Studio One 5.4 adds new features, enhancement, and powerful workflow improvements to Studio One 5. This is a free update for Studio One 5 users and PreSonus Sphere members. Click “Check for Updates” from Studio One’s Start Page to get it!
With Studio One 5.4, PreSonus introduces native support for M1-based Apple computers. Native mode for Studio One 5.4 offers additional CPU optimization for better overall CPU performance. To achieve optimal performance, Native mode requires all VST plug-ins, instruments, and hardware drivers to also provide Native support. To that end, nearly all PreSonus application software, plug-ins, and hardware drivers now support full native compatibility with M1-based Macs.
Studio One 5.4 introduces a new Plug-in Nap option that improves overall CPU performance by pausing processing for any plug-ins that are not currently passing audio. The status for each plug-in can be monitored in the updated Performance Monitor.
Plug-in Nap is automatically suspended when the plug-in window is opened. With this new option enabled, you can run more plug-ins in your session. Plug-in Nap does not currently support virtual instruments.
With only a single format selected, switching formats is as easy as clicking on a different format. Checking additional formats adds them to the selection. When a Publisher is selected (such as “Send to Notion,”) Studio One ensures that the default format of that publisher is part of the selection. Settings are now remembered when closing the “Export Mixdown” window. PreSonus Sphere members are able to export multiple formats simultaneously into a single PreSonus Sphere Workspace.
A new Chord display for notes from the editor has been added to the Note Editor inspector underneath the existing Input Chord display. This display has two states, depending on the context:
“Current Chord” shows the chord detected from notes at the current play position, as well as the next upcoming chord.
“Selected Chord” shows the chord detected from the current note event selection. For multiple selected notes, the chord is determined from exactly these notes (can also be an arpeggio). For a single selected note, the detection looks for overlapping notes to determine the chord.
The current chord is displayed inside the tooltip, as well as on mouseover when editing notes.
The floating Chord Display can be set to show the current chord from the Chord Track, the input chord, or the currently selected chord in the editor. When showing chords from the Chord Track, the window shows both the current and next chord, as well as a progress bar to indicate the time to the next chord change–making it a great tool for recording and performing artists, as well as teachers and students.
The Plug-in Manager in Studio One 5.4 has a new Version column so you can make sure your plug-in library is always up to date; and a new Statistics tab provides useful information.
Third-party plug-ins that fail during the Studio One launch scan are now moved to a Blocklist inside the Plug-in Manager so they don’t interfere with your session. You have the ability to manually reset the blocklist, remove individual plug-ins, or move problematic plug-ins manually to the Blocklist by simply dragging and dropping them.
Like Plug-in Nap, Studio One Mix Engine FX plug-ins from PreSonus also now use less CPU processing when channels are silent. This improvement is available for all Mix Engine FX version 1.1 or newer and is automatically active on any session using Mix Engine FX.
New in version 5.4, Autosave will wait to complete until playback is no longer in progress. In addition, Autosave now takes less time by always using cached plug-in data. The “Use cached plug-in data on save” option now affects manual Save only.
Detecting chords from audio in Studio One 5.4 now delivers more accurate results and improved timing. Chords detected from note events are now more accurate as well. The full set of chords that are available in the Chord Selector can be recognized from music parts.
This produces more consistent results when dragging chord events from the Chord Track to the arrangement and back.
The option “Ask to copy external files when saving Song…” has been renamed to “Ask to copy external files when saving Document” and now also works for Projects and Shows, as it did before for Songs: When a document is saved, a dialog offers to copy all “external” files (outside the Song/Project/Show) folder that have been added since the last save. This question only appears once for each file.
An essential file management feature—now available for all Studio One document formats!
A convenient “Remove all” option for sends is now available in the Console. Click on the drop-down arrow next to Sends to access the new command. This command can also be applied to groups of Channels simultaneously.
You can record most hands-on control changes as automation by using Control Link, which has always been one of my favorite Studio One features. However, not everything exposes its parameters to automation—so let’s explore track-to-track recording, and embed your hands-on control changes as audio.
