PreSonus Blog

No Downtime with Studio One and Yang Tan

Yang Tan is the Founder and Engineer for Absolute Magnitude Entertainment (AME) Records, based in Los Angeles, California.

Her client list includes: YG, Jackson Wang, Nipsey Hussle, Bia, Kris Wu, Migos, A$AP Ferg, J Cole, Kanye West, Maddi Jane and Kid Cudi… to name a few. Let’s find out more about this rising young creative who paints with sound, and also happens to be a PreSonus Sphere member—and a featured artist as well!


I am from Guangzhou, China, a metropolitan city close to Hong Kong where many imports and exports occur. As a child, I didn’t have the luxury of accessing music at the touch of my fingertips, like I do now. I remember going to secret spots on the weekends to pick out records among piles and piles of CDs with broken cases, which were smuggled in from overseas and were damaged by the customs. My mom had a Sony stereo set with a CD player and two cassette slots… it was pretty fancy in the ’90s. I was obsessed with recording my favorite songs to the cassette tapes. And then my mom bought a Walkman with recording ability through its built-in mic—I figured out how to play music in the background with my mom’s stereo and record bedtime stories I wrote. I paid for all of those CDs, but none of the profits went to the creators.

My family wanted me to follow in their footsteps and become a visual artist or a designer, but I was already obsessed with music. I always wanted to play the piano. So at the age of 16, I decided to pursue music secretly. I found two incredible music teachers on the Internet and started taking lessons, unbeknownst to my family. I learned how to read, play, and study music with strict and intense classical training. It was really difficult at the time because I didn’t know if anything would come from it, and I had to make money on the side to pay for the lessons. Looking back, I’m glad I took that risk. It was totally worth it. A year later, I was accepted to the Communication University of China, the best music and technology program in China, to study music. My music career began. 

The next part of my journey called for a relocation to the states, so I moved to Los Angeles after college. I started at Paramount Recording Studios and climbed the career ladder there. The learning never stops in Los Angeles; every day I pick up something new and practice until it becomes a habit. I am so inspired by the music culture in L.A., everyone I meet is just so talented, driven and inspiring. You don’t have to learn how to read music to be able to create music. How it sounds and how it connects with people is the most important part of the business.

 

 

 

 

The PreSonus audio products that I’ve been using are the StudioLive 16.0.2 digital mixer and their award-winning Digital Audio Workstation (DAW) software Studio One Professional, which I mostly use for producing.

Its ease of use, flexibility and Macros are among the top features that led me to choose working creatively in this environment. Other DAWs usually require third-party software to program Macros, whereas with Studio One it is integrated natively as part of the DAW workflow itself.

Another particularly useful feature about Studio One that I find useful is the ARA integration (with Melodyne pitch correction) to the Studio One software engine. It saves so much time and I can edit vocal audio clips in real time at any stage of the process.

I love the quick-nudge capability inside of an audio clip. It’s a fast workflow and I don’t have to clean up the edit point or cross-fades every time I make an edit.

In short, Studio One flows really well, it’s quick and intuitive. No downtime for creativity. Truly amazing!


PreSonus Sphere Members: check out Yang Tan’s exclusive Vocal FX Chain Presets here

Visit her Website | Instagram

Recording ReWired Programs

I had a bunch of legacy Acid projects from my pre-Studio One days, as well as some Ableton Live projects that were part of my live performances. With live performance a non-starter for the past year, I wanted to turn them into songs, and mix them in Studio One’s environment.

 

Gregor’s clever video, Ableton Live and Studio One Side-by-Side, shows how to drag-and-drop files between Live and Studio One. But I didn’t want individual files, I needed entire tracks…including ones I could improvise in real time with Live. The obvious answer is ReWire, since both Acid and Live can ReWire into Studio One. However, you can’t record what comes into the Instrument tracks used by ReWire. Nor can you bounce the ReWired audio, because there’s nothing physically in Studio One to bounce.

