We’re proud to announce that we’ve partnered with Splice to make it easier for you to backup and share your Studio One project files. Splice Studio now supports Studio One project files—meaning once you’ve downloaded the Splice Studio Desktop application, you’ll be able to automatically back up your project files, access any saved version, and collaborate with others on your tracks!
Summer may be over in the northern hemisphere, but we can still splash around. This is one of those “hiding in plain sight” kind of tips, but it’s pretty cool.
The premise: Sometimes you don’t want reverb all the time, so you kick up the send control to push something like a snare hit into the reverb for a quick reverb “splash” (anyone who’s listened to my music knows this is one of my favorite techniques). The reverb adds a dramatic emphasis to the rhythm, but is short enough that it doesn’t wear out its welcome—listen to the audio example, which demos this technique with Studio One’s Crowish Acoustic Chorus 1 drum loop.
However, although this technique is great with drums, it also works well with rhythm guitar, hand percussion, synths, you name it… even kick works well in some songs. I’m not convinced about bass, but aside from that, this has a lot of uses.
Studio One offers an easy way to produce regular splashes automatically (like on the second and fourth beats of a measure, where an emphasizing element hits). Insert X-Trem before the reverb, select 16 Steps as the “waveform,” click Sync, and choose your rhythm. The screenshot shows Beats set to 1/2 so that the reverb splash happens on 2 and 4, which in the case of the audio example, adds reverb to the snare on 2, and to the closed high-hat on 4.
And that’s pretty much it. Because the reverb is in a bus, set Mix to 100%. The 480 Hall from Halls > Medium Halls is one of my faves for this application, but hey… use whatever ’verb puts a smile on your face.
I’m not one of those people who wants to do heavy compression all the time, but I do feel bass is an exception. Mics, speakers, and rooms tend to have response anomalies in the bass range; even if you’re using bass recorded direct, compression can help even out the response for a smoother, rounder sound.
Although stereo compressors are the usual go-to for bass, I often prefer a multiband dynamics processor because it can serve simultaneously as a compressor and EQ. Typically, I’ll apply a lot of compression to the lowest band (crossover below 200 Hz or so), light compression to the low-mid bands (as well as reduce their levels in the overall mix), and medium compression to the high-mid band (from about 1.2 kHz to 6 kHz). I often turn down the level for the band above 5-6 kHz or so (there’s not a lot happening up there with bass anyway), but sometimes I’ll set a ratio below 1.0 so that the highest band turns into an expander. If there’s any hiss in the very highest band, this will help reduce it. Another advantage of using Multiband Dynamics is that you can tweak the high and low band gain parameters so that the bass fits well with the rest of the tracks.
The preset in the following screenshot gives a sound like “Tuned Thunder,” thanks to heavy compression in the lowest band. To choose a loop that’s good for demoing this sound, choose Rock > Bass > Clean, and then select 08 02 P Ransack D riff.audioloop. Insert the Multiband Dynamics processor, and start with the default preset.
As with most dynamic processing presets, the effect is highly dependent on the input level. For this preset, normalize the bass loop. Then change the L band to 125 Hz, with a ratio of 15:1, and a Low Threshold of -30 dB. Mute the LM band.
With the Multiband Dynamics processor bypassed, observe the peak value for the bass track. Now enable Multiband Dynamics, and adjust the Low band’s Gain until the peak value matches the peak value with the Multiband Dynamics bypassed-—you’ll hear a big, fat, round sound that sort of tunnels through a mix.
Now let’s go to the other extreme. A significant treble boost can help a bass hold its own against other tracks, because the ear/brain combination will fill in the lower frequencies. The next screen shot shows settings for extreme articulation so the bass really “pops,” and cuts through a track. Again, start with the default preset but set the Low band frequency to 110 Hz or so.
The only band that’s compressed is the Mid band (320 – 1.2 kHz, with parameter settings shown in the screen shot). A bit of gain for the High Mid band emphasizes pick noise and harmonics—5 dB or so seems about right—and to compensate for the extra highs, add some gain to the low band below 110 Hz. Again, about 4-5 dB seems to work well.
When adjusting the Multiband Dynamics processor, note that you can zero in on the exact effect you want for each band by using the Solo and Mute buttons on individual stages. So next time you want to both compress and equalize bass, consider using Multiband Dynamics instead—and get the best of both worlds.
This series is intended for first-time owners of the AudioBox and Studio One Artist and covers everything you will need to know to record your first song. Hit the ground running!
