multiple Audio Events, the arrangement can become difficult to look
at and hard to work with. For instance, if a drum loop has been cut into
many slices, with some parts duplicated, other parts deleted, and so on,
moving or rearranging the Events can become difficult.
In this case, it is helpful to render some or all of the contents of a Track to
a single, continuous new Audio Event. To do this, select the desired Audio
Events and press [Ctrl]/[Cmd]+B on the keyboard or select Bounce Selec-
tion from the Event menu. A new Audio Event will be created for each
Track that has an Event selected. The new Audio Events will be created
and placed according to the position and range of the selected Events for
each Track.
Note that the Bouncing Selection process is unaffected by Track Volume,
Pan, and Insert settings, as it is only dealing with the Audio Events exactly
as they exist in the Arrange view. Thus, the result of this process will not
affect what you hear; it is simply an organizational tool.
8.6 Adding Time to the Arrangement
It is often useful to insert a range of silence into an arrangement, effec-
tively adding time to a section. To do this, select the Range tool in the
Arrange view, then select a range across any tracks on which you wish
you insert silence. With the range selected, press [Ctrl]+[Alt]+[I] on the
keyboard to insert silence in that range.
Any events that were in the range where silence was inserted will be split,
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9 Mixing
Mixing is the part of the production process where all recorded and ar-
ranged material is balanced in relative volume, frequency, and dynamic
content in order to achieve a desired cohesive sound.
The following chapter discusses basic aspects of mixing in Studio One,
including the Console, the Channel types, and Inserts and Sends. For
more advanced mixing topics, such as Automation, please refer to the
later chapters.
9.1 The Console
Mixing in Studio One is primarily done in the Console. Open the Console
by clicking on the Mix button or by pressing [F3] on the keyboard.
Each channel of audio in your Song is represented by a Channel in the
Console. Audio Tracks in the Arrange view are directly represented by
Audio Channels in the Console, whereas Instrument Tracks have no direct
representation in the Console. Instead, Instrument Channels represent
the audio output of virtual instruments. There are several other Channel
types discussed below, including Input, Output, Bus, and FX Channels.
It is important to note that the Console opens by default in Small mode,
and the following descriptions assume this mode is engaged unless
otherwise noted. For more on this topic, refer to the Alternative Console
Layout section of this chapter.
9.1.1 Channel Features
Certain features are common to all Channels.
9.1.2 Input/Output
At the top of each Channel is a display of its configured input and output,
with the input shown at the top and the output shown at the bottom. All
Channels are configured with Main Out as their output by default.
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Audio Channels will show the hardware audio-input selection, and Bus
and FX Channels will display no input, as their input source is usually
from multiple channels. Instrument Channels will display the name of the
virtual instrument from which they get their input.
Click on any input or output to display and choose from a list of available
routing options for any Channel. Clicking on the Input for an Instrument
Channel will open the interface for the source virtual instrument.
9.1.3 Panner and Fader
All Channels feature a horizontal Panner and vertical Fader below the I/O-
selection display. The Panner can be clicked-and-dragged horizontally,
allowing the audio for each Channel to be positioned left or right in the
stereo field. The Fader can be click-and-dragged vertically to control the
output volume for each Channel.
9.1.4 Mute/Solo
Channels can be muted or soloed by clicking on their Mute and Solo
buttons, respectively.You can also press [M] for Mute or [S] for Solo on
the keyboard to mute or solo the selected Channels. Muting will silence
the Channel’s audio from the Console so you won’t hear it. Soloing will
silence all except the audio for the soloed Channel, so you will only hear
the soloed Channel. Any number of Channels can be muted or soloed
simultaneously.
You can perform a Global Solo Off, which disengages Solo on any track
that has it engaged, by pressing and holding [Ctrl] on the keyboard and
then clicking on any Solo button. Performing the [Ctrl]+Click again will
recall the previous solo settings, returning any previously soloed channels
to the solo state. This can be useful when comparing a group of soloed
tracks to other tracks in your mix.
9.1.5 Automation Mode
The Automation Mode for each Channel is displayed at the bottom of the
Channel. By default, this mode is set to Off. Click on this display to choose
an Automation Mode or to add and remove automation parameters.
9.1.6 Name
Channel names are shown at the bottom of each Channel in the Console.
Double-click on the name, type a new name, and then press Enter to
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9.1.7 Expand Channel
All Channels feature an Expand Channel button, which expands the vis-
ible Channel to the right, revealing further Console routing possibilities.
Audio, Instrument, and Bus Channels will include Insert and Send Device
Racks. FX Channels will only have an Insert Device Rack.
9.1.8 Channel Types
9.1.8.1 Input
Input Channels represent the configured hardware audio inputs. They
can be mono or stereo, depending on the configuration of the hardware
input they represent. Use the Input Channels to accurately meter inputs
or to add effects processing to an input.
9.1.8.2 Audio
Audio Channels are direct representations of Audio Tracks in the Arrange
view. Each Audio Track will have a corresponding Audio Channel in the
Console, with corresponding Record Enable, Monitor Enable, Solo, and
Mute controls.
9.1.8.3 Instrument
Instrument Tracks in the Arrange view have no directly corresponding
Channels. An Instrument Track outputs to a virtual instrument, and the
virtual instrument then creates sound. Thus, virtual instruments output
audio to Instrument Channels in the Console. A virtual instrument might
have any number of outputs, as described in the Set Up Multiple Virtual
Instrument Outputs section of the“Recording”chapter, and each will
have a corresponding Channel in the Console.
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9.1.8.4 Bus
The audio output of multiple Channels can be routed directly to a single
Bus Channel, which is always a stereo Channel. This lets you create a sub-
mix, so that the audio from several Channels can be processed together
before being routed to the main output. Although less common, it is also
possible to use Sends to route audio to Bus Channels.
For instance, several drum tracks might be routed to a Drum Bus, where
the audio is compressed and equalized, and then routed to the main out-
put. That audio could also be routed to an FX Channel through a Send to
apply a reverb effect, which would be applied to all audio routed to that
FX Channel.
9.1.8.5 FX
The FX Channel is used to apply effects to audio via Sends from other
Channels. Audio can be routed from any Channel through a Send to an
FX Channel, which can have any number of effects inserted in its Insert
Device Rack. For instance, several keyboard tracks and a guitar track could
be routed via Sends to an FX Channel with a reverb inserted so that they
sound like they are in the same space.
9.1.8.6 Output
Output Channels are routed directly to hardware audio outputs and can
be stereo or mono, depending on the configured outputs to which they
connect. Every Song will have at least one stereo Output Channel, which
is named Main Out by default. The Main Out is, by default, where the
entire Console mix of all other Channels is routed.You will generally listen
to this output when monitoring your mix, as this is the output from which
exported mix-downs are derived.
The Main Out Channel is always locked to the far right end of the Console
and cannot be moved. This output features a stereo Peak/RMS meter, as
well as K-System Metering options. Other configured hardware outputs
are represented in the Console by a type of Output Channel called a Sub
Out. The Main Out and Sub Out Channels feature Metronome controls,
allowing independent metronome on/off and level control for each hard-
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9.1.9 Console Panel Overview
The Console features several panels that can be shown or hidden as
needed. Each panel has different functions and is accessed from the Con-
sole navigation column to the far left of the Console.
9.1.9.1 Inputs
The Inputs panel is closed by default and can be opened and closed by
clicking on the Inputs button in the Console navigation column. The In-
puts panel will display audio channels in the Console for each configured
hardware audio input as described in the Channel Types section of this
chapter.
9.1.9.2 Trash Bin
The Trash Bin panel is closed by default and can be opened and closed
by clicking on the Trash button in the navigation column. The Trash Bin
panel displays a list of removed Console objects, including channels,
virtual effects, and virtual instruments. Each object in the list will contain
the exact state of the entire channel, effect, or instrument when it was
removed, making it possible to restore previous settings and states in the
Console at any time.
To restore an object in the Trash Bin to its previous state and location in
the Console, [Right]/[Control]-click on it in the Trash Bin and select Re-
store from the pop-up menu. To permanently remove an object from the
Trash Bin, [Right]/[Control]-click on it in the Trash Bin and select Delete
from the pop-up menu.
9.1.9.3 External
The External panel is closed by default and can be opened and closed by
clicking on the External button in the navigation column. The External
Panel displays a list of configured External Devices, including Keyboards,
External Instruments, and Control Surfaces.
The configuration for each device can be accessed and edited by clicking
on the menu arrow for the device and selecting, from the pop-up menu,
either Edit for mapping configuration or Setup for device configuration.
Click on the Add External Device button to add an external device.
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9.1.9.4 Instruments
The Instruments panel is open by default and is closed and opened by
clicking on the Instrument button in the Navigation column. The Instru-
ments panel displays all currently loaded virtual instruments. Open the
interface for a virtual instrument by double-clicking on it in the Instru-
ment panel or by clicking on the virtual instrument’s menu arrow and
selecting Edit from the pop-up menu.
By clicking on the menu arrow and selecting Save Preset from the pop-up
menu, you can save the current settings for any virtual instrument as a
Preset. Selecting Remove from the pop-up menu will remove the virtual
instrument from your Song.
9.1.9.5 Banks
The Banks panel is open by default and is closed and opened by clicking
on the Banks button in the Navigation column. The Banks panel controls
which Channels in the Console are visible, as well as which Channels are
available to a configured Control Surface.
Channels that appear in the Banks panel list can be shown or hidden in
the Console. Click directly on any Channel name in this list to show or
hide the Channel; hidden Channels are highlighted in gray. Each Channel
type has an associated button at the bottom of the Banks panel that can
be clicked to show or hide all Channels of that type in the Console.
Console scenes can be stored and switched between in the Banks panel
to allow very fast navigation of certain sets of Channels in the Console.
Click on the Plus button at the bottom of the Banks channel list to save
the current Banks setup as a scene. Any number of scenes can be saved
and recalled within each Song. Click on the Minus button to remove the
current Console scene.
Channel numbers and level meters can be displayed in the Banks list to
help you understand where sound is coming from during mixing, regard-
less of which channels are shown or hidden in the Console. To do this,
right-click in the Banks panel and select View/Levels and View/Channel #
(number).
9.1. 10 Alternative Console Layout
The Console has been designed to meet the needs of most users. It has
two possible modes: Small and Large. The Console can also be detached
from the rest of the single-screen user interface. The Console layout is
strictly a matter of preference: There is no functional difference between
the Small and Large mode, nor does detaching the Console affect its
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9.1.11 The Large Console
To switch to the Large Console mode while in Small Console mode
(Console is in Small mode by default), click on the Maximize button at
the top of the Console Navigation column. Alternatively, you can press
[Shift]+[F3] on the keyboard when the Console is open.
In Large mode, you can see the
Insert and Send Device Racks at
the top of each Channel, allowing
faster access to these elements.
The lower portion of the Channel
is slightly larger as well, allowing
easier viewing of meters and other
elements.
9.1.12 The Detached Console
The Console can be detached from
the main window and placed in an
independent window so that it can
be located freely onscreen or on a
second computer monitor.
To Detach the Console, click on the Detach button at the top of the Con-
sole navigation column. The Detached Console can be in Small or Large
mode, and the window can also be sized and maximized to fit the com-
puter monitor. To reattach the Console to the main interface, click on the
Detach button at the top of the Console navigation column.
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9.2 Signal Routing
Effects processing, including dynamics processing and modulation, is
critical when mixing. Effects are traditionally applied to audio via an Insert
or a Send.
9.2.1 Configuring Inserts
An Insert is used to apply an effect directly to a single Channel. The effect
is literally inserted into the audio signal chain within the Channel.
9.2.2 Add an Insert
The Insert Device Rack contains all Insert Effects on a given channel and
is visible in the Console. To add an Insert Effect to any Channel, click-and-
drag an effect from the Browser into the Insert Device Rack of a Channel
in the Console or click-and-drag directly to a Track or Track Lane in the
Arrange view.
You will notice, when navigating Audio Effects in the Browser, that some
effects have a navigation arrow next to them. Click on this arrow to
expose the Presets for the effect. Click-and-drag a Preset into the Insert
Device Rack on any Channel to add the effect with the Preset already
loaded.
Alternatively, you can click on the Add Insert button at the top of the
Insert Device Rack to add an Insert Effect to a Channel from a pop-up
menu.
9.2.3 Edit an Insert
To edit an Insert, double-click on it in the Insert Device Rack or click on the
menu arrow and select Edit from the pop-up menu.This opens the user
interface for the Insert Effect, where you can edit the effect parameters.
The user interface for effects from third-party manufacturers will vary
drastically; for more information, please refer to the documentation
for each effect. Studio One built-in effects are discussed in depth in the
“Built-In Effects”chapter.
9.2.4 Reorder Inserts
Inserts affect the audio signal path in the top-to-bottom sequential
order in which they are inserted. An Insert can be reordered by clicking
and dragging it above, below, or in between other Inserts. It is helpful to
experiment with different signal paths to achieve the best possible sound
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9.2.5 Navigating Inserts
By default, only one window displays the user interface for an open Insert
Effect. This keeps screen clutter and window juggling to a minimum. To
quickly switch between Insert Effects on a single Channel, open one of
the Insert Effects and do one of the following:
Click on the left or right arrow at the top left of the Insert Effect window••
to step sequentially through the interface for each Insert on the Channel.
Click on the down arrow at the top left of the Insert Effect window and••
choose from the list of Inserts to select the interface for a specific Insert
on the Channel .
Float the mouse cursor over the down arrow at the top left of the Insert••
Effect window, then mouse-wheel up or down to step sequentially
through the interface for each Insert on the Channel.
Alternatively, press [F11] on the keyboard to open the effect editor for the
selected Audio Track, then press [Ctrl]+[Page Up]/[Page Down] to cycle
through the effects in that channel’s device rack.
By clicking on the Pin button in the upper right of the Insert Effect win-
dow, the interface for any Insert can be made to stay open in an indepen-
dent window until you choose to close it. With an Insert Effect Pinned,
opening another Insert Effect will open a new Insert Effect Window. Any
number of Insert Effect windows can be Pinned and open simultaneously.
9.2.6 Copy an Insert to Another Channel
It is often helpful to be able to copy an Insert Effect, including its cur-
rent settings, to another Channel. To do this, click on the desired Insert
Effect in the Insert Device Rack and drag it directly onto any other Chan-
nel or into the Insert Device Rack on any other Channel. Dragging an
Insert Effect to the left or right edge of the viewable Console will scroll
the Console left or right to expose any Channels beyond those currently
viewable.
9.2.7 Deactivate an Insert
To deactivate, or turn off, an Insert Effect, click on the Activate button for
the Insert Effect in the Insert Device Rack. There is also an Activate but-
ton at the top left of every Insert Effect window. The Activate button will
turn gray when the Insert Effect is switched off and blue when it is active
(turned on). Deactivating an Insert Effect will stop any and all processing
related to it, which frees the computer processing resources previously
dedicated to that Insert Effect.
To deactivate or activate all Insert Effects in any Insert Device Rack, click
on the Activate All button at the top of the Insert Device Rack.
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9.2.8 Remove an Insert
To remove an Insert Effect from the Insert Device Rack, do one of the fol-
lowing:
Click on the menu arrow for the Insert Effect in the Insert Device Rack••
and select Remove from the pop-up menu.
Click on the Insert Effect in the Insert Device Rack and drag it into the••
Trash Bin panel of the Console.
All inserts can be simultaneously removed from an Insert Device Rack by
clicking on the menu arrow at the top of the Rack and selecting Remove
All. When any Insert Effect is removed, it is placed in the Trash Bin, where
it can be restored to its original state and location at any time.
9.2.9 Hardware Inserts
You can insert external hardware processors into audio channels in the
Console, using the Pipeline plug-in. The Pipeline plug-in can be found in
the PreSonus folder of the Effects Browser when sorted by Folder, Vendor,
or Category.
The Pipeline plug-in routes audio to a hardware processor and then back
from that processor through specific inputs and outputs on your audio
interface, while automatically compensating for the round-trip latency in-
curred in that process.You can insert an instance of Pipeline in any Insert
Device Rack.
To learn more about Pipeline, refer to section 13.11 of this manual.
9.2.10 Configuring Sends
A Send is used to route the audio output, pre- or post-fader, from one
Channel to another source, such as an FX Channel.
9.2.11 Send to an FX Channel
To simultaneously create a new FX Channel and create a Send to that
FX Channel from an existing Channel, click-and-drag an effect from the
Browser into the Send Device Rack on a Channel. This will create a Send
for the Channel to a new FX Channel with the selected effect loaded in its
Insert Device Rack.
You can also drag an audio effect into a blank space in the Console to
create an FX Channel with that effect loaded into its Insert Device Rack.
To route audio from a Channel to an existing FX Channel, click on the Add
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Alternatively, you can create an FX Channel by [Right]/[Control]-clicking
in blank space in the Console, or on any channel, and selecting Add FX.
This will add an FX Channel to the Console with no inserts, which can be
the destination for any Send.
FX Channels can only output to the Main Out channel of the Console.
To quickly view the effects in the Insert Device Rack of a Send destina-
tion Channel, double-click on the Send.You can then navigate the Insert
Effect window as usual.
9.2.12 Send Level and Pre/Post Fader
Once a Send has been added to a Channel, the send device will appear in
the Send Device Rack for that Channel.You will find an Activate button,
horizontal Level and Pan faders, and a Pre/Post Fader button. Click on the
Activate button to activate/deactivate the Send; this does not affect the
Send’s destination Channel.
Click-and-drag on the horizontal Level fader to adjust the Send level
between -∞ and +10 dB. Click-and-drag on the Pan fader to adjust the
balance of the source material going to the Send destination. Click on the
Pre/Post Fader button to switch the Send source to pre-fader or post-
fader. Pre-fader allows you to set a Send level independent of the channel
fader so that the level is unaffected by fader position.
The Send source signal is always post-inserts.
9.2.13 Sidechaining
Certain effects can accept an input from an audio source that dynamically
changes the behavior of the effect. This is called“sidechaining,”and it fa-
cilitates processes such as keying, ducking, and de-essing. Sidechaining is
accomplished by using a Send to route audio to a special Sidechain input
on an Insert Effect.
It is possible to send to the Sidechain input of any Insert Effect, whether
or not the sidechain is engaged in the effect. For the sidechain to work in
the effect, it must be engaged in the effect.
An example of sidechaining is when a gate is triggered by a specific audio
signal. In this case, the gate will open and close dynamically in response
to the audio signal coming in the sidechain, rather than responding to
the program signal on the Channel where the Gate is inserted. Several of
Studio One’s included built-in effects support sidechaining, including the
Compressor and Gate. For more information, refer to the“Built-In Effects”
chapter.
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9.2.14 Send to a Bus
It is possible to use a Send to route audio to a Bus Channel. This is done
in the same manner that a Send is used to route audio to an FX Channel,
except that the Bus Channel is selected.You might want to send to a Bus
when you want a Channel to remain routed to a particular Output Chan-
nel but you also need to route that Channel to another Bus. This process
is often called“multing,”and it is often used to layer a single Channel
multiple times into a mix to build a particular sound.
9.2.15 Copy a Send to Another Channel
Sends can be copied from Channel to Channel in the same way as Inserts.
To do this, click-and-drag a Send from one Send Device Rack to another
one. This will create an identical Send on the Channel.
9.2.16 Navigate and Create Effects Presets
At the top of every plug-in window is a set of standard controls. In the
upper left, next to the Activate button, are Preset controls, including a
Store Preset button and a Presets window. To view the presets for an ef-
fect, click on the Presets window and browse the pop-up list. To select a
preset, click once on the preset in the list.
9.2.17 Store a Preset
To store a preset containing the current settings of an effect, click on the
Store Preset button and choose Store Preset. Type a name for the preset
in the pop-up menu and click OK to store the preset.
To replace an existing preset, select Replace Preset from the pop-up
menu. The settings for the preset currently displayed in the Preset win-
dow will be replaced with the current settings of the effect.
9.2.18 Store a Default Preset
It is possible to store the current settings of an effect as a default preset,
so that the effect will open with these settings when loaded in a Song. To
store a default preset for any effect, click on the Store Preset button and
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9.2.19 Use Presets to Build a Unique Sound
Studio One’s preset system is very easy to use. If you take the time to load
plug-in presets and tweak them even a little bit, then save your person-
alized sounds as unique presets in Studio One, you can build a distinc-
tive library. After that, you can quickly locate your custom presets in the
Browser; no digging through every preset just to find the one you want.
9.2.20 FX Chains
You may wish to insert certain combinations of effects together on a
Channel. For instance, you might regularly apply a compressor, EQ, and
chorus to your vocal tracks.
In Studio One, FX Chains are used to save the exact setup of an Insert
Device Rack so that the entire chain of effects, including all settings, can
be recalled instantly. To create an FX Chain:
Configure an Insert Device Rack on a Channel with the desired effects••
and settings.
Click on the menu arrow at the top of the Insert Device Rack, next to••
the Insert label, and select Save Preset from the pop-up menu.
Type in a unique name for the FX Chain and click OK or press [Enter] on••
the keyboard.
••
FX Chains can be found in the FX Chains folder in the Audio Effects
Browser. To insert the FX Chain in the Insert Device Rack of a Channel,
drag any FX Chain from the Browser to the Channel.
Click on the menu arrow next to the FX Chain name in the Audio Effects
Browser to view and select the individual effects.You can then click on
the menu arrow next to each effect name within the FX Chain to view the
presets used for each effect in the FX Chain. Both the individual effects
and each preset can be dragged to the Insert Device Rack of any Channel.
It is also possible to access FX Chains from the Insert Device Rack by click-
ing on the menu arrow at the top of the Rack and selecting an FX Chain
from the list. This will load the selected FX Chain in the Insert Device Rack
.
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9.2.21 Busing
Buses can be extremely useful
when mixing.You can route Chan-
nels directly to Buses to help orga-
nize a mix into common elements,
such as routing all Drum Tracks
directly to a drums bus. Sends are
often used to route a channel to
multiple buses in order to layer a signal into various elements of a mix.
To create a new Bus, [Right]/[Control]-click in blank space in the Console,
or on any Channel, and select Add Bus.You can then choose that bus as
the Output or Send destination for any Audio or Instrument Channel in
the Console. The Bus sends its summed signal to the Main Out by default
but can also be routed to Sub Out Channels. Buses have sends that can
be used the same way as other sends in Studio One.
9.2.22 Save Solo:
It is possible to place Console channels in Save Solo mode. When any
channel in the Console is soloed, all channels with Save Solo engaged are
also soloed, and all other channels are muted. To engage Save Solo on
any channel, [Shift]+Click on its solo button in Console. The Solo button
will change color to show Save Solo is engaged.
Note that FX Channels have Save Solo engaged by default because ef-
fects may be critical to how soloed channels sound in the mix, so when
any channel is soloed, you will probably want to hear the applicable FX
Channel output as well.
9.3 Groups
As discussed in the Edit Groups section of the“Editing”chapter, it is
possible to group multiple tracks together so that any edits done to an
Event on one track in the group are automatically done to all Events for
all Tracks in the group. These same Edit Groups affect how their related
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9.3.1 Create or Dissolve a Group in the Console
To create a Group in the Console, select the desired Channels and then
[Right]/[Control]-click and select Group Selected Tracks from the pop-up
menu. To dissolve, or ungroup, grouped Channels in the Console, [Right]/
[Control]-click on any Channel in the Group and select Dissolve Group
from the pop-up menu.
When a Channel is in a Group, the Group icon will appear on the Channel.
9.3.2 Group Behavior in the Console
When a Channel is placed in a Group, its fader will be linked to the faders
for all other Tracks in the Group, so that all of the faders will move when
any of them is moved. The movement of faders in the Group will be
relative to one another, maintaining the correct dB value relationships
among the faders. Note that Channel Pan is not affected by grouping, as
channels within a group are very often panned separately.
Solo, Mute, Record Enable, and Monitor Enable controls will also be linked
for all Channels in a Group. No other aspect of the Channel in the Console
is affected by grouping.
Instrument Tracks in the Arrange view have no direct representation in
the Console. The audio outputs of the virtual instruments to which they
are routed will have Channels in the Console. It should be noted, how-
ever, that grouping Instrument Tracks in the Arrange view only affects
editing those Tracks and has no effect on the Instrument Channels for the
virtual-instrument audio outputs.
9.3.3 Temporarily Suspend Groups
It is possible to temporarily suspend a Group so that, for instance, the
fader for a Channel in a Group can be edited without affecting the other
Channels in the Group. To suspend the Group, hold [Alt]/[Option] on the
keyboard while clicking on the Fader, Mute, Solo, Record Enable, or Moni-
tor Enable controls.
9.4 Metering
Metering is a critical part of the production process. Studio One’s meters
visually display audio levels that closely correspond with perceived loud-
ness, and you can meter these levels at various stages in the signal path.
Peak meters can be found on every Channel in the Console except the
Output Channels, which appropriately feature a more informative Peak/
RMS meter with K-System Metering options.
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9.4.1 Peak Meters
Peak meters measure the instantaneous audio level from moment to
moment at a very fast resolution and display the highest output level
at any instant. These meters help ascertain the relationship between a
given audio level and other audio levels in the mix. Many effects plug-ins
feature peak meters at the input and output so that any level attenuation
the effect imparts on the audio signal can be seen.
The Peak Meters in Studio One will automatically be mono or stereo de-
pending on the audio source.
9.4.2 Peak/RMS Meters
The Main Out and Sub Out Channels feature Peak/RMS meters, which
simultaneously show both Peak and RMS levels. Whereas a peak meter
will show the highest output level at any instant, an RMS meter will show
an average of the peaks and troughs of an audio signal over time. An RMS
meter is intended to indicate the perceived loudness of the audio being
measured by functioning in a way similar to the human ear and is there-
fore often used as a true measure of effective loudness.
9.4.3 Main Out Clip Counter
The Main Out Channel features a Clip Counter above its Peak/RMS meter.
The counter will turn red when the Main Out signal clips, and it will count
the total number of clips that occur. Use the counter to help prevent clip-
ping the final stereo mix of your Song. The counter will reset when clicked
or when the Main Out fader is adjusted.
9.4.4 K-System Metering
The Peak/RMS meters in Studio One also feature K-System Metering op-
tions. The K-System is an integrated metering system tied to monitoring
gain, and it is intended to standardize the levels at which sound is mixed
and mastered. This metering system features three different meter scales
called K-20, K-14, and K-12. These three scales are meant to be used with
different types of audio production and have been described by the
K-System inventor, Bob Katz, in his Audio Engineering Society technical
paper“An Integrated Approach to Metering, Monitoring, and Levelling
Practices.”Katz wrote:
“The K-20 meter is for use with wide dynamic-range material, e.g., large
theater mixes,‘daring home theater’mixes, audiophile music, classical
(symphonic) music, hopefully future‘audiophile’pop music mixed in
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productions for the home, e.g., home theater and pop music (which
includes the wide variety of moderately compressed music, from folk
music to hard rock). And the K-12 meter is for productions to be dedi-
cated for broadcast.”
To switch to any K-System meter, [Right]/[Control]-click on any Peak/RMS
meter and choose an option from the menu.
When using any of the three K-System scales, the 0 VU mark should be
calibrated to 85 dB SPL from your monitors, which you should measure
with an SPL meter. For instance, playing back a -14 dBFS sine wave in Stu-
dio One while using the K-14 scale will cause the meter to read 0 VU for
both the peak and average levels, and your monitors should be adjusted
so that the SPL meter at the listening position reads 85 dB SPL.
9.5 Automatic Plug-In Delay Compensation
Some plug-in effects inherently have some delay, or latency. It takes a
certain amount of time for these plug-ins to process the audio routed to
them, which means the resulting output audio is slightly delayed. This es-
pecially applies to dynamics-processor plug-ins that feature a look-ahead
function, such as the included Compressor.
In Studio One, this inherent delay is managed with Plug-in Delay Com-
pensation through the entire audio path. There are no settings to man-
age, as this feature is completely automatic. The sync and timing of every
audio channel in your Song are automatically maintained, no matter
what processing is being used.
The current total Plug-in Delay time is displayed in the left side Transport,
below the current sample rate.
If you desire, you can turn off Plug-in Delay Compensation by select-
ing Ignore Plug-in Delay in the Transport file menu. When this mode is
selected, the sync of all audio channels will need to be handled manually
by adjusting Event positions or Track Delay times in the Track Inspector.
9.6 Manual Audio Track Delay
It is sometimes necessary to manually delay the playback of audio to
keep it in sync with other audio. A classic example is in the case of re-
cording a live performance, where tracks are recorded directly from the
mixing console, while ambient microphones capture the audience sound
from a position well away from the stage. The direct sound from the con-
sole arrives at the recorder almost instantaneously; it takes longer for the
sound to reach the ambient mics from the stage. When the signals are
mixed, the time difference results in audible delay and phase problems.
To properly align the recorded audio from the ambient mics with the rest
of the recorded mix, you can apply a negative amount of manual delay to
the ambient recording.
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Open the Inspector view by clicking on the Inspector button or pressing
[F4] on the keyboard. Enter a positive or negative Delay value, in millisec-
onds, to apply a delay to the Track.
To calculate the value to apply to ambient mics in the example, do the
following:
Measure the distance from the stage to the ambient mics.••
Divide the distance in feet by 1,129, which is roughly the speed of••
sound in feet/second. (Divide the distance in meters by 343 for me-
ters per second.) The resulting value is the amount of seconds it
took for sound to reach your ambient mics. For example, if the dis-
tance was 100 feet, the resulting amount of time is 0.0885 seconds
(100/1,129=0.0885), or 88.5 milliseconds.
For the stereo ambient mic Track, or for each mono Track, you will enter••
a Delay value of -88.5, which removes the recorded delay and puts the
Tracks in sync with the rest of the recording.
9.7 Using the Marker Track
You’ll probably want to quickly navigate to various areas of your Song
during mixdown. In Studio One, the Marker Track is used to place Markers
at desired places in the timeline, after which navigation to the Markers is
easy. To open the Marker Track, click on the Marker Track button above
the Track Column in the Arrange view.
Notice the Timebase button to the right of the Marker Track in the Track
column. The musical-note icon on the Timebase button indicates that
Markers will adhere to their position based on Bars and Beats, so if the
tempo changes, the Markers will move forward or backward in time in
relation to their musical position.
If you click on the Timebase button, it will switch to a clock icon, indicat-
ing that the Markers will adhere to their absolute position in time. If the
tempo changes, the Markers will not move, as they are locked to an abso-
lute time position in the timeline.
9.7.1 Inserting Markers
To insert a new Marker into the Marker Track, with playback running
or stopped, click on the Add Marker button or press [Insert]/[Y] on the
keyboard. Each new marker will be numbered sequentially by default (1,
2, 3…). To rename a Marker, double-click on it in the Marker Track, type in
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9.7.2 Navigating Markers
You can quickly jump the Playback Cursor between Markers in the Marker
Track. Click on the Previous Marker button in the Transport, or press
[Shift]+B on the keyboard, to jump to the previous Marker. Click on the
Next Marker button in the Transport, or press [Shift]+N on the keyboard,
to jump to the next Marker. Jumping to Markers during playback enables
quick comparisons between sections of your Song.
You can also jump to up to seven different markers from the Transport/
Goto Marker menu.
9.7.3 Song Start and End Markers
When a new Song is created, you can specify a Song Length. The default
length is 5 minutes or 151 bars at the default 120 bpm tempo. At the be-
ginning and end of the specified region, Song Start and End Markers are
automatically placed in the Marker Track. These markers can be used in
the Export to Audio File menu to define the timeline region to be export-
ed, and they are used by default in the Update Mastering File process.
9.8 Looping During Mixing
Looping a section of audio (for instance a chorus) while mixing allows
you to focus on a particular area of your overall Song without having to
constantly stop, rewind, and resume playback.
To quickly loop a section of audio,
first select the audio you want to
loop by either selecting a range
with the Range Tool or directly selecting an Event or multiple Events
with the Arrow Tool in the Arrange view. Then press [P] on the keyboard
to set the Left and Right Locators around your selection. Alternatively,
press [Shift]+P on the keyboard to ignore Snap while setting the Locators.
Finally, click on the Loop button in the Transport, or press [Num Pad /] on
the keyboard, to loop the playback between the Left and Right Locators.
Alternatively, you can manually set the Left and Right Locators to a de-
sired range and then engage Loop in the Transport. To do this, float the
mouse cursor to the top of the Timeline Ruler until you see the Draw Tool
appear. Then click-and-drag to the right to draw the loop region (Left and
Right Locators) around the area you wish to loop and engage Loop in the
Transport.
You can also manually move the Left and Right Locators by clicking and
dragging them left or right in the Timeline Ruler.
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9.9 Mixing Down
Most often, you’ll record multiple tracks in each Song, but you will need
to mix these tracks to stereo for distribution on CD, DVD, or the Web. With
a DAW such as Studio One, this simply means saving your mix to a stereo
file.
9.9.1 Create a Mix
To create a mix of your Song in Studio One, navigate to Song/Mixdown to
Audio File or press [Ctrl]/[Cmd]+E on the keyboard to open the Export to
Audio File menu (see Fig. 9-41).
9.9.2 Location
The top section of the Mixdown to Audio File menu is where you will
select a location and name for the mix file. Click on the Location button to
choose a file location. Double-click on the filename, type in a new name,
and press [Enter] to choose a name for the file.
9.9.3 Format
Select the format for your mix file in the middle section of the Export to
Audio File menu. Choose from Wave, AIFF, Ogg Vorbis, or MP3 file, and
then choose the desired resolution and sample rate.
If you want to put your mix on a standard audio CD, create a 16-bit,
44.1 kHz Wave file.
9.9.4 Options
The bottom section of the Export to Audio File menu has several options
that affect how the mix file is created.
Choose from Export Loop Range or Export between Song Start/End
Marker. The Export Loop Range option will only export the range of your
Song between the Left and Right Locators. Export between Song Start/
End Marker will export the range of your Song between the Song Start
and End Markers, as seen in the Marker Track.The duration of the range to
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You choose an output from which the mix will be created in the Output
selection box. Only the Main Out will appear in the list, by default, but if
there are any Sub Outs in the Console, they will appear in this list as well.
Check Import to Track if you would like the mix imported to a new Track
in your Song.
Check Realtime Processing if you wish to export your mix in real time.
This option should be used if your Song requires External Instruments or
external hardware processing so that musical data and audio will flow to
and through these external sources during mixdown.
Check Close After Export if you would like to close the Mixdown to Audio
File menu after exporting your mix.
9.9.5 Song Meta-Information
In the Song/Song Setup/Meta Information menu are many fields of data
that can be filled in for each Song. These fields are commonly used to tag
audio files so that they are labeled correctly for playback in software and
various media players. All audio files exported from a Song will be tagged
with the meta-information supplied here.
At the bottom of the Meta Information menu, you can choose to display
the Song’s meta-information when the Song is opened. The information
can also be viewed at any time by selecting Song Information from the
Song menu.
The meta-information displayed represents what listeners will see in their
media players when playing the Song. Displaying this info could also be
helpful in remembering aspects of the Song production later.
Meta-information filled in for any Song will be automatically filled in for
that Song when it is imported into a mastering Project. For more on this,
refer to the Meta-Information section in the“Mastering”chapter.
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9.10 Export Individual Tracks from your Song
It can be helpful to quickly export individual tracks from your Song. For
instance, you might wish to send the tracks to someone who will prepare
a different mix or remix the Song. The Export Tracks as Audio Files feature
in Studio One provides an easy way to accomplish this.
9.10.1 Select Tracks
To export tracks from your Song in Studio One, navigate to Song/Export
Tracks as Audio Files to open the Export Tracks as Audio Files menu. Once
in this menu, select the tracks you wish to export by checking each track
in the list on the left.
Note that the audio file created for any selected track will be the equiva-
lent of putting the track into solo in the Console and listening to the
result. The audio file will include the results of all inserts and sends on
the track. If you don’t want the inserts or sends included in the exported
tracks, disable them (or mute FX channels and Bus channels, as neces-
sary) before exporting the tracks as audio files.
9.10.2 Location
You can select a location and name for the exported files in the top sec-
tion of the Export Tracks as Audio Files menu. Click on the Location but-
ton to choose a file location. Double-click on the filename, type in a new
name, and press [Enter] to choose a name for the file. The name of each
track in the Song that is being exported will be appended to the user-
specified filename.
9.10.3 Format
Select the format for your mix file in the middle section of the Export
Tracks as Audio Files menu. Choose from Wave, AIFF, FLAC, Ogg Vorbis, or
MP3 and then choose the desired resolution and sample rate.
9.10.4 Options
The bottom section of the Export Tracks as Audio Files menu has several
options that affect how the files are created.
Select a time range to export by selecting Loop, Between Song Start/End
Marker, Between Each Marker, or Between Selected Markers. The Export
Loop Range option will only export the range of your Song between
the Left and Right Locators. Export Between Song Start/End Marker will
export the range of your Song between the Song Start and End Markers,
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The Export Between Each Marker option will export separate audio files
for the range between each marker in the Song for each track. The Export
Between Selected Markers option allows you to choose any time range
between two markers in the Song. The duration of the range to be ex-
ported is displayed in the Duration field.
Check Keep Mono Tracks Mono if you would like mono tracks to render
mono audio files. If you are using stereo effects with mono tracks, you
may wish to disengage this option. Check Import to Track if you would
like the exported tracks to be imported to new tracks in your Song.
Check Realtime Processing if you wish to export your tracks in real time.
This option should be used if your Song requires External Instruments or
external hardware processing, so that musical data and audio will flow to
and through those external sources during mixdown.
Check Close After Export if you would like to close the Export Tracks as
Audio Files menu after exporting your tracks.
9.11 Mixing Suggestions
9.11.1 Before Mixing
The production work done before mixing has a great impact on the mix-
ing process. Here are a few guidelines you may find helpful:
Finish the arrangement of your•• Song before attempting to mix. The
addition, deletion, and rearrangement of parts can change the relation-
ship between all of the parts in your Song, which will affect the mix.
If any part of your•• Song is problematic, it is unlikely to work well in a
mix. The“fix it in the mix”approach usually leads to a lot of wasted time,
only to achieve poor results. Be sure you are pleased with the individual
parts of your Song before attempting to mix.
Some parts of your•• Song might rely on a certain amount of mixing and
effects processing to achieve the desired sound and character in the
arrangement. It is very easy to let this type of“mixing”carry over into
mixing the entire Song. If you find yourself working on many tracks at
once, you are probably mixing the Song, rather than a particular part.
If your•• Song lacks personality, vibe, or feeling before you start mixing, it
is unlikely to gain any of these subjective qualities during mixdown. In
this case, take the time to re-record certain parts, rearrange the Song,
or even start over from scratch.
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9.11.2 Mixing Workflow
While mixing requires an objective knowledge of many tools, the process
is an art form. If you were to ask ten mix engineers to mix the same Song,
each mix would sound different. There are no step-by-step or“mix by
numbers”instructions you can follow to achieve good results. The follow-
ing broad concepts may help guide you in the mixing process.
9.11.3 Balance
Mixing is largely about balance. The various elements in a mix are bal-
anced with each other so that each element can be clearly heard and
contributes as desired to the overall mix. This entails using the faders to
vary levels and equalizing sounds so that there is no“competition”be-
tween elements with similar frequency content. There is a limited amount
of space in the mix, based on individual energy levels for each frequency
in the audible spectrum and the relationships of the sounds within the
stereo field. For more information on this concept, refer to the Equalizers
section of the Appendix.
A popular view on mixing maintains that auditory perception occurs
within a three-dimensional space, wherein the principles of mixing are
highly visual. A number of variables determine how we perceive location,
including frequency, phase, reflections, and relative amplitude (level).
Therefore, while mixing, various elements can be positioned in the 3-D
listening space using faders, equalizers, ambient effects, and panning to
achieve appropriate balance across the entire mix.
9.11.4 Busing
Busing can make mixing much easier by creating submixes of certain ele-
ments. For instance, a live drum set may be recorded across eight or more
individual channels. In this case, the drums can first be submixed to their
own bus or stereo channel, and then the submix can be blended into the
overall mix. To accomplish this in Studio One, refer to both the Busing and
Groups sections of this chapter.
Busing is also used to build on individual tracks to create a“larger”sound.
For instance, a vocal track might be bused to an FX Channel with a chorus
effect inserted, as well as to a bus where all of the vocals are mixed and
sent to a reverb. These various elements are all mixed using individual
faders and add to the overall vocal sound in the mix.
Busing can be used creatively to achieve an endless variety of results.
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9.11.5 Preparing Your Mix for Mastering
Too often, mixes are sent to the mastering phase of production after they
have been compressed, equalized, limited, and generally processed to
the loudest possible levels. This is usually the result of people comparing
their unmastered mixes to finished, mastered, published songs. Indeed,
it’s tempting to make your mixes as loud as possible while mixing.
However, mixing is mostly about achieving excellent balance. It is not
about making the mix loud, especially when compared to mastered
mixes. During mastering, you can bring the overall loudness up with-
out affecting the balance achieved during mixing. But if your mixes are
already as loud as they possibly can be, little can be done during master-
ing to make the most of the balance you achieved in the mix, nor can you
easily balance one mix with another to create a cohesive album.
Therefore, when listening to reference material (which we highly recom-
mend), try to ignore the overall loudness and just pay attention to how
the individual elements are balanced. And avoid placing compressors/
limiters on the master channel of your mix.
9.11.6 Maximizing Computer Processing Power
If you are only listening to playback of previously recorded tracks, and not
to live inputs being recorded, input and output latency (the time it takes
to get audio into and back out of your computer) is irrelevant. Besides,
Studio One’s Automatic Delay Compensation will keep all playback tracks
in sync with each other, regardless of plug-in processing. Therefore,
during mixdown, the Block Size can be increased to allow more time for
processing to occur before the audio is heard, which will enable you to
use more plug-ins and other processing.
9.11.7 Block Size
To adjust the Block Size, navigate to the File/Options/Audio Setup menu
(Mac OS X: Preferences/Options/Audio Setup). In Windows, if your audio
interface allows it, as most ASIO devices do, adjust the Hardware Block
Size by clicking and dragging the horizontal fader. The value of the Hard-
ware Block Size is reported next to the horizontal fader. In Mac OS X, there
is a popup menu to adjust Block Size.
In the Windows version of Studio One, the Internal Block Size is locked by
default to the same value as the Hardware Block Size. Click on the Lock
selection box to unlock the Internal Block Size. Then click on the Internal
Block Size value to choose from the list of available values.
In Mac OS X, there is no difference between Internal and Hardware Block
Size.
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9.11.8 Rendering and Deactivating Virtual Instruments
Virtual instruments can require a lot of computer resources, which limits
the computing power that’s available for other processes. Therefore, it is
sometimes worthwhile to render the audio output of an Instrument Track
to an Audio Track, and then deactivate the virtual instrument. Do the fol-
lowing to accomplish this:
Select all of the Instrument Parts on the Instrument Tracks that you••
would like to render to audio.
Select Bounce Instrument Parts from the Event menu or press [B] on the••
keyboard. Each Instrument Part will be rendered to an Audio Event and
placed appropriately on a new Audio Track.
•• Click on the Instrument icon on the Instrument Tracks to open the user
interface for its virtual instrument and click on the Activate button to
deactivate it. This will free any computer resources previously being
used by the virtual instrument.
The same concept applies to resource-intensive Audio Effect plug-ins.
You can export audio to a new track using the Song/Export to Audio File
menu, then remove the pre-rendered audio track.
9.11.9 Audio Engine Overload
Computers have a limited amount of processing power, and you can
reach a point where the system can’t support all of the running processes.
If this occurs while using Studio One, the Studio One audio engine will
overload, causing the application to become unresponsive or frozen.
If this happens, and Studio One becomes unresponsive for more than
15 seconds, the system is automatically stopped, and the audio device is
suspended. A warning message will be displayed to notify you this has
happened.
When you see this message, immediately save your Song or Project. After
saving, disable some plug-ins, including Audio Effects and virtual instru-
ments, to reduce the amount of computer processing needed to play the
Song or Project. When you resume playback, the audio engine will func-
tion normally. If you see the warning again, try disabling more plug-ins.
This feature is intended to make the experience of using Studio One
stable and enjoyable on less-powerful computers. If you are using a
relatively powerful computer, you will probably never overload the audio
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10 Automation
Automation is a critical part of modern mixing. The following chapter
discusses aspects of automation in Studio One, including what automa-
tion is, Track and Part Automation, Automation Modes, and Automation
Envelopes.
10.1 What is Automation?
Automation lets you record changes in parameter values; thereafter,
Studio One can automatically perform these value changes. For instance,
you can record level changes in a Track by capturing your fader move-
ments during playback; from then on, Studio One can perform the level
changes for you.
Before the advent of automation, mixing was very much a performance.
Sometimes it took many pairs of hands on the mixing console to accom-
plish all of the fader, mute, solo, and other movements to achieve a mix.
Automation makes it possible to record the mixing performance in any
way you desire and endlessly tweak every parameter until the desired
mix is achieved.
Automation is recorded in Automation Envelopes, which are a series of
data points connected by lines that represent the changing values of the
parameter being automated.
10.2 Track Automation
Nearly every parameter in Studio One can be automated. Several ways
to automate parameters are provided, including Audio Track Automa-
tion, Instrument Part Automation, and Automation Tracks. The following
describes these automation types.
10.2.1 Audio Track Automation
Audio Track automation allows you
to automate any parameter related
to an Audio Track and the Events it
contains. The Automation Envelopes are drawn directly on top of the Au-
dio Track lane, with the Audio Events visible in the background. Automa-
tion envelopes will move with their associated Audio Events.
To view automation, press [A] on the keyboard or click on the Show Auto-
mation button at the top of the Track Column in the Arrange view. In the
Automation view, the Track Column of the Arrange view changes to re-
veal automation parameters, including an On/Off button, the parameter
name for the currently shown Envelope, and Automation Mode selection.
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Click on the automation Parameter display, which is labeled“Events”by
default, to reveal the available Automation Envelopes for aTrack. (“Events”
indicates that the events on the Track will be displayed, instead of an au-
tomation Parameter Envelope.) Volume and Pan Automation Envelopes
are available by default on every Audio Track. Select a parameter from the
list to view and edit the Automation Envelope, or click on Add/Remove to
open the Automation menu for the Track.
10.2.2 Turn Automation On/Off
Automation envelopes can be turned on and off, so you can decide when
they will affect the controlled parameter. To turn an envelope on or off,
switch to the Automation view by pressing [A] on the keyboard, select
the desired parameter in the Parameter window, and then click on the
On/Off button. The Automation Envelope for each parameter in the Pa-
rameter window can be turned on/off independently. Turning an Auto-
mation Envelope on/off during playback has different results depending
on the current Automation Mode for the Track.
10.2.3 Add Automation Envelopes to an Audio Track
Any number of Automation Envelopes can be added to an Audio Track.
The fastest way to add an Automation Envelope to an Audio Track is as
follows:
Modify any parameter for an Audio Track or•• its Inserts or Sends, and
that parameter should be displayed in the Software Parameter window
in far left of the Arrange view toolbar in the Song window.
Click on the Edit Automation button in the Software Parameter window••
to add an Automation Envelope to the related Track. If the envelope al-
ready exists, it will be displayed and a new envelope will not be added.
An alternative way to add Automation Envelopes to an Audio Track is
described as follows.
Press [A] on the keyboard to show automation.••
Click on the Parameter window on the Track in the Track column of the••
Arrange view and select Add/Remove from the list. This will open the
Automation menu for that Track.
On the left side of the Automation menu, the existing Automation••
Envelopes will be listed, along with their associated Automation mode
and device. On the right side of this menu are the parameters for which
new Automation Envelopes can be added.
Select any parameter on the right and click on Add to create a new••
Automation Envelope. Click on any parameter on the left and click on
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At the top of the Automation menu, you will notice that you can browse
through all Tracks in your Song to view and edit the Automation Enve-
lopes for any track.You can also click on the Add Automation Track but-
ton to add a new Automation Track.
10.2.4 Instrument Track Automation
Instrument Tracks can also have Automation Envelopes. In this case, an
Automation Envelope controls the parameters of the virtual instrument
to which the Instrument Track is routed. All other aspects of Instrument
Track Automation Envelopes work in the same way as with Audio Track
automation.
10.2.5 Automation Tracks
Studio One features mono and stereo Audio Tracks, Instrument Tracks,
and Automation Tracks. An Automation Track only contains Automation
Envelopes. An Automation Track can contain Automation Envelopes
related to any Track and any plug-ins. To add an Automation Track, press
[Ctrl]+[T] on the keyboard to open the Add Track menu and select Auto-
mation. Note that the envelopes on Automation Tracks are always visible.
Only those parameters for which an Automation Envelope does not
already exist will be available for automation. All other aspects of Auto-
mation Track Automation Envelopes work in the same way as with Audio
Track automation.
You can use Automation Tracks to automate Bus, FX, and Output Chan-
nel parameters and inserts and to keep critical Automation Envelopes
organized in one place and easily accessible at all times.
10.3 Editing Track Automation Envelopes
Track Automation Envelopes can be edited directly, using the mouse,
as well as with external hardware controllers. The following describes
editing Automation Envelopes with the mouse. Refer to the Automation
with External Controllers section of the“Control Link”chapter for more on
editing envelopes with external hardware controllers.
To edit an Automation Envelope, you first need to show automation by
pressing [A] on the keyboard or by clicking on the Show Automation
button at the top of the Track Column. Select the desired envelope on a
given Track to view and edit that envelope.
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10.3.1 Arrow Tool
Editing an Automation Envelope with the mouse, using the Arrow Tool,
allows you to add new points to the envelope, move existing points, and
select and delete existing points. Be sure to select the Arrow Tool in the
Arrange view before attempting the following processes.
10.3.2 Add a New Automation Point
To add a new point to an Automation Envelope using the Arrow Tool,
float the mouse above the envelope in the Track Lane so that the Hand
tool appears. Click to create a new point, hold the click, and move the
mouse to move the new point.
10.3.3 Move an Automation Point
To move any point on an Automation Envelope using the ArrowTool, click
and hold on any existing point on the envelope. While holding the click,
you can move the selected point vertically, which changes the parameter
value of the point, and horizontally, which changes the time position of
the point.
When moving an automation point, notice the pop-up value indicator.
This displays the current parameter value. The range and type of value
depend on the parameter being automated and on the current time
value displayed in the Timebase selected in the Arrange view.
In Studio One, you can drag an automation point as far beyond the posi-
tion of other automation points as needed. Moving an automation point
beyond other points on the envelope will cause the other points to move
as well. The other points being moved will be restored to their original
positions on the timeline if the point that caused them to be moved is
moved back beyond their original positions.
10.3.4 Delete an Automation Point
To delete an existing point on an Automation Envelope using the Arrow
Tool, first click on a point to select it. Then, press [Delete] on the keyboard
to delete the point. Alternatively, [Right]/[Control]-click on any automa-
tion point and select Delete from the pop-up menu to delete it.
10.3.5 Editing Multiple Points at Once
It is possible to simultaneously edit any number of points on an Automa-
tion Envelope at once. Using the Arrow Tool, click in the Track Lane away
from any existing automation point, and then drag to draw a selection
box around any number of points to select them. With multiple points se-
lected, click-and-drag, using the Arrow Tool, on any of the selected points,
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parameter values will adjust each parameter value relative to the point
being moved.
10.3.6 Paint Tool
Editing an Automation Envelope with the Paint Tool allows you to draw
many automation points with a single move of the mouse, effectively
painting an envelope. Be sure to Show Automation and select the Paint
Tool in the Arrange view before attempting the following processes.
10.3.6.1 Draw an Automation Envelope
To draw an Automation Envelope using the Paint Tool, click-and-drag in
the Track Lane. While you are drawing the envelope horizontally, points
will be added at different time increments based on the current Time-
base. However, when the mouse button is released after drawing the
desired envelope with the Paint Tool, the drawn curves of the envelope
will be intelligently and accurately approximated to achieve the desired
result with as few points as possible, which may or may not remove some
unnecessary points from the envelope. If Snap is engaged in the Arrange
View, the envelope points being drawn will snap to the grid accordingly.
You can draw a continuous line, rather than a series of points, by holding
[Alt] when the Paint Tool is selected.
Drawing an envelope with the Paint Tool over any existing points on an
Automation Envelope will cause the existing points to be overwritten
with the newly drawn points. These actions can be undone and redone.
10.4 Automation Modes
In Studio One, Automation Modes are specific to devices on each Track.
A delay effect on an Audio Track might be in Touch mode, while the
volume, pan, and other effects on that Track are in different modes. This
allows a great deal of flexibility when automating.
With Show Automation selected, the current automation mode is visible.
To select any mode, click on the Automation Mode window and select
from the list. The following describes the automation modes.
10.4.1 Auto: Off
When Auto: Off is selected in the Automation Mode window, all auto-
mation for the current parameter and for all related parameters will be
turned off.
For instance, if you are currently viewing the Attack parameter envelope
for a compressor inserted on an Audio Track, and you select Auto:Off, all
parameter automation for the compressor will be turned off. However,
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automation envelopes for parameters that do not belong to the com-
pressor can still use a different automation mode.
This is not the same as turning an individual Automation Envelope on
and off, as described in the Turn Automation On/Off section of this chap-
ter, as that on/off button only affects the currently visible Automation
Envelope.
10.4.2 Read
When you select Read in the Automation Mode window, any existing
Automation Envelopes on the Track for the related device will be read,
and these envelopes will control the related parameters. Read mode will
automatically be engaged when you draw a new Automation Envelope
with the mouse.
Press [J] on the keyboard to switch to Read Automation mode manually••
on the selected Tracks.
10.4.3 Touch
When Touch is selected in the Automation Mode window, Automation
Envelopes can be affected by touch-sensitive, external hardware con-
trollers, so that new automation is written when a hardware control is
touched, and automation is read when the hardware control is not being
touched. This allows the user to manipulate the control at any time in
order to write new automation or overwrite existing automation. Studio
One will resume reading automation when the control is released.
Press [K] on the keyboard to switch to•• Touch mode manually on the
selected Tracks.
Touch mode can be used even if your hardware controller does not have
touch sensitivity. In this case, automation is written when you move the
hardware controller, and existing automation will be read when you are
not moving the hardware controller.
10.4.5 Latch
When Latch is selected in the Automation Mode window, automation will
be read until a hardware control is manipulated, at which point automa-
tion will be written continuously until playback is stopped. When play-
back is resumed, automation will be read until a hardware control is again
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10.4.6 Write
When Write is selected in the Automation Mode window, Automation
Envelopes can be affected by external hardware controllers such that
automation is continuously written based on the current position of the
hardware control. Existing automation will not be read at any point, and
will instead be overwritten with the new automation.
10.5 Instrument Part Automation
A unique feature in Studio One is the ability for Automation Envelopes for
any given virtual instrument to be written and accessed directly within
Instrument Parts, just like musical-data parameters such as velocity and
pitch bend. Part Automation is integrated into Instrument Parts, so that
no matter where an Instrument Part is moved, or how it is edited, the
automation will stay in place. In this way, virtual-instrument automation
can be kept where it belongs with the Instrument Parts in your Song.
Thus, Instrument Part Automation is functionally similar to the Track
Automation system but is dedicated to Instrument Parts and the virtual
instruments they control, offering enormous flexibility.
10.5.1 Recording Part Automation
When an Instrument Part is being recorded, and any of the connected vir-
tual instrument’s or External Instrument’s controls are manipulated with
the mouse or via an external hardware controller, those control changes
are recorded into the part as Part Automation. Thus, at any time, Part
Automation can be recorded live to a new or existing Part by enabling
Record and manipulating the virtual-instrument controls.
The related Instrument Track must be connected to a virtual instrument
or External Instrument in order for Part Automation to be recorded.
10.5.2 View Part Automation
To view and edit Part Automation for a Instrument Part, select the desired
Instrument Part and open the Edit view by pressing [F2] on the keyboard,
double-clicking on the Instrument Part, or clicking on the Edit button.
Below the Music Editor (which shows the musical notes for the selected
Instrument Part), you will notice the Part Automation lane. At the upper
left of the lane, the Parameter Tab shows the parameter currently dis-
played in the lane.
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10.5.3 Manually Add and Edit a Part-Automation Envelope
Click on the Parameter Tab to choose a parameter to view and edit in the
Part Automation Lane. By default, Velocity, Modulation, Pitch Bend, and
Aftertouch (Pressure) are available.
To add a new Automation Envelope to the Part Automation lane, select
Add/Remove from the list to open the Automation menu. This Automa-
tion menu is identical to the Automation menu mentioned in the Add
Automation Envelopes to an Audio Track section of this chapter.
Alternatively, you can edit the parameter of the desired instrument, then
click on the hand icon in the top left parameter window and drag it to the
Music Editor to add a Part Automation envelope for that parameter to the
Instrument Part.
The parameters that you can add to the Part Automation lane are based
on the virtual instrument to which the Instrument Track that contains the
selected Instrument Part is connected. Only those parameters for which
an Automation Envelope does not already exist will be available.
Editing Part Automation envelopes is nearly identical to editing Track
Automation envelopes, as described in the Editing Track Automation En-
velopes section of this chapter.The one exception is that if you press [Alt]/
[Option] on the keyboard when using the Paint Tool to draw an automa-
tion envelope, you can draw straight lines of any length, which will only
use two envelope points.
It is possible to view and edit two different parameters in separate Part
Automation lanes. Click on the two Part Automation Envelope buttons
to the bottom left of the Part Automation lane to show/hide the two Part
Automation lanes. Any written Part Automation will be read, regardless of
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11 Control Link
Studio One features Control Link, a cutting-edge system for integrating
external hardware controllers with your virtual instruments, effects, and
other software parameters. The following chapter describes this system.
11.1 What is Control Link?
In most DAW software, you can use external hardware devices to control
software parameters. For instance, you could map several knobs on a
hardware MIDI controller to the software knobs of an EQ effect, so that
when the hardware knobs are turned, the software knobs will turn. How-
ever, in most cases the implementation is limited and difficult to learn.
Studio One has revolutionized hardware and software control integration
with the Control Link system. This system requires no knowledge of MIDI,
as it eliminates the complex MIDI-mapping systems used in other DAW
software. Control Link is also capable of context-sensitive mapping, so
the same hardware controls can control many different things based on
the current context in Studio One.
The following sections describe how to use the Control Link system.
11.2 Set Up Your External Devices
To use any external hardware device with Studio One, it must first be set
up so that Studio One recognizes it. Once an External Device is set up, it
will be available for use in any Song. To set up an external hardware con-
troller, refer to the information in the Set UpYour MIDI Devices section of
the“Setup”chapter.
11.3 Map Your Keyboard
For the Control Link system to work with your Keyboard, a software map
must be made of the hardware controls you wish to use. This simple pro-
cess works as follows:
Open the•• Mix view by pressing [F3] on the keyboard, and open the
External window by clicking on External in the Console navigation
column to the far left of the Console.
Double-click on the desired device in the External panel to open the••
Device Control Map.
In the upper left corner of the Device Control Map window, click on the••
MIDI Learn button to enter MIDI Learn mode.
With•• MIDI Learn enabled, simply move any hardware control to map it.
As controls are mapped, you will see the default Knob object created
for that control, which will move in correspondence with its related
hardware control.
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When you have mapped all of the desired controls, click on the•• MIDI
Learn button to exit MIDI Learn mode.
Now that the hardware controls for your Keyboard have been mapped,
they can be used to control almost any software parameter, as discussed
in Control Mapping below.
Keyboard control maps are global in Studio One and are used across
every Song, so you will only need to map your Keyboard once.
When using predefined devices from the Keyboards menu, it is not pos-
sible to map new controls for the device.You must follow the instructions
in the Add Device window (for example, select a certain preset).
11.3.1 Controller Map Object Types
The default Knob object is used when hardware controls are mapped for
the first time. This object can be changed for each control to better reflect
the actual hardware control type, making your mapped controls much
easier to recognize. To change the object for any mapped control, do the
following:
Click on1. MIDI Learn to enter MIDI Learn mode.
In2. MIDI Learn mode, you will see a description box beneath each con-
trol, with an arrow in the upper left corner.
Click on the arrow to expose the Object Selection list, where you can3.
choose a Knob, Fader, Button (On/Off), or Button (Press/Release).
Choose one of the object types and notice the graphic change for that4.
control.
When you are finished changing the control objects, click on the5. MIDI
Learn button to exit MIDI Learn mode.
Note that there is a functional difference between the two button object
types. Some hardware controllers send MIDI messages to Studio One
when a button is pressed or released, and some send messages when
the button state is toggled between on and off.You must know how the
buttons on your controller behave in order to select the correct button-
object type. Use the MIDI Monitor to view this behavior directly.
To use the MIDI Monitor, choose MIDI Monitor from the View file menu.
The MIDI Monitor will be displayed and will list all incoming MIDI mes-
sages sent to Studio One. Press the buttons in question to view their
behavior so you can choose the correct map-object type.
It is highly recommended that the control objects be made to look similar
to the controls they represent, using the map-object types, as this will
help make the relationship of the software object to the related hardware
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11.4 Control Linking
With an Keyboard set up, and its control map created, you are one click
away from controlling almost any software parameter using Control Link.
The following describes the various ways to use Control Link.
11.4.1 Parameter Windows
To the far left of the Arrange view toolbar in the Song window, you will
notice two windows separated by a button. The windows are empty by
default. The name, value, and other related information regarding the
last-changed software parameter are displayed in the left window. The
MIDI name and value of the last-changed, mapped hardware control are
displayed in the right window.
You also can open Parameter windows in each plug-in window. To do
this, click on the Edit Mapping button at the top of the plug-in window.
11.4.2 Link a Hardware Control to a Software Control
The fastest way to link a hardware and software control is:
Manipulate the desired software control with the mouse.1.
Manipulate the desired hardware control; for instance, turn a knob.2.
That control should appear in the right parameter window.
Click on the3. Link button in the middle of the two parameter windows,
or press [Alt]/[Option]+[M] on the keyboard, and the button should
turn blue.
Your hardware control is now linked to the software control, so that4.
manipulating the hardware control will in turn manipulate the linked
software control.
A second way to link a hardware and software control is:
Open the control map for the desired Keyboard by double-clicking on1.
it in the External panel of the Console.
Manipulate the desired software control with the mouse.2.
Click on the Hand icon in the left parameter window and drag it over3.
the desired hardware control in the control map, then release the
mouse button.
manipulating the hardware control will in turn manipulate the linked
software control.
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Finally, you can right-click on any knob or fader in the Console, or in a
plug-in editor, to link a hardware control to a software control. To accom-
plish this, do the following:
Manipulate the desired hardware control; for instance, turn a knob.1.
That control should appear in the right parameter window.
Right-click on the desired software parameter and choose“Assign X to2.
Y,”wherein X is the software parameter andY is the hardware control
you just manipulated.
manipulating the hardware control will manipulate the linked soft-
ware control.
11.5 Global and Focus Mapping
There are two modes for mapping hardware and software controls:
Global and Focus mode.
11.5.1 Global Mapping
With Global mapping, hardware and software controls maintain a one-
to-one relationship, where a single hardware control is linked directly to
a single software control. Some controls, such as Track fader, pan, and
mute, can only be mapped globally. To map a plug-in control globally, be
sure Focus is disengaged in the plug-in window by clicking on the Focus
button for the Keyboard you are using, so that it is no longer highlighted.
11.5.2 Focus Mapping
While only one software control can be manipulated at a time by a single
hardware control, a hardware control can be linked to any number of
software controls, based on context, using Focus mapping. For instance, a
single hardware knob could control the release of a Gate plug-in, as well
as the Gain of a distortion plug-in, and any number of other parameters,
depending on which plug-in is in Focus.
The process of Focus mapping is identical to Global mapping, with one
critical difference. To see this difference, open the interface for any virtual
instrument or effect. By default, all virtual instruments and effects open
in Focus mode, and the Focus button in the plug-in window’s toolbar is
highlighted. The Focus button will display the name of the related Key-
board being used.
Only one plug-in window can be in Focus at any time. Click on the Focus
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When a parameter has been mapped in Focus, the link icon used in the
parameter window is different from the icon used when a parameter is
mapped globally.
Control maps only apply to the plug-in window that is in Focus. For
instance, a hardware knob might be linked to a software knob in an EQ
plug-in that is in Focus. When another plug-in is brought into Focus, the
hardware knob will no longer affect the software knob in the EQ, and it is
possible to link this hardware knob to a different control for the plug-in
that is in Focus.
In this way, Focus mapping allows different control maps to be made for
each plug-in, using the same hardware controls for each. Better still, each
Focus map is stored with the plug-in, making it usable in any Song. Thus,
you can make Focus maps for each of your favorite plug-ins and never
worry about them again. In practice, this means that the plug-in currently
in Focus will always be what your external hardware is controlling.
Certain parameters cannot be Focus mapped, including Track controls
such as fader, pan, and mute.
11.5.3 Control Link with External Instruments
Using the Control Link system, it is possible to control your MIDI-capable
external hardware instrument just like a software instrument. The first
step in this process is to add your hardware instrument as an external de-
vice, as discussed in the Set UpYour MIDI Devices section of the“Setup”
chapter. Once you have the device set up, create a new Song and open
the External panel of the Console.
Double-click on your External Instrument in the External panel to open
the control map for the Instrument. If you created a new Instrument (that
is, you are not using a predefined device), all possible Continuous Con-
troller commands (MIDI CCs) are active and are represented by knobs in
the control map. If you are using a predefined map, only relevant controls
will appear. Also, notice the MIDI channel selector above the control map.
Only MIDI channels you enabled for the Instrument will be selectable.
When working with a new Instrument, you will want to customize its
control map to include only the relevant controls with the appropriate
parameter names. To customize the control map, click on the Wrench
icon, which opens the control list. As mentioned, all continuous control-
lers (CCs) are enabled by default, and they are labeled by their common
uses. To add or remove any CC from the list, click its corresponding check
box. To edit the Title or the CC, click on the title and enter a new one.
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Related controls can be grouped together in the control map by placing
them in the same folder in the control map list. Click in the Folder field of
any control in the control list and type a folder name to group that con-
trol with other controls that have the same folder name.
Once you have finished editing the control map for the Instrument,
moving any knob in the control map with the mouse should adjust the
desired parameter on the hardware Instrument. The parameter shows
up in the left Parameter window, just like any virtual software instrument
parameter. This means the same Control Link functions described previ-
ously in this chapter for virtual software instruments are now available for
controlling (and even automating) your hardware Instrument.
11.5.4 Using Multiple External Devices
Any number of External Devices can be used simultaneously. As long as
the device has a control map with some controls learned, it can be used
with the Control Link system. In each plug-in window, you will notice
mapping controls to the right of the preset and automation controls.
Only the External Device displayed in the Focus button can be used to
Focus-map controls. If the External Device you are using is not displayed
there, the mapping will be Global.
To choose a different device with which to Focus-map a plug-in’s controls,
click on the down-arrow menu button and choose the External Device
you wish to use.
11.6 Automation with Hardware Controllers
As mentioned earlier in the Editing Track Automation Envelopes sec-
tion of the“Automation”chapter, external hardware controllers can be
used to edit automation. When an external hardware controller has been
mapped, and controls are linked to various parameters using Control
Link, hardware controller movements, and therefore the movements of
the software parameters they control, can be recorded in automation.
Combining Studio One’s automation system with Control Link delivers a
powerful integrated hardware- and software-automation platform. The
following describes how these systems are used together.
11.6.1 Hardware Controller Capabilities
You need to understand the capabilities of your hardware controllers. For
instance, some controllers offer touch-sensitive faders and knobs, and
others do not. Some controllers have endless rotary encoders, and others
have fixed-position knobs. These capabilities affect how the hardware
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11.6.2 Touch Sensitivity
Various automation modes are discussed in the Automation Modes
section of the“Automation”chapter. These modes directly relate to the
specific capability of your hardware controllers. Touch automation mode
is most effective if the hardware control is touch-sensitive. However, you
can use Touch automation with hardware controls that are not touch-
sensitive.
11.6.3 Endless Rotary Encoders and Fixed-Position Knobs
The type of controls offered with hardware controllers varies widely.
Many controllers offer knobs called“endless rotary encoders.”These
encoders can be rotated continuously in both directions. They increment
and decrement values, rather than sending absolute values based on
fixed positions, as with fixed-position knobs. Therefore, you will get differ-
ent results when automating an endless rotary encoder versus a fixed-
position knob.
For example, if you are using a touch-sensitive, endless rotary encoder
to control a software parameter that has an Automation Envelope on a
track, setting the track to the Touch automation mode will have the fol-
lowing results:
During playback, touching the rotary encoder will begin to write••
automation until the encoder is no longer being touched. When the
encoder is not being touched, any existing automation will be read.
If automaton is being read during playback, and then the rotary en-••
coder is turned, automation will begin to be written by incrementing/
decrementing from the current automation position. In this way, the
new automation being written effectively picks up from the existing
automation.
If you do the same thing with a touch-sensitive, fixed-position knob, the
following will result:
During playback, touching the knob will begin to write automation••
until the control is no longer being touched. When the control is not
being touched, any written automation will be read.
If automation is being read during playback, and then the knob is••
turned, automation will begin to be written at whatever the current
value of the knob is, based on its absolute position. The new automa-
tion being written will not pick up from the existing automation.
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11.6.4 Writing Track Automation
There are three Track Automation modes in which automation can be
written using external controls, including Write, Touch, and Latch. It is rec-
ommended you be familiar with these modes, as described in the Track
Automation Modes section of the“Automation”chapter.
To write Track Automation using an external control, first link a control to
a software parameter, as described in the Control Linking section of this
chapter. Then, show automation by pressing [A] on the keyboard, add an
Automation Envelope to a track for the desired parameter, and enable
Touch, Latch, or Write mode. Finally, start playback and manipulate the
hardware control to write the desired automation.
Automation can be written using hardware controls only during play-
back.
When overwriting existing automation, note that the three automation
modes will give different results.
•• Touch mode will allow automation to be read until a touch-sensitive
control is manipulated, and it will be read again when the control is no
longer being manipulated.
Latch mode will result in automation being read until a control, touch-••
sensitive or not, is manipulated, after which automation will continue
being written until playback is stopped.
When in•• Write mode, no existing automation will be read during play-
back, and automation is written for the duration of playback.
Track Automation cannot be written using an external control if Read or
Off mode is selected on the track.
11.6.5 Writing Instrument Part Automation
Using external controls with Part Automation is similar to using them
with Track Automation, except that there are no automation modes. Exist-
ing Part Automation is read and can be overwritten, and new automa-
tion can be written at all times while recording to a Part, as explained in
the Recording Part Automation section of the“Automation”chapter. The
concept is that Part Automation is an integral part of the Instrument Part
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12 Mastering (Studio One Pro)
Mastering is the process of preparing and transferring the final mix to
a master copy from which all distribution copies will be made. In the
mastering process, the source material is usually processed using equal-
ization, compression, and so on. Editing, level adjustments, fades, noise
reduction, and other signal restoration and enhancement may also be
done during mastering. Individual songs are put into their final order at
this stage, a process commonly called assembly or track sequencing. The
mastered material is then ready for CD/DVD replication, vinyl pressing, or
Web distribution.
Studio One Pro features the Project page, a complete mastering solution
that is integrated into Studio One. Before Studio One, users had to rely on
at least two separate applications—one for multitrack audio production
and the other for mastering—to complete their audio production. This
can be very inefficient for the average musician/producer.
The Studio One Pro Project page redefines this process into one that is
smart, simple, and efficient. In the Project page, your Songs can be mas-
tered and arranged on a single timeline, and then published to many pro-
fessional formats. The following chapter describes the mastering process,
Project workflow, and how Songs and Projects are integrated to provide a
total solution not available in any other DAW.
Many of the capabilities of the Song page are available in the Project
page, such as Control Link. As such, you should become familiar with the
Song page. The following describes in detail only the workflow specific to
the Project page.
12.1 Creating a New Project
To create a new mastering Project, do one of the following.
Select•• Create a New Project from the Start page.
Navigate to File/New•• Project.
Press [Ctrl]/[Cmd]+[Shift]+N on the keyboard.••
From the•• Song page, click on the Project quick-access button if no Proj-
ect is currently open.
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12.1.1 Project Setup
In the New Project menu, you can specify a Project Title and save a
location, as well the Project sample rate. Click on OK to create the New
Project.
12.2 Adding Tracks
The first step in the mastering process is to place the desired source ma-
terial into a Project.
12.2.1 The Browser
Just as on the Song page, the Project page has an integrated Browser, al-
lowing you to browse for Audio Effects and files to add to your mastering
Project. Press [F5] on the keyboard, or click on Browse in the lower right
hand corner of the Project page interface, to open the Browser.
12.2.2 Add a Song
Any Song created in Studio One Pro can be added directly to a Project by
importing the Song file itself into the Project.There is no need to create a
mix-down of the Song first, as this process is automated in Studio One Pro.
By default, your Song files are contained in the Content/Songs folder of
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add a Song to your Project, browse
to the desired Song in the File
Browser and then click-and-drag
the Song file to the Track Column
or Track Lane.
Adding the Song to your Project
will place it in the Track Column. If
no master file exists for the Song,
you will be asked if you would like
to create a mix of the current state
of the Song, which can then be ren-
dered and added to the Track Lane.
When a mix of the Song you added
is rendered, the length the of the
mix is determined by the Song
Start and End markers, as seen in
the Marker Track of the Arrange view. Be sure these markers are set to the
desired locations in the Song.
12.2.3 Add an Audio File
Of course, any Wave, Ogg Vorbis,
AIFF, or MP3 audio file can also be
added to the Project by dragging it
into the Project from the Browser,
just as you would with a Song. Im-
ported MP3 files are converted to
Wave format, using the sample rate
of the current Project.
12.2.4 Track Column
All Songs and audio files in your Project will be listed vertically in the
Track Column, with the name of the Song or audio file clearly displayed.
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12.2.5 Meta-Information
At the top of the Track Column, you will notice three meta-information
fields, including Disc, Artist, and Length. The Length field is updated au-
tomatically based on the total length of your Project. To edit the Disc and
Artist fields, click in the space next to the field, type your text, and then
press Enter.
Beneath the file-type icon for each Track in the Track Column, you will
notice a Down Arrow button. Click on this button to reveal all other meta-
information fields. These fields may be edited on a track-by-track basis, or
multiple Tracks may be selected and their fields edited simultaneously.
Meta-information is used when publishing your Project to any medium.
You should fill in this information so your production is accurately labeled
when published and distributed to your adoring fans.
Meta-information that has been filled in for any Song will automatically
be imported to any mastering Project that includes the Song.
12.2.6 Pause
It is common for the tracks on audio CD’s to be separated by a brief
pause, usually two seconds. By default, any Track added to the Project
will have a Pause setting of two seconds. In practice, this means that two
seconds of silence will be appended to the beginning of the Track, so
that although the Track begins immediately after the end of the previous
Track, there will be a brief pause in playback in between.
The Pause setting can be set to any amount of time up to 10 seconds, as
per the Red Book Audio CD standard. The timing between Tracks is an im-
portant creative part of the mastering process and often differs between
Projects. To change the Pause setting, click in the Pause field for a Track in
the Track Column and type in a value or click-and-drag the audio events
in the Timeline.
12.3 Track Sequencing
To sequence the Tracks in your Projects, simply click on the file-type icon
for any Track and drag the Track above or below the other Tracks in the
Track Column.
Notice that the Tracks are automatically relocated in the Timeline of the
Track Lane, with all other Track Sequencing still intact, including Track
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12.3.1 Track Lane and Timeline
The Track Lane is where your Tracks are represented as Audio Events.You
will notice that the Tracks are staggered in the Track Lane, alternating
between an upper and lower position across the Timeline. This allows
two adjacent Tracks to overlap if so desired. By default, the Tracks will be
separated by an amount of time dependent on the Pause setting for each
Track.
To move any Track manually across the Timeline, click-and-drag the Track
left or right. Notice that the sequencing of all other Tracks in the Project is
maintained when any Track is moved across the Timeline.
12.4 Editing Tracks
12.4.1 Sizing Tracks
Tracks in the Track Lane can be sized with the Arrow Tool, as described in
the Size an Event section of the“Editing”chapter. The relative sequencing
of all other Tracks in the Project is maintained when any Track is sized.
12.4.2 Volume Envelope Editing
Each Track in the Track Lane features a volume envelope, which can be
edited like the volume envelopes of Audio Events, as described in the
Adjust Audio Event Volume Envelopes section of the“Editing”chapter. A
volume envelope lets you create fade-ins and fade-outs.
12.4.3 Crossfading Overlapping Tracks
When a Track is manually moved across the Timeline so that it overlaps in
time with another Track, it is possible to crossfade the two Tracks so that
one will fade out as the other fades in. To crossfade overlapping Tracks,
select the two tracks and press [X] on the keyboard. A linear crossfade
will be drawn that can be edited by clicking-and-dragging on each track’s
fade handle.
Any Track that begins after another Track in time will naturally be the
beginning of a new track on a CD or other medium, with the starting
position of that Track serving as the beginning of the track, regardless of
the timing of crossfades.
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12.4.4 Enabling and Disabling Tracks
Any Track can be disabled at any time. Disabling a Track will remove the
Track from the Timeline but will keep the Track in the Track Column, with
the label“This Track is disabled.”This is helpful if you need to remove
a Track from the Project timeline but are unsure of whether the Track
should be removed completely.
To disable any Track, select it in the Track Column and choose Disable
Track from the Project file menu. To enable a disabled Track, select it and
choose Enable Track from the Project file menu.
12.5 Using Insert Effects
Insert Effects can be used in the Project page in much the same way as on
the Song page. Each Track has a dedicated Device Rack, and there is also
a Master Device Rack. Inserts are handled in the Project page as described
in the Configuring Inserts section of the“Mix”chapter, including the abil-
ity to use FX Chains, as well as the built-in effect Micro Views.
12.5.1 Track Device Rack
Inserts in the Track Device Rack can be used to process each Track indi-
vidually. The most common use is to achieve a balance with other Tracks
in the mastering Project, so that any Master Device Rack processing will
affect each Track in a similar way. For instance, each Track will probably
require individual equalization. A Track fader is also available in the Track
Device Rack to fine-tune the output level of each track.
12.5.2 Copy A Track’s Effects to Another Track
To quickly copy any effect from one Track’s Device Rack to another, simply
click-and-drag the effect from the Device Rack onto another Track in the
Track Column.
You can also save the entire Device Rack as a single preset, called an FX
Chain, by clicking on the arrow next to Inserts at the top of the Device
Rack and selecting Store Preset. Then locate the FX Chain in the Browser
under Audio Effects and drag it onto any Track in your Project.
12.5.3 Using Hardware Inserts in a Project
As mentioned in section 9.2.9 and fully discussed in section 13.11, you
can use hardware inserts by means of the Pipeline plug-in in Studio One
Pro. When using Pipeline, you may need to access the Audio I/O Setup for
your Project (found in the Project/Project Setup/Audio IO Setup menu) in
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Note that when Pipeline is inserted anywhere in a Project, it will no longer
be possible to render audio exports offline for CD burning, disc-image
creation, or digital-release creation. Real-time processing will be used, as
this is required to incorporate your hardware insert into the audio export.
12.6 Master Device Rack
Inserts in the Master Device Rack will affect every Track in the mastering
Project. Peak limiting, multiband dynamics processing, and other similar
processes are commonly used in the Master Device Rack to finely adjust
the overall sound of the Project. Generally, a certain amount of balance
and equalization between all Tracks in the mastering Project should be
achieved before applying Master Device Rack processing.
A Master Channel output fader is available to dial in the master output
level of your Project, and you can select the output for your audio device
(audio interface). All of the output pairs provided on your audio interface
can be accessed by clicking on the currently displayed audio output.
12.7 Metering
High-quality metering is critical during the mastering process. The Project
page offers three types of meters, each visible at all times, to help you
make creative and technical decisions while processing your material.
12.7.1 Spectrum Meter
The Spectrum Meter is a flexible audio-spectrum meter that offers octave,
1/3-octave, and FFT displays. The Spectrum Meter can be adjusted to
reflect standard peak/RMS levels, as well as the three K-System scales
described in the K-System Metering section of the“Mix”chapter. To adjust
the Spectrum Meter, click on the options at the upper left and upper right
of the display.
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12.7.2 Level Meter
The Level Meter is located directly beneath the Spectrum Display, and
is capable of displaying high-resolution peak/RMS levels, as well as the
three K-System scales as described in the K-System Metering section of
the“Mix”chapter.
Nowhere is it more important to accurately meter levels than at the mas-
tering stage of production. It is critical to be sure that the levels across all
tracks are as consistent as desired and that the signals are never clipped.
When any amount of clipping occurs in your Project, a red clip indicator
will illuminate at the top of the Spectrum Meter display, which can only
be cleared by clicking on the indicator.
12.7.3 Phase Meter
The Phase Meter, located to the right of the Level Meter, is helpful when
checking stereo playback issues and mono compatibility. There are two
components to this meter: a Goniometer at the center of the plug-in
window and a Correlation Meter at the very bottom.
The Goniometer displays left- versus right-channel amplitude on an X/Y
scope. The horizontal Correlation Meter compares the amount of in-
phase and out-of-phase audio signal in the left and right channels. The
parameters of the Correlation Meter range from +1 (mono signal) to -1
(reversed-phase mono signal), with 0 indicating the presence of totally
independent signals (true stereo).
12.8 Publishing Your Project
When your Project has been mastered, the next step is to publish it. The
Project page offers many options, categorized into three main operations,
including burning an audio CD, making a disc image file, and making
audio files.
12.8.1 Burn an Audio CD
You can burn your mastered Project to a standard Red Book audio CD
directly from the Project page. Red Book is the most widely adopted tech-
nical standard for audio CDs, and it includes specifications for minimum
and maximum track durations and maximum number of tracks, as well as
for how audio is encoded to the CD. As the Project page adheres to this
standard, you can be sure your audio CDs will be compatible with almost
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To burn your Project to an audio CD, click on the Burn CD button at the
top of the Project page. In the Burn CD menu, you can select the device
you will use to burn the CD, as well as the speed of the burning process.
In general, using slower speeds in the burning process reduces the
chance for errors.
12.8.2 Burn Options
Several options in the Burn CD menu are intended to prevent common
CD burning errors, which include Test Write, Use Burnproof, and Use Tem-
porary Imagefile. These options will usually increase the time it takes to
burn a CD in the Project page, but they could prevent wasting time and
blank CDs on failed attempts.
The Test Write option will run tests before attempting to burn the CD, in
order to be sure the necessary computer resources are available.
Burnproof is a technology capable of preventing buffer under-run errors
with some CD burners, in which the CD writing process is interrupted and
the CD writer is forced to stop burning the CD before it is finished.
The Use Temporary Imagefile option will change the burn process so that
an image of the CD to be burned is created before attempting to burn the
CD. This helps to eliminate potential problems related to data not being
made available fast enough while writing to the CD.
12.8.3 Make a Disk Image
Publishing your project might require a disk-image file. For instance,
sending your Project to a professional CD duplicator might require digital
transmission of the content of your CD, rather than sending a potentially
imperfect physical copy. Also, you may wish to use a different application
to burn your CDs, in which case you need an image file. There are many
file formats for disk images, with some better suited to audio CD creation
than others. Studio One uses a continuous audio Wave file and a cue file
to achieve the most universal support.
To create an image of your Project, click on the Make Image button at
the top of the Project page. This will create a single continuous Wave file
of your entire Project and a cue file and will place them in your Project
folder. The cue file contains all of the necessary information to create the
separate audio tracks for your CD by referencing the continuous Wave
file. Many third-party CD burning applications can create a CD using the
Wave and cue files together.
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12.8.4 Digital Release
It is possible to publish your Project to a single folder containing all Tracks
in your Project, properly tagged with the appropriate meta-information.
A common use for this would be to quickly create an MP3 album in one
folder and then upload it to a Web site or online retailer for distribution.
This process is similar to creating a mix on the Song page, as described in
the Create a Mix section of the“Mix”chapter.
Click on the Release button at the top of the Project page to open the
Digital Release menu. In this menu, you can choose whether you want
to create WAV, AIFF, Ogg Vorbis, or MP3 files and where you wish to store
the files.You can also choose a sample rate and a resolution (bit rate),
depending on the format.
The folder to which all new files are written will be named according
to the Disk field in the Project meta-information at the top of the Track
Column. The name of each Track in the Track Column is used for the name
of the new files created. In the Options section of this menu, you can
include Track Numbers and the Artist Name in the name of each new file
to be created in the Album. All other meta-information supplied for each
Track will be used to tag the new files appropriately.
12.9 Song and Project Integration
At the center of Studio One Pro’s design is Song and Project integration.
This is where the usual gaps between mixing and mastering have finally
been eliminated. When Songs are placed in a Project, a link is established
that allows the Song and Project to be intelligently aware of each other so
that changes to either are known to both. This integration, as described in
the following sections, is sure to change the way you think about mixing
and mastering.
12.9.1 Open a Song from Within a Project
It is common in the mastering process that changes are needed in various
tracks in a project, after which changes to the mix are made. This process
is often grossly inefficient, taking many hours, if not days or weeks.
You can quickly make changes to the mix of a Song in your Project. To
open a Song in your Project, click on the Edit button in any Track in the
Track Column.Your Song will open on the Song page, where you can
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When you go back to the Project page, or open the Project in the future,
you will be prompted with a message informing you that the master file
is no longer current for the Song to which you just made changes, and
you will be given the opportunity to update the master file. The Automat-
ic Update of Mastering Files section below explains this option.
12.9.2 Automatic Update of Mastering Files
Of the most common questions that arise when mastering is also one of
the most time-consuming:“Are these mixes the most current versions?”
Often, changes are made to multitrack mixes in response to problems
found during mastering. When these changes are made, such as bringing
the lead vocals up 0.3 dB, new mixes have to be made and reinserted into
the mastering project.
There can be many rounds of changes for each track, resulting in a poten-
tially confusing situation in which it is hard to tell which mix is which, and
which is the final version that should be in the mastering project. When
the right mix file is finally found, the old mix is removed, and the new mix
is added back into the project, usually requiring resequencing the tracks
in the project.
Studio One Pro solves this problem with automatic updating of master-
ing files for any Song in a Project. When you change any Song included in
a Project, and then open the Project, you will be asked if you would like
to update that Song’s mastering file. If you choose to do so, the following
will happen:
The•• Song will be automatically opened in its last saved state.
A mixdown of the•• Song will be then rendered.
The new mix file will replace the old one in the•• Project.
The•• Song will be automatically closed.
A report will be displayed in the•• Project indicating which files were
updated and how long the entire process took.
Note that when Songs are automatically updated, and a new mix is
rendered, the length of the mix is determined by the Song Start and End
markers, as seen in the Marker Track of the Arrange view. Be sure that
these markers are set to the desired locations in the Song. If an update of
a Song fails, check the Song for missing files and plug-in effects and then
try the update again.
Any number of mastering files can be updated in a single process. This
way, every time you open a Project, you can be sure you have the latest
mix of each Song.
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When a mastering file in a Project is not up to date, a red light will appear
to the left of the track name in the Track Column, as well as in the lower
left corner of the track in the Track Lane.You can choose to manually
update any of these files by [Right]/[Control]-clicking on the Track and
selecting Update Mastering File. When the file is up to date, a green light
will appear.
You can also update every mastering file in the Project at once by clicking
on the Update button at the top of the Project page. Any files that need
to be updated, based on whether saved changes have occurred to the
Songs, will be updated in the same process described above.
12.9.3 Add Currently Open Song to a Project
To add a Song you are currently working on to a new or open Project, se-
lect Add to Project from the Song file menu. Select any open Project from
the list or select New Project. This will add the Song file to the desired
Project and will automatically render a mixdown that will be placed in the
Project timeline.
12.9.4 Update a Mastering File from the Song Page
To update a mastering file for the currently open Song from within the
Song page, select Update Mastering File from the Song file menu. This
will update the mastering file for the Song, which can exist in any number
of Projects. The next time any Project that contains the Song is opened,
the new mastering file will appear automatically for that Song.