 

It turned out the answer is temporarily messy—but totally simple. First, let’s refresh our memory about ReWire. 

 

Setting Up ReWire

 

Start by telling Studio One to recognize ReWire devices. Under Options > Advanced > Services, make sure ReWire Support is enabled. In Studio One’s browser, under the Instruments tab, open the ReWire folder. Drag in the program you want to ReWire, the same way you’d drag in an instrument. (Incidentally, although you’re limited to dragging in one instance of the same ReWire client, you can ReWire two or more different clients into Studio One. Suitable clients includes Live, Acid Pro, FL Studio, Renoise, Reason before version 11, and others.) 

 

After dragging in Ableton Live, open it. ReWired clients are supposed to open automatically, but that’s not always the case.

 

Now we need to patch Live and Studio One together. In Ableton Live, for the Audio To fields, choose ReWire Out, and a separate output bus for each track. In my project, there were 9 stereo tracks (Fig. 1).

Figure 1: Assign Ableton Live’s ReWire outputs to buses. These connect to Studio One as track inputs.

 

Then, expand the Instrument panel in Studio One, and check all the buses that were assigned in Ableton Live. This automatically opens up mixer channels to play back the audio (Fig. 2). However, the mixer channels can’t record anything, so we need to go further.

Figure 2: Ableton Live loaded into Studio One, which treats Ableton Live like a virtual instrument with multiple outputs. 

 

Recording the ReWired Program

 

As mentioned, the following is temporarily messy. But once you’re recorded your tracks, you can tidy everything up, and your Live project will be a Studio One project. (Note that I renamed the tracks in Studio One as 1-9, so I didn’t have to refer to the stereo bus numbers in the following steps.) To do recording:

 

  1. In each Studio One track, go to its Send section and choose Add Bus Channel. Now we have Buses 1-9—one for each track.
  2. Our original instrument tracks have served their purpose, so we can hide them to avoid screen clutter. Now Studio One shows 9 buses (Fig. 3).

Figure 3: The buses are carrying the audio from Ableton Live’s outputs.

 

  1. Create 9 more tracks in Studio One (for my project, these were stereo). Assign each track input to an associated bus, so that each of the 9 buses terminates in a unique track. Now we can hide the bus tracks, and record-enable the new tracks to record the audio (fig. 4).

Figure 4: Studio One is set up to record the audio from Ableton Live.

 

  1. Now you’re ready to record whatever is in Ableton Live over to Studio One, in real time. 
  2. Fig. 5 shows the results of unhiding everything, narrowing the channels, and hitting play. At this point, if everything transferred over correctly, you can delete the ReWired tracks, remove the buses they fed, close Ableton Live, and you’re left with all the Live audio in Studio One tracks. Mission accomplished!

Figure 5: The Ableton Live audio has completed its move into Studio One. Now you can delete the instrument and bus channels you don’t need any more, close Ableton Live, return the U-Haul, and start doing your favorite Studio One stuff to supplement what you did in Live. Harmonic Editing, anyone?

 

Bonus tip: This is also the way to play Ableton Live instruments in real time, especially through Live’s various tempo-synched effects, while recording them in Studio One. And don’t forget about Gregor’s trick of moving Studio One files over to Live—this opens up using Live’s effects on Studio One tracks, which you can then record back into Studio One, along with other tracks, using the above technique.

 

Granted, I use Studio One for most of my multitrack projects. But there’s a lot to be gained by becoming fluent in multiple programs.   

 

How to use PreSonus Sphere Workspaces with Jacob Lamb

If you’re a musician working with other artists, or working alone and trying to keep your folders organized and neat, the PreSonus Sphere Workspaces tab is an indispensable tool for file sharing and organization.

Collaboration has never been easier; share whole songs or individual instrument stems, with quick listening right inside the Workspaces page—no downloading needed! In this Sphere episode, Jacob Lamb takes us through some of his thoughts on how Workspaces can be utilized in his studio, for both song creation and teaching students.

