Learn How to Use Studio One - Record, Edit, and Mix your Songs

1. Class Intro: Hey, how's it going? I'm Gary Himalaya and welcome to my class on pre-sold Studio One. In this class, I'm gonna get you up and running with studio one so that you can start creating your own songs and productions. I'll show you how to use audio tracks, instrument tracks, and how to edit, mix, and master them. I'll also get into some of its unique features and show you what really makes it shine. So now that you know where we're headed with this class, Let's jump in and start getting started by setting everything up 2. The Start Page: Now when you first launch the steel when application, you brought up with the start page. And over here on the start page, you can choose what you wanna do if the application. So first off, there's three different types of files that you can open up in Studio One. There's a song, a project, and a show. Now, the difference between them is that a song is like your typical DAW, where you pull in audio and instruments and you do editing and mixing of the song in there. And then the difference between the song and a project is the project is more related to mastering and finalization and publishing and releasing audio. So you'll work on your song, you'll edit it, you'll do a mix down, and then you'll pull that into a project. We'll add monitoring processes and finalize the sun. Then you've got a show. Now the show's utility that you can use for live performance or even rehearsing. So it's a way to use the application in a more improvisational and live context. Then down over here, you can see your most recent files. So when you start creating studio one songs, projects or shows, they are going to show up here. And then when you launch, do you want again, you can click on the most recent files that you've been working in. The section is also broken down into songs, projects, and shows. So you can click on the relevant tab. Let's go to the top of song or project that you want to go to M, launch it. Now over here, this is where you can set up your artist's profile. Your artist profile is the metadata that can be added to your audio file when you export it. As I haven't added everything over here, all I've added is my name. So you can give your artist's profile a name. You can tap in a genre and even add a website address. And I'll show you how you can add a photo to your profile. So I'll click here to select an image. This will just take me into my desktop. And over here I can click my profile picture, and I've added my profile picture to the Assets Profile. Now, another great thing about steel one is it's close integration with Soundcloud. So what you can do is you can publish your tracks straight to SoundCloud when you integrate your accounts with a SoundCloud account. So if I click on here, I can connect directly to SoundCloud so that it makes easily publishing of my songs up to this platform. But I will show you this in a later video. That down over here is we've set up your audio and midi devices. I will come to this in the next video. And finally on the right over here, this is a newsfeed which shows you all the latest news coming from pre-service on the audio and applications. And then this tab over here is where you can open up demos and tutorials. For example, Studio one comes with some demo songs that you can open up and you can just take a look around and see the layout of the file and how they've said that. Also done over here, you can see what version of Studio when you running, I'm running the current latest bold. And I can click up here to check if there's any later updates that can be installed. But as you can see, I do have the most current up-to-date version. So that is the basic rundown of the start page. We will get into this and you will see it in future videos. But in the next video, let's take a look at how we can set up our audio device. 3. Setting up your Audio Device: Now before we can get into any of these songs or projects or shows, we need to first make sure that our audio devices are set up correctly. To do this, you can never get over here and click configure audio device. And then from here you can choose the playback and recording devices that you're going to be using while working in the application. So playback is what's going to be coming at your headphones or your studio monitors. And then recording is the inputs that you're going to be using to record in, for example, vocals, bass, guitars, and things like that that you connect to your audience phase. Now if I click on here, I can see all the variable audio devices that are on my system. Now I don't need to use all of them. This is my main audio device over here, so I can click that to select it. And then recording device is actually the same device. But if you're using multiple audio devices, you could set one as your recording device and then another as your playback. Then down over here, you determining how your audio device is going to work with studio one. Once you've got your is your block size. And this is the samples that it uses to determine the latency or the playback of correctly determining the representation of the audio to you when you listen to it. Than just the most simplified way of explaining this is this is the buffer size. And if you set the buffer size lower, you get a lower latency. If you set this higher, for example, if you go up to one or two forces, you have a higher latency. And what this means is when you monitoring your audio, for example, let's say you playing guitar and you click on the monitor button on your track, which I will show you in some later videos. There's gonna be a delay from when you play back something and you hear back from my system. Now how it works in the recording environment. Generally when you tracking your audio, you want to go for the lowest buffer size or sample size. That is possible. There's a good one to work with. Now some audio devices can handle lower samples. But if you go to link clicks and pops in your recording, and that's a good signal that you've set it too low. So we're going to set it at 120th, the input and output latencies over here in milliseconds. Then you can also determine your sample rate. Now this will be determined on a project basis, but 44.1 is the standard audio quality. We just going to leave it at that for a second. Okay, So now that we've set up our audio device, we can start by going into song and taking look around Studio one. Son I click Okay for now, and I'll catch you in the next video where we'll start looking at our first song. 4. Creating Your First Song: Okay, So now that you've set up your audio device, next, let's see how we can create our first son. So I'm going to navigate over here and click new song. And this is going to bring up the new song dialog box. Over here are a bunch of styles that you can use. By default, I can open up an empty song or there's a whole bunch of good style of presets of year. For example, maybe I'm recording a band and I want to open up a new song which has 16 trucks already loaded and ready to record. And a one, for example, maybe doing podcasting and is a template set up here for podcasts recording and editing. Now, I'm not going to look at any of these templates right now. First off, we're going to create an empty song. Now, let's jump over to the right over here and check what other details who got. So I can give this song a title. Let's just call it first song. And by default it's going to save this into my documents folder. And then in my Documents folder There's a studio one folder and then a song's folder. Or I can click here and navigate my system to find another folder that I want to use. I'll leave it sit to this location. The next, I can set the sample rate. Like I said, you can use higher sample rates if you want better resolution. But for now we're going to leave it set at 44.1 khz, which is the CD audio quality standard. Then for resolution, this is set at 16 bits, but I want to actually jump it up to 24 bits because I want a higher resolution of my audio that I'm only working at when recording, editing and mixing. And then what I'll show you, what can be done is when you do are mixed and you can downsample to 16 bits. Then the time-based, this can either be in seconds, samples, bars, or frames. So this is just going to be what shows up on your ruler when you create your new song. For now, let see the 2 bar, but then we will get into the song. I'll show you how you can change this. You can set a song length, will leave this at five-minutes. But if you're going to be recording a shorter or longer song, you can set the time here, but nevertheless, in the song you can change the endpoints of your song length. Timber. You can set up the tempo. If you want to change it, just click and put in another tempo. So let's say we're going to go 400 ppm