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13 Built-In Effects
Studio One features a number of high-quality, 64-bit, built-in audio ef-
fects and virtual instruments. The following chapter describes each audio
effect in detail. Virtual instruments will be covered in a separate chapter.
13.1 Built-In Effect Micro Views
All of the built-in effects feature Micro Views, which are small, expand-
able control panels within the Insert Device Rack that allow control over
the critical parameters of each effect. Using the Micro View in the Insert
Device Rack will often prevent having to open the entire effect interface,
and it also allows easy monitoring of compression, gating, and other
effects. Try the built-in effects Micro Views in both the small and large
Console views.
To expand the Micro View for any built-in effect, open the Console and
click once on the effect in the Insert Device Rack. The Micro View will
expand downward, revealing certain parameters of the effect. Not all
parameters of each effect are available in the Micro View, only those you
are likely to change frequently.
In the large Console example, notice the arrows at the very top and
bottom of the Insert Device Rack. Click on these arrows to scroll up and
down in the Insert Device Rack to view any number of open Micro Views.
To collapse any Micro View, click once on the effect name at the top of
the Micro View.
13.2 Built-In Effect Metering Options
All of the built-in effects that feature Peak/RMS meters can optionally
meter using K-System metering, as discussed in the“Mixing”chapter. To
view and select a K-System metering option, [Right]/[Control]-click on the
Peak/RMS meter of the effect.
13.3 Analysis
Visually keeping track of various elements of audio playback while mixing
and mastering can be very helpful when making critical production deci-
sions. The following audio effects are excellent tools for visually monitor-
ing your audio.
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13.3.1 Phase Meter
The Phase meter is helpful when checking stereo-playback issues and
mono compatibility. There are two components to this meter: a large
Goniometer at the center of the plug-in window and a Correlation meter
at the very bottom.
The Goniometer displays left versus right channel amplitude on several
axes. The Goniometer parameters are:
M-Axis: Mono signal••
+/-S Axis: Mono with one channel totally out-of-phase••
L/R Axes: Mono on one channel (left or right)••
M/S Axes: Channels in Mid-Side (MS) encoded or recorded signal••
The Correlation meter shows the average amount of in-phase and out-of-
phase audio signal. The Correlation meter parameters are:
+1: Mono signal••
-1: Reversed-phase mono signal••
0: Independent signals (true stereo or dual mono)••
13.3.2 Spectrum Meter
The Spectrum meter (see Fig. 13-3) is helpful when determining the
frequency content of an audio signal. For instance, you might know that
a drum loop needs some EQ, but you might not be sure what frequencies
to bring up or down. Or there might be an annoying ring in a guitar part
that you want to get rid of, but you do not know the frequency of the
ring. The Spectrum Meter will help diagnose these problems and many
others.
The Spectrum meter is fully adjustable using the following parameters at
the bottom of the plug-in window:
Bands••
Oct-Band: Octave Band, displays frequency content divided into••
octaves, useful for determining broad balance across the frequency
spectrum.
3rd-Oct-Band: Third Octave Band, displays frequency content••
divided into 1/3 of an octave, useful for determining balance with
good precision across the frequency spectrum.
FFT: A Fast Fourier Transform, or FFT—also called a“sonogram”—••
displays frequency content divided into many bands. It’s useful for
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When FFT is selected, you can select the FFT window size (FFT size••
= time vs. freq. resolution).You can choose from 16,384, 8,192,
4,096, and 2,048. The default setting is 16,384.
As FFT measurements are divided into bands, exact frequencies••
across the entire spectrum are not measured.
Channels••
When the•• Spectrum Meter is inserted on a stereo track, you can
choose from the following channels to be analyzed in the meter:
L: Left channel only••
R: Right channel only••
L+R: Sum of Left and Right channels••
L-R: Difference of Left and Right channels••
Min. Level: Minimum amplitude to be displayed for all frequencies.••
Variable from -144 dB to 6 dB less than the maximum level.
Max. Level: Maximum amplitude to be displayed for all frequencies.••
Variable from 0 dB to 6 dB more than the minimum level.
Min. Freq.: Minimum frequency to be displayed. Variable from 20 Hz••
to within 10 Hz of the maximum frequency.
Max. Freq. = Maximum frequency to be displayed. Variable from 20••
kHz to within 10 Hz of the minimum frequency.
The Min and Max Level/Freq values can be changed by typing in a new
value, or by clicking-and-dragging up or down on the value.
13.3.3 Tuner
The Tuner proves invaluable when inserted on guitar, bass, and other
instruments that require frequent tuning. The Tuner features a switchable
standard/strobe display, with exact Frequency and Difference readouts
in the upper left- and right-hand corners. A Calibration knob enables
calibrating the Tuner to a center frequency from 415 Hz to 465 Hz. Click
on the Strobe Mode button to enable the strobe display, in which the
rotation speed is a measure of the amount you need to tune.
There is a center-note indicator with an arrow to either side. When the left
arrow is displayed, the signal is tuned below the closest note; when the
right arrow is displayed, the signal is tuned above the closest note. When
both arrows are displayed, the signal is perfectly tuned.
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13.4 Delay
13.4.1 Analog Delay (Studio One Pro)
The Analog Delay emulates a one-head tape delay with optional tempo
sync, LFO, filtered feedback, and other features (see Fig. 13-5). It can be
used to create deteriorating echoes, echoes with changing delay and
pitch, and flanging/chorus effects. These types of sounds are often used
in Dub Music or ’70s rock.
The following parameters are available in the Analog Delay:
Time: The base delay time••
Sync: Optional Sync mode for Time••
Sync disengaged will result in Speed expressed as Time from 1ms••
to 3s.
Sync engaged will result in Time expressed as Beats from 4/1 to••
1/64, with triplet and dotted-time variants, and will sync to Song
position.
Speed••
Factor: Modifies tape speed. Variable from 0.5 (double the delay••
length) to 2 (half the delay length).
Inertia: Modifies speed of changes over time based on Factor. Vari-••
able from 0 to 5.
LFO••
Mod: Modifies the effect of the LFO on delay speed. Variable from••
-50% to 50%.
Shape: The shape of the LFO•• waveform; select from triangle, sine,
sawtooth, and square.
Sync: Optional Sync mode for LFO Speed••
Sync disengaged will result in Speed expressed as frequency from••
0.01 Hz to 5 Hz.
Sync engaged will result in Speed expressed as Beats from 4/1 to••
1/64, with triplet and dotted-time variants.
Synced LFO and synced delay with LFO slower than delay means that
modulation will not be perceptible (other than with high inertia).
Damping••
Low Cut: Filter all frequencies below this value from the delay feed-••
back. Variable from Off to 20 Hz to 3.2 kHz. Filter is 6 dB per octave.
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back. Variable from 400 Hz to 16 kHz to Off. Filter is 6 dB per octave.
Feedback••
Feedb.: Feedback percentage of delay. This is the amount of delayed••
signal to be fed back into the delay input. Variable from 0 to 100%.
Width: Regulates the stereo width of the delay feedback. Variable••
from inverted stereo (ping pong) to full stereo width.
Sat.: Saturation. Emulates tape saturation. Variable percentage from••
0 to 100%.
•• Mix: Adjust mix of Analog Delay-processed signal with the original dry
signal. Variable from 0 to 100%.
Setting of 100% will very likely increase feedback—use caution!••
13.4.2 Beat Delay
The Beat Delay is a tempo-synced delay with optional cross-delay and
filtered feedback. Use this effect for adding/changing the feel of rhythmic
parts (e.g., adding off-beats) or“spatially doubling”parts (for instance,
slap-back echo). The Beat Delay has the following parameters:
Cross Delay: When not set to Off (center), the input will be put into••
mono in the Left or Right channel, with the delayed signal put into the
other channel. Variable from L 50 ms to R 50 ms. Setting to L 50 ms or R
50 ms will create a pronounced stereo effect.
Beats: Delay time expressed as beats. Variable from 4/1 to 1/64, with••
triplet and dotted-time variants.
Feedback: Percentage of delayed signal added back into the delay••
input. Variable from 0 to 99.99%.
Width: Regulates the stereo width of the delay feedback. Variable from••
inverted stereo (ping pong) to full stereo width.
Low Cut: Filter all frequencies below this value in the delay feedback••
signal. Variable from 20 Hz to 1 kHz, filter is 6 dB per octave.
High Cut: Filter all frequencies below this value in the delay-feedback••
signal. Variable from 1 kHz to 20.00 kHz. Filter is 6 dB per octave.
•• Mix: Adjust mix of Beat Delay-processed signal with the original dry
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13.4.3 Groove Delay (Studio One Pro)
The Groove Delay is a four-tap, tempo-synced delay with variable filters
and a variable beat grid. Use the Groove Delay to create tempo-synced
delay patterns ranging from simple subdivision taps to intricate evolving
grooves or granular effects.
The Groove delay has the following parameters:
•• Grid Display: This display shows the current value for each tap for either
Level, Pan, Cutoff, or Swing, based on the selected view mode across a
grid of beats. The current value for each tap is color-coded and can be
edited with the mouse directly within the display.
Tap 1, 2, 3, 4: Click on these buttons to select the respective Tap pa-••
rameters in the Tap Edit menu in the bottom left of the interface.
Level,•• Pan, Cutoff, Swing: Click on these buttons to display and edit
the respective parameter for each tap in the Grid Display.
Level: Adjust the output level and timing for each tap.••
•• Pan: Adjust the pan and timing for each tap.
Cutoff: Adjust the cutoff frequency of the filter for each tap.••
•• Swing: Adjust the Groove parameter for all taps that fall on off-
beat positions between straight and dotted values, while simul-
taneously adjusting Tap 4 and possibly Tap 2 levels (for all on- or
offbeat positions). Helps achieve“swing”grooves.
Tap Parameters:••
Beats: Adjust the delay length for the currently select tap in beats.••
Variable from one beat to two bars.
Groove: Adjust the delay time relative to the Beat setting as a per-••
centage. Variable from Triolic (= 66.67%, the last note of the previous
triplet) to Dotted (= 150%).
Filter: Click on the Filter button to engage the filter for the currently••
selected tap.
X/Y Grids:••
Cut/Reso: Adjust the cutoff frequency and resonance of the filter••
by dragging the point around the X/Y grid.
Cut Mod: Drag the horizontal fader to adjust the relative amount••
that the Cutoff Mod LFO can affect the cutoff setting for the
filter. Variable from -1 to 1. (Negative values differ from positive
only in phase.)
LP, Peak, HP/BP: Adjust the character of the filter (x axis: low pass••
to high pass; y axis: bandpass to peak) by dragging the point
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Level: Adjust the level of the currently selected tap as a percentage••
of the input level. Variable from 0 to 100%.
•• Pan: Adjust the pan of the currently selected tap. Variable from Left
to Center to Right.
Tap 4 has an additional Feedback output (unfiltered and not panned),
which is normally used as a feedback control only.
•• Grid:
Beatlength: Adjust the•• Grid subdivisions by note value. Variable from
1/2 to 1/64.
Cutoff Mod: The Cutoff Mod is an LFO that can affect the cutoff value of••
the filter for each tap, depending on each tap’s Cut Mod setting.
Beats/Speed: Adjust the speed of the LFO. Beats variable from 4/1 to••
1/64 with triplet and dotted time variants. Speed variable from 0.1
Hz to 30 Hz.
Sync: Click to engage Cutoff Mod LFO sync; enables LFO speed ad-••
justment in Beats (synced to Song position).
•• Mix:
Dry/Wet: Adjust mix of Groove Delay-processed signal with the origi-••
nal dry signal. Variable from 0 to 100%.
13.5 Distortion
13.5.1 Ampire
Ampire is an easy-to-use amplifier-modeling plug-in that features a wide
range of guitar-and bass-amplifier models, speaker-cabinet models, and
variable front-to-back microphone positioning . Use this effect to create
rougher and harmonically enriched sounds, or as a“dirty”filter bank, us-
ing parameter automation to dynamically filter the frequency range.
The following parameters are available in Ampire:
Amplifier Model: Select the characteristics of the amplifier directly by••
clicking on the model display to see the menu or via the timeline fader.
The amp model changes the characteristics of the entire amplifier,
including preamp and power-amp distortion and amplification, A- and
B-channel differences, and tone-stack behavior.
In Trim: Trim the input gain directly at Ampire’s input to pull up weak••
instrument signals or to attenuate loud, processed signals. With a good
input level, the signal will be in the optimal range for dynamic distor-
tion within Ampire. Variable from -12 dB to 24 dB.
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A and B Channels: The A and B channels have different distortion and••
amplification strength depending on the selected amp model. Use
the channels to create two different sounds (e.g., rhythm and solo, or
chorus and verse) and switch between them.
Drive: Adjust the degree of overdrive/amplification in the preampli-••
fier. Variable from 0 to 11.
Bass, Mid, Treble: Control the emulation of the tonestack model••
(results dependent on the selected amp model). Each parameter
variable from 0 to 10.
Gain: Adjust the degree of overdrive/amplification in the power-••
amplifier. Variable from 0 to 11.
Cabinet Model: Click on the cabinet model display to choose a cabinet••
model from the 1x10, 1x12, 2x10, 2x12, 4x10, and 4x12 options, as well
as DI (no cabinet).
Mic•• Mix: Select the relative front and back microphone mix for the cabi-
net. This effectively adjusts balance between speaker emulation and
cabinet emulation. Variable from 100% front to 100% back.
Out Trim: Distortion and amplifier emulation may result in massive level••
changes. Use Out Trim to adjust the signal to normal levels. Variable
from -24 dB to 12 dB.
13.5.2 Red Light Distortion
Red Light Distortion is an analog-distortion emulator with several select-
able distortion models.
The following parameters are available in Red Light Distortion:
In: Input gain to the distortion. Variable from -12 dB to 24 dB.••
Distortion: Only for Hard and Bad Tube types, tube working-point ad-••
justment (bias). Variable from 0 to 10.00.
Low Cut: Filter all frequencies below this value. Variable from 20 Hz to 5••
kHz, depending on High Cut setting.
High Cut: Filter all frequencies above this value. Variable from 800 Hz to••
16 kHz.
Drive: Amplification during overdrive. Variable from 0 to 11; drive in-••
creases a lot between 10 and 11 for really distorted sounds.
Stages: Number of overdrive stages used serially in the signal path (in-••
cluding Filters). Select from 1, 2, or 3 with the horizontal fader.
Model. Select the type of distortion emulation by clicking on the dis-••
play and selecting Soft Tube, Hard Tube, Bad Tube, Transistor, Fuzz, or
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•• Bypass. Click to Engage/Disengage bypass of the entire Red Light Dis-
tortion signal path.
Out. Adjust the output gain of Red Light Distortion. Variable from -12••
dB to 24 dB.
13.6 Dynamics
Dynamics processing is a key aspect of mixing and mastering. Studio One
features very high-quality dynamics processors that give you complete
control. The following contains fundamental information on dynamics
processors to help in your use of Studio One’s dynamics processors.
Refer to the Dynamics Tutorial in the Appendix of this manual for educa-
tional information about dynamics processing.
13.6.1 Compressor
The Compressor is a full-featured, RMS-based mono/stereo compression
processor with internal and external sidechain capabilities. Use this effect
to reduce the dynamic range (signal peaks) of any signal.
The following parameters are available in the Compressor:
Ratio: Adjusts compression range. Variable from 1:1 (no compression)••
to 20:1.
Threshold: Adjusts the lower limit for compression. Variable from -48 dB••
to 0 dB.
Knee: Adjusts the soft-knee width. (Width refers to the distance from••
the threshold to the end of soft-knee.) Variable from 0.1 dB to 20 dB.
Look Ahead: Click to engage/disengage 2 ms Look Ahead function.••
•• Stereo Link: Click to engage/disengage Stereo Link. Stereo Link will
sum a stereo input signal to mono for signal-power detection.
Display••
Input Level: Displays input level + RMS.••
Reduction: Displays level of compressor attenuation (-60 dB to +3••
dB) and the maximum reduction amount. Highest peak is held until
surpassed by another peak or parameters are adjusted or clicked on.
Compression Curve: Click in the display to control compressor set-••
tings.
Ratio: Click the top right handle to adjust when Auto-Gain is not••
engaged.
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Threshold: Click the middle handle to adjust when Auto-Gain is••
not engaged.
Knee: Use the mouse wheel while floating the cursor over the mid-••
dle handle to adjust when Auto-Gain is not engaged. If you don’t
have a mouse wheel, type in a value or use the Knee knob.
Gain: Click the bottom left handle to adjust when Auto-Gain is not••
engaged.
Auto-Gain Engaged: Click on middle handle to adjust all param-••
eters.
Output Level: Displays output level + RMS.••
Input Gain:•• Attenuate or amplify the compressor input. Variable from
-12 dB to 24 dB.
Auto/Gain: Engage to automatically fix the 0 dB input level to the 0 dB••
output level (guarantees a 0 dB input level will result in a 0 dB output
level).
When Auto is not engaged:••
Gain (output gain) is variable from 0 dB to 48 dB.••
Attack: Adjusts attack time for dynamics processing. Variable from 0.1••
ms to 400 ms.
Release: Adjusts release time for dynamics processing. Variable from 1••
ms to 2s
Speed••
Auto: Engage Auto to automatically set varying attack and release••
settings based on signal content.
Adaptive: Engage to automatically vary attack and release times••
to avoid pumping. This will result in less aggressive but smoother
compression.
•• Sidechain: Engage by clicking Sidechain button at the top of the effect
window to allow other sources to control the Compressor or use the
internal Filter Sidechain.
•• Sidechain Channel Display: Displays the current Sidechain channel
source.
Internal•• Sidechain: Click to activate internal Filter Sidechain (for fre-
quency dependent compression). Uses 48 dB filters.
Listen Filter: Click to listen to the filtered control signal of the••
Internal Sidechain. Helps find specific target frequency for control
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LC/HC Freq: Frequency selection for Internal•• Sidechain Filters. LC
variable from Off to 20 Hz to 16 kHz; HC variable from 20 Hz to 16
kHz to Off.
Filter Type Display: Shows Notch or Bandpass characteristic of••
filter.
Swap: Click to swap the frequencies used for LC and HC.••
13.6.2 Expander (Studio One Pro)
Expander is a fully variable downward expander with range control. It
features sidechain capability, including an internal sidechain filter with
variable low-cut and high-cut. Expanders increase the dynamic range of a
signal such that low-level signals are attenuated while the louder por-
tions are neither attenuated nor amplified. This is effectively the opposite
of compression. Use Expander to decrease the levels of unwanted noise
or bleed from other sources in the desired signal, or to restore dynamic
range to a compressed signal.
The following parameters are available for the Expander:
Threshold: Adjust the maximum amplitude at which processing will oc-••
cur. Variable from -60 dB to 0 dB.
Range: Adjust the maximum amount of attenuation applied to the••
signal. Variable from -72 dB to 0 dB.
Ratio: Adjust the ratio of the Expander. Variable from 1:1 to 1:20.••
Look Ahead: Click to engage/disengage 2 ms Look Ahead function.••
Attack: Adjusts attack time for dynamics processing, reaction speed to••
falling signal. Variable from 0.1 ms to 500 ms.
Release: Adjusts release time for dynamics processing, reaction speed••
to rising signal. Variable from 50 ms to 2s.
window to allow other sources control the Expander.
source.
Internal•• Sidechain: Click to activate internal Filter Sidechain (for
frequency-dependent compression). Uses 48 dB filters.
signal when de-essing, transient damping, etc.
kHz to Off.
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Filter Type Display: Shows notch or bandpass characteristic of••
filter.
13.6.3 Gate (Studio One Pro)
Gate is a noise-gate processor with range control. It features sidechain
capability with an internal sidechain filter that includes variable low cut
and high cut. Gating is an extreme form of expansion that severely at-
tenuates the processed signal or silences it entirely. Use Gate to eliminate
unwanted noise or low levels in any track, or to creatively control the level
of a given track using another track via Sidechain.
The following parameters are available for the Gate:
Thres: Threshold, adjust the level at which the Gate is to attenuate be-••
low. Variable from -60 dB to 0 dB.
Range: Adjust the maximum amount of reduction. Variable from -72••
dB to 0 dB.
Reduction Display: Displays the amount of reduction, ranging from••
-72 dB to 0 dB.
Attack: Adjust the amount of time it takes for the gate to open and let••
signal through. Variable from 0.05 ms to 500 ms.
Hold: Adjust the amount of time the gate is held open once the signal••
has dropped below the Threshold setting. Variable from 1 ms to 1s.
Release: Adjust the amount of time it takes for the gate to close after••
the Hold period. Variable from 50 ms to 2s.
LkA (Look Ahead): Click to engage/disengage the 2 ms Look Ahead••
function.
window to allow other sources control the Gate.
source.
Internal•• Sidechain: Click to activate internal Filter Sidechain (for
frequency-dependent compression), uses 48 dB filters.
signal when removing narrow-band noise.
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Filter Type Display: Shows notch or bandpass characteristic of••
filter.
Duck (for External•• Sidechain): Engage to invert the external side-
chain source signal.
13.6.4 Limiter
The Limiter is a brickwall-limiting processor with optional K-System me-
tering. Use it to prevent your output signal from clipping or to maximize
signals with very dynamic peaks.
The following parameters are available for the Limiter:
Input: Adjust the input level into the Limiter. Variable from 0 dB to 18••
dB.
Ceiling: Adjust the ceiling of the Limiter, the maximum output of the••
Limiter. Variable from -12 dB to 0 dB.
Threshold: Allows Limiter to be used as a leveling amp. When Thresh-••
old is below Ceiling, a soft knee and 1:20 ratio between Threshold and
Ceiling values is used. Threshold setting is relative to Ceiling. Numerical
display is absolute value. Variable from Ceiling value to 12 dB below
Ceiling value.
Release: Adjust the amount of time it takes for the limiter to stop••
processing once the input level has fallen below the Ceiling setting.
Variable from 2 ms to 1s.
Softclip: Reduces square-wave clipping characteristics when the Limiter••
is clipped. Click to engage Softclip.
•• Metering
PkRMS: Click to engage Peak/RMS metering.••
K-14, K-20, K-12: Click to engage a•• K-System metering option, refer
to the K-System Metering section of the“Mixing”chapter for more
information.
Reduction: Displays the amount of limiting reduction, ranging from••
-24 dB to 0 dB.
Max: Displays the maximum reduction level reached in dB.••
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13.7 Mastering
13.7.1 Multiband Dynamics (Studio One Pro)
Multiband Dynamics is a compressor/expander with five
completely independent compression/expansion bands,
optional simultaneous adjustment over all bands, and multi-
band metering. Use it to reduce unwanted signals or banded
noise and to emphasize or limit instruments. In practice, this
effect can function as a dynamic equalizer or can be used for
mastering compression on a complete mix.
This type of compression is regarded by many as an art form, and can be
difficult for beginners to use. We recommend you load the factory presets
as a starting point and learn how Multiband Dynamics works by using it.
The following parameters are available for Multiband Dynamics:
Global Display: Float mouse in display to view parameter-editing Toolt-••
ips above the display.
Input: Horizontal lines represent Low and High Threshold for dynam-••
ics processing.
Output: Horizontal lines represent transformation of the High and••
Low Thresholds using Gain and Ratio.
A signal at the Low Threshold on the Input would be at the low••
level on the Output.
Color Coded Output Gain: Red means attenuation, green means••
amplification.
Dynamic changes will occur only between Low/High Threshold and Low/
High Gain. If the signal is above or below these settings, only linear gain
will be applied.
Bands••
L, LM, M, HM, H: Low, Low Mid, Mid, High Mid, High.••
Frequency Knob: Adjust crossover frequency between bands.You••
must have at least one octave between adjacent bands.
M, S,•• Bypass: Mute, Solo, and Bypass engage buttons for each
band.
Editing the crossover frequencies in the display will move other bands
when the bandwidth is below one octave. Editing via automation will be
limited to a one-octave bandwidth. Moving the crossover to limit fre-
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•• Metering
Range Low: Lowest amplitude to be displayed in band meters.••
Click to select from -120 dB, -80 dB, -48 dB, -24 dB, or -12 dB.
Range High: Highest amplitude to be displayed in band meters.••
Click to select from +12 dB, 0 dB, -12 dB, -24 dB, or -48 dB.
•• Metering On/Off: Click to engage/disengage metering for all
bands.
Edit All Relative: Click to engage/disengage relative dynamics-settings••
editing for all bands. When engaged, changing dynamics settings for
the selected band will change the same settings for all bands by the
same amount.
Auto Speed: Click to engage/disengage Auto Speed for the dynamics for••
all bands. Sets adaptive Attack and Release times for all bands globally.
•• Dynamics: Click on any band to select it and view/edit dynamics set-
tings for that band.
•• Dynamics Display: Click on handles in display to adjust dynamics
settings.
Thresholds: No dynamics processing occurs for signals outside of••
the Threshold settings—only gain amplification/attenuation.
Low Threshold: Adjusts the lower limit for signal to be processed.••
Variable from -60 dB to 2x the knee length.
High Threshold: Adjusts the upper limit for signal to be processed.••
Variable from 0 dB to 2x the knee length.
Ratio: Adjusts dynamics-processing range. Variable from 1:10 (gat-••
ing) to 20:1 (limiting).
Gain: Adjusts output gain. Variable from -36 dB to 36 dB.••
Attack: Adjusts attack time for dynamics processing. Variable from••
1 ms to 200 ms.
Release: Adjusts release time for dynamics processing. Variable••
from 4 ms to 200 ms.
Dynamics speeds are adapted to provide a comparable smoothness at
the same setting for expansion and compression, so expansion will be
slightly slower than the shown length.
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13.7.2 Tricomp
Tricomp is a three-band compressor (see Fig. 13-15). It provides auto-
matic threshold and ratio settings for all three bands and relative control
for the low and high bands, as well as switchable automatic attack and
release controls. Tricomp can be used to finalize your mix or to add bril-
liance or punch to frequency-rich signals.
The following parameters are available for Tricomp:
Input Meter: Displays Tricomp’s input level.••
Low: Adjust the relative amount of compression to be applied to the••
Low compression band. Variable from -5 to 5 depending on the Com-
press setting.
Low Freq: Adjust the upper corner frequency of the Low compression••
band. Variable from 80 Hz to 480 Hz.
High: Adjust the relative amount of compression to be applied to the••
High compression band. Variable from -0.50 to 0.50, depending on the
Compress setting.
High Freq: Adjust the lower corner frequency of the High compression••
band. Variable from 800 Hz to 12 kHz.
Compress: The relative amount of compression to be applied to all••
three compression bands. Variable from 0 to 10.
Speed: When Auto Speed is not engaged, adjusts the compressor At-••
tack and Release times simultaneously. Attack variable from 0.1 ms to
10 ms; Release variable from 3 ms to 300 ms.
Auto Speed: Click to engage adaptive settings for the compressor at-••
tack and release times, based on signal content.
Knee: Adjust the distance/curve of the compressor knee. Variable from••
0 dB (hard knee) to 6 dB (soft knee).
Sat: Saturation emulates the saturation sound found in famous leveling••
amplifiers. Variable from 0 to 100%.
13.8 Mixing
When mixing, there are many tools that can help to achieve proper bal-
ance and create space for the various parts of your mix. The following
effects will help you craft your mix with precision and excellent sound
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13.8.1 Binaural Pan
The Binaural Pan is a stereo-panning effect that can pan from mono to
double stereo width. Use the Binaural Pan on any stereo track to tightly
control its stereo width and pan, as well as to check for mono compatibil-
ity using the Mono switch.
The following parameters are available for the Binaural Pan:
Width: Adjust the stereo width of the stereo track. Variable from 0••
(mono) to 200% (double stereo width).
Mono: Switch to mono playback of the stereo track.••
•• Pan: Adjust the balance in the left and right channels for the stereo
track. Variable from 100% L to 100% R.
The Binaural Pan can only be used on stereo tracks. If loaded onto a
mono track, the plug-in display will simply say“MONO TRACK.”
13.8.2 Mixtool
Mixtool provides common track utilities, including independent left- and
right-channel inversion, left- and right-channel swap, and MS transfor-
mation of stereo signals. Use Mixtool when inverting channels to correct
for phase cancellation and correlation issues, as well as to provide MS
transformation to decode signals recorded with Mid-Side stereo configu-
rations.
The following parameters are available for Mixtool when used on a stereo
track:
Invert Left: Click to invert the phase of the left playback channel for a••
stereo track.
Invert Right: Click to invert the phase of the right playback channel for a••
stereo track.
Swap Channels: Click to swap left and right Mixtool input channels.••
Stereo tracks only.
MS Transform: Click to perform an Mid-Side Transform on the Mixtool••
input channels. Stereo tracks only. Generally used to decode MS-re-
corded signals, or to create MS-Signals for stereo image processing.
When used on a mono track, the Mixtool plug-in has one control to invert
the phase of the signal.
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13.8.3 Pro EQ
Pro EQ is a seven-band parametric equalizer with optional spectrum
metering; variable low-cut, high-cut, low-frequency, and high-frequency
multimode filters; and an optional Auto-Gain output-gain setting. Use
Pro EQ on any mono or stereo track to accurately apply highly musical
equalization to any signal.
The following parameters are available for Pro EQ:
Display: Click-and-drag on frequency-band handles in the display to••
edit Gain (up/down) and Freq (left/right) parameters. If you click on a
handle, the mouse-wheel edits the Q. (If you don’t have a mouse wheel,
click on the desired Q knob or type in a value below the knob.)
Show Curve All/Current: Click to select All or Current.••
All: Simultaneously displays curves for each band and the result-••
ing EQ curve being applied to the signal (white).
Current will display the resulting EQ curve (white), as well as one••
curve for any band being actively edited.
•• Spectrum: Click to engage/disengage Pro EQ output-spectrum me-
tering. Drawn behind the EQ curves in 1/3-octave bands.
•• Spectrum display is fixed at 20 Hz to 20 kHz and -24 dB to 24 db.
High Quality: Click to engage High Quality mode. Allows more accurate••
equalization. Achieved using 2x oversampling and requires more com-
puter processing power.
Bands: Click Activate button to engage/disengage each band.••
LC, HC: Low-Cut and High-Cut filters.••
Freq: Adjust point at which filter cut begins.••
Slope: Select from 6, 12, 24, 36, and 48 dB per octave. Affects the••
shape of the filter curve.
LF, HF: Low Frequency and High Frequency. Selectable Shelf or Peak-••
ing filter modes.
Q: Adjust the Q of the frequency band. Q = the ratio of center••
frequency to bandwidth. When the center frequency is constant,
Q is inversely proportional to bandwidth (i.e., higher Q = narrower
bandwidth).
Gain:•• Attenuate/Amplify frequency band.
Filter Mode: Select from Peaking and Shelf. Six, 12, or 24 dB per••
octave.
Freq: Adjust the center frequency of the band.••
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Q: Adjust the Q (center-frequency:bandwidth) of the frequency••
band.
Gain:•• Attenuate/Amplify frequency band.
Freq: Adjust center frequency of band.••
Auto: Click to engage Auto-Gain, adjusts Pro EQ output level to match••
original input-signal power (guarantees a 0 dB input signal equals a 0
dB output signal).
Output Meter: Peak/RMS meter, RMS level represented by white hori-••
zontal line.
13.8.4 Channel Strip
Channel Strip features three processors in one, including a low-cut
filter, dynamics processor, and three-band parametric EQ. Channel Strip
optionally applies automatic gain correction to the EQ so that the input-
signal power matches the output-signal power. Use Channel Strip on any
mono or stereo Track that needs basic channel processing.
The following parameters are available for Channel Strip:
LC and Freq: Click on Activate button to engage/disengage the Low Cut••
filter. Adjust frequency to change the filter-cutoff frequency.
Compress: Adjust compression amount. Variable from Off to 100%.••
Simultaneously adjusts threshold (0 dB to -20 dB) and ratio (2:1 to 10:1).
Expand: Adjust Expansion amount. Variable from Off to 100%. Simulta-••
neously adjusts threshold (-64 dB to -24 dB) and ratio (1.5:1 to 2.5:1).
Active gain reduction is indicated by red“LED”.••
Display: Displays Low Cut and Parametric EQ settings. Click on handles••
to adjust gain (up/down) and frequency (left/right).
Low, Mid, High: Adjust Gain and Frequency for each band of the para-••
metric EQ. Each band has fixed Q.
Gain: Adjust the output gain of the Channel Strip. Variable from -12 dB••
to 12 dB.
Auto: Click to engage automatic output-gain setting. Guarantees a 0••
dB input signal equals a 0 dB output signal.
13.9 Modulation
Modulation processors are great tools for creating interesting and innova-
tive sound. Studio One features the following modulation processors.
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13.9.1 Auto Filter
Auto Filter features two resonant filters with six selectable filter models
(see Fig. 13-20). The filter-cutoff frequency and resonance can be modu-
lated by an LFO using standard waveforms, a 16-step sequencer, and an
envelope. Use Auto Filter to create filtered effects from basic filter sweeps
to complex tempo-synced rhythmic filter patterns.
The following parameters are available for Auto Filter:
Filter 1 and Filter 2: Select from 6 filter emulation types, including Lad-••
der LP 12 dB, 18 dB, and 24 dB; Analog SVF 12 dB and 24 dB; and Digital
SVF 12 dB.
SVF’s are State Variable Filters and can blend between low-pass,••
band-pass, and high-pass.
Click-and-drag the Filter•• Mix horizontal fader (below the filter-model
selection) to blend filter types.
FLT Spread: Adjust the spread between Filter 1 and Filter 2 Cutoff••
Frequencies. Variable from -2 octaves to 2 octaves. (Filter 2 Cutoff is the
result of the Cutoff setting and FLT Spread amount.)
Chained/Parallel: Switch the two filters between chained in series (Filter••
1 followed by Filter 2; good for adding peaks, creating band-reject fil-
ters, etc.) and parallel (Filter 1 and Filter 2 process and output the same
signal simultaneously; good for creating wide bandpass filters).
Drive: Adjust the filter’s feedback overdrive. Variable from 0 to 100%.••
Cutoff: Filter cutoff frequency. Variable from 30 Hz to 16 kHz.••
Can be modulated by the envelope and LFO.••
Adjust the modulation amount from each using the Env and LFO••
vertical faders. Variable from -100% to 100%. Negative values are
phase-inverted. LFO modulates around the value.
Reso: Adjust the resonance of the filters. Variable from 0 to 100%.••
Can be modulated by the envelope or LFO.••
Adjust the modulation amount from each using the Env and LFO••
vertical faders. Variable from -100% to 100%. Negative values are
phase-inverted. LFO modulates around the value.
Envelope Length: Adjust the attack and release times of the volume••
envelope (Env), affecting Cutoff and Resonance.
Auto: Click to engage/disengage automatic envelope-length selection••
•• Sidechain: Click the Sidechain button at the top of the effect window
to engage sidechain for Envelope detection (use another track to
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LFO: Click on•• waveform buttons to select from 16-step, Triangle, Sine,
Sawtooth, and Square waveforms.
LFO Speed: Can be synced to tempo or have free time.••
Sync: Click to engage/disengage LFO•• tempo sync.
When tempo synced speed is variable from 4/1 to 1/64 with vari-••
ous triplet and duple time variants.
16-step: When 16-step is engaged, click in display to edit values for••
each step. Divides current Speed/Beats time into 16 steps, each step
variable from -1 to +1.
Gain: Adjust Auto Filter output gain. Variable from -6 dB to 6 dB.••
•• Mix: Adjust mix of Auto Filter-processed signal with the original dry
13.9.2 Chorus
The Chorus is a one- to three-voice chorus processor with optional LFO
delay-time modulation and stereo width control. Chorus processing is
often used on vocal tracks to help create a more full vocal sound so the
track fits better in the overall mix. Guitar and synth parts sometimes fea-
ture chorus processing for similar reasons.
The following parameters are available for the Chorus:
Spacing: Adjust the delay of the Chorus voices.••
The Spacing value is the delay time between voices.••
Voices: Adjust the number of added voices in the Chorus, select from 1,••
2, or 3.
LFO: The LFO modulates the Spacing parameter.••
LFO Speed: Adjust the speed of the LFO.••
LFO Width: Adjust the range of the LFO modulation on Spacing.••
Variable from 0 to 100%. Value of 100% would modulate Spacing
parameter from 0 to 2x Spacing.
Depth: Adjust the mix of the processed Chorus output with the dry••
input signal. Variable from 0 to 100%.
•• Stereo Width: Adjust the spreading of the Chorus voices in the stereo
field.
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13.9.3 Flanger
Flanger creates spatial depths, swirls, timbre shifts, and percussive effects.
Flanging is often used on guitar tracks to create interesting shifts in tim-
bre and tone, and it can help create lush synth sounds, as well. It works
by splitting an audio signal into two identical signals; applying a varying,
short delay to one signal; feeding its output back to its input by varying
amounts; and mixing the processed and unprocessed signals.You can
modulate Flanger’s delay time with an LFO, which can be tempo-synced.
The following parameters are available for Flanger:
LFO: The LFO modulates the Speed/Beats parameter.••
Speed/Beats: Adjust the speed of the LFO.••
Sync: Click to engage LFO•• tempo sync. Time will be expressed as
Beats.
Speed: Variable from 0.01 Hz to 10 Hz.••
Beats: Select from 4/1 to 1/64 with triplet and dotted-time variants.••
LFO Width: Adjust the range of the LFO modulation on delay time••
(speed). Variable from 0 to 100%. Value of 100% would modulate
Spacing parameter from 0 to 2x Speed.
Depth: Adjust the wet/dry mix of the Chorus output.••
Feedback: Adjust the amount of delayed output to be fed back into the••
input. Variable from -90% to 90%. Negative value results in inverted
feedback.
Delay: Adjusts the delay time for the copied input signal. Variable from••
0.25 ms to 10 ms.
Depth: Adjust the mix of the processed Flanger output with the original••
dry input signal. Variable from 0 to 100%.
13.9.4 Phaser
Phaser applies a variable number of allpass filters in series (one fed into
the other), along with one overall feedback loop, to the input signal.
Phaser features an LFO to modulate the center frequencies for each
allpass filter.
The allpass filters function as frequency-dependent delays, so that when
the filtered output is added to the original input signal, certain frequen-
cies can be attenuated or amplified as the result of phase shifting. Phasers
are commonly used on many types of tracks, including synths, guitars,
and even vocals, to create a distinctive frequency shifting effect.
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LFO: Modulates the center frequency for the allpass filters between the••
range set by Range Low and Range High.
Range Low: Adjust the lowest center frequency for the allpass filters.••
Variable from 10 Hz to either 8 kHz or the Range High value.
Range High: Adjust the highest center frequency for the allpass••
filters. Variable from either 10 Hz or the Range Low value to 8 kHz.
Beats.
Beats: Select from 4/1 to 1/64 with triplet and dotted-time vari-••
ants.
Feedback: Adjust the amount of the filtered output signal to be fed••
back into the input. Variable from 0 to 95%.
Stages: Adjust the number of allpass filter stages for the Phaser. Vari-••
able from 2 to 20.
Depth: Adjust the mix of the effected Phaser output with the original••
dry input signal. Variable from 0 to 100%.
13.9.5 X-Trem
X-Trem is a tremolo effect that applies amplitude modulation at a vary-
ing amount and rate over time. The X-Trem features tempo sync and a
variable LFO with selectable 16-step and 16-gate sequencers, as well as
auto-pan capability. Use Tremolo on any track to create anything from
subtle shifts in amplitude to tempo-synced, glitchy, gated drums; trancy,
gated pads; panned hi-hats; and other popular sounds.
The following parameters are available for the Tremolo:
Depth: Adjust the relative amount of maximum amplitude modulation.••
Variable from 0 to 100%.
Beats.
Beats: Select from 4/1 to 1/64 with triplet and dotted-time variants.••
•• Pan/Trem: Click to switch the mode of the Tremolo to affect overall am-
plitude (Trem) or the left- and right-channel balance (Pan). Pan is only
selectable on stereo tracks.
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LFO Mode: Select from Triangle, Sine, Sawtooth, or Square LFO wave-••
forms or a 16-step or 16-gate sequencer.
16 Steps: Click in the LFO display to adjust each step. The steps••
divide the current Speed/Beats time value; the value of each step
represents amplitude/pan at that step from 0/hard left to 100%/hard
right.
16 Gates: Click in the LFO display to open/close the gate at each step.••
The steps divide the current Speed/Beats time value. For each step,
no color fill means gate is closed and total color fill means gate is
open.
13.10 Reverb
Reverb effects are used in almost all music productions for a variety of
purposes. In everyday life, reverberation is the result of the many reflec-
tions of sound that occur in a given room or other space. In an ambient
space, sound may travel directly to your ear and also be reflected many
times off the walls and ceiling of a room before again reaching your ear.
With each reflection, the sound is attenuated as sound energy is ab-
sorbed by the reflecting surfaces and dissipated by traveling through a
medium (usually air). This collection of reflected and attenuated sounds is
what we know as reverb.
Reverb provides essential aural cues about the nature of any given space.
As such, reverb is commonly used in music production to create virtual
spaces in which the various parts of a mix can interact.
Studio One features two built-in reverbs: MixVerb and Room Reverb. The
following describes these reverb effects.
13.10.1 MixVerb
MixVerb is a simple and efficient reverb that is meant to be used as an in-
sert on mono or stereo tracks. MixVerb features adjustable size, predelay,
and damping, as well as an adjustable gate and stereo-width control.
MixVerb offers the following parameters:
Predelay: Adjust the predelay time. Variable from 0 ms to 500 ms. Pre-••
delay is the amount of time before the first reverberated signals will be
heard.
Size: Adjust the relative size of the reverberating space. Variable from 0••
to 100%.
Damp: Adjust the relative amount of damping (attenuation of the up-••
per frequencies) of the reverberated signal. Variable from 0 to 100%.
Gate: The gate is applied to the reverb output signal.••
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Gate: Click to engage/disengage the gate.••
Gate Thresh: Adjust the threshold of the gate. Variable from -36 dB to••
12 dB.
Gate Release: Adjust the release time of the gate. Variable from 10 ms••
to 250 ms.
Width: Adjust the width of the stereo field. Variable from 0 to 100%.••
Only for stereo tracks.
•• Mix: Adjust mix of MixVerb-processed signal with the original dry sig-
nal. Variable from 0 to 100%.
13.10.2 Room Reverb
Room Reverb is a room-simulator reverb that adjusts its internal reverb
parameters based on virtual-room models. It is meant for use as a Send
effect or as a main output-channel effect. Room Reverb features variable
room parameters and geometry, selectable room models, and popula-
tion, damping, and surface-smoothness controls.
Room Reverb provides the following parameters:
Display: Displays the overall reverb characteristics across a self-adjust-••
ing time scale. Early reflections are represented by vertical lines, and the
reverb tail is represented by colored envelope.
Pre: Adjust the offset for room-derived natural predelay amount. Vari-••
able from 0 ms to a higher value determined by current Room settings.
Length: Adjust the offset for room-derived natural reverb tail length.••
Value range is variable based on current Room settings.
Room:••
Size: Adjust the geometric average of the Width, Depth, and Height••
of the virtual-room model. Variable from 1 m to 20 m.
Width: Adjust the Width relative to Size. Variable from 0.1 to 2.••
Height: Adjust the Height relative to Size. Variable from 0.1 to 1.••
Geometry:••
Dist: Adjust the relative distance between the source and the listener••
position within the virtual room. Variable from 0.1 to 1.
Asy: Adjust the left and right asymmetry between the source and••
the listener position. Variable from -1 (listener position far right) to 1
(listener position far left).
Plane: Adjust the relative height of the stereo source and listener••
position within the virtual room. Variable from 0 (half the height of
the room) to 1 (ceiling).
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Room Model: Select a synthetic reverb models. Choose from Small••
Room, Room, Medium Hall, and Large Hall.
W, D, H Display: Displays approximate room dimension values based••
on current Room settings.
Character:••
Population: Adjust the relative population of people in the virtual••
room. Variable from 0 to 1.
Value of 0 results in enhanced bass,“static”tail.••
Value of 1 results in attenuated bass,“moving”tail.••
Dampness: Adjust the relative humidity of the air in the room. This••
has the effect of attenuating the upper frequencies of the reverber-
ated signal. Variable from 0 to 1.
Reflexivity: Adjust the relative smoothness of the surfaces of the vir-••
tual room. Variable from 0 to 1. Higher values evoke a more echo-like
reverb tail.
•• Reverb Mix: Adjust the mix of the reverb tail and early reflections. Vari-
able from 0 to 1. Reverb display is updated to indicate this mix.
Send•• Mix: Adjust mix of MixVerb-processed signal with the original dry
Perform/Quality: Quality mode is selected by default. Engage Perform••
mode (economy performance mode) to use less CPU resources by
disabling floor and ceiling reflections and reducing the calculation ac-
curacy for the reverberation.
13.11 Pipeline (Studio One Pro)
As mentioned in section 9.2.9 of this manual, Pipeline allows hardware
processors to be inserted on audio channels in much the same way that
virtual effects are inserted. This feature is commonly called a Hardware
Insert.
13.11.1 Configuring an Instance of Pipeline
Insert an instance of Pipeline on any channel just like any other effect,
either by dragging it in from the Browser, or through the Add menu in
the Insert Device Rack. Note that there are Mono and Stereo versions of
Pipeline; use the version that is appropriate for your hardware processor.
The center of the Pipeline interface features the following controls:
Label: Click in the empty space to type in a label. This is used to clearly••
identify the inserted hardware.
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Send controls:
Gain: Adjust the send gain to prevent clipping the hardware input.••
Output Selection: Select the output channel that is used to route••
audio from Studio One to your hardware processor.
Return controls:
Gain: Adjust the return gain as needed to prevent clipping after the••
hardware insert.
Input Selection: Select the input channel that is used to route audio••
from your hardware processor into Studio One.
Phase Invert: Invert the phase of the return signal (relative to the send••
signal).
Offset: Set an offset value in samples to account for the latency induced••
directly by your hardware processor.
To the far left and right of the Pipeline interface are Send and Return
meters with separate clip indicators, enabling you to accurately monitor
send and return levels.
13.11.2 Automatic Latency Compensation
Pipeline will automatically compensate for the latency introduced by
routing audio from and back into your audio interface. This is based on
the reported input and output latency for your hardware interface. The
roundtrip latency being compensated for is displayed in milliseconds at
the bottom of the Pipeline interface.
13.11.3 Manual Offset
For practical purposes, analog hardware processors do not introduce
latency (aside from the latency introduced by the interface), as their pro-
cessing takes place at close to the speed of light. However, some digital
hardware processors might introduce latency that is separate from the
latency introduced by your audio interface.
For instance, if you insert a hardware digital reverb, the digital processing
is likely to introduce a small amount of latency. This latency is not com-
pensated for automatically, which could result in the signal being delayed
very slightly, altering its phase relationship to the rest of the mix.
Adjust the Offset knob to compensate for latency introduced by the hard-
ware processor. The Offset value is added to the total roundtrip latency.
Setting a positive value will increase the latency-compensation time, and
setting a negative value will decrease the latency-compensation time.
Therefore, set a positive Offset value when compensating for hardware-
processor latency.
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13.11.4 Storing Pipeline Presets
Once Pipeline has been configured for a particular piece of hardware,
you should store the setting as a preset so that the configuration can
be recalled at a later time, as with a virtual-effect preset. Any number of
presets can be stored, which allows you to recall configurations for any
number of hardware processors. These presets will appear under the
Pipeline effect in the Browser, just like a preset stored for a virtual effect.
If you create new I/O channels in the Audio I/O Setup while configuring a
Pipeline preset, be sure to click on Make Default before exiting the menu.
This will ensure that the required I/O for that Pipeline preset is available in
every Song and Project.
Normally, you would use only one instance at a time of Pipeline with a
particular I/O configuration. However, it is possible to insert the same
Pipeline preset on multiple channels, in which case the signal from each
channel will effectively sum at the specified output, and that summed
signal will return from the hardware processor to every channel simulta-
neously. While this might lead to interesting possibilities, exercise caution,
as levels could easily become excessive.
13.11.5 Mixing Down with Pipeline
When Pipeline is being used in any Song, you must render a mixdown in
real time, as this is required in order for your hardware insert to be incor-
porated in the mix.
In the Options/Advanced/Devices/Audio Engine menu, there is an op-
tion to force real-time processing to be used when updating mastering
files, as discussed in section 12.9.2 of this manual. This option should be
engaged if you intend to use Pipeline in your Songs in order to avoid
possible offline rendering of a mixdown during the automatic update
process.
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14: Built-in Virtual Instruments
Studio One has three built-in virtual instruments: SampleOne, Impact,
and Presence. These instruments provide a solid foundation for music
production in any style. The following sections describe each instrument
in detail.
14.1 SampleOne
A sampler is an instrument closely related to a synthesizer. However,
instead of generating sounds from basic waveforms, a sampler starts with
an audio clip, or“sample,”and then plays that sample based on how the
instrument is configured.
SampleOne is a basic sampler with adjustable keymap range and loop ca-
pabilities, amplifier and filter envelopes, and LFO modulation parameters.
The following describes how to use SampleOne.
14.1.1 Interface
The main display shows the currently selected sample waveform and
allows playback/loop-range and keymap-range editing. To the right of
this display is the list of all currently loaded samples, which will triggered
simultaneously and can therefore be considered sample layers. Click on
the Edit button below the main display to expand the global Amplifier,
Filter, and LFO parameters.
14.1.2 Add and Play a Sample
To add a sample to SampleOne, drag any audio clip from the Browser, or
any Audio Event from the Arrange view, into the sample list. The wave-
form for the audio clip will appear in the main display. If you drag in a
sized Audio Event from the Arrange view, the entire original audio-clip
waveform will be displayed, with the range set around the sized portion.
By default, the keymap range is set from C0 to B5, with C3 set as the
sample’s root note. With the SampleOne instrument track properly set
up, and Monitor engaged, press any key within the default keymap range
on your keyboard to play the loaded sample. Playing the C3 (middle C)
key on your keyboard will play the sample at its original pitch and speed
because C3 is set by default as the sample’s root note. Playing the keys
above C3 will shift the sample pitch higher, and below C3 will shift the
sample pitch lower and will slow down playback speed.
Samples can be tuned by adjusting the Tune parameter above the main
display. Float the mouse over the Tune parameter and use the mouse
wheel to adjust the parameter, or click and enter a value. The Tune pa-
rameter is expressed in cents.
Built-In Virtual Instruments 14

