This isn’t a joke—there really is an envelope-controlled flanger hidden inside Melodyne Essential that sounds particularly good with drums, but also works well with program material. The flanging is not your basic, boring “whoosh-whoosh-whoosh” LFO-driven flanging, but follows the amplitude envelope of the track being flanged. It’s all done with Melodyne Essential, although of course you can also do this with more advanced Melodyne versions. Here’s how simple it is to do envelope-followed flanging in Studio One.
As with any flanging effect, you can regulate the mix of the flanged and dry sounds by altering the balance of the two tracks.
Note that altering the Pitch Deviation parameter indicates an offset from the current Pitch Deviation, not an absolute value. For example if you drag down to -10 cents, release the mouse button, and click on the parameter again, the display will show 0 instead of -10. So if you drag up by +4 cents, the pitch deviation will now be at -6 cents, not +4. If you get too lost, just select all the blobs, choose the Percussion algorithm again, and Melodyne will set everything back to 0 cents after re-detecting the blobs.
And of course, I don’t expect you to believe that something this seemingly odd actually works, so check out the audio example. The first part is envelope-flanged drums, and the second part applies envelope flanging to program material from my [shameless plug] Joie de Vivre album. So next time you need envelope-controlled flanging, don’t reach for a stompbox—edit with Melodyne.
The previous tip on creating a dual-band reverb generated a fair amount of interest, so let’s do one more reverb-oriented tip before moving on to another topic.
Studio One has three different reverbs—Mixverb, Room Reverb, and OpenAIR—all of which have different attributes and personalities. I particularly like the Room Reverb for its sophisticated early reflections engine, and the OpenAIR’s wide selection of decay impulses (as well as the ability to load custom impulses I’ve made).
Until now, it never occurred to me how easy it is to create a “hybrid” reverb with the best of both worlds: using the Room Reverb solely as an early reflections engine, and the OpenAIR solely for the reverb decay. To review, reverb is a continuum—it starts with silence during the pre-delay phase when the sound first travels to hit a room’s surfaces, then morphs into early reflections as these sounds bounce around and create echoes, and finally, transforms into the reverb decay—the most complex component. Each one of these components affects the sound differently. In Studio One, these components don’t all have to be from the same reverb.
THE EARLY REFLECTIONS ENGINE
Start by inserting the Room Reverb into an FX Channel, and calling up the Default preset. Then set the Reverb Mix to 0.00 and the Dry/Wet Mix to 100%. The early reflections appear as discrete vertical lines. They’re outlined in red in the screen shot below.
If you haven’t experimented with using the Room Reverb as a reflections engine, before proceeding now would be a good time to use the following evaluation procedure and familiarize yourself with its talents.
Now that you know how to set up different early reflections sounds, let’s create the other half of our hybrid reverb.
THE REVERB DECAY
To provide the reverb decay, insert the OpenAIR reverb after the Room Reverb. Whenever you call up a new OpenAIR preset, do the following.
There are two ways to make a space for the early reflections so that they occur before the reverb tail: set an Envelope Fade-in time, an Envelope ER/LR-Xover time, or both. Because the ER/LR control is set to 1.00 there are no early reflections in the Open AIR preset, so if you set the ER/LR-Xover time to (for example) 25 ms, that basically acts like a 25 ms pre-delay for the reverb decay. This opens up a space for you to hear the early reflections before the reverb decay kicks in. If you prefer a smoother transition into the decay, increase the Envelope Fade-in time, or combine it with some ER/LR-Xover time to create a pre-delay along with a fade-in.
The OpenAIR Mix control sets the balance of the early reflections contributed by the Room Reverb and the longer decay tail contributed by the OpenAIR reverb. Choose 0% for reflections only, 100% for decay only.
There are other advantages of the hybrid reverb approach. In the OpenAIR, you can include its early reflections to supplement the ones contributed by the Room Reverb. When you call up a new preset, instead of setting the ER/LR, Predelay, Envelope Fade-In, and Envelope ER/LR-Xover to the defaults mentioned above, bypass the Room Reverb and set the Open AIR’s early reflections as desired. Then, enable the Room Reverb to add its early reflections, and tweak as necessary.
It does take a little effort to edit your sound to perfection, so save it as an FX Chain and you’ll have it any time you want it.
As the quest for expressive electronic instruments continues, many virtual instruments incorporate keyswitching to provide different articulations. A keyswitch doesn’t play an actual note, but alters what you’re playing in some manner—for example, Presence’s Viola preset dedicates the lowest five white keys (Fig. 1) to articulations like pizzicato, tremolo, and martelé.