and then a time signature of 44. So if you using any other different time signatures or compound time signatures, you can put a chair. And if you know the song key, you can select this. This is going to come in handy when you get into things like the chord track. But for now, we creating a new song, we don't have to again rewriting. So we'll leave this blank. Now just make sure that this one isn't checked. I know sometimes this is ticked by default, but for now you don't really want to have this ticked. What this does is if you change your song tempo is going to stretch your audio files. It's either going to compress them All, stretch them out to conform to the new tempo change. But this can bring in a whole bunch of other issues. So for now, let's just leave this unchecked. And for play overlaps, this also leaves the sunset. So that's everything set for now. So I'm going to click Okay, and this is going to open up. The studio wants songs and you'll see a blank template now. So they go, this is the blank template for your first song. So now in the next video, let me just walk you through this interface and what everything is 5. Taking a Look Around The Interface: Now let me walk you through the interface so you know where everything is in the sun. For now, I've got nothing setup here. It's just a blank song. So maybe to demonstrate this a bit better, I'm going to open up a template that's really got some tracks it up so you can see more clearly what everything is. Now, the beauty of Studio One is that you can actually have multiple songs open at a time. So what I'm gonna do is I'm going to click here to jump back to the start menu. And I'm going to click new song. And this time I'm going to create a template. So let's say, what should we go for? Let's choose this various instruments and audio tracks ready to arrange, because this is going to give me a combination of instrument and audio tracks. Now you might not know what that is right now, but we'll get there. This is just going to give you a good indication of the different types of tracks that you can get within Studio one. And then let's just give this a new name. Let's just call this mixed arrange and change that to 100 and everything else is fine. So we're going to click Okay, and now it's going to create this new project for us here. Now there's a whole bunch of things going on here. So what I wanna do is I just wanted to close this and jump back to this Home icon over here. So this is pretty much what you heard just now with the song. Now if I go over here, I can actually jump between the two songs I've created. So this is my blank song. And then over here is this mixed range template that I've created. So what you'll notice straight away is over here is your track list. So you'll see all your tracks that are in the project, and some of them have different icons. So this icon of a piano key is an instrument track. And then this little icon over here that looks like a wave as an audio track. Now I can click this button over here to reveal all the tracks that are on the project. And as you can see, this is called drums. If I click this, it hides that so I don't see it in the project and I can click it again to reveal it. So that is the track list. Then this next button over here is the Inspector. I can click this or I can use the shortcut F4 to open up the inspector. Now basically, there's a lot of details in here, but basically this just gives you specific parameters and details to pertain to the top of track that you have selected. So I've got an instrument track selected, and these are all the inspector properties for it. If I go to the audio track down here, you'll see that the properties are different. So just jumping back again here says drums, for example, this has got a time base and then a delay, a transpose. But if I drag it to the track, I see different atoms here. Don't worry too much if this doesn't make too much sense. I just want to show you that you can get information on different tracks depending on what track you have selected here. For now, I'm just going to minimize that or remove it. So you just see the tracks over here. Now this big area over here is the range view. Here is we're going to populate your tracks with blocks or regions. That's going to determine your arrangement and production of your son. Up here is your timeline. Now if I right-click on it, I can see the time-based. Remember in the beginning we had that option where we are creating the song. We could have it in seconds. So there is the time-based and seconds, or if I switch it to bars, for example, that's what I actually liked and quantize. It goes back to bias. We're going to be exploring this time-based and everything, a lot Wiki that's just giving you a quick rundown. Then up here is your toolbar window. Over here are tools that you can use when you're working within the project. Over here are functions that relate to the blocks and a time base. You've got snapping that snaps things according to the grid that we've set up. These are some of atoms like a scratch pad that you will see that's a great feature. And a video player, for example, if you're working with video in, as you saw, here, is jumping back to the start menu. You can jump back to sung. If you're working with the project or show, you can click between these two. So you can actually have songs, projects, and shows all open at the same time. And you can jump between the tabs. Over here is another panel that can be opened on the right side. And depending on what you've got selected down here, it reveals over here, we've got the Browse panel selected. This is the home folder so you can choose what's a brass. Maybe I'm going to browse some loops, browse some files, browse some instruments. And then going further, I can jump to these tabs over here to give me even more details. Maybe I'll just expand this so you can see this a bit more clearly. You can see that there's extra tabs here we didn't see. So you've got instruments that come bundled with pre-service that you can use. All third party instruments. Here are all your effects that you can use. There is a selection of loops that you can use for your productions. You can navigate your machine for files that you want to bring into the project. There's also a Cloud facility where you can exchange prisoners files within the Cloud or an *** backup utility where you can actually backup your projects to the Cloud. Then there's also a shop, if you want to shop for extensions, extra devices for the application. And then pull is audio files that exist within your project. So this is going to be current to the project. Were all these others are looking generally at your system. Also, if I click here, it opens up a mixed console. You seeing these meters meet up here, which are the inputs of my vocal that's coming in. And then you've got the respect of tracks relating to the tracks and a trackless chair in a sort of a range here so that you can mix your song. Then finally, over here is an edit view. So if I select an audio file, I've got an audio editor from our audio or an editor for my instruments. As you can see also as I click each one at maxes or minimizes it, or I can just click here to change the hearts of each panel or just click to remove it. And then finally down here is the transplant panel. So you'll use this to change settings on your projects. Look at the timing locations. You've got your playback, stop and record and loop functionality that you can use. And even things like punch in recording, setting up a metronome, and changing your time signature, key and tempo. So that is quite a lot of information that we'd been through, but that's just a very quick run through of the song layout. But as you work through the videos and this masterclass, you'll get more custom and familiar where everything is in a sense, the face. So now that you know what's going on with the songs and a layout, Let's start seeing how we can start creating tracks or adding tracks to our first song. 6. Key Commands and keyboard Shortcuts: Now what I want to talk about in this video before getting into the song and creating tracks is for majority of the functions that are available in Studio One. There's shortcuts for them. For example, if I just hover over a function, for example, this is the Play button or the Start button. You'll see the shortcut is the answer key. So if I, if I hit Enter or Spacebar, you get the locator or playback head that moves. And if I hit Spacebar, it stops it. Or I can use the numpad zero. So for example, I'll hit Enter that starts playback on the number keypad, and then I hit zero and it stops. So playback stop. Those are shortcuts. I can jump around and hit things like this, but your life is going to get a lot easier if you start learning the shortcuts that are available within the application. Throughout