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
12
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

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