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The output of SampleOne can be stereo (default) or mono. To switch to
mono, click on the Mono button.
Click on the Glide button to engage Glide and adjust the relative amount
of Glide using the horizontal fader. Glide will create gradual shifting over
time between consecutive notes, as opposed to the usual immediate
switch from one note to the next.
14.1.3 Adjust Sample Playback Range
To adjust the time range of the sample that will play when triggered, float
the mouse to the left or right edge of the sample until the Hand cursor
appears, then click-and-drag left or right. The range highlighted in blue
will play when the sample is triggered.
14.1.4 Loop a Sample
To loop playback of a sample, click on the Loop button above the main
display. A Loop Range display will appear above the sample waveform,
indicating the section of the sample to be looped. Any range of the
sample can be looped. If the loop range begins after the initial playback
range begins, the sample will play from the beginning of the playback-
range position to the end of the loop-range position, then it will play
from the start of the loop range to the end of the loop range and back for
as long as the sample is triggered.
14.1.5 Change Root Note and Keymap Range
To change the Root note, click-and-drag the root-note handle (displayed
immediately above the keyboard display, C3 by default) left or right
across the keyboard display. The notes on your keyboard that will trigger
the sample are indicated with the Keymap Range display, which is the
blue bar extending to the right and left of the note handle. To restrict the
range of notes that will trigger the sample, click-and-drag on the left or
right edge of the Keymap Range display.
14.1.6 Playing Multiple Samples
Any number of samples can be loaded into SampleOne at once, with
each loaded sample displayed in the sample list. Select any sample in the
list to edit its playback, loop, and keymap range, as well as its root note,
and loop status. All loaded samples will be triggered simultaneously,
depending on the keymap range for each sample. For instance, if C3
on your keyboard is set to trigger every sample, pressing C3 will trigger
every sample at once. In this way, multilayered, or multitimbral sample
playback can be achieved.
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Note that the amplifier envelope, filter envelope, and LFO are global and
affect the overall output of SampleOne.
14.1.7 Replace a Sample
To replace a sample in SampleOne, select, in the sample list, the sample
that you wish to replace. Then drag any audio clip from the Browser, or
any Audio Event from the Arrange view, into the main display. The sample
will replace the previous one in the sample list, and the previously dis-
played sample waveform will be updated to reflect the new sample.
14.1.8 Edit Amplifier and Filter Envelopes
The output of SampleOne can be modified with Amplifier and Filter ADSR
(Attack, Decay, Sustain, Release) Envelopes. The following describes the
use of these envelopes.
Amplifier Envelope: Modify the amplitude characteristics of the audio••
output. Click activate button to activate/deactivate.
•• Volume: Adjust the maximum volume of the audio output. Variable
from -∞ to 6 dB.
•• Pan: Adjust the stereo pan of the audio output. Variable from full L to
full R.
Attack: Adjust the amount of time it takes to reach full volume once••
a sample has been triggered. Variable from 0.98 ms to 1,024s.
Decay: Adjust the amount of time it takes to reach the Sustain level••
after reaching full volume. Variable from 0.98 ms to 1,024s.
Sustain: Adjust the Sustain level. Variable from -96 dB to 0 dB. The••
Sustain period continues until the sample trigger stops.
Release: Adjust the amount of time it takes to reach a level of -∞ after••
sample trigger has stopped. Variable from 0.98 ms to 1,024s.
•• Velocity: Adjust the amount in dB that note velocity affects the
maximum amplitude. Variable from -∞ to 0 dB (the value used when
velocity equals 127).
Wheel: Adjust the range, expressed in dB, with which the modulation••
wheel on your Keyboard can adjust the instantaneous amplitude at
any time (the value used when the mod-wheel value equals 127).
Filter Envelope: Modify the frequency characteristics of the audio out-••
put. Click activate button to activate/deactivate.
Frequency: Adjust the filter cutoff frequency. Variable from 19.4 Hz to••
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Resonance: Adjust the relative resonance of the filter. Variable from 0••
to 100.
Attack: Adjust the amount of time it takes for the filter cutoff fre-••
quency to move from the Frequency value to the Envelope value
once a sample has been triggered. Variable from 0.98 ms to 101.6s.
after reaching the Envelope value. Variable from 0.98 ms to 101.6s.
Sustain: Adjust the Sustain level, which is the mix of signal filtered••
at Envelope value with the signal filtered at the Frequency value.
Variable from -96 dB to 0 dB. Sustain period continues until sample
trigger stops.
Release: Adjust the amount of time it takes the filter to reach the••
Frequency value after sample trigger has stopped. Variable from 0.98
ms to 101.6s.
Envelope: Adjust the maximum Frequency value, expressed as••
distance from Frequency value in octaves, reached after the initial
Attack period and during the Sustain time period. Variable from -10
octaves to 10 octaves.
•• Velocity: Adjust the maximum range in octaves that note velocity
can affect the maximum filter range (the value used when velocity
equals 127).
Wheel: Adjust the range, expressed as distance in octaves, with••
which the modulation wheel on your Keyboard can adjust the in-
stantaneous filter cutoff frequency at any time (the value used when
the mod wheel value equals 127).
14.1.9 Modulate Parameters with LFO
Various parameters of SampleOne can be modulated, or varied over time,
with the LFO. The following describes how to use the LFO to modulate
parameters.
LFO: Click Activate button to activate/deactivate.••
Sync: Click to tempo-sync the LFO.••
Beats: Select the time division of the current tempo to which the LFO••
is synced. Variable from 4/1 to 1/64 with dotted and triplet variations.
Waveform: Click to select, from top to bottom, the Triangle, Sine,••
Sawtooth, or Square LFO waveform.
Speed: Adjust the speed of the LFO when not tempo-synced. Vari-••
able from 0.5 Hz to 147 Hz.
Delay: Adjust the amount of time before the LFO affects anything••
once a sample is triggered. Variable from 0.98 ms to 18s.

