I’m not surprised. Or do you ever have one of those days? Of course you do! Wouldn’t it be great to go down to the beach, listen to the waves for a while, and chill to those soothing sounds? The only problem for me is that going to the beach would involve a 7-hour drive.
Hence the De-Stresser FX Chain, which doesn’t sound exactly like the ocean—but emulates its desirable sonic effects. If you’re already stressed out, then you probably don’t want to take the time to assemble this chain, so feel free to go to the download link. Load the FX Chain into a channel, but note that you must enable input monitoring, because the sound source is the plug-in Tone Generator’s white noise option.
Figure 1: Effects used to create the De-Stresser’s virtual ocean.
Fig. 1 shows the FX Chain’s “block diagram.” The Splitter adds variety to the overall sound by feeding dual asynchronous “waves,” as generated by the X-Trems (set for tremolo mode). The X-Trem LFO’s lowest rate is 0.10 Hz; this should be slow enough, but for even slower waves, you can sync to tempo with a long note value, and set a really slow tempo.
Waves also have a little filtering as they break on the beach, which the Autofilters provide. The Pro EQs tailor the low- and high-frequency content to alter the waves’ apparent size and distance.
And of course, there’s the ever-popular Binaural Pan at the end. This helps create a more realistic stereo image when listening on headphones.
Figure 2: The Macro Controls panel.
Regarding the Macro Controls panel (Fig. 2), the two Timbre controls alter the filter type for the two Autofilters. This provides additional variety, so choose whichever filter type combination you prefer. Crest alters the X-Trem depth, so higher values increase the difference between the waves’ peaks and troughs.
The Sci-Fi Ocean control adds resonance to the filtering. This isn’t designed to enhance the realism, but it’s kinda fun. Another subtle sci-fi sound involves setting the two Timbre controls to the Comb response.
As you move further away from real waves, the sound has fewer high frequencies. So, Distance controls the Pro EQ HC (High Cut) filters. Similarly, Wave Size controls the LC filter, because bigger waves have more of a low-frequency component. The Calmer control varies the Autofilter mix; turning it up gives smaller, shallower waves.
When you want to relax, this makes a soothing background. Put on good headphones, and you can lose yourself in the sound. It also makes a relaxing environmental sound when played over speakers at a low level. If your computer has Bluetooth, and you have Bluetooth speakers, try playing this in the background at the end of a long day.
This is just one example of the kind of environmental sounds and effects you can make with Studio One, so let me know if this type of tip interests you. I’ve also done rain, rocket engines, howling gales, the engine room of an interstellar cargo ship, cosmic thuds, various soundscapes, and even backgrounds designed to encourage theta and delta brain waves. I made the last one originally for a friend of mine whose children had a hard time going to sleep, and burned it to CD. When I asked what he thought, he said “no one has ever heard how it ends.” So I guess it worked! Chalk up another unusual Studio One application.
After last week’s thrilling cliff-hanger about how to preserve your WAV files for future generations, let’s look at how to export all your stereo audio tracks and have them incorporate effects processing, automation, level, and panning. There are several ways to do this; although you can drag files into a Browser folder, and choose Wave File with rendered Insert FX, Studio One’s feature to save stems is much easier and also includes any effects added by effects in Bus and FX Channels. (We’ll also look at how to archive Instrument tracks.)
Saving as stems, where you choose individual Tracks or Channels, makes archiving processed files a breeze. For archiving, I choose Tracks because they’re what I’ll want to bring in for a remix. For example, if you’re using an instrument where multiple outputs feed into a stereo mix, Channels will save the mix, but Tracks will render the individual Instrument sounds into their own tracks.
When you export everything as stems, and bring them back into an empty Song, playback will sound exactly like the Song whose stems you exported. However, note that saving as stems does not necessarily preserve the Song’s organization; for example, tracks inside a folder track are rendered as individual tracks, not as part of a folder. I find this preferable anyway. Also, if you just drag the tracks back into an empty song, they’ll be alphabetized by track name. If this is an issue, number each track in the desired order before exporting.
Select Song > Export Stems. Choose whether you want to export what’s represented by Tracks in the Arrange view, or by Channels in the Console. Again, for archiving, I recommend Tracks (Fig. 1).
Figure 1: The Song > Export Stems option is your friend.
If there’s anything you don’t want to save, uncheck the box next to the track name. Muted tracks are unchecked by default, but if you check them, the tracks are exported properly, and open unmuted.
Note that if an audio track is being sent to effects in a Bus or FX Channel, the exported track will include any added effects. Basically, you’ll save whatever you would hear with Solo enabled. In the Arrange view, each track is soloed as it’s rendered, so you can monitor the archiving progress as it occurs.
In Part 1 on saving raw WAV files, we noted that different approaches required different amounts of storage space. Saving stems requires the most amount of storage space because it saves all tracks from start to end (or whatever area in the timeline you select), even if a track-only has a few seconds of audio in it. However, this also means that the tracks are suitable for importing into programs that don’t recognize Broadcast WAV Files. Start all tracks from the beginning of a song, or at least from the same start point, and they’ll all sync up properly.