 

Join PreSonus Sphere today! Only $14.95 per month for Studio One Professional, Notion, and so much more.


Follow Jacob on Instagram

Mid-Side Meets the CTC-1

I’ve often said it’s more fun to ask “what if I…?” than “how do I?” “What-if” is about trying something new, while “how do I” is about re-creating something that already exists. Well, I couldn’t help but wonder “what if” you combined the CTC-1 with mid-side processing, and sprinkled on a little of that CTC-1 magic? Let’s find out. (For more information on mid-side processing, check out my blog post Mid-Side Processing Made Easy. Also, note that only Studio One Professional allows using Mix Engine FX.)

 

One stumbling block is that the CTC-1 is designed to be inserted in a bus,  and the Mid-Side Transform FX chain won’t allow inserting Mix Engine FX. Fortunately, there’s a simple workaround (see Fig. 1).

 

  1. Copy the stereo track you want to process, so you have two tracks with the same stereo audio. One will provide the Mid audio, and the other, the Sides audio.
  2. Insert an MS-Transform FX Chain into each track (you’ll find this FX Chain in the Browser’s Mixing folder, under FX Chains)
  3. Create a bus for each track.
  4. Assign each track output to its own bus (not the main out). However, the bus outputs should go to the Main out.
  5. Add a CTC-1 Mix Engine FX in each bus.

Figure 1: Setup for adding mid-side processing with the CTC-1 to a mixed stereo file.

 

  1. To dedicate one bus to the mid audio, and the other to the sides, open up the Splitters in the MS-Transform FX Chains.
  2. Mute the sides output for the Mid track (top of Fig. 2, outlined in orange). Then, mute the mid output for the Sides track (bottom of Fig. 2, also outlined in orange).

Figure 2: One bus is Mid only, the other is Sides only.

 

Now you can add the desired amount of CTC-1 goodness to the mids and sides. And of course, you can vary the bus levels to choose the desired proportion of mid and sides audio.

 

Audition Time!

 

The following example is an excerpt from the original file, without the CTC-1.

 

 

 

Next up, CTC-1 with the Custom option on the Mid, and the Tube option on the Sides. Fig. 3 shows their settings—a fair amount of Character, and a little bit of Drive.

Figure 3: CTC-1 settings for the audio example.

 

 

 

If you didn’t hear much difference, trying playing Audio Example 1 again after playing Audio Example 2. Sometimes it’s easier to tell when something’s missing, compared to when something’s been added.

 

The more you know about the CTC-1, the more effectively you can use it. The bottom line is I now know the answer to my “what if” question: get some buses into the picture, and the CTC-1 can be hella good for processing mid and sides!

 

Notion iOS 2.6 Release Notes

Notion iOS 2.6 Maintenance Release

A maintenance update is now available for Notion iOS, the best-selling notation app on iOS. This is a free update for Notion iOS owners that can be obtained by visiting Notion in the App Store on your device, or checking your available updates in the App Store.

All the changes are below. And while you’re here, please join us at our new official Facebook user group for news, tips and community support: https://www.facebook.com/groups/PreSonusNotionUsers

 


All Fixes and Enhancements:

Improvements:

  • Automatic rest groupings improved for:
    • MIDI import
    • Realtime MIDI record
    • Fill with Rests tool
  • MusicXML import of verse information from Sibelius improved
  • User Guide and Handwriting Help .PDFs now shown in device browser

Fixes:

  • Spacebar in Text Box now works as expected if lyrics have been previously entered
  • Fix for occasional issue when changing guitar tab numbers
  • Shown ranges for Viola (Section), Cello (Section) and Bass (Section) have been corrected
  • Slash chord playback of enharmonic chords e.g. G#, D#, E#, A# now sounds as expected
  • Issue fixed with cross-staff beamed triplets that have glissandi
  • Fixed crash when cross-staff beaming the first pitch of the first chord of a tuplet
  • Final barline no longer breaks multi-measure rest