And when you’re ready for the Advanced course, hit up David at his website and get a discount with promo code: PRESONUS25
Watch the whole video series here:
Not sure which interface works for you? Well help you find one here!
The “pumping” effect is a cool EDM staple that also works with other intense forms of music. One of the best-known examples is Eric Prydz’s seminal EDM track from 2004, “Call on Me.” Usually, this technique requires sidechaining, but with the PreSonus Compressor sidechain filter, we’re covered. The effect works best if there are some sustaining sounds with which it can work—like cymbals for drum parts, or pads if you want to pump a non-drum track. Listen to the audio example to hear how the pumping effect alters a drum track.
To start, let’s try pumping some drums. Insert the Compressor in the track, and click on the Compressor’s Filter and Listen Filter buttons. To have the kick create the signal that provides the pumping, set the Lowcut frequency to off, and lower the Highcut filter until you hear pretty much nothing but kick. Once you’ve isolated the kick (or snare, or whatever you want to isolate), turn off Listen Filter but leave Filter on.
The control settings are quite crucial; the screenshot shows some potential initial settings, but you’ll need to edit the controls based on the source audio and the desired effect.
The effect’s depth, like any compression effect, depends on the Threshold and Ratio settings. For a pretty heavy-duty effect, set Threshold between -20 and -30 dB and Ratio around 10. You’ll want to tweak this depending on the program material, but it’s a good place to start.
Now for the pumping. Start with Attack at minimum, and set Release for the desired amount of pumping—you’ll probably want a time between 100 and 300 ms, depending on the song and the material. To restore some of the attack at the start of the pumping, increase the Attack time. Even a little bit, like 5 ms, restores most of the attack’s effect.
Finally, note that because this effect does in fact compress, you’ll probably want to add some makeup gain. And once you do, there you have it—the pumping sound.
The Shepard Tone (aka Barberpole) is an audio illusion where a tone always seems to keep rising (or falling). You may have heard it before—to build tension in music by Swedish House Mafia, Beatsystem, Data Life, and Franz Ferdinand, as the sound effect for the endless staircase in Super Mario 64, for the sound of constant acceleration for the Batpod in The Dark Knight and The Dark Knight Rises, at the end of Pink Floyd’s “Echoes” from the Meddle album, or in the soundtrack for the film Dunkirk in sections where the goal was to produce a vibe of increasing intensity. Check out the audio example, and you’ll hear how the tone just goes on forever.
Thanks to Studio One’s Tone Generator, it’s easy to produce a Shepard Tone loop—just follow the step-by-step instructions, in a song with the tempo set to 120 BPM.
This tip is for those who won’t sign off on a mix until they’ve heard it in a car. There may be a scientific reason why this is beneficial: Noise tends to mask sounds, so if one instrument you want to hear gets lost in the noise and another jumps out, try a mix that raises and lowers those levels, respectively.
The ear doesn’t discriminate level differences as accurately as pitch differences, so without noise masking a sound, the level may seem okay. But as soon as you mix in noise, an important sound may disappear. If you increase the level just a bit so you can hear it, when you remove the noise there’s a very good chance you’ll like the new level setting better. Think of this as doing something similar to compression, but without applying any actual dynamics. You’re just making sure that the levels needing parity, have parity.
Of course this doesn’t mean you want everything jumping out of the noise—those tambourine and shaker parts are probably just fine as they are. The main sounds to listen to here are vocals, leads, drums, and bass, as well as their relationship to each other.
This also doesn’t mean you should mix consistently with noise, as it will bias your hearing (and besides, it’s truly annoying). I add noise in with a mix as a last diagnostic step. If the mix has sounded fine up until then and passes this final test, I consider it ready to master. And I don’t need to go driving anywhere, either.
Just follow the steps, and you’ll be good to go.
One very cool aspect of the Tone Generator’s noise is that it’s true stereo where the left and right channels don’t correlate, so you don’t get any center channel buildup (as would happen with a mono noise signal).
As to how much noise to add, it’s kind of like maximizing. Set it 6 dB below the mix’s peaks, and you’ll hear what occupies the upper 6 dB of dynamic range. Set it 12 dB below the mix’s peaks, and you’ll hear what’s in the upper 12 dB of dynamic range. This isn’t an exact spec per se, but it provides a rough standard of comparison.