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Vibrato: Adjust the range within which the LFO will affect sample••
pitch. Variable from -200 cents (start at -200 cents, range from -200
to +200) to 200 cents (start at +200 cents, range from +200 to -200).
Filter: Adjust the frequency range, expressed as distance in octaves,••
within which the LFO will affect the instantaneous cutoff-frequency
value of the Filter. Variable from -6.7 oct to 6.7 oct.
Amplifier: Adjust the peak amplitude amount with which the LFO••
will modulate the instantaneous amplitude. Variable from -∞ to 0 dB.
Wheel: Adjust the peak amplitude amount with which the modula-••
tion wheel will control the LFO signal strength (LFO strength when
mod wheel value equals 127). Variable from -∞ to 0 dB.
14.2 Impact
Impact features a grid of pads into which samples are loaded and played
back independently, as with many popular hardware drum-sample play-
ers. Each pad has its own pitch, amplifier, and filter controls with accom-
panying envelopes. There are multiple stereo and mono outputs for each
pad, making sophisticated output busing simple.
14.2.1 Interface
Impact is arranged as a 4x4 grid of pads, with controls for each pad.
Below each pad are Solo and Mute controls, as well as an output-channel
assignment. Click on any pad to select it and view its parameters, located
on the right side of the interface. Below the pad parameters are Add and
Remove buttons for adding or removing a sample from the currently
selected pad, as well as Group controls for grouping pads.
14.2.2 Add and Play a Sample
To add a sample to a pad, drag any audio clip from the Browser, or any
Audio Event from the Arrange view, directly onto the desired pad. Each
pad can contain only one sample. Dragging a sample to a pad that al-
ready contains a sample will replace the old sample with the new one. To
remove any sample, [Right]/[Control]-click on the desired pad and select
Remove Clip.
Once a sample has been added to a pad, you can trigger the sample by
clicking on the pad with the mouse, or by playing that pad’s assigned
note on your Keyboard. The note assignment is displayed in the upper
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triggered, click on the Solo button beneath the desired pad. To mute a
pad, so that pad will not play when triggered, click on the Mute button
beneath the desired pad.
Note that each pad has its own controls.
14.2.3 Pitch Control
You can modify the pitch for each pad’s sample using the Pitch controls.
Pitch Env••
Attack: Adjust the amount of time from when the pad is triggered to••
when the Envelope value is reached. Variable from 0s to ∞.
Decay: Adjust the amount of time it takes after the Attack period to••
return to the Envelope value. Variable from 0.98 ms to ∞.
Pitch••
Envelope: Adjust the detune range of the Pitch Env in cents. Vari-••
able from -1,200 to 1,200. (The default value is 0, meaning the Pitch
Envelope has no effect.)
•• Velocity: Adjust the maximum detune value in cents that pitch is af-
fected by velocity (the maximum detune value when triggered note
velocity equals 127). Variable from -1,200 to 1,200.
Trans: Adjust the transposition in semitones for the selected pad.••
Variable from -10 to 12.
Tune: Adjust the tuning in cents for the selected pad. Variable from••
-100 to 100.
14.2.4 Amplifier Control
To adjust the amplitude for each pad, use the following parameters:
Amp Env••
Attack: Adjust the amount of time from when the pad is triggered to••
when maximum amplitude is reached. Variable from ∞ (no attack,
sample starts at maximum amplitude) to 0s to ∞.
Decay: Adjust the amount of time it takes after the attack period to••
reach an amplitude of -∞ from the maximum amplitude. Variable
from 0.98 ms to ∞.
Amplifier••
•• Velocity: Adjust the maximum amplitude value in dB affected by ve-
locity (the maximum amplitude value when triggered note velocity
equals 127). Variable from -∞ to 0 dB.