General:

  • General stability fixes
  • Minimum requirements: Apple iOS9 or higher (please note, Notion 2.x will be the final version to support iOS9 and iOS10)

The Multiband X-Trem

Finally! People are becoming aware of the Splitter. Although the Splitter can act like a Y-cord or split based on channel, the coolest Splitter feature for me is being able to split based on frequency. This is what makes creating multiband FX Chains in Studio One sooo easy. 

 

Check out the audio example to hear a taste of what this can do with a pad and drum part. The first four measures are unprocessed, while the second four measures use the same Multiband X-Trem settings on the pad and the drums.

 

 

 

The block diagram (Fig. 1) is pretty simple—the Splitter creates three bands, Lo, Mid, and Hi, with crossovers at 332 and 854 Hz. (There’s nothing magical about those particular frequencies, choose what works best for the audio you’re putting through it.)

Figure 1: Block diagram for the Multiband X-Trem.

 

The real magic in this FX is the way the crucial parameters are brought out to the control panel that’s available in Studio One Pro (Fig. 2). However, Studio One Artist users can still load the FX Chain, and edit individual parameters. Although it’s more time-consuming, you can end up with the same sonic results.

Figure 2: Multiband X-Trem control panel.

 

How to Use It

 

This FX Chain assumes you’re going to sync it to tempo. Each of the three bands has a control to choose the Beat (tremolo rhythm) and Waveform, along with buttons to choose each band’s mode (Pan or Tremolo) and waveform Phase Flip. So far, that’s pretty simple.

 

The Mix section toward the right, with two knobs and their associated switches, is a little more complex. There aren’t enough control panel knobs to have a Depth control for each band, however in use, I’ve found that I usually adjust the depth for the Mid and Hi bands together, and the Lo band by itself. So, the Lo band has its own Depth control, while the Mid and Hi bands share a Depth control. There are also buttons to bypass the X-Trem for the Mid and/or Hi band. This is almost as good as having individual Depth controls, because you can remove depth for either band as needed.

 

We’ll close out with some additional tips…

 

  • The sawtooth wave defaults to positive-going (i.e., the level ramps up from nothing to full). Flipping the phase makes a more percussive effect.
  • A slow rhythm for the Lo band gives a sort of “rolling” effect. Faster speeds seem to work best for the Mid and Hi bands.
  • Feel free to jump in and do tweaks—like change the Gate or Step waveform levels, vary the levels of the bands within the Splitter module, or change the crossover frequencies.

Happy download! Grab the Multiband X-Trem FX Chain preset here.

Studio One Remote 1.6 has been released!

Studio One Remote 1.6 has been released! This free update adds support for the Listen Bus and the Show Page in Studio One 5.2. You’ll also find that Studio One Remote now offers the same Performance View as Studio One’s Show Page, allowing you to do all kinds of incredible things, like:
  • Re-sequence your song’s Arranger Track sections live
  • Control your patches per Show Player—even with multiple instances of Studio One Remote and multiple Players simultaneously!
  • Navigate the Show Page’s Setlist
  • Control any parameter from the Macro page
Studio One Remote 1.6 also includes a new Commands page with preset Sound Variations—this is a powerful tool to supercharge composing workflows—select your Sound Variations with a single touch! Also, don’t forget that the Commands pages in Studio One Remote are fully customizable with preset or user Commands and Macros.

Studio One Remote 1.6 remains free of charge, and is compatible with Studio One 5 Artist and Professional.

A Slick Trick for Thick Kicks

Imagine if you had a mold for sound, the same way you can have a mold for Jell-O—and whatever you poured into your “sonic mold” took on those particular characteristics. Well, that’s pretty much what convolution processors do. When they load their “mold,” which is called an impulse response, it shapes whatever sound they’re processing. 