this masterclass, I'm going to mention shortcuts as we go. So please do press those shortcuts and start memorizing and getting familiar with them so that you can speed up your workflow and get more efficient. With studio one. For example, you've got your function keys. If I hit, if I hit F2, it's going to open up the editor. Now, if I jumped to the song over here with multiple tracks, if I hit F2 is going up, I've got the drum selected. It's going to open up the instrument editor. If I select an audio file and hit F2, I get the audio editor. So that's just a great way to open up the editors. If three is going to open up the mics console. If four is going to open up that inspector view. If five is going to open up the browser and hide it. Same for F6 is going to open up the browser but show the instruments. If seven is going to show the effects, if eight the loops, if none, the files, if ten, the pool. And as you can see, just jumping between these is really going to speed up your workflow, as opposed to navigating your mouse around and clicking on things to close them. Now they are really as a ton of shortcuts. I'm not going to mention them. All right, now in this video, like I said, I'm going to go through the masterclass and as we go, I'm going to mention things. But if you are stuck for something, just simply hover over it and you'll see the shortcut. So these are your tools and they just using numbers, so 12345678. And I'm jumping through the tools. Or if I don't know something, what I can do is go to the studio one menu or to the File menu on the PC and go down to keyboard shortcuts. Now what this does is brings up the preferences, the general, and in anogenital, you've got the keyboard shortcuts. Now here are all the functions that you can do within Studio one. But as you can see, not everything has a shortcut to it. You can assign your own shortcuts, but I will get to that in a bit later. Now, let's say I want to know how to zoom. I can tap zoom. And it shows me a bunch of shortcuts for zooming. Now I know this has a lot to take in, but basically what I'm trying to explain is that if you can't find some function, look what the function is called, and then go into your keyboard shortcuts top and under the search, and you can see the shortcut. So for example, if I want to zoom in, press the letter E on a Zoom hours or press the letter W. So if I do that, E is zooming in and zooming out. And you can see that if you look at the time-based rule over there, so zooming in, zooming out. Now another thing I just want to mention is maybe you're coming from another DAW to studio one. You can actually change the mapping scheme. So for example, let's say you're coming from logic to studio one and you're using logics, key commands. I can jump down here to logic. And it's going to remap my keys so that they are different shortcuts. For example, the zoom in and zoom out is on the Mac side, the command and the writer and command and the left error. Now this does make it easier transitioning from one DAW to the next, but are actually highly recommend that you stick with the studio one keyboard mapping scheme so that you can follow along with what I'm showing you and you just get used to the shortcuts domain for the application. So that is just a quick overview of what shortcuts are and how you can change the shortcuts or maybe look for it. A shortcut is later in series, I will show you how you can assign your own shortcuts. But for now let's just get into how to work within a song and then we will explore that a bit later. 7. Creating Audio Tracks: Now that we've created our first song, let me show you how you can add tracks to it. Like I mentioned, this is the track view over here. So as you add tracks, it's going to populate your shingle the tracks. And I wanna focus in first on how to add audio tracks. That's added track. You can go to the track menu up here and click on Add Tracks. Or you can use the shortcut T. Now this brings up the audio tracks dialog window. And over here, I can choose what type of track I want to add, and I can give it a name. Let's just call this track one. For demonstration purposes, I can choose how many tracks I want to add. So for an ad more than one, I can increase this up. And then I can give the tracks or color the format. I can set the other mono or stereo. And then down here, I can set the input and output. Now this is important. If you're sitting up some tracks to record, you can set up the correct inputs so that when you add the tracks, they have the correct inputs. Really certainly you can just record and go. But for now let's just leave the set at the default settings and click Okay. So that creates my first track of there. Now let me show you some other ways. A quicker way than that is just to go to Track. And then instead of going to the air tracks, I just go add audio track Mono. So that creates the audio track for me, but doesn't bring up the dialog window, just creates a track with the next name which is tracked to and just populate it. Now, a third way is I can actually just right-click in this gray area here, and that same selection of tracks comes up over here. So if you look yet, he attracts apps you can add. And if I right-click yet the same options come. So I can just click, Add audio track, and there we go. I've got the three tracks. So those are the three different ways that you can add audio tracks. Now let me just show you if you add multiple tracks, as you can see, you've got a color on each track here. If I go to add tracks, I can say they say track for that is going to start. So the next track that's going to be added is track full on Add. Let's say they just say ten tracks. And I want to auto color them. That means that each track will have a different color. And I click Okay, and there we go. They are the two new tracks. What you'll notice is are called attract fall. But actually what it did was it gave it full audio track for and in the name. So maybe a better way to have done it would have been to go to add tracks and just called it audio. Let's say something else or maybe let's say we're doing some drum tracks. So I'd say drums have ten tracks and click OK. And there we got drums. And then after that it's added the number and as you can see, it is also colored the tracks. Now, what I want to show you now is how you can add audio onto a track. So if I go to the Browse panel and then click on loops, there's a selection of audio loops that comes bundled with two to one. And these audio loops are sinks to the project tempo. So they are stretched or compressed, determined by the temperature of the original track, and then they match up with the tempo over here. So let's look for a maybe a drum loop that we want to add in, maybe like a rock drum loop. So I'll go to Iraq, I'll go to drums and then to loop. Now here's a selection of audio files. It's maybe trust something like arena drums mixed one. I can click on the audio file here or Meta tags associated with audio file when we searching for particular types, the name of the file, the sample rates and bit depths. And then over here you can see the tempo is set at 13397. So that's the original audio file. But my project is at 100 BPM. So it's going to take this audio file and time stretch it so that timbre. Now how about we select some drums? We can audition them over here. I want something a bit longer, that's just a bit of a full. So let's see this. Yeah, that's better. So here, omega tags that are associated with an audio file if we searching for types of sounds. And then as you can see, the temper of the original file is 112. But studio one uses some time searching with audio loops. So if I take this and drag it onto a track, it's going to match up with the tempo of my project. So to add audio files, you can just simply take the file and drag it onto the respective track. Now studio one, ready sports a lot of drag and drop functionality. And it makes it a lot easier while working with application, knowing that a lot of features and things that you can do support this. So there is a drum loop. I can minimize it. And I can play back. And it's playing back batch to the timbre. Now a fourth way that you can create tracks is what I want to show you here. I can browse for loop. I'm going to choose the same loop, so I'll just take this. I can just drag it to the empty space over here. And it's going to create a new track and edit audio file. Showing you they're just an extra way. So there's four different ways that you can add tracks. One of them including dragging an audio file onto the track when you create it. So hopefully that gives you a good idea now on how to create audio tracks. Now we're going to dive into some more features and functionalities of audio tracks and what you can do with them. 8. Setting up a Metronome and Recording to a Track: Welcome back. In this