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•• Pan: Adjust the sample’s stereo pan for the selected pad. Variable
from -1 (L) to 1 (R).
Gain:•• Attenuate or boost the amplitude in dB of the sample assigned
to the selected pad. Variable from -∞ to 6 dB.
14.2.5 Filter Control
Each pad features a variable filter to allow anything from subtle tonal
shaping to heavily processed filter sweeps.
Filter Env••
Attack: Adjust the amount of time it takes for the filter cutoff fre-••
quency to move from the Frequency value to the Envelope value
once a sample has been triggered. Variable from 0s to ∞.
after reaching the Envelope value. Variable from ∞ (no Decay period)
to 0.98 ms to ∞.
Envelope: Adjust the range of the Filter Envelope in octaves, relative to••
the Cutoff value. Variable from -10 to 10. (The default value is 0, mean-
ing the Filter Envelope has no effect.)
•• Velocity: Adjust the maximum value in octaves affected by velocity (the
maximum value when triggered note velocity equals 127). Variable
from -10 to 10.
Cutoff: Adjust the cutoff frequency of the Filter. Variable from 20 Hz to••
20 kHz.
Reso: Adjust the resonance of the Filter. Variable from 0 to 100.••
14.2.6 Grouping Pads
Pads can be grouped so that when one pad in the group is triggered, all
of the pads in the group are triggered simultaneously.You can add pads
to one of four groups by doing the following:
Select a pad you wish to assign to a•• Group.
Click on the•• Group select box under the pad parameters and choose 1,
2, 3, or 4.
Repeat the process for any pad you wish to assign to a group.••
When any pad in Group 1, 2, 3, or 4 is triggered, all pads in the same
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14.2.7 Using Multiple Outputs
Impact features two stereo outputs and three different mono outputs for
each pad. To change the output routing, do the following:
Click on the Channels button at the top of the•• Impact window to open
the output-channel’s Activation menu.
Click on the checkbox next to any output you wish to use. These chan-••
nels will then appear in the Mix Console.
Click on the Output selection box below the desired pads and choose••
the desired output channel for each pad.
14.3 Presence
Presence is a virtual sample-player instrument that enables
you to play an enormous variety of sounds. Presence uses
a native sound format packaged into Sound Sets, and can
also load and play any SoundFont. The Sound Sets include
a wide variety of instruments, such as pianos, strings,
horns, and percussion. These sounds can be extensively
shaped using the built-in Filter and Amplifier Envelopes
and Modulation LFO.
14.3.1 Load and Play a Preset
The Sound Sets included with Studio One can be found as presets in Pres-
ence. To browse the presets, click on the Preset window. Click once on any
preset in the list to load the preset in Presence. When loaded, the preset
is immediately playable by clicking on the keyboard display or by using
your Keyboard.
14.3.2 Add SoundFonts to Your Library
In order to be accessed directly in Presence, SoundFonts must be added
to the Studio One Instrument Library, found in File/Options/Locations/In-
strument Library [Mac OS X: Preferences/ Options/Locations/Instrument
Library]. To make your SoundFonts directly accessible in Presence, simple
add the storage location in which they reside to the Instrument Library.
To do this, click on Add in the Instrument Library menu, browse to the
appropriate location, and click OK. SoundFonts found in the specified
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14.3.3 Relative Control Parameters
Multiple samples are used to create sounds in a single instrument, and
presets can potentially be comprised of multiple instruments. Expressive
playback is achieved by modifying the samples within a preset, using
relative controls, as each sample in any given preset can have different
absolute settings.
The parameter values for the controls in Presence are relative to the ab-
solute settings for the samples in the loaded preset and are expressed as
percentages or something similar. While this might appear confusing in
theory, in practice these controls are very easy to use.
14.3.4 Filter Control
The Filter allows you to shape the tonality of the audio output using the
following parameters:
Frequency: Adjust the relative filter cutoff frequency. Variable from••
-100% to 100%.
Resonance: Adjust the relative resonance of the filter. Variable from••
-960 to 960.
Attack: Adjust the relative amount of time it takes for the filter cutoff••
frequency to move from the Frequency value to the Envelope value
when a note is played. Variable from -100% to 100%.
after reaching the Envelope value. Variable from -100% to 100%.
Sustain: Adjust the Sustain level, which is the mix of the signal filtered••
at the Envelope value with the signal filtered at the Frequency value.
Variable from -100% to 100%, Sustain period continues until note trig-
ger stops.
Release: Adjust the amount of time it takes the filter to reach the Fre-••
quency value after note trigger has stopped. Variable from -100% to
100%.
Envelope: Adjust the maximum relative Frequency value, reached after••
the initial Attack period and during the Sustain period. Variable from
-100% to 100%.
•• Velocity: Adjust the maximum range that note velocity can affect the
maximum relative filter range (the value used when velocity=127).