How to Set It Up
With track-to-track recording, you record the output from a Source track into a Target track. Set the Target track’s input to the Source track (fig. 1). You’ll monitor the Source track, not the Target track. So, turn the Target track’s fader down (the input monitoring setting doesn’t matter). Select record mode for the Target track. Note that track-to-track recording is inherently a real-time process.
Of course, you’re not limited to recording the output from another track—you can record any Output, Aux Track, or Bus (but not FX Channels). As to why this is useful, I’ve found four main applications.
Hands-on control for external hardware. Although you can automate some external hardware effects parameters with MIDI, that’s not always the case. Older effects, stompboxes, and analog hardware that was intended to be set-and-forget (e.g., tube preamps whose saturation you might want to vary over time) can’t be automated. Insert Pipeline in the Source track, set up Pipeline to bring the hardware’s ins and outs into the Source track, and then you can manipulate the effect’s controls while recording the results into the Target track. If you need to make changes, re-do the recording (although you may only need to punch a section).
Capture random effects processes. Several effects have randomized functions, so they never play back audio quite the same way twice. Recording audio from a Source track with this kind of effect inserted captures the resulting randomization. If you don’t like the results, try re-recording until you have something you prefer. Note that this can also record the output from an Instrument track that includes a randomizing insert effect.
Capture touchscreen control gestures. Studio One’s multitouch effects are very touch-friendly, and touchscreen gestures can connect with automation. But sometimes, it’s great having that palette of controls right in front of you, where you can change control settings on the fly while you get into the improvisational heat of the moment. When these effects are inserted in the Source track, you can record the audio caused by the real-time touchscreen changes into the Target track.
Accommodate what you can’t automate. This is a weird use case, but it’s another example of why track-to-track recording is useful. To compare the different cab sounds in the Line 6 Helix, I wanted to record an audio example of a guitar riff while I changed the amp sim cabs. But you can’t automate cab selection, and with 41 cabs, I didn’t want to have to stop, change the cab, and re-record the next example. So, I just looped the guitar riff, recorded into the Target track, and clicked on a different cab when I wanted to record it.
There are probably other applications I haven’t considered—so if you think of any, please mention them in the Comments section!
Nathan certainly didn’t forget to bring his ATOM SQ along for this amazing songwriting excursion into the Colorado Rockies!
PreSonus, Wherever sound takes you.
Bobby Burnette of New Orleans progressive deathcore band, Wasted Creation performs a guitar playthrough of their song “Asmodeus” at River City Studio here at PreSonus HQ in Baton Rouge.
This session was tracked in Studio One Professional through the Revelator io24 audio interface. All guitar and bass tones are straight from Ampire, our guitar amplifier, cabinet, and pedal emulation plug-in. Some sounds and models featured were from the Ampire High-Density Pack expansion for Ampire.
*The original recording of “Asmodeus”, and this playthrough were both recorded, mixed, and mastered by PreSonus’ very own Product Manager, Kyle Eroche.
Here is a breakdown of the presets used in this track. Provided by the engineer of this track, Kyle Eroche.
Many people think Melodyne Essential works only with monophonic tracks. That’s true for editing notes, but it can transform polyphonic guitar playing to MIDI note data. Granted, there’s a tradeoff: no pitch bend. But for laying down pads, power chords, and the like with electric guitar, then playing them back on virtual instruments—no problem.
Finally, let’s listen to the original guitar part, and the MIDI cello part it produced. Cool, eh?
Tell us a bit more about “LA/NY”
“LA/NY” is a new song off my latest album, Outlier. It is a bit of a different direction for me, because I wanted to put forth a killer pop tune that also shined a light on my love of a fuzzy guitar solo.
Outlier is an album built on exquisite tension: like an endless push-and-pull between desire and resistance, determination and self-sabotage, the instinctive need to belong and the urge to strike out on your own. My songs were produced by Michael Shuman (Queens of the Stone Age and Mini Mansions) and it’s an album full of guitar-drenched sounds that’s wildly unpredictable and immediately magnetic.
What amp/pedals did you use for “LA/NY”?