video, I want to show you how you can set up your metronome and record an audio track. Now the reason that the two go together is because you want a sense of timing and a God. And that's what the Muslim will click is gonna be. It's a constant click that's happening on the beat and that's gonna give you your timing that you need when you go into your recordings. First off, let's choose what you wanna do. I've got to audio loops here of drum loops. I don't want this anymore, so I'm going to select it and hit the Delete key and that removes it. Also, another thing I wanna show you is I don't need these tracks, so I've selected the first track, then I hold down, shift and select the next track. I can right-click on them and say remove selected tracks. We'll use the shortcut Shift T. So now I'm just left with this drumbeat trachea and are actually created another track yet, but I'm going to be calling base because I'm going to be recording a bass guitar to it. And just make sure that you sit the correct input that you've got your instrument plugged into nuclear device. For example, if I go over here to my audio input and output setup, I have my vocals in input lift. That's my input one on my audio device. And then on input two. You can see there's a meat today and that's my bass guitar playing. But you're not hearing anything because I haven't enabled the monitor button on the track. So on this track, I've set the input, which is input R, input two. And then I can click on this monitor button and watch now when I play. Now you want to make sure that you also set the correct input level. Now over here, I've got the Inspector open. So you might want to open up the inspector so that you see this level meter over here so you can check your levels coming in. So if I just play my base and I turn up the preamp on our audio device. That's going to get into the red and it's going to clip and it's going to distort, and that's not what we want. So just click over here to reset that clip meter. Any clipping or any red signals. And if I drop a too low, the audio is too soft. Now, I'm going to turn it up just to make sure that I've got a good level of audio coming in. So I've set up my base. Now, I want to set up a click, but before doing that, I want to meet this loop. I don't want this leap right at the beginning because I want a gap before just to give me a bit of space before and a leader before I start my recording. For the tools up here, I'm just selecting the arrow tools. I will get into the tools but later, but for now, just make sure that the arrow tool is selected. I'm going to select this clip and move it to, let's say bar four. That's fine. Now I'm going to click on my bass track. And I just want to hit the Spacebar button, which is going to be the playback. Now I don't hear anything. But if I hit zero, I'm going to jump back to the beginning. And if I go down to my Transport bar down here, you can see I can enable the metronome. And if I play now, you get that click off the metronome. Now, if I want to change some settings of the metronome, I can click here and you can see there's an accent and then the beat. So the accent is the one. And in the beats are 23.4 of the counting of the click. So I can remove this beat down in his accent even higher up. So now in our playback. So you get that axions. I quite like that, but I find that the axions is a bit loud, so I'm just going to turn that down and you can choose different sounds. We mentioned him. If you see there's a whole bunch of things here. Maybe I want a cowbell for the beats. So what we'd have now is this. That's a bit weird. But I just wanted to show you that there are options. Or you can even load up your own son as a click. But I actually just like the default click for the SAT. So we're going to have a clip for the accents and I click on the beat. Now, more importantly, when I want to talk about is the pre-cancer and pre-roll for the precast. If I take this and I have it set to, let's say 2 bar and are placed my play head over here. Now to record. I need to record on the track, and then I need to hit the record button. Now, watch what happens. Nothing's happening yet. Then my audio track starts recording. So that was giving me a pre count of 2 bar. Now let's talk about the pre-roll. So I'm just going to select this region that I've made deleted by pressing the Delete key, going into the metronome, set up again and choosing pre-roll. Now, if I take pre-roll with 2 bar, now watch what happens when I hit record. So the playhead is above four and I'm gonna hit record. The shortcut for this is the Starkey. Starkey on the numpad jumps back to bars, and I'll start recording here. Now, that works quite well. I personally prefer the pre-roll and the preconscious. And the reason for that is if you start recording right from here and you come in as slot but early and you need to nudge things around and move things around. You've got nothing to work with. The pre-roll it will start recording from when you play, and then we'll capture that. Now, another thing to point out is that can also arm the pre counts over there. So we've got pre-roll and precautions. So I'm going to leave the pre-roll on for 2 bar and I want to record to the space track. But to give you an idea of the levels that's coming in the base, I'm just going to hover over on my track here. And I can drag this down to make that trek hot bigger. So let's record a partner. I'm gonna hit record which the Starkey. Here we go. Perfect. So that is hard to record it to attract are accorded a bass part. You can see in the waveform here, it depicting the shape of the audio coming in. So you can see the peaks and troughs on that audio. And that's a decent amount of recording. If I get too hot, it's going to clip the audio and that's not what we want. So that is how to set up your metronome and how to record a track. Now, next up, let's take a look at some further things that we can do with tracks and audio 9. The Zooming Functions: In the last video, you saw how I could record some audio track. Now, as you can see, the audio is going off out of our view. Now what I want to show you some zooming function and search can use to help you see your regions more clearly and just see everything better than the arrangement. Now probably one of the most easiest ways to zoom is just to hover on this timeline area here and click and drag either up or down, and that's going to zoom in or out. So that is our view and I can just drag up and I see my waveform more clearly. But it's not very easy to use. You have to move up and down. It's very fast and it's very easy to go too far. And in drag backup, what I find is another way that is easier to use is to use the shortcuts W and N, E W zooms ads, and E zooms in. And this is all to do with the horizontal zoom. You can also navigate down to the right over here and drag the slider. So this will also zoom in and out horizontally. But often that's also not the best. Personally are still prefer W and E as the best way to zoom. Now, what you also saw in the previous video was how I change this track heart so that I could see that wave forms more clearly. Now if I had to add a whole selection of tracks, so let's say I'm going to add tracks and I want to add audio tracks. And I'm just going to say for ridiculous amount. And just to be ridiculous, and I say 20 tracks, mono tracks, and click. Okay, so there we've got a whole bunch of tracks and as you can see, I can't see everything clearly. The track heights too big. I don't want to have to go in and change the height of each track. So what I can do is instead use the vertical zoom shortcuts. So that is Shift W. So if I hold it down, I'm gonna zoom out. And as you can see, it's very small. Or I can use Shift E and just zoom up. Now I really don't need all those tracks. If I want to remove the tracks, I can just select the first track. Go up to the track that I don't need, hold down, shift and press and it selects all those tracks. And I can right-click on it and say remove selected tracks. But the big point that I want to show is that you've got vertical zoom and horizontal zoom with those quick shortcuts. So W and E, or zoom in and out horizontally, where W and E holding down shift is zoom in and out vertically. I'm going to get into more zooming functionality and shortcuts as you go through the videos. But for now I think that's a good starting point for how to zoom in and zoom out. Now in the next video, Let's start taking a look at this transport control and how we can use that to navigate around our range area and our son 10. Going Over the Transport Controls: In this video, let's take a look at what's available to us on a transport arrow down here. The first thing that I want to jump full is the loop Activate button. So when I click this activates a loop area, meaning when our playback, it's