This is very helpful—as long as you have a keyboard with enough keys. Articulations typically are on the lowest keys, so if you have a 49-key keyboard (or even a 61-note keyboard) and want to play over its full range (or use something like a two-octave keyboard for mobile applications), the only way to add articulations are as overdubs. Since the point of articulations is to allow for spontaneous expressiveness, this isn’t the best solution. An 88-note keyboard is ideal, but it may not fit in your budget, and it also might not fit physically in your studio.
Fortunately, there’s a convenient alternative: a mini-keyboard like the Korg nanoKEY2 or Akai LPK25. These typically have a street price around $60-$70, so they won’t make too big a dent in your wallet. You really don’t care about the feel or action, because all you want is switches.
Regarding setup, just make sure that both your main keyboard and the mini-keyboard are set up under External Devices—this “just works” because the instrument will listen to whatever controllers are sending in data via USB (note that keyboards with 5-pin DIN MIDI connectors require a way to merge the two outputs into a single data stream, or merging capabilities within the MIDI interface you’re using). You’ll need to drop the mini-keyboard down a few octaves to reach the keyswitch range, but aside from that, you’re covered.
To dedicate a separate track to keyswitching, call up the Add Track menu, specify the desired input, and give it a suitable name (Fig. 2). I find it more convenient not to mix articulation notes in with the musical notes because if I cut, copy, or move a passage of notes, I may accidentally edit an articulation that wasn’t supposed to be edited.
So until you have that 88-note, semi-weighted, hammer-action keyboard you’ve always dreamed about, now you have an easy way take full advantage of Presence’s built-in expressiveness—as well as any other instrument with keyswitching.
As with so many aspects of audio, the subject of compression presets polarizes people. The purists say there’s no point in having presets, because every signal is different, and the same compressor settings will sound very different on different sources. On the other hand, software comes with presets, and there are plenty of recording blogs on the web that dispense advice about typical preset settings. So who’s right?
And as with so many aspects of audio, they all are. If a preset works “out of the box,” that’s just plain luck. However, there are certain ranges of settings that work well in many cases for particular types of signals. In any case, the effects of compression are totally dependent on the input signal level anyway—if the threshold is set to -10, then signals that peak at 0 will sound very different compared to signals that peak at -10.
The most effective way to approach compression is to decide what effect you want the compression to accomplish, then adjust the compression settings accordingly. It’s also important to remember that compression isn’t just some monolithic effect that “squashes things.” For example, with kick and snare, compression can act just like a transient/decay shaper due to a drum’s rapid decay.
The usual goal for compressing kick is an even sound, yet one that doesn’t reduce punch. However, you have a great deal of latitude in deciding how to implement that goal.
The preset in Fig. 1 uses a fairly high ratio, and hard knee, to even out the highest levels. You want the compression to take hold relatively rapidly, but not take away from the punch. The best option is to start with the attack time at 0, and increase it until you hear the initial hit clearly (but don’t go past that point). Because a kick decays fast, release can be fast as well.
For transient shaping, slowing the attack time softens the attack. Raising the ratio increases the sustain somewhat, while making space for the attack (assuming an appropriate attack time). Between the attack and ratio controls, you can pretty much tailor the kick drum’s attack and sustain characteristics, as well as even out the overall sound. A higher threshold is another way to emphasize the attack, by letting the decay occur naturally. Lowering the threshold reduces the level difference between the attack and decay.
Snare responds similarly to kick, however with an acoustic drum kit, the kick is more isolated physically than the snare. As a result, compressing the snare has the potential to emphasize leakage. Fortunately, the snare is often the focus of a drum part. As a result, you can simply compress the snare, and accept that leakage is part of the deal. With individual, multitracked drums (including electronic drums) where leakage is not a problem, it’s still usually the snare and kick that get compression.
With snare, you may want to use a lower ratio (2:1 – 3:1) for a fuller snare sound. Or, increase the ratio to emphasize the attack more. Again, use the attack time to dial in the desired attack characteristics.
With both kick and snare, you’ll usually want a hard knee. However, the knee control is a fantastic way to fine-tune the attack—and once you have that dialed in, you’ll be good to go.