Note that the tracks will be affected by your Main fader inserts and processing, including any volume automation that creates a fadeout. I don’t use processors in the Main channel inserts, because I reserve any stereo 2-track processing for the Project page (hey, it’s Studio One—we have the technology!). I’d recommend bypassing any Main channel effects, because if you’re going to use archived files for a remix, you probably don’t want to be locked in to any processing applied to the stereo mix. I also prefer to disable automation Read for volume levels, because the fade may need to last longer with a remix. Keep your options open.
However, the Main fader is useful if you try to save the stems and get an indication that clipping has occurred. Reduce the Main fader by slightly more than the amount of clipping (e.g., if the warning says a file was 1 dB over, lower the Main channel fader by -1.1 dB). Another option would be to isolate the track(s) causing the clipping and reduce their levels; but reducing the Main channel fader maintains the proportional level of the mixed tracks.
Saving an Instrument track as a stem automatically renders it into audio. While that’s very convenient, you have other options.
When you drag an Instrument track’s Event to the Browser, you can save it as a Standard MIDI File (.mid) or as a Musicloop feature (press Shift to select between the two). Think of a Musicloop, a unique Studio One feature, as an Instrument track “channel strip”—when you bring it back into a project, it creates a Channel in the mixer, includes any Insert effects, zeroes the Channel fader, and incorporates the soft synth so you can edit it. Of course, if you’re collaborating with someone who doesn’t have the same soft synth or insert effects, they won’t be available (that’s another reason to stay in the Studio One ecosystem when collaborating if at all possible). But, you’ll still have the note events in a track.
There are three cautions when exporting Instrument track Parts as Musicloops or MIDI files.
The bottom line: Before exporting an Instrument track as a Musicloop or MIDI file, I recommend deleting any muted Parts, selecting all Instrument Parts by typing G to create a single Part, then extending the Part’s start to the Song’s beginning (Fig. 2).
Figure 2: The bottom track has prepped the top track to make it stem-export-friendly.
You can make sure that Instrument tracks import into the Song in the desired placement, by using Transform to Audio Track. As mentioned above, it’s best to delete unmuted sections, and type G to make multiple Parts into a single Part. However, you don’t need to extend the track’s beginning.
However, unlike a Musicloop, this is only an audio file. When you bring it into a song, the resulting Channel does not include the soft synth, insert effects, etc.
Finally…it’s a good idea to save any presets used in your various virtual instruments into the same folder as your archived tracks. You never know…right?
And now you know how to archive your Songs. Next week, we’ll get back to Fun Stuff.
You’re forgiven if you scoot down to something more interesting in this blog, but here’s the deal. I always archive finished projects, because remixing older projects can sometimes give them a second life—for example, I’ve stripped vocals from some songs, and remixed the instrument tracks for video backgrounds. Some have been remixed for other purposes. Some really ancient songs have been remixed because I know more than I did when I mixed them originally.
You can archive to hard drives, SSDs, the cloud…your choice. I prefer Blu-Ray optical media, because it’s more robust than conventional DVDs, has a rated minimum shelf life that will outlive me (at which point my kid can use the discs as coasters), and can be stored in a bank’s safe deposit box.
Superficially, archiving may seem to be the same process as collaboration, because you’re exporting tracks. However, collaboration often occurs during the recording process, and may involve exporting stems—a single track that contains a submix of drums, background vocals, or whatever. Archiving occurs after a song is complete, finished, and mixed. This matters for dealing with details like Event FX and instruments with multiple outputs. By the time I’m doing a final mix, Event FX (and Melodyne pitch correction, which is treated like an Event FX) have been rendered into a file, because I want those edits to be permanent. When collaborating, you might want to not render these edits, in case your collaborator has different ideas of how a track should sound.
With multiple-output instruments, while recording I’m fine with having all the outputs appear over a single channel—but for the final mix, I want each output to be on its own channel for individual processing. Similarly, I want tracks in a Folder track to be exposed and archived individually, not submixed.
So, it’s important to consider why you want to archive, and what you will need in the future. My biggest problem when trying to open really old songs is that some plug-ins may no longer be functional, due to OS incompatibilities, not being installed, being replaced with an update that doesn’t load automatically in place of an older version, different preset formats, etc. Another problem may be some glitch or issue in the audio itself, at which point I need a raw, unprocessed file for fixing the issue before re-applying the processing.
Because I can’t predict exactly what I’ll need years into the future, I have three different archives.
In this week’s tip, we’ll look at exporting raw WAV files. We’ll cover exporting files with processing (effects and automation), and exporting virtual instruments as audio, in next week’s tip.
Studio One’s audio files use the Broadcast Wave Format. This format time-stamps a file with its location on the timeline. When using any of the options we’ll describe, raw (unprocessed) audio files are saved with the following characteristics:
Important: When you drag Broadcast WAV Files back into an empty Song, they won’t be aligned to their time stamp. You need to select them all, and choose Edit > Move to Origin.