going to loop between that point. For example, I can take this left locator of the loop point and drag it to a bar. And this is snapping because I do have snapping enabled. Then I can take the rat points and move it to, for example, by six. That means my loop area is between bar for, so that's the left locator and boss sex. So that's the bar, that's the beats. And then as it gets smaller increments, now if I play back, I'm just going to put my play head here and press Space-bar, or I can just hit the play button down here. So it's either Space-bar or even into on the numpad key. And it's going to be back in. Now, I want to loop regions to be longer. So I'm just going to take this and drag it all the way to bar 12. So we're going to loop around death for this part. Now, let's take a look at some of these other functions. I just wanted to jump to that first because I'm probably going to be using it while I showed some other functions. So starting off over here, if you've set up a midi keyboard controller, which we will get to when you get into the midi section. Here's where you can see if it's working correctly. So if I just hit some keys on my midi controller, you see there's some notes on notes of messages, meaning that it's receiving midi correctly. As you can see, there's some inputs. Then over here, this is a performance meter. So when you start building up many tracks and you've added lots of plugins and automation. It's going to take a bit of strain on your system. And what you can do is you can play back. And you can take a look here at how your system is handling. As you can see, there really isn't much happening here. So I can double-click this to bring up the meter sharing my CPU usage and my disk usage. Currently we're sitting at only using about 2%. So really nothing for now. As we pull up the song, I'll jump back to this performance monitor and show you how this reflects more strain on the system. But just keep an eye on that. It's good to know. Then over here you can see the sample rate for the projects. It's 44.1 khz. If I double-click this, it takes me to the song setup where I can go in and change that sample rate if I need to. For now, I'm gonna keep it set at 44.1 khz. Here you can see how much recording time you have on your system. This is displaying the time in seconds, and this is displaying in the transport the measures and bars. But I can also choose either second samples or frames. For example, if you work into video, you might want to set this to frames so that you can sync it up with the video quite nicely. But for the majority of this course, we're going to be using either bars or seconds. Over here are your functions that you can use to jump around in the project. Like you've already seen. We've got play. You've got to stop playback the record if you want to record. But I want to show you these functions over here. So this is going to jump to the previous markers. Now, I don't have any markers setup, but what I do want to show you is numeric. If you've set up any markers, if you click on this button here, this has got some different lanes as you can see. Now, I want to view the marker line. No, not no matter what project you create this oil is going to be a start marker. And if I zoom out an end marker, and I can use these to jump to the previous marker. There's only one marker, so it's going to jump to the start. Then if I use this, it's going to jump all the way to the end marker. Now can actually just take that and drag it closer to another area in my project. Meaning that here's the start in here as the end. So I can jump to the start and I can jump to the end. Now, if I just zoom in again, what I can do is if I just place my cursor here, I can use these buttons to fast forward or rewind. So that's going to fast forward through. If I just zoom out a bit fast-forward and or land, that's just nice way to navigate through the ranger. If I'm playing back in, jumped to the locker as well. And then this button is going to jump all the way to zero or right at the beginning. So let's say my start point was over here. If I hit, that key, will jump right back to the beginning. But if, for example, if this key, which I'm back to the Start, been lucky. So over here, this is showing you the position of the left and right locators. I'm going to skip over the pension area over here. You've already seen the metronome over here. I can set the time signature for the song if it's enforceable or if I'm using some different types of timing, I can click on here to change it. For example, maybe this was a seven-fold project. As I click that, you see that the ruler changes accordingly as well. But this is a full four. You can set the song key. If you get into the core track, this is very helpful because you could set the song key and then HTML code changes. You can make your regions follow those code changes, but we will get to that. Then there's the song tempo. As you've already seen, I have changed that from 100, 212. And then finally over here, this is your ad per meter. And if anything is clipping, you can get that red clip indicates and you can just click that to clear that to make sure that you're not doing any more clipping. So as I play back over here, That's really going into the red. So I'm going to have to do some adjustments, some of those levels that we will get into. And then finally, over here, this is my output that I can change. It sits zero dB, but I can change that down, but for now, that's fine. And a song as going out in stereo, if I want to check any mono compatibility. So I've got a whole song and I want to check if there's any phase cancellation or anything like that or things going missing in one or I can use that to check things out. So that is what's variable on this transport panel over here. Majority of the time we're going to be using everything, but it's good just to know where everything is. So now that we know that, let's move on. 11. Going Through the Tools: In this video, I want to go over the tools that are available to you that you can use within Studio one. So this is the toolbar up here. And also if I just right-click on an area, I can see the tools over here. And next to each tool is the shortcut that you can use to quickly switch to that tool. So first off, I want to start off with the arrow tool, and then after that we'll go back and jump back to the smart tool. This is the arrow tool. What you can do with it is you can select a region and then you can move around. And obviously this region or this part is snapping to the grid. So if I untick this, that part moves more freely and it's not going to snap to anything. But I like using on most of the time and only every now and then do I like to turn the grid off and move things around? And there we go. There's snapping to the grid. Then next to this is the Selection tool. So with this, you can drag and make a selection, as you can see there. I'm just dragging on this part over here and it's making selections. If I drag over here, it's making a selection over two tracks. Now, what you could do is you can make a selection like this. And then I can just drag in saying that audio part that was within the selection and moving it around. For example, if I did it somewhere in the center and did the same thing, it would move that part out. Or if I did over both tracks, it's moving both of those. So just a nice way to make some selections. Mei, you've got multiple tracks, you can just select them and do an editing needs to do both those tracks. Over here, this is the split tool, quite self-explanatory. As I go like that, I'm creating splits in the region. Maybe that drum part is busy, so I'm gonna go to the base and on every bar I'm going to do a split. And what this allows me to do is maybe jump back to the arrow tool and select parts intermediate. So basically, with the region has been cut down into multiple parts and I can make selections and do what I went to them. Next to this is the eraser tool that just erases any parts that you click on. Then this is the free hand tool. But if you click down here, you can see other shapes that you can draw. Now, I'm going to get into this tool when I get into automation and drawing an automation. So for now I'm just going to skip over that, but we will come back to that. This is the middle, so I can mute any part that I click on. This next one is the bend tool. I'm not gonna get into too much details on this right now. But basically with this, you can take audio and time, stretch it. So if I just click over here and drag out, as you can see, it's compressing the audio after it and Tom stretching before. So if I play back, this will be slower. And then this will be faster. Likewise, I can take the beginning part and stretch that out and there'll be a lot faster. Now, we'll go over that would have been in more detail when we go over time