 

Studio One has two convolution processors. Ampire uses one to load speaker cabinet impulse responses. For example, when Ampire wants to sound like it’s going through a 2 x 12 speaker cabinet, it loads a 2 x 12 cabinet impulse response. The other convolution processor, Open Air, is optimized for creating acoustic spaces. So if the impulse is of a concert hall, sound processed through Open Air sounds like it’s in a concert hall. If the impulse is a blues club, the the sound takes on the characteristics of being in a blues club.

 

What’s perhaps not as well known is that you can load pretty much any WAV file into Open Air and use that as your sonic mold. So, this month’s tip is for the  EDM and hip-hop crowd, because we’re going to load big-sounding kick drums into Open Air. Then, we’ll use them as molds to turn wimpy kicks into giant, thick kicks that smash through a mix, while leaving a trail of sophisticated destruction in their wake. But don’t take my word for it—check out the audio example, which has no EQ or compression. 

 

 

 

There are five two-measure examples. The first example is from a kick track. The second, third, and fourth examples process the kick using this technique. The fifth example repeats the first example, as a reminder of how the sound started. 

 

The secret is processing the kick track through the Open Air reverb, using a kick drum sample as the impulse (Fig. 1). Just like how a cabinet impulse response imparts the sound of a cabinet onto a guitar amp, these kick drum impulses shape the kick track to have an entirely different character.

Figure 1: The Open Air reverb has a kick impulse loaded, and imparts that sound to the kick track.

 

Studio One’s Sound Sets have lots of kick drum samples. Here are the ones I used for the second, third, and fourth two-measure examples. The Open Air Mix control hovered around 30% for these.

 

Acoustic Drum Kits and Loops > Samples > TM Pop Rock Kit > DW 20.24 Pop Rock Kick  > DW 20.24 Pop Rock Kick 1.wav

 

Acoustic Drum Kits and Loops > Samples > TM Thuddy 70’s Kit > Gretsch 14×22 Vintage Thuddy Kick > Gretsch 14×22 Vintage Thuddy Kick 1.wav

 

909 Day Studio One Kits > Samples > F9 909 Detroit Kick.wav

 

So What’s the Catch?

 

Kick drum impulses can overload the Open Air pretty easily. The first two examples used the softest-velocity kick, but the F9 909 Detroit Kick was way too loud (well, unless you like horrific distortion). Most convolution reverbs are happiest with impulses that peak at around -12 dB.

 

So, the solution is simple. Drag the kick drum impulse into a Studio One track, use the gain envelope to cut the gain to about -12 dB peak, hit ctrl+B to make the change permanent, and then you can drag this impulse from the Studio One track right into the Open Air reverb.

 

Of course, you don’t have to limit yourself to kick, but it does seem kicks are where this technique shines the brightest. I also fooled around with using a floor tom as an impulse, and open hi-hat impulses on closed hi-hat tracks. The results aren’t always predictable…but that’s what makes it fun, right?

Fun Facts about FX Chains

Whenever I write a blog post with a downloadable FX Chain, it seems there are always questions about how to load it, save it, or use it. Well, there’s no time like the present to consolidate a bunch of answers.

Artist vs. Pro  

An FX Chain combines several effects, which for convenience, you can save and load as a single “virtual multi-effects.” For example, if you come up with a cool kick drum sound based on limiting, EQ, and saturation, you can save the combination of effects as an FX Chain. The next time you want that sound, instead of loading the three effects and tweaking them, just load the FX Chain.

Studio One Professional enhances FX Chains with the ability to bring out macro controls to a control panel (Fig. 1).

Figure 1: Control panel for the Vintage Tape Flanging FX Chain.