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’ve always appreciated Studio One’s analytics—the spectrum analyzer, the dynamic range meter in older versions and the more modern LUFS metering in Studio One 4, the K-Scale meters based on Bob Katz’s research, the strobe tuner, and the ability to stretch the faders in the Mix view when you want to couple high resolution with long fader travel. But I wonder if the Phase Meter and its companion Correlation Meter get the props they deserve, so let’s look at what this combo can do for you.
Phase Meters—Not Just for Mixdowns!
Most people consider a tool like the Phase Meter as being only for checking final mixes. However, one very useful technique is putting it in the master output bus, and soloing one track at a time (remember, you can Alt+click on a track’s Solo button for an “exclusive solo” function). This gives some insights into the phase, level, and stereo spread of individual tracks in a way that’s more revealing than just looking over panpots.
Correlation Meter Basics
In brief, the Correlation meter (the bar graph at the Phase meter’s bottom) indicates a stereo signal’s mono compatibility. This was of crucial importance when mastering for vinyl, because it could indicate if there were out-of-phase audio components in the audio that could possibly cause the stylus to jump out of its groove. These days, it’s largely a stereo world but it’s still important to check for mono compatibility—after all, when listening to speakers, you don’t have perfect stereo separation. You’ll usually monitor correlation in the master bus, but for individual tracks, it can indicate whether (for example) a signal processor is throwing a track’s left and right channels out of phase.
The Correlation meter reading spans the range between -1 (the right and left channels are completely out of phase, with no correlation) and +1 (the right and left channels are identical, and correlate completely). With most mixes, the bar graph will fluctuate between 0 and +1.
If the Phase meter displays a single vertical line, then the left and right channels are identical, and the track is mono. The Correlation bar graph meter at the bottom confirms this with its reading of 1.00, which means the left and right channels correlate completely—in other words, they aren’t just similar, but identical.
Left and Right Readings
If there’s a single, diagonal line on the L axis, that means that all the signal’s energy is concentrated in the left channel. Similarly if there’s a single, diagonal line on the R axis, then all the signal’s energy is concentrated in the right channel. If you pan a track where the left and right channels are identical (as shown by the Correlation meter displaying 1.00), then the line will move from one channel to the other.
With stereo, you’ll see an excellent visual representation of how much the signal extends into the stereo field. The vertical size indicates the level. As you pan the signal left or right, the stereo field will become narrower around the line that moves from left to right until at one extreme or the other, you’ll see only a diagonal line on the L or R axis.
Note the correlation meter is showing +0.47. This means that there’s about an equal amount of similarity between the left and right channels as there are differences, but nothing is out of phase.
Mid-Side Encoded Audio
With Mid-Side encoded audio, you’ll see amplitude around the L and R axes, as well as along the M axis. Because the L signal is the center and the R signal the sides, you’ll see a lot more level along the L axis. Also, note the Correlation meter setting of 0.00—this means that there’s no similarity between the right and left channels, which is what you’d expect with a Mid-Side encoded signal.
Binaural Pan Signal
Studio One’s Binaural Pan processor widens the stereo image so that there’s much more energy in the right and left sides than in the center; this image shows what happens when you set the widening to maximum. Compare this to the reading for stereo signals—you can see that in this case, the energy extends further out to the right and left. Furthermore, the Correlation meter shows that there are no significant similarities between the right and left channels, which is a result of the Binaural Pan processor being based on Mid-Side processing.
Here, the Correlation meter shows a negative number, which means there are out-of-phase elements within the stereo mix. Occasional negative blips aren’t a problem, but if the Correlation meter spends a substantial amount of time to the left of 0, then there’s a phase issue that will interfere with mono compatibility.
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.
As a huge fan of the DAW, Reynolds worked with us on the development of the new Studio One 4, and it’s his go-to DAW for many reasons.
“I was on Cubase for a while, and then I switched to Logic. I stayed in Logic for a long time, rather than moving to Pro Tools, because I found Logic more creative. But when I discovered Studio One I really liked it, and today it is absolutely perfect!”
“Pro Tools and Studio One are very similar, because Studio One is designed to make it very easy to convert to for Pro Tools users, who would find it a piece of cake. Where it differs is in the drag‐and‐drop workflow, which is super‐fast. You have a sidebar with all your plug‐ins listed in your folders, and you just pull a plug‐in on the channel or the bus, and it will set up the routing for you. It is designed to be super‐quick. It has also taken a leaf out of Ableton’s book, so all your samples can be previewed real‐time and will automatically loop in time. Plus it has gone next level, for example in that you can create splits of your plug‐in signals within your channels. So let’s say you have a lead vocal, and you want to do a parallel bus for it within that channel, you do the split inside the plug‐in, and this gives you a lot of control very easily. It is all very well thought‐out and the automation is fantastic, and so is the MIDI.”