stretching and transients. And then finally, this is the listened tool. So I can click anywhere and listen to the audio. So if I answer that and playback the drums wherever I click on the drums at selling that and playing it same with the base. So it's a nice way just to audition tracks while you're scrolling around in the Arrange area and your song. Now with the tools I did mentioned you've got some shortcuts. So if I right-click, I can see the shortcuts over here. So going 1-8, I can use that to jump between sorts. So there's the arrow tool, there's a selection, there is a split. There's the mute. And so on. Going through to the eighth key, I can jump through. Now on the pointer tool, I can also click on it and choose to select an alternative tool. That's if I hold down command or control. So I've got my pointer tool selected as defaults. And maybe I want the range tool selected. When I go to the alternative tool, I've got a part selected. If I hold down command or control, it changes to the region select tool. Very handy and really speeds up your workflow. Obviously you've got other options here. So whatever is your preference, maybe even splits. So I can click a region. If I hold down command, I can make splits and then continue what I want to do. That also, that's also a nice option. Now, this is the smart tool. Now watch what happens here. When I click this, it selects both these two. So it's selected the arrow pointer tool and the rage selection tool. And also for my alternative tool, I've got the split tool. So with this selected, any alternative tool, I've actually got three tools that I can use. So watch, I'm just going to drag this bass part a bit higher. So you can see this more clearly. If I hover over the lower area of the parts, I've got my arrow tool. Now if I jump across to the top, I've got my Arrange tool, I can make a wrench tool selection jump down here, use my pointer tool to move that around. And then if I hold down command, I've got my slip tool. So really a fast and efficient way with working. So let me just show you that one more time. At the top is Arrange tool. Down here is the point tool. And if I hold down command or control, I've got the split tool. So all of these are means of speeding up and improving your workflow when you get into editing in studio one. So that's the Tools menu for you. Now, let's jump over and see some other things. 12. 14 Using the Pool: In this video, I want to talk about the pool and how you can use it and the importance of it. In my Arrange area here, I've got two tracks and you can see that there's audio files on each track. Now, the pool controls how these audio files are handled in your project. So if I go to the Browse panel and navigate over to the pool tab, here it lists all the files that have been used to my song. As you can see, here, are the drum loops that are added in Australia rather say audio loops that are pulled into the project. And then here are all your parts that I've recorded or use them the song. Now consult how these files are arranged within the pool. Currently it's just sets a flat, meaning it's just going to list all the audio files that are in the song. If I go to track, it sorted into types of tracks. So these are tracks that have not been used. So even though they sitting in my pool, I don't have them in my range area. Here are two base takes. As you can see, there's nothing in them. So I must have started recording and then decided to stop. And then here are two other tracks that we use for the base, but they've got different track names and I renamed it later. Here is the audio loop that I have used. As you can see, this wasn't already a leap that our test stat but didn't use. And then, uh, finally resorted on using the mixed for from the arena drums mix. And then obviously, here is my bass track. I can sort it by top. So these are audio files. I haven't got any other types of tracks that you can use in studio one, but as you build up different types of tracks, they will be listed here. Now, important thing to talk about is the location of your audio files. I can right-click on a file and say locate file. So this is going to let me know that that audio loop is within the Packages folder. I can right-click on another track and say locate file. And it's going to open up my font, but on a Mac and show me the location. So this is in the media file. So as you can see, here's my username documents, studio ones songs, it's the first song. And then within the first song, there's a media folder and all the media that gets recorded or created with in your song is stored in here. The nice thing about this is it's broken it down for you. So here I can minimize these, but as I maximize them, you see the audio files. So these are the drum loops from the alternative folder that are audio loops that are used. And then these are the other audio files that were saved the media folder within my song. I can also take a look at record takes. But we haven't quite gotten to takes yet in as mass glass. But when you dig into that, you can click here and see all your different takes. Now, I can also click on a track and delete it. That's going to remove it from the pool. But it's not used my projects, so that's okay. I could also right-click and say removed unused files. So if I just go to track again where it was at here, it says notches. So these are the Nazis files. So if I say removed unused files, it's going to list the files for me that I haven't used. And I can remove them from the song. And I can even permanently delete them. For example, maybe our quote, a whole bunch of audio files. I didn't use them. I don't want them sitting on my machine anymore. So then I could click delete files permanently and I'll remove them from our system. But I'm just going to not do that and just click yes. And now that has cleaned up my pool. If I do select a song that is currently in use in the song and I hit Delete, it's going to let me know that that clip is still being used and do a really wondering move it. I'm going to click No, I still want to keep that in my song. And that is a quick rundown of the pool for you. As you can see, it's a very handy tool to use just to clear up files that are not being used within your song or to see what files are being used. Now also just be careful that you don't move files away. If I had to let say locate this file and I had to remove it, like let's say I took that and move it to my trash if are opened by Studio one project again, it would say that the file is missing. So let me show you that. Let me just do a quick example. What I'm gonna do is go and remove that file and then open up Studio one again. So just give me a second while I do that. Okay, So here I am back at the start window. And I'm going to click on my song. But watch what happens. So I deleted that base three file and now it has some missing clips. I can click on that file and locate it. Maybe I've moved the file and I know what it is, then I can locate it. Or if I've removed the file and I no longer need it in my song, I can just click that and remove the file. Also, if I just navigate, some are pool here, you can see there's a question mark when there's a missing file. And also in the range here, as you can see, here, is the audio part, but there's no audio file within it and it says file not found. So just make sure that you don't accidentally move files around because, because when you open up your CD1 song, it is going to let you know there's some files are missing. And in the pool area you can find that the files are some missing there. But the nice thing about it is that you can right-click on it and relocate the file. So it maps it to the correct file and pulls it back into the song. Or if you did move it, just move it back into the media folder. So that's Studio one can see the file again, for example. Let me do that again quickly. Here I am back again on the start window. And now if I click on my first song again, it picks up that file because I've placed it back in the media folder. Now, another thing I just want to point out is if you drag an audio file from another location into your song, for example, let me take this file here that's sitting on my desktop and I'll drag it in. So creates a new track here. And let me just show you what happens here. So this is an audio file that's not in my media folder. If I go to the pool and click on this file over here and go to location. You can see that it's not sitting in my media folder, it's sitting on my desktop. If I had to go to my desktop and delete that file, then open up the song again, I would have the missing files gain. So I'd highly recommend if you've got external audio files that you want to pull into your project, just take them to the media folder or just copy them into the media folder, Fourier respective song and then drag them into Studio one. And it's just a safer way of working so that you don't have any missing files when you go back to a song at a later stage. So that's covering the pool for you. Now let's move over and see some other things. 