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14.3.5 Amplifier Control
The Amplifier allows you to modify the amplitude characteristics of the
audio output using the following parameters:
Gain: Amplify or attenuate the relative gain. Variable from -100% to••
100%.
•• Pan: Adjust the relative pan of the audio output. Variable from -100 (L)
to 100 (R).
Attack: Adjust the relative amount of time it takes to reach full volume••
when a note is played. Variable from -100% to 100%.
Decay: Adjust the relative amount of time it takes to reach the Sustain••
level after reaching full volume. Variable from -100% to 100%.
Sustain: Adjust the relative Sustain level. Variable from -100% to 100%.••
Sustain period continues until note trigger stops.
Release: Adjust the relative amount of time it takes to reach a level of -∞••
after note trigger has stopped. Variable from -100% to 100%.
•• Velocity: Adjust the relative amount by which note velocity affects the
maximum amplitude. Variable from -100% to 100% (the value used
when velocity value equals 127).
14.3.6 LFO Control
Use the LFO to modulate Presence parameters over time, using the fol-
lowing parameters:
Delay: Adjust the relative amount of time before the LFO becomes ac-••
tive when a note is triggered. Variable from -100% to 100%.
Speed: Adjust the relative speed of the LFO. Variable from -100% to••
100%.
Pitch, Filter, Amp: Adjust the relative effect of the LFO on Pitch, the••
Filter, and the Amplifier, each variable from -100% to 100%.
Vibrato: The Vibrato control is an independent LFO that affects only••
Pitch.
Delay and Speed: The same as the LFO Control parameters. Variable••
from -100% to 100%.
Depth: Adjust the signal strength of the LFO. Variable from 0 to 2.••

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14.3.7 Other Controls
Below the Filter, Amplifier, and LFO controls is a keyboard display, with
the following parameters to its left:
Pitch Bend (PB): Adjust relative pitch. Variable from -1 to 1.••
Mod Wheel (Mod): Adjust modulation amount. Variable from 0 to 1.••
Glide (GL): Click to engage Glide. Adjust Glide time with vertical fader.••
Variable from 9 ms to 1s.
Monophonic (MN): Click to engage Monophonic mode. Will allow only••
one note trigger at a time.
14.4 Mojito
Mojito is a simple, monophonic, subtractive synthesizer with effects,
capable of generating a wide range of sounds. It models a classic analog
synthesizer and features a low-aliasing oscillator and a 24 dB filter emu-
lation. Mojito can generate killer bass sounds, lead sounds, and special
effects.
14.4.1 Interface
Mojito is organized into Oscillator (OSC), Amplifier (AMP), Filter (FLT), and
FX sections, with easy-to-use, yet powerful controls.
14.4.2 Oscillator
Mojito’s Oscillator section is on the upper left. Here you can set up the
harmonic content of the sound source. The basic controls are the three
large knobs on top: Pitch, Wave, and Width.
Pitch: Adjusts the frequency from one octave below to one octave••
above the played note. Note that this will affect the cutoff frequency
only via keytracking. Pitch will be modified by the pitch-bend wheel
(+/- 2 semitones).
•• Wave: Selects between a sawtooth wave and a pulse wave. These two
waveforms have a rich and regular harmonic content, making them
classic sources for subtractive synthesis. Sawtooth waves contain the
fundamental and all harmonics whereas pulse waves have only the
fundamental and odd harmonics. Mixed settings will effectively adjust
the level of the even harmonics.
Width: Adjusts the pulse width of the pulse wave from almost zero to••
square. This will adjust the balance between the fundamental and the
higher and lower harmonics.
Below the three main OSC controls is a smaller row of knobs that adjust
how much the oscillator settings will be modulated. The speed of the

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modulation is adjusted using the LFO Speed controls, located to the right
of these knobs. The LFO can be synced to tempo or it can oscillate with
a freely adjustable period. Use the modulators to create chorus-like or
stringy sounds, vibrato, and other familiar modulated sounds.
14.4.3 Amplifier
Below the Oscillator section is the Amplifier section. This consists of a
Gain control, which will react to MIDI Volume messages, and a Velocity-to-
Volume control, which modulates the volume of a note in response to key
velocity.
The most important part of this section is the ADSR Envelope. (“ADSR”
stands for“Attack, Decay, Sustain, Release.”) With these four sliders, you
can adjust the amplitude characteristics over time. These characteristics
play a huge role in defining the overall sound. The ADSR Envelope can
control the volume of a played note and can also control the Filter Cutoff.
A: Adjust the attack time, which is the time required for the sound’s••
amplitude to go from zero (silence) to full amplitude. The range is from
2 to 500 ms.
D: Adjusts the decay time, which is the time required to drop from full••
amplitude to the sustain level. The range is from 2 ms to 1s.
S: Adjusts the sustain level, which is the level that is held from the end••
of the decay until the key is released. The range is from -96 dB (silence)
to 0 dB (full amplitude).
R: Adjusts the release time, which is the time required to fall back to••
silence after the key is released. The range is from 2 ms to 2s.
To the left of the AMP section is the Portamento control. Using the Porta-
mento mode selector, you can choose between three modes.
No Portamento: A note that is played while another note is playing will••
silence the previous note and trigger the new one.
Legato: An overlapped note will not trigger a new envelope but the••
pitch will slowly change to the pitch of the new note.
Retrigger: An overlapped note will retrigger the current envelope,••
starting at its volume at the moment it is retriggered. This also slowly
changes the note’s pitch.
Note:•• Velocity will not be applied or updated for overlapped notes.
The Time knob adjusts the glide speed (that is, the duration of the pitch
change) when using portamento. The range is from 5 ms to 1s.

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14.4.4 Filter
The section on top of the right side of Mojito only affects the resonant 24
dB Lowpass Filter.
Reso: Controls the resonance of the filter, which is an amplification, or••
emphasis, of the signal at the cutoff-frequency.
Note: If the amount of resonance of a filter is raised high enough, the••
filter begins oscillating at the cutoff frequency, thus generating its
own waveform. Be careful, this can be loud!
Cutoff Knob: Controls the corner, or cutoff, frequency, which is the••
point above which frequencies will be attenuated. The range is from 20
Hz to 16 kHz.
The other controls affect the modulation of the cutoff frequency.••
Key: Controls how much the played note scales the cutoff-frequency.••
Velo: Controls how much the velocity of the played note shifts the••
cutoff frequency up or down.
Envelope: Controls how much the ADSR Envelope shifts the cutoff••
frequency up or down.
LFO: Controls the amount of shifting that the Filter LFO applies to••
the cutoff frequency. The LFO can either be synced to tempo or it
can oscillate with an adjustable period.
14.4.5 FX
On the bottom right is a small effects section where you can apply a
modulation effect to enliven or broaden the sound. Mod Depth controls
the amount of this effect. Using Mod Color, you can adjust the timbre
from a flanger-like to a chorus-like effect. The modulation utilizes an LFO
that has the same speed as the Filter LFO.
Finally, there is an Overdrive, the amount of which is controlled by the
Drive control.

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Appendix
Table 1 Key Commands
The following chart is a reference for all available key commands in Stu-
dio One.
Action Key Command
StartPage Alt+Home
NextPerspective Cmd+Tab
PreviousPerspective Cmd+Shift+Tab
Editor F2
Console F3
Inspector F4
Browser F5
InstrumentBrowser F6
EffectBrowser F7
SoundBrowser F8
FileBrowser F9
PoolBrowser F10
ShowChannelEditor F11
ToggleFloatingWindows F12
ToggleOptionalViews Shift+F12
ZoomIn E(Cmd++)
ZoomOut W(Cmd+-)
ZoomInVertical Shift+E
ZoomOutVertical Shift+W
ZoomtoLoop Shift+L
ZoomtoSelection Shift+Alt+S
ZoomtoSelectionHorizontally Alt+S
ZoomFull Alt+Z
UndoZoom Alt+W
RedoZoom Alt+E
ToggleZoom Z
StoreZoomState Shift+Z
File
Action KeyCommand
NewSong Cmd+N
NewProject Cmd+Shift+N
Open Cmd+O
Close Cmd+W
SaveNewVersion Cmd+Shift+Alt+S
Save Cmd+S
SaveAs Cmd+Alt+S
Table1 Key Commands

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Options Cmd+,
Quit Cmd+Q
Edit
Action KeyCommand
Undo Cmd+Z
Redo Cmd+Y
Cut Cmd+X
Copy Cmd+C
Paste Cmd+V
PasteatOriginalPosition Cmd+Shift+V
Delete Del
SelectAll Cmd+A
DeselectAll Cmd+D
InvertSelection Cmd+I
SelectAllinLoop Alt+L
SelectAllonTracks Cmd+Shift+A
DeselectAllonTracks Cmd+Shift+D
Duplicate D
DuplicateShared Shift+D
MovetoCursor Cmd+L
CreateRangesonTracks Shift+R
CreateRanges Alt+R
InsertSilence Cmd+Alt+I
SplitLoop Cmd+Shift+X
Event Edit
ToggleMute Shift+M
DecreaseVolume Alt+NumPad-
IncreaseVolume Alt+NumPad+
ReverseAudio Cmd+R
CreateAutoCrossfade Shift+X
CreateAutofades X
BounceSelection Cmd+B
InsertPart Cmd+P
MergeInstrumentParts G
BounceInstrumentParts B
Quantize Q
50%Quantize Alt+Q
RestoreTiming Shift+Q
Nudge Alt+RightArrow
NudgeBack Alt+LeftArrow
NudgeBar Cmd+Alt+RightArrow
NudgeBarBack Cmd+Alt+LeftArrow
Key Commands Table1

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Song
ImportFile Cmd+Shift+O
MixdowntoAudioFile Cmd+E
ExportTracksasAudioFiles Cmd+Shift+E
Track
Action KeyCommand
AddTracks Cmd+T
RemoveTracks Cmd+Shift+T
SoloTrack S
MuteTrack M
RecordenableTrack R
ShowAutomation A
ShowInstrumentEditor F11
GroupSelectedTracks Cmd+G
DissolveGroup Cmd+Shift+G
Transport
Action KeyCommand
TogglePlayback Spacebar
Start Enter
Stop NumPad0
Record NumPad*
LoopSelection P
LocateSelection L
ToggleLoop NumPad/
Click C
ReturntoZero NumPad,
LocateLoopStart NumPad1
LocateLoopEnd NumPad2
AutoPunchIn/Out I
Preroll O
GotoTime T
Autoscroll F
Marker
Action KeyCommand
InsertMarker Y,Ins
LocateNextMarker Shift+N
LocatePreviousMarker Shift+B
LocateMarker3-9 NumPad3-9
Navigation
Action KeyCommand
PreviousPreset Alt+PageUp
Table1 Key Commands

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NextPreset Alt+PageDown
PreviousDevice Cmd+PageUp
NextDevice Cmd+PageDown
FocusNext Tab
FocusPrevious Shift+Tab
NextPreset Alt+PageDown
PreviousPreset Alt+PageUp
Home Alt+Home
Left LeftArrow
ExtendSelectionLeft Shift+LeftArrow
ExtendSelectionLeftAdd Cmd+Shift+LeftArrow
SkipLeft Cmd+LeftArrow
Right RightArrow
ExtendSelectionRight Shift+RightArrow
ExtendSelectionRightAdd Cmd+Shift+RightArrow
SkipRight Cmd+RightArrow
Up UpArrow
ExtendSelectionUp Shift+UpArrow
ExtendSelectionUpAdd Cmd+Shift+UpArrow
SkipUp Cmd+UpArrow
Down DownArrow
ExpandSelectionDown Shift+DownArrow
ExpandSelectionDownAdd Cmd+Shift+DownArrow
SkipDown Cmd+DownArrow
PageUp PageUp
ExtendSelectionPageUp Shift+PageUp
ExtendSelectionPageUpAdd Cmd+Shift+PageUp
SkipPageUp Cmd+PageUp
PageDown PageDown
ExtendSelectionPageDown Shift+PageDown
ExtendSelectionPageDownAdd Cmd+Shift+PageDown
SkipPageDown Cmd+PageDown
Start Home
ExtendSelectionStart Shift+Home
ExtendSelectionStartAdd Cmd+Shift+Home
SkipStart Cmd+Home
End End
ExtendSelectionEnd Shift+End
ExtendSelectionEndAdd Cmd+Shift+End
SkipEnd Cmd+End
Tools
Action KeyCommand
SelectArrowTool 1
Key Commands Table1

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SelectRangeTool 2
SelectSplitTool 3
SelectEraserTool 4
SelectPaintTool 5
Automation
Action KeyCommand
ShowAutomation A
Show/EditCurrentParameter Alt+A
MapCurrentParametertotouchedControl Alt+M
AutomationRead J
AutomationTouch K
Mixer
Action KeyCommand
ToggleSize Shift+F3
ToggleDetach Cmd+F3
NextChannel ]
PreviousChannel [
NextBank }
PreviousBank {
GlobalSolo Cmd+Shift+S
GlobalMute Cmd+Shift+M
Help
Action KeyCommand
StudioContextHelp F1
StudioContentsHelp Alt-F1
StudioKeyCommands Alt-F2
Special Modifier Keys
CommandinArrangementswitchestoRangeToolwhenusingtheSelectTool.
Commandwhiledraggingaudioeventsorinstrumentpartscreatescopy.
Altwhiledragginginstrumentpartdragcreatesghostcopy.
Altwhileresizingaudioeventstretchesevent.
Command+Altwhiledraggingslipsaudioevents.
Shift+ClickandDragonControlsusesfinetune.
Command+ClickonControlsswitchestothedefaultvalue.
Alt+ClickandDragonMixerlooseschannelfromGroup.
Command+ClickandDragonTrackControlduplicatestrack.
Alt+ClickandDragonTrackControlduplicatestrackwithdata.
Mousewheelinarrangement/editorscrollsvertically.
Shift+Mousewheelinarrangement/editorscrollshorizontally.
Command+Mousewheelinarrangement/editorzoomsvertically.
Table1 Key Commands

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Command+Shift+Mousewheelinarrangement/editorzoomshorizontally.
Command+ClickonSoloinchannelislikeAnysolo.
Alt+ExpandbuttoninMixerexpandschannelexclusively.
Alt+RecordbuttoninMixer/Trackcontrolarmsaudiotrackexclusively.
Alt+MonitorbuttoninMixer/Trackcontrolmonitorsexclusively.
CommandwhiledraggingvelocitiesinEditorsetsalltothesamevalue.
Alt+Paintinpartautomationeditordrawsline.
Table 2 Features Excluded from Studio One Artist
The following Studio One features are not included in Studio One Artist:
The•• Project window (mastering)
•• VST, AU, and ReWire support (except for bundled third-party plug-ins)
Multiband•• Dynamics, Analog Delay, Groove Delay, Gate and Pipeline
plug-ins
64-bit processing (Studio One Artist uses 32-bit, single-precision pro-••
cessing only.)
Expander••
Key Commands Table1

186
Studio One
Index
A
About This Manual 7
Activating Recording 34, 39
Add Tracks 32, 36, 182
AIFF 43, 70, 104, 106, 129, 136
Arrange view 14, 29, 32, 51, 71, 92, 99, 102, 111,
121, 129, 137, 167, 169
Arranging 81, 82, 83, 84
Arrow Tool 52, 65, 82, 103, 131, 183
ASIO 18, 109
Attenuate 148, 156, 173
Audio 9, 17, 30, 63, 128, 167
Audio Channels 85
Audio Clip 56, 66, 167
Audio Device 9, 17
Audio Effects 76, 92, 97, 110, 128, 132
Audio File 30, 66, 70, 103, 110, 129, 182
Audio I/O Setup 19, 32, 35, 47, 132, 166
Audio Recording Format 46
Audio Tracks 23, 32, 40, 44, 51, 85, 87, 113
Audition 21
Automatic Plug-In
Delay Compensation 101
Automation 29, 60, 63, 85, 111, 124, 182
Automation Envelope 29, 112, 125
Automation Modes 111, 115, 125
Automation with
Hardware Controllers 124
Autoscroll 182
B
Bars 29, 34, 41, 102
Bouncing 83
Browser 11, 21, 25, 37, 70, 92, 97, 128, 132,
180
Built-In 167
Built-In Effect
Metering Options 139
Built-In Effect Micro
Views 139
Built-In Effects 92, 139
Bus 49, 85, 96, 106, 113
Bypass 147, 152
C
Channel Configuration 19
Click Track 82
Clips 74, 76
Common Editing Actions 56, 60
Compensation 14, 101, 109, 165
Configuring an
Instrument Track 36
Console 13, 24, 31, 36, 42, 47, 79, 85, 105, 106,
119, 139, 174, 180
Control Link 14, 113, 119, 127
Copy 56, 60, 75, 93, 96, 132, 181
Copy and Paste 57
Count-In 43
Create a New Project 9, 127
Creating a New Song 27
Crossfades 63, 131, 181
Cursor 29, 40, 56, 103, 181
Cycle 12, 71, 93
D
Deactivating 93, 110
Delete an Event 55
Device Configuration 89
Drawing 59, 60, 115
Draw Notes 59
Draw Tool 82, 103
Duplicate 46, 57, 60, 81, 181
Duplicating Events 81
Duplicating Tracks 81
Dynamics 147, 152, 185
Dynamics processing 147
E
Edit Groups 64, 65, 98
Editing 13, 29, 51, 98, 113, 118, 124, 127, 131,
152
Editing Audio Events 58
Editing Track
Automation Envelopes 113, 118, 124
Edit View 57
Eraser 55, 60, 184
Event menu commands 58, 63
Events 29, 34, 45, 51, 75, 81, 98, 103, 111,
131
Export 73, 103, 110, 182
Export a MIDI File 73
Export to Audio File 103, 104, 110
External Devices 10, 21, 36, 89, 119, 124

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F
Fader 33, 86, 95, 99, 120
Frames 29, 51
G
Grid 51, 144, 145
Group 64, 99, 171, 182
Grouping 65, 173
H
Hardware Control 121
I
Impact 78, 167, 171, 174
Import 21, 72, 75, 105, 182
Import a MIDI File 72
Import an Audio File 72
Importing Files
with the Browser 70
Input Channels 20, 33, 40, 49, 87
Input/Output Selection 33
Inputs 32, 36, 49, 89
Insert a marker 63
Inserts 81, 85, 92, 112, 132
Inspector 29, 37, 46, 56, 61, 66, 101, 180
Instrument Channel 86, 98
Instrument Part 45, 55, 59, 73, 79, 83, 110, 117, 118,
126
Instrument Part Automation 60, 111, 117, 126
Instruments 10, 21, 26, 30, 37, 76, 89, 105, 110,
123, 167, 168
Instrument
Track Recording Modes 45
Integration 136
I/O Setup 19, 32, 47, 132, 166
K
Key Commands 7, 180
K-System Metering 88, 99, 100, 133, 151
L
Lanes 118
Latency 14, 47, 165
Left and Right Locators 44, 69, 103
Link 14, 113, 119, 147
Loop 44, 68, 103, 168, 180
Looping 44, 71, 103
Loop Recording on
Audio Tracks 44
M
ManagingYour Content 25
Manual Audio Track Delay 101
Manual Delay 101
Markers 102, 106
Mastering 12, 30, 103, 109, 127, 152
Merge 63, 84, 181
Metering 88, 99, 100, 133, 139, 151
Meter Inputs 87
Metronome 41, 83, 88
Micro View 139
MIDI 10, 14, 21, 36, 40, 63, 70, 83, 119, 178
MIDI Device 10, 21
Missing Files 76
Mix Console 36, 39, 174
Mixing 14, 32, 48, 64, 79, 85, 139, 151, 154,
166
Mixing Down 104, 166
MixVerb 162
Modulation 118, 157, 174
Monitoring 23, 31, 35, 39, 47, 73, 100
Monitoring an
Instrument Track 39, 73
Mouse Tools 52
MP3 11, 43, 70, 104, 129, 136
Musical Timing 57, 61
Mute/Solo 86
N
Navigating 68, 93, 103
Normalize 63
O
Ogg Vorbis 70, 104, 129, 136
Open TL 80
Options 8, 13, 17, 21, 39, 67, 70, 104, 135, 166,
174, 181
Output Channel 20, 33, 88, 96, 113
Output Metering 12
Outputs 38, 47, 87, 174
Overlapping 131
P
Paint Tool 55, 60, 115, 184
Pan 33, 84, 95, 112, 144, 155, 161, 169,
173
Part Automation 60, 111, 117, 126
Paste 56, 60, 181

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Studio One
Playback 30, 40, 56, 103, 168, 182
Playback Cursor 40, 56, 103
Play Button 71
Plug-Ins 26, 37
Pool 63, 74, 180
Post Fader 95
Precount 41, 43
Pre-Fader 95
Preferences 7, 21, 30, 67, 109, 174
Pre/Post Fader 95
Pre-Roll 40
Presence 26, 78, 167, 174
Presets 25, 32, 70, 78, 96, 166
Project 9, 24, 30, 70, 79, 105, 127, 166, 180,
185
PublishingYour Project 134
Punch 41, 182
Q
Quantize 51, 58, 181
Quickly Duplicating Events 81
R
Range Tool 52, 53, 54, 57, 69, 103, 184
Recording 19, 27, 32, 33, 34, 35, 36, 37, 38, 39,
40, 41, 42, 43, 44, 45, 46, 47, 48, 49,
50, 73, 87, 117, 126
Recording Format 46
Recording Modes 45
Redo 13, 68, 180, 181
Requirements 17
Resolution 28
Reverb 162, 163, 164
Reverse 63, 181
ReWire 26, 31, 37, 38, 39, 77, 185
Room Reverb 162, 163
Routing 19, 92
Ruler 41, 44, 83, 103
S
Save 25, 49, 69, 90, 97, 110, 136
Selecting 8, 33, 44, 90
selecting a range 103
Sends 81, 85, 94, 112
Show Automation 111, 182, 184
Sidechain 95, 148, 158
Signal Routing 92
Sizing 52, 59, 131
Snapping 51
Solo 17, 42, 67, 86, 152, 171, 182
Song 9, 19, 34, 46, 47, 51, 166, 180
Spectrum 12, 133, 140, 156
Splice an Audio Event 44
Split 54, 181, 184
Start page 9, 27, 127
Stereo 20, 32, 47, 147, 155, 159, 164
Stop 30, 41, 42, 44, 57, 182
Stop Playback 30
Suggestions 69, 107
Swing 62, 144
T
Template 27
Tempo 30, 34, 65, 81
tempo Sync 142, 159
Tempo Track 81
Timeline 30, 41, 51, 58, 82, 103, 130
Time Signature 82
Timestretching 29, 52, 65
Tips 7
Tool and Event Snapping 51
Touch 115, 125, 184
Track Automation 111, 117, 124
Transport 14, 40, 57, 67, 82, 101, 182
Transpose 60
U
Undo 13, 68, 180
Ungroup 65, 99
Update 103, 137
V
Velocity 62, 118, 169
View 44, 52, 57, 60, 65, 74, 82, 90, 120, 139
Virtual Instruments 26, 77, 110, 167
Volume 42, 53, 63, 84, 112, 131, 169, 178
Volume Envelope 131
VST 11, 26, 27, 37, 185
W
Wave 46, 75, 104, 129, 135, 177
Waveform 53, 69, 142, 159, 167, 179
Write 117, 126, 135
Z
Zoom 68, 180

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FireStudio Mobile
Owner’s Manual
www.presonus.com
™

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2
PreSonus™ FireStudio™ Mobile
3
Owner’s ManualSafety Stuff Safety Stuff and Warranty
Safe Operation Guidelines
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The exclamation point within an
equilateral triangle is intended to alert the
user to the presence of important
operating and maintenance (servicing) instructions
in this manual.
The lightning flash with arrowhead
symbol within an equilateral triangle is
intended to alert the user to the presence of
uninsulated“dangerous”voltage within the
product’s enclosure that may be of sufficient
magnitude to constitute a risk of electric shock to
humans.
CAUTION:TO REDUCETHE RISK OF
ELECTRIC SHOCK, DO NOT REMOVETHE
COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER
SERVICINGTO QUALIFIED PERSONNEL.
CAUTION:To reduce the risk of electric
shock, do not expose this appliance to rain
and moisture.The apparatus shall not be
exposed to dripping or splashing liquids and no
object filled with liquids, such as vases, shall be
placed on the apparatus.
CAUTION:These service instructions are for
use by qualified service personnel only.To
reduce the risk of electric shock, do not perform
any servicing other than that contained in the
operation instructions. Repairs must be performed
by qualified service personnel.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry a cloth.
7. Do not block any ventilation
openings. Install in accordance with
the manufacturer’s instructions.
8. Do not install near any heat sources,
such as radiators, heat registers,
stoves, or other apparatus (including
amplifiers) that produce heat.
9. Do not defeat the safety purpose of
the polarized or grounding-type plug.
A polarized plug has two blades, with
one wider than the other. A grounding-
type plug has two blades and a third
grounding prong.The wide blade and
the third prong are provided for your
safety. If the provided plug does not fit
into your outlet, consult an electrician
for replacement of the obsolete outlet.
10. Protect the power cord from being walked
on or pinched, particularly at plugs,
convenience receptacles, and the point
where they exit from the apparatus.
11. Use only attachments/accessories
specified by PreSonus.
12. Use only with the cart, stand, tripod, bracket,
or table specified by the
manufacturer or sold
with this apparatus.
When a cart is used, use
caution when moving
the cart/apparatus combination to avoid
injury from tip-over.
13. Unplug this apparatus during
lightning storms or when unused
for long periods of time.
14. Servicing is required when the apparatus
has been damaged in any way, such as if
a power-supply cord or plug is damaged;
or liquid has been spilled, or objects have
fallen, into the apparatus; or if the apparatus
has been exposed to rain or moisture, does
not operate normally, or has been dropped.
All PreSonus products in the USA should
be serviced at the PreSonus factory in
Baton Rouge, Louisiana. If your StudioLive
requires a repair, contact techsupport@
presonus.com to arrange for a return-
authorization number. Customers outside
the USA should contact their local distributor.
Your distributor’s contact information
is available at www.presonus.com.
15. The apparatus shall be connected to a
Mains power outlet with a protective
grounding/earthing connection.
16. Where the Mains plug or an appliance
coupler is used as the disconnect
device, the disconnect device shall
remain readily operable.
PreSonus Limited
Warranty
PreSonus Audio Electronics, Inc., warrants this product
to be free of defects in material and workmanship for
a period of one year from the date of original retail
purchase. This warranty is enforceable only by the
original retail purchaser. To be protected by this warranty,
the purchaser must complete and return the enclosed
warranty card within 14 days of purchase. During the
warranty period PreSonus shall, at its sole and absolute
option, repair or replace, free of charge, any product that
proves to be defective on inspection by PreSonus or its
authorized service representative. To obtain warranty
service, the purchaser must first call or write PreSonus
at the address and telephone number printed below to
obtain a Return Authorization Number and instructions
of where to return the unit for service. All inquiries
must be accompanied by a description of the problem.
All authorized returns must be sent to the PreSonus
repair facility postage prepaid, insured, and properly
packaged. PreSonus reserves the right to update any
unit returned for repair. PreSonus reserves the right to
change or improve the design of the product at any
time without prior notice. This warranty does not cover
claims for damage due to abuse, neglect, alteration,
or attempted repair by unauthorized personnel and is
limited to failures arising during normal use that are due
to defects in material or workmanship in the product.
Any implied warranties, including implied warranties of
merchantability and fitness for a particular purpose, are
limited in duration to the length of this limited warranty.
Some states do not allow limitations on how long an
implied warranty lasts, so the above limitation may not
apply to you. In no event will PreSonus be liable for
incidental, consequential, or other damages resulting
from the breach of any express or implied warranty,
including, among other things, damage to property,
damage based on inconvenience or on loss of use of the
product, and, to the extent permitted by law, damages for
personal injury. Some states do not allow the exclusion
of limitation of incidental or consequential damages, so
the above limitation or exclusion may not apply to you.
This warranty gives you specific legal rights, and you may
also have other rights, which vary from state to state. This
warranty only applies to products sold and used in the
United States of America. For warranty information in
all other countries please refer to your local distributor.
PreSonus Audio Electronics, Inc.
7257 Florida Blvd.
Baton Rouge, LA 70806
www.presonus.com

4
PreSonus FireStudio Mobile
5
OVERVIEW 1
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Introduction 1.1
1.1 Introduction
Thank you for purchasing the PreSonus FireStudio
Mobile. PreSonus Audio Electronics has designed the
FireStudio Mobile utilizing high-grade components
to ensure optimum performance that will last a
lifetime.The FireStudio Mobile is equipped for
professional-quality computer recording, with 24-bit,
96 kHz converters; two PreSonus XMAX microphone
preamplifiers; six line inputs; high-output headphone
amplifier; S/PDIF and MIDI I/O; Universal Control
software; and Studio One Artist music-production
software. All you need is a computer with a FireWire
connection, a few microphones and cables, monitor
speakers or headphones, and your instruments!
PreSonus Audio Electronics is committed to
constant product improvement, and we value your
suggestions highly. We encourage you to contact us
at +1 225.216.7887 with questions or comments
about your PreSonus FireStudio Mobile. We believe
the best way to achieve our goal of constant product
improvement is by listening to the real experts: our
customers.
We suggest that you read this manual to familiarize
yourself with the features, applications, and
connection procedure for your interface before
connecting it to your computer. Thank you, again,
for buying our product. Enjoy your FireStudio
Mobile!
OVERVIEWContents
OVERVIEW 5
1.1 Introduction 5
1.2 Features 6
1.3 What Is In the Box 8
1.4 System Requirements 9
GETTING STARTED 10
2.1 Hardware Installation 10
2.1.1 Installation in Microsoft
Windows 10
2.1.2 Installation in Mac OS X 11
2.2 Studio One Artist 12
2.2.1 Installation and
Authorization 12
2.2.2 Enabling the FireStudio
Mobile Driver 15
2.2.3 Configuring your MIDI
devices 16
2.2.4 Configuring Audio
I/O 21
2.2.5 Creating a Song 23
2.2.6 Cue Mix and the
FireStudio Mobile 27
2.3 Sample Hookup Diagrams 32
2.3.1 FireStudio Mobile
Basic Setup 32
2.3.2 Using the FireStudio
Mobile with an External
Preamp and Monitoring
System 33
2.3.2 Recording a Full Band
with Two FireStudio
Mobiles, External
Multichannel Preamp,
and Headphone
Distribution
Amplifier 34
CONTROLS CONNECTIONS 36
3.1 Software 36
3.1.1 Universal Control
Application Icon 37
3.1.2 Launch Window 38
3.1.3 WDM Settings
(PC only) 42
3.1.4 The Device Window:
FireStudio Mobile
Mixer 43
3.2 Front-Panel Layout 48
3.3 Back-Panel Layout 52
CASCADING UNITS 55
4.1 Using Multiple FireStudio-Family
Interfaces 55
TECHNICAL INFORMATION 60
5.1 Troubleshooting 60
5.2 Specifications 64

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1.2 Features Features 1.2
1.2 Features
The FireStudio Mobile is a powerful and affordable
computer recording system. It comes equipped
with two high-quality PreSonus XMAX microphone
preamps, six line inputs, MIDI I/O, S/PDIF, and rock-
solid drivers, as well as powerful music-recording
and production software.
Summary of FireStudio Mobile features
• High-speed FireWire (IEEE 1394)
• 24-bit, 96 kHz sampling
• 10 simultaneous inputs
• 2 Class A XMAX™ microphone preamplifiers
• 2 instrument inputs
• 6 analog line inputs
• 2 balanced TRS outputs
• S/PDIF I/O
• MIDI I/O
• High-definition analog-to-digital and digital-to-
analog converters (118 dB dynamic range)
• JetPLL jitter control for improved imaging and clarity
• OS X and Windows (32-bit and 64-bit) compatible
The FireStudio Mobile includes PreSonus Studio
One Artist recording software, which comes with
over 4 GB of plug-ins, loops, and samples, giving
you everything you need for music recording and
production.
Summary of Studio One Artist features
• Unlimited track count
• Unlimited inserts and sends
• 20 high-quality native effects plug-ins
• Amp Modeling (Ampire)
• Delay (Beat Delay)
• Distortion (Redlight Dist)
• Dynamic Processing (Channel Strip,
Compressor, Limiter, Tricomp)
• Equalizer (Channel Strip, Pro EQ)
• Modulation (Autofilter, Chorus,
Flanger, Phaser, X-Trem)
• Reverbs (MixVerb, Room Reverb)
• Utility (Binaural Pan, Mixtool, Phase Meter,
Spectrum Meter, Tuner)
• Over 4 GB of loops, samples, and instruments,
featuring:
• Presence: Virtual Sample Player
• Impact: Virtual Drum Machine
• SampleOne: Virtual Sampler
• Mojito: Virtual Analog-Modeled Subtractive
Synthesizer
• Innovative and intuitive MIDI mapping
• Powerful drag-and-drop functionality
for faster workflow
• OS X and Windows compatible

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1.3 What Is In the Box System Requirements 1.4
1.3 What Is In the Box
Your FireStudio Mobile package contains the
following:
• FireStudio Mobile recording interface
• 6-foot, 6-pin-to-6-pin FireWire cable
• Power supply
• Software installation discs:
• PreSonus FireStudio Universal driver installer
• PreSonus Studio One Artist software
• PreSonus warranty card
1.4 System Requirements
Here are the computer-system requirements for
FireStudio Mobile and Studio One Artist.
Macintosh
• Operating Systems:
• Mac OS X 10.4.11 or Mac OS X 10.5.2 or higher
• Hardware:
• Minimum:
• PowerPC G4 1.25 GHz or Intel Core Solo 1.5
GHz processor
• 1 GB RAM
• DVD drive
• Recommended:
• PowerPC G5 or better or Intel Core Duo or
Intel Xeon processor or better
• 2 GB or more RAM
• DVD drive
Windows PC
• Operating Systems:
• Windows XP or Vista
• Hardware:
• Minimum:
• Intel Pentium 4 1.6 GHz processor or AMD
Athlon 64 (Turion)
• 1 GB RAM
• DVD drive
• Recommended:
• Intel Pentium 4 2.8 GHz EM64T or better or
AMD Athlon 64 3000+ or better
• 2 GB or more RAM
• DVD drive
NOTE: The speed of your processor, amount of RAM,
and size and speed of your hard drives will greatly
affect the overall performance of your recording
system. A more powerful system (faster processor
with more RAM) allows for lower latency (signal
delay) and better overall performance.