It was all done within Studio One, using the PreSonus Ampire plug-in. Specifically, I used the Wild Drive, Demolition Drive, Equalizer and Delay pedals running into the Blackface Twin model amp paired with a 2×12 American Cabinet.
(NOTE: if you’re a PreSonus Sphere Member, you can download her exact Ampire Preset here)
How did you first discover PreSonus?
I first discovered PreSonus while working at a music shop in Austin, TX. They sold audio recording equipment from all different brands, but I noticed that PreSonus had the most intuitive software (Studio One Artist) included, as well as the best price point.
What was your first PreSonus product?
It was the Studio 1810c audio interface, but I have since upgraded to a Studio 1824c. I’ve got the FaderPort to the right of my computer keyboard. I also now have their Revelator io24 that you see me using in the video above, of course!
How long have you used Studio One?
About three years now.
What are your Top three favorite features about Studio One?
My favorite aspect of Studio One is how easy it is to use. The drag & drop aspect helps me work really quickly and efficiently. I also really love using Impact for drum sounds, Presence for sample-based instrument sounds, the Mai Tai polyphonic synthesizer, and Ampire for pedal FX and amp modeling.
Our support team is always adding new and useful information to the Knowledge base, and with the advent of native M1 support in Studio One 5.4, they’ve updated a number of articles on the matter. If you’re encountering any issues with VSTs or hardware while using Studio One 5.4 on an M1 Mac, or if you just want to optimize your computer for Studio One, you may find the following links useful.
While Studio One 5.4 can be run natively on an M1 Mac, some users may be working with third-party VSTs or hardware that are not yet native M1-compatible. In cases like these, you’re still able to switch back to running Studio One in Rosetta mode until your VSTs and hardware are updated by their manufacturers. Here’s how to do that.
This is a great FAQ-style list of helpful tips for anybody running an M1 Mac and Studio One, covering Rosetta, third-party plug-ins, Melodyne, and other pertinent compatibility issues.
The Managing CPU usage in Studio One article covers some 5.4/M1-specific topics, including using plug-in nap to prevent plug-ins from consuming CPU resources when no audio is passed through them. Users who enjoy fine-tuning their computers for maximum performance will find a ton of useful info here; this one delves deep into esoteric settings like NVRam resets and GPU switching.
There are a number of useful tuning solutions in this article for Windows users as well, including real tweaky stuff like BIOS hyperthreading settings and core parking.
Due to popular demand, we’ve added new functionality to two Retro Mix Legends Mix Engine Effects: Alpine Desk and Brit Console. This is a free update to existing owners of either (or both) plug-ins.
The #1 user request we received after releasing Alpine Desk and Brit Console was simple: more Boost!
The Boost option was originally intended to accurately recreate the grit and saturation inherent in driving the gain stages of popular consoles. Of course it makes sense that modeling clean, accurate, high-quality consoles would result in sonic artifacts that can be pretty subtle. It just turned out that Boost was too subtle for some users.
But hey, you asked for it, so we’re glad to announce: Alpine Desk and Brit Console now each have two different levels of Boost available: “on,” and “crank!” This makes the overall range of Boost available via the Drive control very wide indeed! It ranges from barely audible to… well, to borderline ridiculous.
Look, we understand that consoles aren’t stompboxes. But we also understand the impulse to throw accuracy out the window and just get loud once in a while.
Additionally, as of Studio One 5.4, Retro Mix Legends plug-ins (including Porta Cassette) feature the same performance improvements as CTC-1 and other Mix Engine Effects—their processing is selectively paused when channels aren’t processing audio—making for more efficient use of your CPU.
To update your Brit Console and/or Alpine Desk, choose “Studio One Extensions” from the drop-down menu, followed by “Check for Updates.”
If you do not already own the Retro Mix Legends Mix FX Plug-ins, you can pick them up HERE
He was introduced to Studio One via version 2 back in 2010, after being victim to a home invasion where his studio was picked apart clean. Newly-armed with a PC laptop gifted from one of his sympathetic colleagues, he went straight to Guitar Center where Studio One was sold to him on the promise that he could use familiar key commands from Logic.