As crazy as this idea sounds, try it sometime and tweak your mix. Then turn off the noise, take a short break so your ears get acclimated back to normal hearing, and then check the mix again. I won’t be surprised if you hear an improvement!
This tip is for those of you who didn’t see my Studio One workshop at Sweetwater GearFest 2018, were turned away because of that pesky fire marshal’s rules about crowds, or who didn’t realize Studio One 4 has some pretty advanced looping capabilities—as well as the ability to trigger pitch transpositions for loops.
With Impact XT, you can load loops on pads, and then trigger them (on and off) in real time via MIDI notes. Assign each output from an Impact XT pad to a track input (in the screen shot, Track 5 is recording the output of Impact XT M4), set all the tracks to record, and you can record the results of your improvisations.
The following screen shot shows the results of recording the first part of a potential song. Note how some tracks have sounds that extend the length of the recording, while other tracks had their sounds brought in at specific times by triggering an Impact XT pad.
This by itself is pretty cool, because you can weave loops in and out to create an arrangement. The song goes longer than this, but the above shows what you’re hearing in the following audio example. Granted, it’s not much of a song—it just kinda drones on and on. But keep reading…this is just the start.
The process becomes far more interesting when you bring the chord track into play, because you can transpose the loops to create a chord progression that becomes the basis for a song. All the tracks, even the drums, were set to follow the chord track. Listen to how although some of the original loops added a fourth to the tonic, when this was synched to the chord track, all of the loops followed a tonic-to-fourth chord progression. In other words, it wasn’t just one loop adding a fourth, but the entire song transposing to the fourth. We also gained an intro; here’s the chord progression that was used.
And here’s what the chord progression sounded like after harmonic editing. The major difference is in the intro, and transposing to D to kick off the second half of each verse.
Working this way can be very inspirational because you can create a basic arrangement with loops, and then use the Chord Track to create a chord progression. Although PreSonus is careful to point out that Harmonic Editing is more for “prototyping” songs and they expect that you’ll want to replace the “scratch” parts, I’ve found that many times the scratch parts end up being keepers—and I gotta say, I love what happens when you tell drums to follow the chord track!
After a recent tip on how to extract two mono tracks from a stereo track, one of the comments asked for how to convert mono into stereo. Well, we aim to please…so here’s one option.
A common way to create stereo from mono is by duplicating the track, delaying one of the tracks compared to the other, and panning them left and right. However, this approach has two problems. First, you might not want a delay. Second, when you collapse the signal back to mono, there will likely be partial cancellation due to phase differences. The method we’ll cover here not only produces stereo imaging from a mono source, but collapses perfectly to mono. It works with pretty much any instrument, but is most effective with instruments that play chords (for example, try this on acoustic guitar—it works well).
Create two buses. One of these will become the left channel, and the other, the right channel. In your mono source track, create two pre-fader sends (one for each bus). Turn down the mono source’s fader.
Multiband Dynamics Setup
Insert a Multiband Dynamics into one of the bus inserts. Solo the bus with the Multiband Dynamics. Click on “Edit All Relative” and set the Ratio control to 1.0. This will set all bands to a ratio of 1.0, which converts the Multiband Compressor into a multiband EQ.
Play the track you want to convert to stereo. Solo each band in the Multiband Compressor, and adjust the frequency sliders to divide up the frequency response evenly over the five bands (the screen shot shows frequencies selected for dry electric guitar). Mute bands 1, 3, and 5.
Next, drag the Multiband Dynamics into the other bus’s Inserts slot. For this bus, mute bands 2 and 4 instead of bands 1, 3, and 5, then pan the two buses left and right. Now the frequency responses are equal and opposite for the two buses. Voilà! Stereo! (Note that you probably don’t want to pan the buses too far to the left and right, because the stereo effect will be unrealistically exaggerated—as in the audio example. But it does get the point across.)
We’re not done yet, though. The levels of the two buses will be fairly low because with only two or three bands, the output level will be down quite a bit. Turning up the bus faders may be sufficient to compensate, but if not, turn up the Multiband Dynamics processors’ master Gain controls (not the per-band Gain controls). Feel free to play around with the pan and Gain controls to achieve the desired sonic balance. Also, no law says you need to mute every other band. For example, you might want a bassier sound on the left by muting the three upper bands, and a brighter sound toward the right by muting the two lower bands.
Finally, note that when you toggle the master bus from stereo to mono, the sound collapses to mono without any funky phase interactions. Done!