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10
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2.1 Hardware Installation Hardware Installation 2.1
GETTING STARTED
2.1 Hardware Installation
The Universal Control and included driver can
be used for any interface in the FireStudio family
(FireStudio [26x26], FireStudio Lightpipe, FireStudio
Tube, FireStudio Project, FireStudio Mobile, and
StudioLive 16.4.2). For more information on the
Universal Control application and multiple interface
integration, please review Sections 3.1 and 4.1.
2.1.1 Installation in MicrosoftWindows
After you install the Universal Control CD in your CD
or DVD drive, the Universal Control installer will take
you through each step of the installation process.
Please read each message carefully, ensuring
especially that you do not connect your FireStudio
Mobile until the installer has finished and you have
rebooted your computer.
The FireStudio Mobile Installer was designed to be
as simple and easy-to-follow as possible. Please read
each message carefully to ensure that the FireStudio
Mobile driver is properly installed.
Before continuing the FireStudio Mobile Installation
Setup, please close all applications and disconnect
your FireStudio Mobile from your computer. If you
see any Windows Security alerts, click“Install this
driver software anyway”(Vista) or“Continue anyway”
(XP).
At the end of the installation, you will be prompted
to reboot your computer to complete the
installation. Click“Finish”to automatically restart your
PC. Once your computer has rebooted, connect the
FireStudio Mobile. When the Found New Hardware
wizard launches, follow the recommended steps.
When the sync light remains solid blue, your
FireStudio Mobile is synced to your computer and
is ready to use!
2.1.2 Installation in Mac OS X
After inserting the installation CD into your disc
drive, browse the disc and run the FireStudio
Mobile installer, which will take you through each
step of the installation process. Please read each
message carefully, ensuring especially that you
do not connect your FireStudio Mobile until the
installer has finished and you have rebooted your
computer.
To begin installing the FireStudio Mobile driver
on your Mac, double click on the FireStudio
Mobile logo. The FireStudio Mobile installer
requires that your user password be entered as
a security measure. Once you have entered your
password, click“OK”to proceed with the rest of the
installation.
When the Installer has finished, connect your
FireStudio Mobile to your computer with a FireWire
cable. Once the sync light is solid blue, your
FireStudio Mobile is ready to use.

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Studio One Artist 2.22.2 Studio One Artist
2.2 Studio One Artist
Every PreSonus interface comes complete with
Studio One Artist recording software. Whether you
are about to record your first album or your 50th,
Studio One Artist provides you with all the tools
necessary to capture and mix a great performance.
As a valued PreSonus customer, you are also eligible
for a discount on an upgrade to Studio One Pro,
which enables you to master your project, create a
digital version for the Web, and use third-party VST
plug-ins. For more details on the Studio One Pro
upgrade program for PreSonus customers, please
visit www.presonus.com.
2.2.1 Installation and Authorization
Once you have installed the FireStudio Mobile
drivers and connected your FireStudio Mobile, you
can use the PreSonus Studio One Artist music-
production software included with your FireStudio
Mobile to begin recording, mixing, and producing
your music. To install Studio One Artist, insert your
installation disc into your computer’s DVD drive.
Follow the onscreen instructions to complete the
installation process.
Installing Studio One Artist
To Install Studio One Artist, insert your Studio One
Artist installation DVD into your computer’s DVD
drive.
PC Users: Launch the Studio One Artist installer and
follow the onscreen instructions.
Mac Users: Simply drag the Studio One Artist
application into the Applications folder on your
Macintosh HD.
Create a User Account
After installing Studio One Artist, launch the
program, and the Activate Studio One menu will
appear. If you are a new Studio One user, you will
need to create a user account. Follow the Create
Account link if your computer is connected to the
Internet. Once you have created your account,
continue to Activating Studio One Artist Online.
If your computer is not connected to the Internet,
visit the Studio One product page at www.
presonus.com on an Internet-connected computer
to create your account. After you have created
your account, skip to Activating Studio One Artist
Offline.
Activating Studio One Artist Online
Now that you have created a user account, you can
activate your copy of Studio One Artist. Launch
Studio One Artist, and the Activate Studio One
menu will appear.
Click on the Activate Online link and enter your
previously created account Username, Password,
and the Product Key you received with the Studio
One Artist installation disc. Click on the Activate
button to finish the activation process.
Activating Studio One Artist Offline
Once you have created a user account, launch
Studio One Artist. From the Activate Studio One
Menu, click on the Activate Offline link. Follow the
instructions to log in to your previously created
user account, register the product, and obtain a
license file.
Next, copy the license file to the computer on

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2.2 Studio One Artist Studio One Artist 2.2
which Studio One has been installed, and locate the
license file as instructed in the Activate Studio One
menu. The activation process is now complete.
Installing Bundled Content for Studio One Artist
Studio One Artist comes bundled with an array of
demo and tutorial material, sampled instruments,
loops, samples, and unique third-party content. The
Studio One Artist bundle includes all that you need
to begin producing music.
Upon completing the Studio One Artist installation
and activation process, the Studio One Content
Installer will appear. If it does not appear, navigate to
Help/Studio One Installation.
At the top of the installation menu, select the source
from which the content will be installed, as well as
the location where you wish to install the content.
The source of the content will be the same DVD from
which you installed Studio One Artist. By default,
Studio One Artist will point to your DVD drive as the
content source. Listed in the installation menu are
separate entries for each available item. Click in the
checkbox next to each item you wish to install, then
click on the Install Packets button at the bottom left
of the menu to install the selected content.
When finished installing content, click on the Done
button to exit the menu.
Studio One Artist content can be installed at any
time by accessing the Help/Studio One Installation
menu. If you choose not to install any portion of the
content, you can install it at a later time.
2.2.2 Enabling the FireStudio Mobile Driver
Studio One and Studio One Artist were designed
with PreSonus interfaces in mind.Your FireStudio
Mobile is already integrated into Studio One
Artist, so setup is quick and easy. When Studio
One Artist is launched, by default you will be
taken to the Start page. On this page, you will find
document-management and device-configuration
controls, as well as a customizable artist profile, a
news feed, and links to demos and tutorials from
PreSonus. If you have an Internet connection on
your computer, these links will be updated as new
tutorials become available on the PreSonus Web
site.
Complete information on all aspects of Studio One
Artist is available in the Reference Manual PDF
located on the Studio One Artist Installation disc. The
information in this manual covers only the most basic
aspects of Studio One Artist and is intended to get you
set up and recording as quickly as possible.
START PAGE: Setup Area
Shows Active Audio Driver and Sample Rate
and Provides Quick Links to Configure Audio
and MIDI
In the middle of the Start page, you will see the
Setup area. Studio One Artist automatically scans
your system for all available drivers and selects a
driver. By default, it will choose a PreSonus driver if
one is available.

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START PAGE: Setup Area (continued)
Selecting a Different Audio Driver
If you do not see“PreSonus FireStudio”on the Start
page when you launch Studio One, click on the
Configure Audio Devices link in the Setup area to
open the Audio Setup Options window.
In the Audio Device menu, select“PreSonus
FireStudio.”Click the Apply button and then OK.
After you have verified that the PreSonus FireStudio
driver has been detected, please continue to Section
2.2.3 to set up your external MIDI devices. If you do
not have any MIDI devices to connect at this time,
please skip to Section 2.2.4.
2.2.3 ConfiguringYour MIDI devices
From the External Devices window in Studio One
Artist, you can configure your MIDI keyboard
controller, sound modules, and control surfaces.
This section will take you through setting up your
MIDI keyboard controller and sound module with
the FireStudio Mobile. Please consult the Reference
Manual located on your Studio One Artist installation
DVD for complete setup instructions for other MIDI
devices.
Setting Up an External MIDI Keyboard
Controller From the Start Page:
A MIDI keyboard controller is a hardware device
that is generally used for playing and controlling
other MIDI devices, virtual instruments, and software
parameters. In Studio One Artist, these devices
are referred to as Keyboards, and they must be
configured before they are available for use. In
some cases, your MIDI keyboard controller is also
used as a tone generator. Studio One Artist views
the two functions of these types of hardware as
two different devices: a MIDI keyboard controller
and a sound module. The MIDI controls (keyboard,
knobs, faders, etc.) will be set up as a Keyboard. The
sound module will be set up as an Instrument.
1 From the Setup area in the Start page, you can also
set up your external MIDI devices.
2 Before we set up a new Song for recording, let’s
take a moment to configure external devices.
Connect the
MIDI Out of
your external
MIDI control-
ler to the
MIDI In of the
MIDI-S/PDIF breakout cable that came with your
FireStudio Mobile. Make sure the breakout cable is
securely connected to your FireStudio Mobile.
3 Click on the Configure External Devices link in the
Setup area on the Start page to launch the External
Devices window.
Click the Add button.

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Setting Up an External MIDI Keyboard
Controller From the Start Page: (continued):
4 The Add Device window will launch.
From the menu on the left, select“New Keyboard.”
At this point, you can customize the name of your
keyboard by entering the manufacturer and device
names.
Specify which MIDI channels will be used to
communicate with this keyboard. For most purposes,
you should select all MIDI channels. If you are unsure
of which MIDI channels to select, we suggest you
select all 16.
5 In the Receive From drop-down menu, select the
MIDI interface input from which Studio One Artist
will receive MIDI data. In this case, choose“Mobile 2
MIDI.”
In the Send To drop-down menu, select the MIDI
interface output from which Studio One Artist
will send MIDI data to your keyboard (also labeled
“Mobile 2 MIDI”). If your keyboard controller does
not need to receive MIDI data from Studio One (say,
for moving motorized faders and the like), you can
leave this unselected. If your keyboard does need
to receive MIDI date, you must connect a MIDI cable
from the MIDI output of the MIDI breakout cable to
the MIDI input of the keyboard.
6 If this is the only keyboard that you will use to
control the virtual instruments and your external
synthesizers in Studio One Artist, you should check
the box next to Default Instrument Input. This will
automatically assign your keyboard to control all
MIDI devices in Studio One Artist.
Click OK.
If you have a sound module you’d like to connect,
leave the External Devices window open and
proceed to the next part of this section. If not, you
can close this window and skip to Section 2.1.4.
Setting Up an External MIDI Sound Module
Controller From the Start Page:
MIDI instrument controllers (keyboards, MIDI
guitars, etc.) send musical information in the form
of MIDI data to tone modules, which respond by
generating sound, as instructed. Tone modules can
be standalone sound devices or can be integrated
into a controller, as with a keyboard synthesizer.
Studio One Artist refers to all tone generators
as Instruments. Once you have set up your MIDI
keyboard controller, take a moment to configure
your sound module.
1 Connect the MIDI In of your external sound
module to the MIDI Out of the MIDI-S/PDIF
breakout cable
that came with your FireStudio Mobile. Make sure
the break-
out cable is
securely
connected
to your
FireStudio
Mobile.

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Setting Up an External MIDI Sound Module
Controller From the Start Page: (continued):
2 In the External Devices window, click the Add
button.
3 The Add Device window will launch.
From the menu on the left, select“New Instrument.”
At this point, you can customize the name of your
sound module by entering the manufacturer and
device names.
Specify which MIDI channels will be used to
communicate with this keyboard. For most
purposes, you should select all MIDI channels. If
you are unsure of which MIDI channels to select,
we suggest you select all 16.
4 In the Send To drop-down menu, select the MIDI-
interface output from which Studio One Artist will
send MIDI data to your sound module, in this case,
choose“Mobile 2 MIDI.”
In the Receive From drop-down menu, select the
MIDI-interface output from which Studio One Artist
will receive MIDI data from your sound module
(also labeled“Mobile 2 MIDI”). In most cases, your
sound module will not need to send information to
Studio One, so you can leave this unspecified.
Click OK and close the External Devices window.
You are now ready to start recording in Studio
One Artist. Sections 2.2.5 through 2.26 will go over
how to set up a Song and will discuss some general
workflow tips for navigating through the Studio One
Artist enviroment.
2.2.4 Configuring Audio I/O
Now that you’ve configured your MIDI devices, let’s
create a new Song and set up your default Audio I/O.
Creating a New Song: Setting Up Default Audio I/O
1 From the Start page, select“Create a new Song.”
2 In the browser window, name your Song and choose
the directory in which you’d like it saved.You’ll
notice a list of templates on the left. The FireStudio
Mobile template will create a Song with a track for
each of the available inputs. Every track is armed for
recording, and no further setup is required. Simply
select this template and click“OK.”
The rest of this section will guide you through
creating a Song from an empty session.
3 To begin a new Song, select“Empty Song”from the
Templates list. At this point, you should give your
Song a name and select your preferred sample rate
and bit depth.You can also determine the length of
your Song and the time format you would like to use
(Notation Bars, Seconds, Samples, or Frames). Click
the OK button when you are finished.
If you plan on importing loops into your Song, you
may want to select“Stretch Audio Loops to Song
Tempo”so that any loop of a known BPM (like those
in the included content library) will import at the
correct tempo.

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Creating a New Song:
Setting Up Default Audio I/O (continued)
4 When the Song window launches, launch the Audio
Setup window by going to File|Options… (PC) or
Studio One|Preferences (Mac), and click on the
Audio Setup button.
5 Click on the Song Setup button to open the Song
Setup window, then click on the on the Audio I/O
Setup icon.
6 Click on the Inputs tab in the Audio I/O Setup
window, and you will see all of the available inputs
on your FireStudio Mobile. At this time, you can add
the number and type of inputs you plan to use. We
recommend that you create a mono input for each
of the ten inputs on your FireStudio Mobile. If you
plan on recording in stereo, you should also create
a stereo bus and assign it to the appropriate set of
inputs.You can remove any bus by simply selecting
it and clicking the Remove button. To customize the
names of your buses, double-click on the default
name to open a text box. When you have finished
typing, hit Enter.
If you would like the same inputs to be available
every time you launch Studio One Artist, click the
Make Default button.
7 Click on the Outputs tab, and you will see all of the
available outputs on your FireStudio Mobile. At this
time, you can add the number of output buses to
which you would like to have access and can give
them custom names.
In the lower right corner, you will see the Audition
select menu. This allows you to choose the ouput
from which you will audition audio files prior to
importing them into Studio One Artist. In general,
you will want this to be the Main Out bus.
If you would like this output configuration
available every time you launch Studio One Artist,
click the Make Default button.
TIP: If you would like to hear the Main Mix in Studio
One Artist in both your Main Outputs and your
Headphone ouputs, create a stereo bus for you
Headphone outputs and enable Cue Mix. More
information on Cue Mix can be found in Section 2.2.6.
2.2.5 Creating a Song
Now that you’ve configured your MIDI and Audio
I/O and created a new Song, let’s go through some
of the basics of Studio One Artist so that you can
start recording!
Creating AudioTracks
In the upper left corner of the Arrange window,
you will notice several buttons. The middle button
is the Add Tracks button. Click this button to bring
up the Add Tracks window.

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Creating AudioTracks (continued)
In the Add Tracks window, you can select the
number and type of Tracks you’d like to create
(Mono Audio, Stereo Audio, Instrument, or
Automation) and can customize the name and the
color.
Once you have added your Tracks, you can assign
the input by simply clicking on the input to which
a Track is currently assigned. This will bring up your
inputs list.You can also access the Audio I/O Setup
from here.
If you would like to add a Track for each of the
available inputs and have the routing automatically
assigned, simply go to Track|Add Tracks for All
Inputs.
To begin recording, create an audio track, assign
it to Input 1, and connect a microphone or
instrument to Channel 1 on the front panel of
the FireStudio Mobile. Select Record Enable and
Monitor on your track in Studio One Artist. Turn up
the Channel 1 gain knob on the front panel of the
FireStudio Mobile while speaking or singing into
the microphone or while playing your instrument.
You should see the input meter in Studio One
Artist react to the input signal. Adjust the gain so
that the input level is near its maximum without
clipping.
Connect a set of headphones to the FireStudio
Mobile headphone output.You may also wish to
connect monitors to the FireStudio Mobile’s Main
Outs.You are now ready to record. For complete
instructions, please consult the Studio One
Reference Manual, which is located on your Studio
One Artist Installation DVD.
Creating MIDITracks
Click on the Add Tracks button. When the Add
Tracks window launches, select Instrument as the
Track Format and click the OK button.
To assign your MIDI input, click on the MIDI Inputs
list and select your external sound module.
If you have added Virtual Inputs to your session,
you will also see them as available inputs.
If you selected your MIDI keyboard controller as
the default keyboard, it will already be selected.
If not, choose your MIDI controller from Output
menu directly below.
To the left of the Add Track button, you will find
the Inspector button. Click it to display more
parameters for the selected track.
At the bottom of the Inspector menu, you will see
your Bank and Program selections. From here, you
can remotely change the patch on your sound
module.
Please Note: MIDI data does not contain audio
signals. To hear your sound module, you must
connect the audio output of the sound module
to a FireStudio Mobile audio input, then connect
the FireStudio Mobile’s audio outputs to a sound
system. (You also can listen on headphones, using
the FireStudio Mobile’s headphone output.) When
you are ready to mix your Song, you must convert
the recorded MIDI data to an audio waveform by
recording a new audio track.

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AddingVirtual Instruments and
Plug-in Effects toYour Song
You can add plug-ins and Instruments to your Song
by dragging-and-dropping from the browser.You
can also drag an effect or group of effects from
one channel to another, drag in customized effects
chains, and instantly load your favorite virtual-
instrument patch without ever scrolling through a
menu.
In the lower right corner of the Arrange window are
three buttons. The Edit button opens or closes the
Audio editor or the MIDI piano-roll editor, depending
on what type of track is selected. The Mix button
opens and closes the mixer window.
The Browse button opens the Browser window,
which displays all of the available virtual instruments,
plug-in effects, audio files, and MIDI files, as well
as the pool of audio files loaded into the current
session.
To add a virtual instrument to your session, click
the Browse and Instrument buttons to open the
Instrument Browser. Select the instrument or one
of its patches from the Instrument Browser and
drag it into the Arrange view. Studio One Artist
will automatically create a new track and load the
Instrument as the input.
To add a plug-in effect to a track, click the Effects
button and select it or one of its presets in the
Effects Browser, then drag it over the track to which
you would like to add it.
Audio and MIDI files can also be quickly located,
auditioned, and imported into your Song by
dragging them from the File Browser into the
Arrange view. If you drag the file to an empty
space, a new track will be created with that file
placed at the position to which you dragged it. If
you drag the file to an existing track, the file will be
placed as a new part on the track.
.
2.2.6 Cue Mix and the FireStudio Mobile
In Studio One Artist, it is possible to quickly and
easily create multiple cue mixes. A cue mix is
separate from the main mix and is usually provided
to musicians for monitoring purposes during
recording.
For instance, when recording vocals, the engineer
and vocalist will probably want to hear different
mixes. Most vocalists want to hear more of their
vocals in the mix, possibly with some reverb to
make it sound natural, while the engineer might
focus on how the performance balances with
the rest of the mix. Together, Studio One and a
FireStudio Mobile make this simple.

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Creating a Cue Mix
1 You can create a Cue Mix and send it to any output
on your FireStudio Mobile.You simply need to create
an output bus and enable Cue Mix. To begin, create
a new Song, open the Song|Song Setup.
2 Click on the Audio I/O Setup icon, switch to the Out-
puts tab, and add a new Stereo Output channel.
3 Specify that this output is a cue-mix output by
clicking on the channel’s Cue Mix checkbox.You can
create a cue mix for any or all of your FireStudio Mo-
bile’s available stereo outputs (Mains, Headphones,
and S/PDIF).You can customize each Cue Mix name
by double-clicking on the default name.
When you are finished, click“Apply”and then“OK”to
exit.
The Cue Mix Object
Once you have created a Cue Mix output, you will
notice a special Send object in the channels of the
Console. This Send object is called a Cue Mix object.
In the Small Console view, Cue Mix objects appear in
the far left column of the extended channel. In the
Large Console view, Cue Mix objects appear below
the Send device rack on each channel.
Activate Button Sends a Channel to the Cue Mix
To completely remove any channel from a cue
mix, simply deactivate the Cue Mix object for that
channel.
Horizontal Level Fader Sets the Volume of the Channel for the Cue Mix
By default this level will be identical to the level set
on the channel’s fader. Once you move the Cue Mix
level fader, the volume of that channel in the Cue
Mix will be independent of the main mix or any
other Cue Mix in the session.
Horizontal Pan Fader Sets the Pan Position of the Channel
for the Cue Mix
By default, the pan position will be identical to the
position set in the main mix. Once you change the
pan position in the Cue Mix, the panning for that
channel will be independent of the main mix or
any other Cue Mix in the session.
Lock to Channel Button Locks the Volume and Panning in the Cue Mix
Object to the Levels Set in the Main Mix
By default, the Lock to Channel button is enabled,
and level and pan values are locked to the Channel
level and pan faders. This means that each cue mix
will be identical to the main mix in the Console.
Changing the level or panning in the main mix
will change the level or panning in the cue mix.
However, changing the level or panning in the
Cue Mix object will unlock both settings, allowing
independent control of level and panning for
each channel in each cue mix. Thus, the level
and panning for channels in a cue mix can be
completely different from the related level and pan

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2.3 Sample Hookup Diagrams Sample Hookup Diagrams 2.3/
in the main mix. At any time, you can lock the cue-
mix level and pan back to the channel settings by
clicking on the Lock to Channel button.
Zero-Latency Switch Enables Zero-Latency Monitoring for
FireStudio Mobile Inputs
Cue mixes are normally used in a recording
situation in which one or more live inputs need
to be monitored. FireStudio interfaces feature
internal hardware mixers that provide zero-latency
monitoring via the device window in the Universal
Control. While these mixers are easy to use, Studio
One makes it even easier by allowing you to control
the mixers from within the software. Using this
feature only involves clicking just this one button.
You will notice that when Studio One Artist launches,
the Device button on your Universal Control Launch
window reads“Studio One has control.”Any routing
that you would normally do in your Device window,
you can do in Studio One via the cue mix. For more
information on the Universal Control and the
Device Window, please see Section 3.1. Because
of FireWire streaming limitations, cue-mix zero-
latency monitoring is not available when daisy-
chaining multiple FireStudio-family interfaces.
The Main Output as a Cue Mix
It is possible to designate the main output in Audio
I/O Setup as a cue mix. This is helpful if you often
record yourself and require quick access to zero-
latency monitoring for live inputs. When the main
output is designated as a cue mix, a Zero Latency
button will appear on any audio channel with an
assigned audio input in the Console, below the
Mute, Solo, Record, and Monitor buttons.
With the Zero Latency button and Monitor Enable
both engaged, you will hear the live zero-latency
input straight from your FireStudio Mobile (as
opposed to through software). As such, you will
no longer hear the effects of any inserts on the
channel. However, you will still hear the result of
any sends on the channel, as Bus and FX Channels
will still output normally.

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Hookup Diagrams 2.32.3 Hookup Diagrams
2.3 SAMPLE HOOKUP DIAGRAMS
The FireStudio Mobile enables you to simultaneously
record and play back up to ten channels.You can
plug two microphones directly into the FireStudio
Mobile’s two preamplifiers and can use the line-
level inputs to connect external microphone
preamplifiers, such as the PreSonus BlueTube DP,
Studio Channel, Eureka, or ADL 600. These line
inputs can also be used to connect synthesizers,
amp-modeling hardware, etc. External analog-to-
digital converters can connect to the S/PDIF inputs.
This makes recording extremely easy. All you need
are microphones, cables, and monitor speakers.
2.3.1 FireStudio Mobile Basic Setup
Cables and Connectors:
• 1 XLR (M) -XLR (F) (mic cable)
• 1 FireWire 400 (computer cable)
• 1 TS - TS (guitar cable)
• 2 TRS - XLR (M)
2.3.2 Using the FireStudio Mobile with an External Preamp
and Monitoring System
• 1 XLR (M) -XLR (F) (mic cable)
• 6 TRS - TRS
• 3 TS - TS (guitar cable)
• 1 TRS - XLR (F)
TRS-TRS
TS-TS
XLR(M)-XLR(F)
TRS-TRS
TRS-TRS
TRS-TRS
TRS -TRS
TRS -TRS
TRS - XLR (M)
TRS - XLR (M)
TS-TS
TRS-XLR(F)
FW400
Lead Vocal
Guitar Processor
Guitar with Mic’d Cabinet
Bass
Computer with FireWire
Synth or Controller
PreSonus Studio Channel
Active Monitor Speakers
F)
LLLLL d
Monitor Station
Back Panel
PreSonus Monitor Station
TS-TS
Bass
• 2 TRS - XLR (M)
• 1 FireWire 400
(computer cable)
TS-TS
XLR(M)-XLR(F)
TRS-XLR(M)
TRS-XLR(M)
FW400
Microphone
Guitar
Headphones
Computer with FireWire Active Monitor Speakers

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Hookup Diagrams 2.32.3 Hookup Diagrams
2.3.2 Recording a Full Band withTwo FireStudio Mobiles,
External Multichannel Preamp, and Headphone
Distribution Amplifier
• 2 FireWire cables
• 14 TRS - TRS cables
• 8 XLR (M) - XLR (F) cables
• 2 TS - TS cables
• 1 TRS - XLR (M)
XLR (M) - XLR (F)
XLR (M) - XLR (F) x 6
(or snake)
XLR(M)-XLR(F)
TRS -TRS x 6
TRS -TRS
TRS -TRS
TRS -TRS
TS -TS
TRS -TRS x 2
TRS -TRS
TRS-TRSx2
TRS-XLR(M)
FW400FW400
Lead Vocal
Guitar
Processor
Guitar with Mic’d Cabinet
Bass
Computer with FireWire Synth or Controller
PreSonus Studio Channel
HP60 Back Panel
Mic’d Drum Kit
DigiMax™ D8
Back Panel
PreSonus HP60 Headphone Mixing System Front Panel
PreSonus DigiMax™ D8 8-Channel Mic Preamplifier Front Panel
FireStudio Mobile 1
FireStudio Mobile 2
FireStudio Mobile 1 Back Panel
FireStudio Mobile 2 Back Panel
Drum Kit
d Vocal
TS-TS
ass
sor

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CONTROLS CONNECTIONS 3Owner’s Manual
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Software 3.13.1 Software
CONTROLS CONNECTIONS
3.1 Software
Like all members of the FireStudio family of
interfaces, the FireStudio Mobile is compatible with
Universal Control. Universal Control is a powerful,
flexible, and easy-to-use control-panel application
for creating mulitple mixes from your input and
output signals for each of your FireStudio Mobile’s
output pairs (mains, headphone, and S/PDIF). This
application also allows you to daisy-chain FireStudio-
family interfaces. The FireStudio Mobile can be
connected to up to 3 other FireStudio-family devices
for a total of up to 52 inputs and outputs.
Universal Control consists of the Launch window and
the Device window.
In the Launch window, you can set basic parameters
such as sample rate, clock source, and buffer size.
The Device window of the FireStudio Mobile is the
FireStudio Mobile Mixer. The Mixer section of the
Universal Control Panel was designed to look and
feel like a hardware mixer, so most of the features
may already be familiar to you. From this mixer,
you can create a zero-latency mix for each output
and can route playback streams from your host
application.
3.1.1 Universal Control Application Icon
If you are using Microsoft Windows, once you
have successfully installed your FireStudio Mobile,
the Universal Control will be available from the
Notification Area of your taskbar (typically at the
bottom right corner of your screen, near the clock).
The Universal Control icon is red when your
FireStudio Mobile is disconnected or not installed
and blue when the FireStudio Mobile is connected
and properly installed.
Open the Universal Control by double-clicking
the blue Universal Control icon or by right-clicking
the icon and selecting“Open PreSonus Universal
Control.”
Right-click the Universal Control icon and select
“Quit”to exit the Universal Control application
and remove it from your taskbar. The Universal
Control application can also be accessed from the
PreSonus folder in the Start Menu.
Mac OS X users will find the Universal Control
application in the Applications folder. We
recommend that you move it to your Dock for easy
access.