Macro controls are extremely powerful—they can control multiple parameters at once, as well as scale control ranges. If you have Artist and see that one of my FX Chains has a control panel, you can still tweak the parameters, but you’ll have to do so at the chain’s individual effects. Often, a lot of effort goes into programming the macro controls, so using these FX Chains in Artist can be a challenge. However, I do try to save FX Chains so that the default settings are useful, and may not require too much tweaking.

 

Where FX Chains Live

FX Chains are stored in two locations, but the Browser combines these. So, it appears there’s only one place where FX Chains are stored. The factory default FX Chains are located in:

  • [Windows] C:\Program Files\PreSonus\Studio One 5\Presets\PreSonus\FX Chains
  • [macOS] Applications\Studio One 5 (right-click, and choose Show Package Contents)\Contents\Presets\PreSonus\FX Chains

The User Presets section in this location is for preferences like color schemes and such, not FX Chains. Don’t store your custom FX Chains in the factory default location, because it’s overwritten when you install a new version of Studio One. Instead, store your FX Chains in the location specified in the program’s options for User Data. To find this location from within Studio One:

  • [Windows] Studio One > Options > Locations tab > User Data tab
  • [macOS] Studio One > Preferences > Locations tab > User Data tab

The default for the user data is:

  • [Windows] C:\Users\[user name]\Documents\Studio One\Presets\PreSonus
  • [macOS] Macintosh HD\Documents\Studio One\Presets\PreSonus

In either case, the PreSonus folder has a folder for user FX Chains. When you save an FX Chain (click on the down arrow to the right of “Inserts”), you’ll have the opportunity to save it to a particular folder. Any folders you created for your chains in User Data will be shown, and so will the factory default folders. However, if you save into what appears to be a factory default folder, like Drums, your preset will not go into that factory folder. Instead, it will be placed in a Drums folder in your user FX Chain folder (if a Drums folder doesn’t exist in there, Studio One will create it). But remember, only one Drums folder will appear in the Browser, because it’s smart enough to group together the default and user FX Chains from their respective folders.

 

Moving Your User Data

With either Windows or Mac, I prefer not to keep too much stuff on the main system drive. For example, with Windows I avoid saving to the C drive’s Documents folder. I’ve dedicated drive D: to music, so everything relating to music—songs, projects, and custom presets—is in one place, for easy backup. So, I cut the Studio One folder from the default user location given above, pasted it at the root of my music drive, and re-directed the User Data tab in Studio One’s Options [Windows] or Preferences [macOS] to this new location (Fig. 2).

 

Figure 2: All my user data is now in the Studio One folder at the root of my music drive.

For Windows, my custom FX Chains now live at:

  • D:\Studio One\Presets\PreSonus\FX Chains\CA Chains

 

Is that a User or Factory FX Chain?

If you’re not sure whether an FX Chain is a factory one or a user one, right-click on the FX Chain and choose Show in Explorer [Windows], or Show in Finder [macOS]. You’ll then see whether the FX Chain lives in your User Data folder, or the factory defaults folder.

 

How to Evaluate an FX Chain

You might not want to add one of my FX Chains to your permanent collection, unless you think it’s something you’ll use. To evaluate an FX Chain after downloading it, drag the chain from the download folder to a Channel, Bus, or FX Channel insert. Check it out and if you want to keep it, store it in your User Data folder, as described above.

 

Here’s Where to Get My Friday Tip FX Chains

You won’t have to go through years of blog posts anymore! Thanks to the unceasing efforts of Ryan Roullard and the web team to make life easier, they’ll soon be posting my FX Chains on PreSonus Exchange, and you’ll be able to drag and drop them into your Songs right from Studio One’s Browser.

 

50% off all PreSonus add-ons and content libraries! March 17-22 2021

ONLY at shop.presonus.com. March 17-22, 202! Get any PreSonus-branded Add-on or content library for Studio One and Notion for HALF PRICE!

This includes some of the biggest, best Add-ons we have, including Deep Flight One and the Notion Expansion Pack ALL bundle!

Click below to shop and save!