Here’s more on what he has to say on Studio One. He’s basically the expert.
One more thing…. BTS’s latest release “IDOL” mixed by James, now holds the record for the biggest music video debut in YouTube’s history with over 45 million views in the first 24 hours! So that’s awesome.
Huge congrats to James and we’re so stoked for your success! Keep up with his success here.
So there you are, with your shiny new Impact XT virtual instrument. You want to populate the pads with some fun drum sounds, and although you like the included kits, you’re itching to get creative and come up with some kits of your own. Fortunately, it’s easy to use Audioloops to populate your Impact XT with a custom selection of drum sounds.
Open the Browser, and under Loops, look for files with the .audioloop suffix. The reason why .audioloop files stretch elegantly is because the loop is cut into slices, with each slice representing an individual “block” of sound—kick, snare, clap, kick and cymbal hitting at the same time, snare and high-hat hitting at the same time…whatever.
When you expand an .audioloop, you’ll see each slice listed individually. Some have only one or two slices, but others—for example, the Combo Beat loops under Electronic > Drums > Loop (Fig. 1)—are rich sources of slices.
Figure 1: The Browser’s Loop tab is loaded with slices, just waiting to be used with Impact XT to create custom kits.
Next, open up Impact XT. To audition the slices, toward the bottom of the browser turn off the loop and metronome options, select a slice, and then click on the Play > button. Click on various slices and when you hear something you like, drag it over to an Impact XT pad (Fig. 2). You won’t have to click the Play button again to audition slices until after you drag a slice over.
Figure 2: Drag slices over to Impact XT pads.
The real fun begins when you start to use Impact XT’s sound-shaping options. For example in Figure 2, one of the kick slices has been dropped in pitch, truncated, filtered, and given a new Amp decay setting to sound more like an explosion. Note that the pad’s name will be the same as the .audioloop, so if you’re using multiple slices from the same .audioloop, rename the pad to avoid confusion (right-click on the pad and choose Rename).
And remember, you’re not limited to dragging over slices from the Browser—you can split any file in the Edit window at the Bend markers, and drop those slices into Impact XT.
Sure, Impact XT comes with a lot of preset, ready-to-go kits when you just want to load something and start grooving. But you might be surprised how doing a little mixing and matching with the Browser slices can create something new and different—and each new pad sound is only a click + drag away.
Up first is Alex Medina! She’s in charge of making sure everything gets paid for here at PreSonus. She’s also in charge of baking up all kinds of tasty treats for the office. We are coworkers but we’re also her certified taste testers and let’s just say, Betty Crocker WHO?!
Here’s more on Alex and her favorite PreSonus product the Eris 3.5s!
How long have you worked for PreSonus?
What’s your official job title?
Accounts Receivable and Credit Manager.
What do you love about your job?
I love the people I work with. Also, I pretty much get to talk to everyone we do business with and its awesome when they share the latest things they are working on with our products or tell me stories about how our products made their lives easier. I enjoy checking out the youtube links they send. I get introduced to all kinds of new music.
What was the first 8 track, cassette, CD or digital download you purchased?
Salt-N-Pepa “Push It.” Odd choice maybe but I heard it in a movie and it just stuck so I downloaded it same day. Remember when ring back tones were a thing? This was totally mine.
Who’s your go to band or artist when you can’t decide on something to listen to?
When that happens I turn on Spotify and listen to the new releases. You never know what you will come across.
What’s your go to Karaoke song?
Journey, “Don’t Stop Believing.”
Everyone has a side gig, what’s yours? OR when you’re not at PreSonus, what are you up to?
I’m in the Air National Guard so sometimes I’m working there., or I’m off on some new adventure with my son. Toddlers are never boring!
What instruments do you play?
I dabble in rock band… the drums… on easy. Plus it’s color coded so…
Why did you choose the Eris 3.5s as your favorite?
They are very satisfying for the size and price. I just needed some small speakers that wouldn’t clutter my desk and these work great. Almost too well, the sound is crystal clear no matter how high I turn them up, which usually isn’t the case with speakers this size. I feel people always like to talk about the big flashy and fancy products, so I wanted to give the little guys some love too!
Anything else you want to share?
Ummm PreSonus rocks and GEAUX SAINTS! #WHODAT