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3.1 Software Software 3.1
3.1.2 LaunchWindow
From the Launch Window, you can set all the basic
controls for your FireStudio Mobile.
Sample Rate Selector Changes FireStudio Mobile Sample Rate
You can set the sample rate to 44.1, 48, 88.2, or 96
kHz. A higher sample rate will increase the fidelity
of the recording but will increase the file size and
the amount of system resources necessary to
process the audio.
Buffer Size Selector Changes the FireStudio Mobile Buffer Size
(Windows PCs Only)
You can set the buffer size from 64 to 4,096
samples. The buffer size determines the latency,
which is the roundtrip time it takes audio data to
be converted from analog to digital and back to
analog. As a general rule, the higher the buffer
size, the better the system performance, but
the less playable virtual instruments become. In
general, 512 samples (11 to 12 milliseconds) will
provide you with a buffer that is large enough for
optimum system performance, but small enough
to be unobtrusive.You should set your buffer
size and sample rate prior to launching your host
applciation.
On Macintosh, the buffer size is set from inside
your host application.
Operation Mode Changes HowThe FireStudio Mobile Driver’s
Buffer Size Is Set
• Normal Mode. Input and Output buffers are both
identical to the Buffer Size setting.
• Safe Modes 1-3 increases the Output buffer size
for added stability.
Clocksource Changes Clock Source For the FireStudio Mobile
The clock-source setting will determine the device
from which the FireStudio Mobile is receiving
word-clock information. This keeps the FireStudio
Mobile in sync with other digital devices.You can
choose between Internal or S/PDIF.
In general, you will want the FireStudio Mobile to
be your master clock, in which case you should
set the clock to“Internal.”This setting also means
that your FireStudio Mobile is generating word
clock and sending this information out of its digital
outputs.
If you want the FireStudio Mobile to receive
sync from an external device, choose S/PDIF. The
FireStudio Mobile’s sync light will flash from blue to
red. When the FireStudio Mobile is in sync, the light
will be blue.
Please note: When slaved to an external clock, the
FireStudio Mobile will not automatically change its
sample rate to match the external clock. As a result, it
may fail to sync to the clock source. If your FireStudio
Mobile is not syncing to an external source, make
sure that both your master device and the FireStudio
Mobile are set to the same sample rate.

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DeviceWindow Button Opens the Device Window.
Click on this button to open the FireStudio Mobile
Mixer.
To give your FireStudio Mobile a custom name,
double-click on the default label (FireStudio Mobile)
to open a text field. When you have finished entering
your custom name, hit the Enter key.
File Menu Opens and Closes Launch and Device Windows.
From the File menu of the Launch Window, you can
open and close both windows, as well as quit the
Universal Control application.
• Close Window Closes just the Launch window.
• Show All Devices Opens the Device window for all
of the connected FireStudio-family interfaces.
• Close All Devices Closes the Device window for all
of the connected FireStudio-family interfaces.
• Quit Quits the Universal Control application.
Settings: Check Firmware Automatically ScansYour FireStudio Mobile and
Updates the Firmware.
A firmware updater is built into the Universal
Control application. Periodically, a driver update
will require that the firmware on your FireStudio
Mobile be updated. Whenever you install an update
for the Universal Control or add a new FireStudio-
family product to your system, you should use this
feature to ensure that the firmware is up to date.
If the firmware needs to be updated, the update
application will launch automatically.
Settings: Run at Startup Launches the Universal Control Application
Automatically on Startup (Windows PCs Only).
When this is enabled, the Universal Control
application will automatically launch each time
you boot your Windows PC.
Settings: Meter Style Provides Options for Metering in the Device
Window.
From the Launch window, you can determine how
your inputs and DAW streams are metered in the
Device window.
• Post-Fader. Displays the metering for any signal
after it has been boosted or attenuated by the
channel fader. By default, all metering is pre-
fader position.
• Peak Hold. When this is enabled, the clip
indicator on any given channel will remain
illuminated until manually cleared, even if the
signal is no longer clipping. This is enabled by
default.
Settings Meter Decay Sets the ResponseTime for the Meters in the
Device Window.
The Universal Control gives you the option to set
the response time for the meters in the Device
window. By default, this is set to Normal. Enable
Slow Meter Decay for more accurately meter the
peaks and falls of the signal. Enable Fast Metering
to monitor your signal in real time.

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Settings: Always OnTop Allows the Launch Window to Stay in View When
Other Applications Are in Use.
When this is enabled, the Launch window will
remain in the foreground when other applications
are active, rather than being in the background
behind the current application’s window.
3.1.3 WDM Settings (PC only)
Like the rest of the FireStudio family of interfaces, the
FireStudio Mobile features advanced WDM features
that enhance its use as an audio interface. In the
Settings menu of the Launch window, you will find
the WDM Setup option. From here you can configure
your WDM input and output streams.
1 In the Launcher window, go to Settings|WDM Setup.
2 The WDM Channel Mapper window will open. By
default, WDM Outputs 1 and 2 are routed to the
FireStudio Mobile main outputs. To change the de-
fault routing, simply select WDM Output 1 and 2 and
drag them to your preferred output pair.
3.1.4 The DeviceWindow: FireStudio Mobile Mixer
The FireStudio Mobile’s Device window allows you
to create three stereo monitor mixes.The mixes can
be renamed and saved.You can also rename your
inputs and playback streams.
These mixes have no effect on what is being
recorded in your host application. This has obvious
advantages. However, it is vital to remember
that lowering the fader in the Device window
on a channel strip that is clipping will not lower
the signal that may also be clipping in your host
application.You must set the level for the recording
using the gain knobs on the face of the FireStudio
Mobile. If your signal is too hot in your DAW, lower
them with these gain controls.
A quick note on playback streams: Wherever you
see “DAW” in the FireStudio Mobile Device window,
this is a playback stream from your host application
(or DAW). Traditionally, if you want to route a track in
your DAW to a physical output on your interface, you
assign this output in your host application. Because
the FireStudio Mobile Device window provides much
more flexible routing, you can now route this same
track to one output or every output, by itself or as part
of a mix.

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Output Select Section
Output Select Buttons Changes the Output MixerThat is Displayed.
The FireStudio Mobile mixer has three output mixes,
one for each of the FireStudio Mobile’s three stereo
outputs: mains, headphones, and S/PDIF.
Mixer On / Off Button Enables or Disables the Associated Output’s Mixer.
When the Mixer On button is illuminated blue, you
will be able to create a zero-latency mix for that
output. When the button is off, the DAW streams for
that output will be patched directly to the output.
Post-Fader Output Meters Displays the Output Level of Each Stereo Pair.
These meter post-fader levels, which means they
represent the actual audio output levels of your
FireStudio Mobile.
Master Output Section
Master Output Fader Changes the Selected Output’s Audio Level.
Move the Master Fader up and down to increase
and decrease the level of the selected output’s
audio.
The amount of boost or attenuation, measured in
decibels, is displayed below the Channel Fader. The
range is from –∞to 0 dB.
Two virtual LED meters to the right of the Master
Fader display the pre-fader levels of the audio
signal.
The peak value in dBFS of the channel’s audio
is displayed directly above the Master Output’s
virtual LED meter.
NOTE: If the peak values display “CLIP,” then your
mixer channels and/or your DAW playback levels
should be reduced. The clip indicators clear when the
mouse pointer hovers over them.
Master Mute and Solo Clear
Clears All Active Channel Mutes or Solos.
The Master Mute and Solo Clear buttons are only
active when a channel’s mute or solo button is
active.

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Mixer Section
Channel Pan Sliders Moves the Channel’s Audio Left/Right
in the Stereo Field.
Double-clicking the slider returns the pan to center.
Link Buttons Links the Adjacent Channels as a Stereo Pair.
When channels are linked, changing either channel’s
level changes both channels’levels, and the signals
are panned hard left and right.
Channel Faders Changes the Channel’s Audio Level.
Move the channel fader up and down to increase
and decrease the channel’s audio level.
The amount of boost or attenuation, measured in
decibels, is displayed below the Channel Fader. The
range is from –∞to +6 dB.
A virtual LED meter to the right of each fader
displays the postfader level of the channel’s audio.
The peak value, in dBFS, of the channel’s audio level
is displayed directly above each channel’s virtual LED
meter.
Channel Mutes and Solos Adds the Channel to the Mute or Solo Bus.
Muting a channel silences the channel’s audio.
Soloing a channel mutes all other unsoloed
channels.
Input Selectors Changes the Source of the FireStudio Mobile
Mixer Channels.
• Choosing“No Input”will hide the channel.
• “Inputs”are your hardware inputs (Mic, Inst, Line,
and S/PDIF).
• “Playback”are your software DAW outputs.

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3.2 Front-Panel Layout Front-Panel Layout 3.2
3.2 Front-Panel Layout
Microphone Preamplifier.Your FireStudio Mobile
is equipped with two PreSonus XMAX microphone
preamplifiers that accept signals from all types of
microphones, as well as instrument-level signals
such as the output of an electric guitar. The PreSonus
preamplifier design employs a Class A input gain
stage. This arrangement results in ultra-low noise
and wide gain control, allowing the FireStudio
Mobile user to boost desirable signal without
increasing unwanted background noise.
• +14 dBu Headroom. The FireStudio Mobile
microphone preamplifier has +14 dBu of
headroom. This gives you wide dynamic range and
excellent transient-response characteristics.
• Combo Connectors. Each channel of the FireStudio
Mobile has a Combo mic/line jack that accepts
either ¼”phone or XLR plugs.
Instrument Inputs (Channels 1 and 2). The ¼ TS
connector on Channels 1 and 2 are for use with an
instrument (guitar, bass, etc.). When an instrument is
plugged into the ¼ input, a high impedance input
buffer is switched into the preamp circuit and the
FireStudio Mobile becomes an active instrument
preamplifier.
NOTE: Don’t plug a line-level source into the input
jacks of Channels 1 or 2. Active instruments have an
internal preamp and a line-level output and should
be plugged into a line-level input on the rear of the
FireStudio Mobile, not into a front-panel instrument
input. Plugging line-level sources into the instrument
inputs risks damage to the inputs and can result in a
very loud and often distorted audio signal.
LED Meters/Clip Indicator. Channels 1 and 2
feature 3-LED level indicators. The green LED will
light up when an input signal from the XLR (Mic
input) or ¼”(Instrument input) reaches -40 dBFS
(-30 dBu). The yellow LED will light up when the
channel’s input signal reaches -6 dBFS (+4 dBu).
The red clip indicator LED will illuminate when
the channel’s input signal reaches 0 dBFS (+10
dBu). At this level, the signal will begin to overload
the converters and exhibit signs of clipping,
an undesirable type of distortion. Use the gain
controls to keep the signal below 0 dBFS.
48 Volt Phantom Power. The FireStudio Mobile
has 48V phantom power, available via a single
button switch on the front panel. Phantom power
is available whether your FireStudio Mobile is
powered by the FireWire bus or by its external
power supply.
• XLR-connector wiring for phantom power:
• Pin 1 = GND
• Pin 2 = +48V
• Pin 3 = +48V

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3.2 Front-Panel Layout Front-Panel Layout 3.2
Input Gain/Trim Controls. These knobs provide the
following gain structure:
• XLR Microphone Inputs. 80 dB of variable gain (–10
dB to +70 dB)
• TS ¼ Instrument Instrument/Hi-Z Inputs. 80 dB of
variable gain (-30 dB to +50 dB)
Main. The Main knob controls the output level for
the main outputs on the back of the FireStudio
Mobile and have a range of –80 dB to 0 dB.
Phones. The Phones knob controls the output level
of the headphone output on the front of the unit.
Notice that the volume indicator goes to 11; use this
setting with extreme caution.
¼ Headphone Jack. This is where you connect your
headphones to the FireStudio Mobile.
Red-Blue Power/Sync Light. This light is a power
and clock source (sync) indicator. It lets you know
whether your unit is receiving adequate power and
is correctly receiving word clock. Word clock is the
timing signal with which digital devices sync frame
rates. Proper word-clock sync prevents digital
devices from having pops, clicks, and distortion in
the audio signal due to mismatched digital audio
transmission.
• Blue. FireStudio Mobile is correctly synced via
FireWire or external S/PDIF.
• Flashing Red and Blue. Sync is invalid or not
present.

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3.3 Back-Panel Layout Back-Panel Layout 3.3
3.3 Back-Panel Layout
Power Adapter Input. This is where you plug in
the proprietary power supply. If your computer
has a standard IEEE 1394 6-pin connection, your
FireStudio Mobile can be bus-powered (from the
computer).
If you are using a computer with a 4-pin
connection, or if you need to daisy-chain another
bus-powered device from your FireStudio Mobile,
then your FireStudio Mobile might not receive
adequate power. When you plug in the power
supply to your FireStudio Mobile, the unit will
choose its power from the stronger source—the
FireWire bus or the external supply—and will
automatically switch to the best option.
FireWire Ports. There are two standard 6-pin
FireWire ports on the back of the FireStudio Mobile.
Either (and only one) should be used to connect
your FireStudio Mobile to a FireWire port on your
computer. If your computer has a 4-pin connector
(commonly found on laptops), you will need a
4-to-6-pin adapter to connect your FireStudio
Mobile to your computer. Four-pin connections do
not provide power to FireWire devices, so you will
need to power your FireStudio Mobile using the
included power supply.
You can use the“extra”FireWire port to connect
additional FireWire devices to you computer (such
as external hard drives) or to connect additional
FireStudio-family interfaces. Keep in mind that if
you daisy-chain multiple bus-powered devices, the
FireWire bus might not provide enough power for
your FireStudio Mobile and for other devices in the
chain.
MIDI and S/PDIF Breakout-Cable Connector. This
is where you connect the breakout cable for MIDI
and S/PDIF I/O.
• MIDI stands for“Musical Instrument Digital
Interface.”However, MIDI can be used for
many things other than instruments and
sequencing. The MIDI inputs and outputs on the
breakout cable allow connection to a variety
of MIDI-equipped hardware, such as keyboard
controllers, and can be used to send and receive
MIDI Machine Control and MIDI Time Code.
Note: MIDI does not carry audio signals but is
frequently used to trigger or control an audio
source, such as a virtual instrument or hardware
synthesizer. You should ensure that MIDI data is
correctly sent and received by the appropriate
hardware or software. You may also need to route
hardware sound sources’ audio to the FireStudio
Mobile. Please consult the User’s Manual of your
MIDI devices for help with MIDI setup and usage.
• The S/PDIF standard allows transmission of two
channels of up to 24-bit, 96 kHz audio. The S/
PDIF I/O also allows the FireStudio Mobile to
send and receive word clock to external digital
devices.
You must select“S/PDIF”as the clock source

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3.3 Back Panel Layout Using Multiple FireStudio-Family Interfaces 0
and the appropriate sample rate in the FireStudio
Mobile Control Console when using the S/PDIF
input for external sync.
Main Output. This stereo TRS output derives its
source signal from the FireStudio Mobile Control
Console. This output level is attenuated by the Main
level control on the front panel of the FireStudio
Mobile.
Line Inputs. Channels 3 through 8 of your FireStudio
Mobile are line-level inputs. They are designed
to accept up to a maximum input level of +10
dBu (0 dBFS). Use these inputs to connect your
line-level devices such as synthesizers, amp-
modeling hardware, and vocoders. In general,
line-level devices have their own volume
controls. As these inputs are for line-level
signals only, there is no trim control for them on
the FireStudio Mobile. If you need to raise or
lower the volume, the adjustment should be made
from your line-level device.
ABOUT VINTAGE DEVICES: Some older and vintage
line-level devices might not provide a hot enough
signal. If this is the case, connect the device’s audio
output to a direct box’s line-level input and connect
the direct box’s XLR (mic-level) output to a microphone
input on the FireStudio Mobile.
CASCADING UNITS
4.1 Using Multiple FireStudio-Family
Interfaces
The Universal Control allows you to connect up
to four FireStudio Mobiles or to connect any
member of the FireStudio family of interfaces with
any other. Once you have installed the Universal
Control and FireStudio-family driver on your
computer, no further installation is required for any
FireStudio product to connect to your system.
PreSonus supports the connection of up to
four devices or a limit of 52 inputs and outputs
(whichever comes first) to any one system at a
time. However, the ability to use more than two
units simultaneously depends on your computer’s
specifications and optimization. If you plan to use
three or more units at the same time, installation
of a dedicated FireWire bus with a tested and
approved FireWire chipset and at least 2 GB of
RAM is highly recommended. A list of approved
chipsets can be found in Section 5.1 of this manual.
Updated lists are available at www.presonus.com.
On the following page is a diagram showing the
possible device combinations that you can use
with your FireStudio Mobile and the resulting input
and output count.

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4.1 Using Multiple FireStudio-Family Interfaces Using Multiple FireStudio-Family Interfaces 4.1
INPUTS OUTPUTS
20 8 FireStudio Mobile
+ FireStudio Mobile
+ FireStudio Project
+ FireStudioTube
+ FireStudioTube
+ FireStudio Mobile
+ FireStudio Mobile
+ FireStudio Mobile
+ FireStudio Mobile
+ FireStudioTube
+ FireStudio
+ FireStudio Mobile
+ FireStudio Mobile
+ FireStudio Mobile
+ FireStudio Mobile
+ FireStudio Mobile
+ FireStudio Mobile
+ FireStudioTube
+ FireStudioTube
+ FireStudio LightPipe
+ FireStudio Mobile
+ FireStudioTube
+ FireStudio Mobile
+ FireStudio
+ FireStudio
+ FireStudio Mobile
+ FireStudio LightPipe
How to Cascade Multiple FireStudio Interfaces:
The first time you add any FireStudio-family
interface to your system, please follow these
guidelines:
1 Go to www.presonus.com and check for the
latest version of the Universal Control applica-
tion.
2 Connect and sync each of your FireStudio-
family interfaces to your computer separately
before cascading them.
3 Once a unit is individually connected, launch
the Universal Control application. In the
Launch window, go to Settings|Check Firm-
ware and verify that each unit has the latest
firmware.
4 When the last unit
has been updated,
connect a second
unit to the auxiliary
FireWire port on the
back of the first unit.
Allow the second
unit to sync to your
computer.
5 Connect additional
units to your comput-
er in this manner, one
at a time, allowing
each to sync before
connecting another
FireStudio-family
interface.

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4.1 Using Multiple FireStudio-Family Interfaces Using Multiple FireStudio-Family Interfaces 4.1
6 Once all your units are connected and synced,
launch the Universal Control application. The indi-
vidual Device Window Buttons will be shown in the
Launch window in the order of their internal ID num-
ber. The unit with the lowest ID number will always
be at the top of the list. This unit will also be the first
set of inputs and outputs your DAW application sees.
The unit with the next-highest ID number will be the
next set, and so on. Because of this, it is important
to cascade your FireStudio interfaces in the proper
order from your computer so that you know which
input belongs to which unit.
Please Note: The order of the inputs and outputs in
your FireStudio chain cannot be altered.
If you are using two or more of the same model (e.g.,
two FireStudio Mobiles), you will need to look at
the serial number on the bottom of each unit (the
internal ID number is the same as the unit’s serial
number) and connect them to your computer from
lowest to highest.You may also wish to give each
unit a custom name. To do so, simply double-click
on the name badge on each unit’s Device Window
button to open a test box. Once you have typed the
custom name, hit the Enter key.
If you are using two or more different FireStudio
family interfaces, make sure to reconnect them
in the order that their individual Device Window
Buttons appear in the Launch window. Connecting
your units in this order will produce the best
performance and will put your inputs and outputs in
the correct order.
It is important to mention that the inputs and
outputs on each unit in the chain are independent
from one another. This means that you cannot
monitor the inputs from the first unit in the chain
through the outputs on the second unit in the chain
(and vice versa) unless you create a mix from within
your DAW application. To easily maintain zero-
latency mixing between the daisy-chained units,
dedicate a set of outputs and a set of inputs from
each device in the chain to send a receive a mix in
the Universal Control application.
4.2 Notes

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5.1 Troubleshooting Troubleshooting 5.1
5.1 Troubleshooting
Many technical issues can arise when converting a
standard computer into a digital audio workstation
(DAW). PreSonus can only provide support for issues
that directly relate to the FireStudio Mobile interface
and Studio One Artist software. It may be necessary
to contact the manufacturer of the computer,
operating system, and third-party DAW software to
obtain additional technical support. PreSonus does
not provide support for issues regarding operating
systems, additional hardware, or non-PreSonus
software. Please check our Web site, www.presonus.
com, regularly for software information and updates,
firmware updates, and technical support.You also
can get technical assistance by calling PreSonus at
225.216.7887, Monday through Friday, between the
hours of 9 a.m. and 6 p.m. Central Time. PreSonus
Technical Support can also be contacted during the
same hours via email at techsupport@presonus.com.
Pops and Clicks
Pops and clicks in your input or playback audio
are typically caused by momentary losses of
synchronization between the FireStudio Mobile and
its clock source. This can be due to a FireWire card
that is not suited for FireWire audio devices or to a
lack of CPU power or available memory. Try closing
all unnecessary programs, increasing the buffer
size in the Universal Control, and optimizing your
operating system for audio.
Pops and clicks exclusive to the digital inputs or
outputs are typically caused when the FireStudio
Mobile is not digitally synced to the external digital
device. If this is the case, ensure your FireStudio
Mobile and external digital device are properly
synced. Please consult your external device’s user
manual for details on syncing it to your FireStudio
Mobile.
Flashing Sync Light
The FireStudio Mobile’s Sync light flashes red
and blue when it is not synced. Check the
FireWire cable to ensure that it hasn’t become
disconnected. If you are using an external digital
device, and your Clock Source is set to the correct
digital input, set the sample rate in the Universal
Control to the same sample rate as that of your
master clock. If you are not using an external
device to generate word clock, open the Universal
Control and set the Clock Source to“Internal.”
Audio Dropouts
Audio dropouts can occur when the speed of your
processor cannot process the audio buffers fast
enough. Increase your buffer size in the Universal
Control and try the different Operation Modes.
No Input Signal on Channel 1 or 2
1 Check your mic cable. This should typically be an
XLR connection.
2 Make sure that the microphone does not require
phantom power. If it does, press the 48V button.
Note: Engaging phantom power will place +48V
on both Channels 1 and 2. Be sure that nothing will
be damaged by phantom power being present on
the adjacent channel.
Recommended FireWire Chipsets
The FireStudio Mobile will work with a wide range
of FireWire cards and configurations. However,
due to the plethora of FireWire chipsets currently
TECHNICAL INFORMATION

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5.1 Troubleshooting Troubleshooting 5.1
on the market, it is not possible to thoroughly test
each one for compatibility. Most users will not need
to alter their current PC configuration to use their
FireStudio Mobile. The following FireWire chipsets,
however, have been tested and approved for use
with the FireStudio Mobile:
• Agere/LSI FW323-06
• TI TSB43AB23
• VIA VT6308
• VIA VT6306 (On some older motherboards this
chipset will only support a limited number of
playback channels: 32 channels at 44.1 or 48 kHz;
16 channels at 88.2 or 96 kHz.)
These chipsets are available on a wide range of
motherboards and PCI/PCMCIA FireWire cards. Here
is a brief list of manufacturers and models of PCI
FireWire cards:
• Lucent IEEE 1394a
• Syba SD-LUD-4F
• •HP PA997A
• Eforcity PCRDFW31CON1
• Sabrent SBT-VT6306
• Micropac Technologies SBT-VT6306
• SIIG NN-400012-S8
Please note: manufacturers may change chipsets
at any time, so it is recommended to verify these
models still employ a chipset in the above list prior
to purchasing.
At the time of the publication of this manual,
PreSonus only recommends the following Express
cards:
• ADS Pyro 1394a
• StarTech EC13942
Known Incompatible Hardware
• ATI RADEON 9000/9001 IGP video chipset.
Symptoms are consistent click and pops during
audio playback. This video chipset is only found
in PC laptops and is entirely integrated as the
computer’s only video controller. PreSonus
strongly recommends that users do not purchase
a system with this chipset as there is currently no
workaround for this incompatibility.
• USB/FireWire and s400/s800 combo cards.
Symptoms usually include no audio recording/
playback, even though the device will install and
sync, and erratic audio performance. Rarely, combo
cards will prevent the device from installing or
achieving a stable sync. We recommend FireWire
cards that have S400 FireWire connections only.
• FireWire cards with NEC chipsets. Symptoms
include installation issues, erratic audio, and static
and noise.
• Motherboards with nForce4 chipsets. Symptoms
include reduced to very poor performance,
especially if using the onboard FireWire
connection. Installing a PCIe (not PCI) FW400-
only card with an approved chipset is a known
workaround but might not allow full performance.
Service and Repair
All domestic PreSonus products should be serviced
at the PreSonus factory in Baton Rouge, Louisiana.
If your FireStudio Mobile requires a repair, contact
techsupport@presonus.com to arrange for a
return-authorization number. Customers outside
the U.S. should contact their local distributor.Your
distributor’s contact information is available at
www.presonus.com.

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5.2 Specifications Specifications 5.2
5.2 Specifications
Microphone Preamp (XLR Balanced)
FrequencyResponse(+0,-0.5dB) 20Hzto50kHz
FrequencyResponse(+0/-3.0dB) 20Hzto150kHz
InputImpedance 1.6kΩ
THD+N(unwtd,1kHz@+4dBuOutput,UnityGain) 0.008%
EIN(unwtd,55dBGain,150ΩInput,20Hzto22kHz) –130dBu
S/NRatio
(UnityGain,unwtd,Ref=+4dBu,20Hzto22kHz)
101dB
CommonModeRejectionRatio(1kHz,55dBGain) 55dB
GainControlRange(±1dB) –10dBto70dB
MaximumInputlevel(UnityGain,1kHz@0.5%THD+N) +14dBu
PhantomPower(±2VDC) +48VDC
Instrument Input (¼TRS, Channels 1 2)
Type TSFemaleUnbalanced
InputImpedance 1MΩ
Line Inputs (Channels 3-8)
Type TRSFemaleBalanced
FrequencyResponse(+0,-5dB) 20Hzto50kHz
FrequencyResponse(+0/-3.0dB) 20Hzto150kHz
InputImpedance 10kΩ
THD+N(unwtd,1kHz@+4dBuOutput,UnityGain) 0.002%
S/NRation(UnityGain,unwtd,Ref=+4dBu,20Hzto
22kHz)
101dB
MaximumInputlevel(1kHz@0.5%THD+N) +10dBu
Main Outputs
Type ¼TRSImpedanceBalanced
OutputImpedance 51Ω
Headphone Output
Type ¼TRSActiveStereo
MaximumOutput 150mW/CH@60ΩLoad
FrequencyResponse 10Hz-70kHz
Digital Audio
FireWire(IEEE1394)Speed 400Mbps
ADCDynamicRange(A-wtd,48kHz) 118dB
DACDynamicRange(A-wtd,48kHz) 118dB
BitDepth 24bits
ReferenceLevelfor0dBFS +10dBu
InternalSampleFrequencySelections 44.1,48,88.2,96kHz
Clock
Jitter 20psRMS(20Hz–20kHz)
JitterAttenuation 60dB(1nsin=1psout)
Power
BusPower 6-pinFireWire400orFireWire800
PowerSupply ExternalSwitchingSupply(12VDC/1A)
Physical
Dimensions(WxHxD) 5.5x1.75x5.5/139.7mmx44.5mmx139.7mm
Weight 4.5lbs/2kg
Because we’re always making our stuff better, all specifications are subject to change without notice.
© 2010 PreSonus Audio Electronics, Inc. All Rights Reserved. PreSonus, and FireStudio are trademarks of PreSonus
Audio Electronics, Inc. Studio One is a trademark of PreSonus Software Ltd. Macintosh is a trademark of Apple,
Inc., in the U.S. and other countries. Windows is a registered trademark of Microsoft, Inc., in the U.S. and other
countries. Other product names mentioned herein may be trademarks of their respective companies. This
manual is printed in China — unless you printed it out on your home printer, in which case you could have read
the digital version on your computer and saved a tree.

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PreSonus™ FireStudio™ Mobile
67
Owner’s Manual Tasty StuffBoring Stuff
Added bonus: PreSonus’Top Secret recipe for…
Jambalaya
Ingredients:
• 5 lbs link andouille sausage
• 3 lbs boneless chicken
• 2 lbs ground beef
• 3 lbs onions (yellow or purple)
• 2 stalks of celery
• 1 lb bell peppers (green or red)
• 1 batch green onions
• 3 lbs rice
• Tony Chachere’s Cajun Seasoning
• 1 bottle chicken stock concentrate (or 3 cubes chicken
bullion)
• 1 can Rotel tomotoes with chilies, diced (regular hot)
• Tabasco sauce
Cooking Instructions:
1 In a 16 qt. pot or larger, slice link sausage and pan-fry until
brown.
2 Add ground beef and brown.
3 Do not remove from pot. Add diced onions, celery, and
bell peppers, 1 can Rotel Original diced tomatoes w/chil-
ies, 3 oz concentrate chicken stock, ½ teaspoon of Cajun
seasoning, 1 teaspoon of Tabasco hot sauce (or more…
maybe lots more).
4 Cook until onions are translucent.
5 Add chicken and cook until it turns white.
6 Add diced green onions, 1 tsp. salt, ½ gallon water and
bring to a boil.
7 Add rice and bring to a boil. Cook on high for 8 minutes,
covered, stirring every 2 minutes
8 Cook covered on low for 10 minutes, stirring only once.
9 Turn off and let sit for 30 minutes.
10 Serve and enjoy!
Serves 20
Declaration of
Conformity
Responsible Party: PreSonus Audio Electronics
Address: 7257 Florida Blvd, Baton Rouge,
LA 70806 USA
Phone: 225.216.7887
declares that ™
complies with
Part 15 of the FCC rules.
Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and;
(2) This device must accept any interference received,
including interference that may cause undesired
operation
Note: No product support is available when you call the number above. Refer
to your Certificate of Warranty in your Owner’s Manual for PreSonus’Product
Support telephone number.

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The back cover of the
FireStudio™ Mobile
Owner’s Manual
www.presonus.com
PreSonus Audio Electronics, Inc.
7257 Florida Boulevard
Baton Rouge, LA 70806 USA
820-FSM0008-B
EMC Statement:
NOTE: This equipment has been tested and found
to comply with the limits for a Class B digital device,
pursuant to part 15 of the FCC Rules. These limits are
designed to provide reasonable protection against
harmful interference in a residential installation. This
equipment generates, uses, and can radiate radio
frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful
interference to radio communications. However, there
is no guarantee that interference will not occur in a
particular installation. If this equipment does cause
harmful interference to radio or television reception,
which can be determined by turning the equipment
off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and
the receiver.
• Connect the equipment into an outlet on a circuit
different from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV
technician for help.
CAUTION: Changes or modifications to this device not
expressly approved by PreSonus Audio Electronics
could void the user’s authority to operate the
equipment under FCC rules.
This apparatus does not exceed the Class A/Class
B (whichever is applicable) limits for radio noise
emissions from digital apparatus as set out in the radio
interference regulations of the Canadian Department of
Communications.
ATTENTION — Le présent appareil numérique n’émet
pas de bruits radioélectriques dépassant las limites
applicables aux appareils numériques de class A/de
class B (selon le cas) prescrites dans le réglement sur le
brouillage radioélectrique édicté par les ministere des
communications du Canada.

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