The easiest way to save files is by dragging them into a Browser folder. When the files hover over the Browser folder (Fig. 1), select one of three options—Wave File, Wave File with rendered Insert FX, or Audioloop—by cycling through the three options with the QWERTY keyboard’s Shift key. We’ll be archiving raw WAV files, so choose Wave File for the options we’re covering.
Figure 1: The three file options available when dragging to a folder in the Browser are Wave File, Wave File with rendered Insert FX, or Audioloop.
As an example, Fig. 2 shows the basic Song we’ll be archiving. Note that there are multiple Events, and they’re non-contiguous—they’ve been split, muted, etc.
Figure 2: This shows the Events in the Song being archived, for comparison with how they look when saving, or reloading into an empty Song.
Select all the audio Events in your Song, and then drag them into the Browser’s Raw Tracks folder you created (or whatever you named it). The files take up minimal storage space, because nothing is saved that isn’t data in a Song. However, I don’t recommend this option, because when you drag the stored Events back into a Song, each Event ends up on its own track (Fig. 3). So if a Song has 60 different Events, you’ll have 60 tracks. It takes time to consolidate all the original track Events into their original tracks, and then delete the empty tracks that result from moving so many Events into individual tracks.
Figure 3: These files have all been moved to their origin, so they line up properly on the timeline. However, exporting all audio Events as WAV files makes it time-consuming to reconstruct a Song, especially if the tracks were named ambiguously.
Figure 4: Before archiving, the Events in individual tracks have now been joined into a single track Event by selecting the track’s Events, and typing Ctrl+B.
After dragging the files back into an empty Song, select all the files, and then after choosing Edit > Move to Origin, all the files will line up according to their time stamps, and look like they did in Fig. 4. Compare this to Fig. 3, where the individual, non-bounced Events were exported.
When collaborating with someone whose program can’t read Broadcast WAV Files, all imported audio files need to start at the beginning of the Song so that after importing, they’re synched on the timeline. For collaborations it’s more likely you’ll export Stems, as we’ll cover in Part 2, but sometimes the following file type is handy to have around.
Figure 5: All tracks now consist of a single Event, which starts at the Song’s beginning.
When you bring them back into an empty Song, they look like Fig. 5. Extending all audio tracks to the beginning and end is why they take up more memory than the previous options. Note that you will probably need to include the tempo when exchanging files with someone using a different program.
To give a rough idea of the memory differences among the three options, here are the results based on a typical song.
Option 1: 302 MB
Option 2: 407 MB
Option 3: 656 MB
You’re not asleep yet? Cool!! In Part 2, we’ll take this further, and conclude the archiving process.
Tremolo (not to be confused with vibrato, which is what Fender amps call tremolo), was big in the 50s and 60s, especially in surf music—so it has a pretty stereotyped sound. But why be normal? Studio One’s X-Trem goes beyond what antique tremolos did, so this week’s Friday Tip delves into the cool rhythmic effects that X-Trem can create.
The biggest improvement in today’s tremolos is the sync-to-tempo function. One of my favorite techniques for EDM-type music is to insert two tremolos in series (Fig. 1).
Figure 1: These effects provide the sound in Audio Example 1. Note the automation track, which is varying the first X-Trem’s Depth parameter.
The first X-Trem runs at a fast rate, like 1/16th notes. Square wave modulation works well for this if you want a “chopped” sound, but I usually prefer sine waves, because they give a smoother, more pulsing effect. The second X-Trem runs at a slower rate. For example, if it syncs to half-notes, X-Trem lets through a string of pulses for a half-note, then attenuates the pulses for the next half-note. Using a sine wave for the second tremolo gives a rhythmic, pulsing sound that’s effective on big synth chords—check out the audio example.
X-Trem’s waveforms are the usual suspects: Triangle, Sine, Upward Sawtooth, and Square. But what if you want a downward sawtooth, a more exponential wave (Fig. 2), or an entirely off-the-wall waveform?
Figure 2: Let’s have a big cheer for X-Trem’s 16 Steps option.
This is where the 16 Steps option becomes the star (Fig. 2) because you can draw pretty much any waveform you want. It’s a particularly effective technique with longer notes because you can hear the changes distinctly.
But for me, the coolest part is X-Trem’s “Etch-a-Sketch” mode, because you can automate each step individually, choose X-Trem’s Automation Write, and go crazy. Just unfold X-Trem’s automation options, choose all the steps, add them to the track’s automation, and draw away (Fig. 3).
Figure 3: Drawing automated step changes in real-time takes X-Trem beyond “why be normal” into something that may be illegal in some states.
Of course, if you just draw kind of randomly, then really, all you’re doing is level automation. Where this option really comes into its own is when you have a basic waveform for one section, change a few steps in a different section and let that repeat, draw a different waveform for another section and let that repeat, and so on. Another application is trying out different waveforms as a song plays, and capturing the results as automation. If you particularly like a pattern, cut and paste the automation to use it repetitively.
And just think, we haven’t even gotten into X-Trem’s panning mode—similarly to its overachieving tremolo functions, the panning can do a lot more than just audio ping-pong effects. Hmmm…seems like another Friday Tip might be in order.