13. Editing Audio Tracks: Now let's start talking about editing. And we're going to focus on this video and editing in the range area. Starting off on this bass track, I'm just going to drag the track height bigger. And this is what we're going to focus on. This is an audio part. Now the best way to think of this is it's an audio file that's housed within apart. And you can edit how this audio file behaves within the part. Let me show you what I mean. Starting off at the bottom, you've got your audio handles. What this allows you to do is trim and audio file. So maybe I don't want the base to start over there. I want the base to start at bisects. We'll then I can drag it there and then that is where it's going to be. And that's because I've got snapping enabled. If I don't have snapping enabled, then this can be freely and it's not locking to the grid. But I actually quite like working to snapping and only turn it off when I need to do some finer editing. We're just needs to maybe bring things back slightly just before it hits into things. Now the shortcut to toggle this net present so I can just press N and toggle that we need it. So I'll turn it back on. And then I can move that back to its top position at baffle. Similarly, on this side, you've got the handle for the end part, so I can drag that. And obviously an important thing to note is that this is non-destructive. I'm not permanently editing the val, merely changing with its handlers. So the audio file resides in the audio part, and I'm just moving this audio handle to determine where the end of that parties. Then moving up onto the top. On the top left here, you've got your fade. So I can create a fade in or not audio part. And as I change the fade length, you see how the wave form adjusts. So if I drag this all the way over here, you see that's a long fade-in. If I solo this part and play it back, you can hear how that volume of the base is getting louder. So that is the fade-in. I can also change the shape of the fade by just navigating down here and changing that curve. Here, it's moving to a logarithmic shape, where if I move it to the other way, you're getting an exponential curve. So logarithmic curve, exponential curve. Maybe sometimes you want the fade to be short when starts and then slowly fade back in. So that's why you'd want to change the shape. And obviously I, you just got a linear fade. The same for the top right-hand corner here, you can change the fade and the phage shape. And then over here is your clip volume for the part. If I drag this down, it's changing the volume of the base part. If I drag that back up again. So let's just put it round about over here, playback. I can change that level. This works really nicely if you've got maybe one little part that's sticking out of it, then I could go to my slice tool, make a little split there. So if I select just that part, so there's a part, there's another part, and here's another part. So when you split apart with the split tool, you actually creating three parts. And then I can go in here and change the level for just that part of the clip. I'll show more of this as I get more into editing later. But it's just a really nice thing to know that it's this easy to quickly go in and change volume parts. I'll undo those changes. Now let's talk about trimming when you've got parts next to each other. I want to take this drum loop, make it bigger as well. Minimize the size of the base and seller that seller the drums. I can take the handle for the drums, shortening R2 bar eight. Now I want to pull in another clip. So I'm going to go to the Browse panel loops. And let's select mixed far as you can see this as mixed four. And I'm just going to take this drum part and move it over here. Now, I want to shorten this. Let's shorten it to bar 11 and drag this over here. So I've got to drum parts. This drum part over here, and the server here. Now what I want to show you is how the trim works when you've got two parts next to each other. If I'm on the bottom over here and I move this, what I do is when I'm moving this to the left, it's trimming the right and extending the left. Let me just move this play head cursor so you can see this more clearly. So that might not be quite clear. So what I'm gonna do is change the color. So this will be red and then this will be a yellow. Now if I hover down here, you can see what's happening. I'm extending that clip and I'm extending the other clip. Now this only happens if you are hovering over the bottom. If I hover over the top, can you see this little arrowhead over here? When I got to share, both of the arrowheads are what? Africa up here. This one's great. If I move over to the right over here, it's going to only trim the red. So just make note we off on this area and I'll hover over there. I can trim the red. If I move over to the yellow, I can trim that. This was something that got me really confused in the beginning. I will just go over here and drag around and I'd be like, I don't really want to do that. I want to shorten just the red color. So just hover over the top area. And you can do that. Now, as I mentioned, you've got fades. So that's the Fade In this clip over here, if I selected as the Theta hat. But if you've got overlapping parts, so let's say I take the red and overlap it over here. What you can do is press X and he creates a crossfade between two parts. There's a really nice neat feature. So if I've got this drum loop, cervicalis is take listen. But I want it to fade between the two. I can just hover over the top area, drag it over so there's overlap brace x, and I've got a cross-fade there. So it's basically blending between the two. If I make a bigger overlap, press X, you'll hear us a bit more clearly. Now it's actually happening there as you can hear both parts playing over. I can also just change the shape of both cross phase together. Can you see that? I'm making them both exponential or both logarithmic. Now obviously this is not really what would sound right? I just made a big crossfade area so you can see the difference. So that should give you understanding now of trimming audio parts, adjusting their handles, adjusting their club volumes, adding fades and adding cross fades over overlapping parts. I'm going to be getting into a lot more audio editing functions. But for now that's a good basis from where we can start 14. Using Auto Punch In Recording: In this video, I'm going to talk about punching recording. Now if you don't know what pinch recording is, if you've recorded an apart, maybe you've made a mistake, or you want to change a section of it, you can set a point, we can record the parts, record over it. For example, maybe I've played in the incorrect base part over here and I want to play in a new part. I can set the points, start recording and only when it hits that area, it'll record. So it's a great way to sort of punch in and fix errors or recording new ideas. So on this base part, I'm going to record in a new part over here. To do that, you need to first use the left and right locators and set where you want that point to be. So I'm going to set it to about seven point. What's at some point to something? That's correct. And if I just zoom in, you can see it's sort of hitting an area where the notes really is. I'm going to toggle the snaps that I have no snapping enabled, and then I'm going to drag this so I've got a more better location for where it's going to kick in. Then I'm going to zoom out and do the same for the right locator. I'm just going to find a point, my play head or cursor there, and then it just adjust that. So now you might know of these points as loop locators, meaning wherever the left and right locators are, if you enable looping, it's going to loop between these points. Now, they can be used for other functions. And that's what you're going to see now that that can be used punch in recording locators. So I'm going to turn off looping. And I'm gonna go back to the beginning. I'm going to toggle snapping again. Put my cursor here. And now I'm going to hit Record. And when I hit record, it's only going to record in a way I've set that left and right locator to show more clearly. I'm just kidding. Zoom up. And I'm going to start playback. Yeah. And what's really great about pension recording is that you're going to play along to that part that you're here. And you're gonna get that energy that you had when you do the first recording, then it's going to punch in that recording and in punchcards. So sometimes if you just put a cursor there and hit record, you're not going to have that same sort of energy that she had when going into it. So it's