After installing the software and navigating around for a day, Studio One was his primary choice moving forward. CMP had used Cubase and Pro Tools previously, so there were features that instantly felt very familiar yet noticeably improved upon. From the Zoom In/Out functions, to the streamlined bus routing and the linear drag ‘n’ drop workflow… everything in Studio One seemed to work the way he wished it would have worked in other DAWs.
CMP now brings his excitement for Studio One with him to every studio session. As a producer in the hip-hop community, he started his Craftmaster Productions YouTube Channel in 2015 to showcase his passion for Studio One, and immediately began attracting the interest of other Studio One users online.
After a year of amazing feedback and growth on the platform, he created StudioOneTutorials.com, a place where the Studio One community could come and directly request content and courses from CMP. He also offers custom templates for Studio One via CMPKits.com along with compositions for producers to sample and flip, as well as his various MIDI products.
He’s been heavily supporting Studio One for a long time, and we’re all the better for it!
Nothing is more bothersome to me than a 16th note hi-hat pattern with a constant velocity—like the following.
Audio Example 1
“Humanizing,” which usually introduces random changes, attempts to add more interest. But human drummers don’t really randomize (unless they’ve had too many beers). Even if the beats are off a little bit, there’s usually some conscious thought behind the overall timing.
So, what works for me is a mix of deliberate tweaking and what I call “successive humanization,” which applies humanization more than once, in an incremental way. With hi-hats, my goal is rock solid downbeats to maintain the timing, slightly humanized offbeats, and the most humanizing on everything that’s not the downbeat or offbeat. This adds variety without negatively impacting the rhythm.
Let’s fix that obnoxious 16th-note pattern. To start, select all the notes, and bring them down to just below 30% (fig. 1).
Next, we’ll use Macros to select specific notes for editing. Select all the notes, click on the Macro View button (between Q and Action), click Action in the Macro Edit menu, and choose Note Selection > Select Notes Downbeat. Raise all the downbeats to just below 95% or so. Then, choose Note Selection again, but this time select Offbeat, and raise the offbeats to just below 50%. Now your notes look like fig. 2.
The part sounds like this…we’re on our way.
Audio Example 2
Close the Macro view. Now we’ll humanize the lowest-velocity notes a little bit. Select all the notes. Click on Action, and under Global, choose Select Notes. Choose Range, set Velocity from 1% to 30%, and click OK (fig. 3). This is why we wanted to set the notes slightly below 30%—to make sure we caught all of them in this step.
Choose Action > Humanize. We’re going to Humanize the notes downward a bit, so set Add Velocity Range to -10% and 0% (fig. 4).
Let’s introduce some successive humanization. Click on Action, and again, Select Notes. Choose Range, set Velocity from 1% to 50%, and click OK. Now we’ll humanize velocity for the notes that were originally under 50% and also those that were under 30%. Humanize again to -10%, as done in the previous step. There’s a little more variety in the following audio example.
Audio Example 3
Now let’s humanize the start times a bit, but only for the notes below 50%—we want rock-solid downbeats. Select the notes under 50% as you did in the previous step, but this time, for the Humanize menu don’t alter velocity. Just humanize the start time between -0.00.10% and 0.00.10% (fig. 5).
Now our notes look like fig. 6. Look closely to see the changes caused by humanization.
And it sounds like…
Audio Example 4
At this point, the Macros and humanization options have added some much-needed variations. Although I feel drum parts always need at least a little of the human touch, thanks to Studio One doing most of the work, at this point only a few small changes are needed. Also, a little filtering can make the harder hits brighter. (Tip: When editing the filter parameters, turning the Resonance way up temporarily makes the range that’s being covered far more obvious.) Fig. 7 shows the final sequence.
The point of the filter was to give a more subdued hi-hat sound, as you’ll hear in the next audio example. If you want a more metronomic effect, you’d probably prefer the previous audio example…but of course, it all depends on context.
Audio Example 5
You can even try one final humanize on everything—a little velocity, and little start time—and see what happens. If you don’t like it…well, that’s why “undo” exists!