really nice just to play along and then record it any way that this works really well for most instruments, but particularly with vocals. Because, you know, vocals are quite sensitive to the performance. So you can have the vocalist singing along that get into the same mind space that we're in. They punch in the part that they made the mistake and then pie charts. But enough talking, let me show you an action. So to arm pension recording, you go down here and you hit auto punch or use the shortcut I to toggle it on and off. Okay, so they've got that there. I've got my cursor here. I've got my base. Now I'm going to record. So as you saw there that recorded in New Paltz, I've got departure, I've got my new recording there. And then this part over here. So if I seller the space, what I notice here is the level of slightly soft, I could have had a different setting on my preempt for the base, I can use that volume handle to pull it back in. I can use that volume handled to pull it up so it matches the level. I'm happy with the performance now. Perfect. Now, if I don't like that, I can click on the parts deleted. And like I said, the parts are non-destructive, so I can always bring back the part that I had before, but I'm pretty happy with that. So I'm going to undo the changes. Leave that there. Just one more thing to smooth out the performance. If you just zoom in, it's created a very small crossfade between the points. That's just going to help make sure that there's no clips or uneven performances when it jumps from one part to the other. So that's a really nice, neat feature of the audit punch. You can see if I just select the part, I can adjust that cross-fade. So it's really nice that just creates it for you, making the editing a lot smoother. So that's punching recording. Now next, let's move on to some other things. 15. Recording to Takes: In this video, I'm gonna show you the recording to take feature, and it takes two layers feature. And how you can use these to allow you to record multiple takes off a section in your arrangements and then choose between the different takes. So for example, here I've got a guitar track. And I want to lay the guitar over the bass and drums. So I want to record an idea that's gonna go over it. So I've set up my loop locators from bar 42 by 12. And I've also added in a pre-roll of a bar. So when I started recording, it's going to start the pre-roll at bar three and then kick in. But more importantly, watch what happens when it goes to this loop, end over here and loops back and record some different ideas and you're going to see how it records the different takes. And I'm going to stop playback. Now, what you'll notice is on the audio part over here, if I click this, it shows me the different takes. So currently it has the last take that are recorded in. So let's take three, but I can jump back to reveal take one and take two. Now I can just solo that guitar track and play back and listen to the different takes. A turn off the metronome and playback. Take two different rhythm. I take three. So if for example, I could do things like create another track. So I've got two guitar tracks here. I can take this part and copied down by holding Alt or Option Sets, copying their part done. And now I can choose between the different takes. So maybe with this guitar track, I want to use take two. Well, this one, I want to use take one. Obviously they play different for them, but you get the idea. But now let me show you the takes two layers and why that has beneficial. So I'm going to undo those parts and that recording. And I want to click on this wrench icon to open up the record properties. And over here I've got this option. Record takes two layers. So whenever the record mode is being used, it's going to record takes two layers, and this is with an instrument tracks. But for now we're going to take a look at audio and how that differs from what I showed you, Nana. I'm going to record again. And then I'm going to do two different takes. And then I'll show you the difference when records two layers. Here we go. I'm just going to un-solo those guitars and we're going to play back. So I've recorded three different takes there. And you'll notice that it creates these layers. And there's the three tags. There are three different layers. So I've got three different tastier, three different layers. And I've got take three selected. Now, let me jump into the next video. We'll talk about comping. Now what that is is you're going to be choosing the best parts from each layer and pushing them up to the main part to create a composite part from all your texts. Let's check this out in the next video. 16. Comping an Edit: So continuing on from where we left off in the last video, what you saw was unable the tastes, the layers record mode. And then it recorded three different takes to this guitar track and record a two layers. Now, what you can do now in this video is choose from the best parts within each take and push them up to this main part. So for example, you could call three different takes and get the best performance and then push it up to this part on the track. Now, let's take a look at how this is done. So if I click on this layer and click that, it's going to push that layer up to the main part. So each time I select a different layer, it's going to push that up. But you've still got your layers here that you can choose from. And if you listen back, there are some parts where I did play some mistakes. So I'm going to select this main part, jumping back up there and take a listen. Do you hear that over there? So I've got that part of them that are really aren't happy with. I'm going to zoom in. And what you can see is this notes over here. Now, how can I improve that? So I've got this takeover here, and I have my arrow tool selected. But if I just hover over here and I just drag it, pushes it up to the main part. But before doing that, I'm just going to undo that. And I'm going to disable snap because I want to get better detail and not have it stepping to the grid. So I'm going to select that. And if I play back, perfect. So it fixed up that wrong note that I played in and improve the performance. Also, if I zoom up, it creates some very small cross fades to smooth out the editing between the two different parts. So I think you get the idea there. You can just swipe over areas and get a better performance. For example, I've got the shorter hits over here. I'm just going to push that up there, maybe four over here. I can select that. And let's just take a listen and see what are the parts you'd want to select. Maybe pull it in, but I didn't like that. And let's try a different ending. This ending over here. There we go. I like this. So as you can see, each layer, you can see which parts have been pushed up to the main parts. And I can unselect that and play this back. I'd look at it at two ways. Maybe you went to play through a loop over part because you're not getting it quite right. And you can just loop through, play the part. And if you make some mistakes, it's fine. You can just loop back again and record the part and then go back afterwards and edit the layers and blip a new main part that you want. The other thing is maybe you want to try some new ideas. So for example, you saw her played different rhythms on this guitar. You can just choose a section in your song, sit the loop locators, and just hit record. And it's going to record a whole bunch of different layers for you. And you can miss around as much as you want, two different ideas and then go back and listen to it afterwards and use the layers of year to push everything back up. Now another thing to point out, I can just right-click on this track and choose to expand the layers or not to expand them. So I'm just going to click on that and just going to minimize everything. So it just looks like I've got one track. We have done the edits. But if I need to go back in at a later stage at anytime, I can either click over here to reveal the layers or I can right-click on it and click on Expand layers to reveal them. And you'll notice that there is a slight difference to the look to the track. So there's a track with your controls, and this is a layer. You can actually go in and solo each layer. But other than that, you just using them as layers to push up to the main part. So that's how to comp and edit from layers and build up a new part from it. Now let's move on and see some other features 17. Exploring the Audio Editor: Now that you've seen the audio editing capabilities that you have with audio parts within the Arrange area. Next, let's take a look at what we can do with the audio editor. Now, with an audio parts, if you double-click it, it opens up this view in the bottom, which is the editor. Now, depending on what you select, opens up a different part. So I'm double-clicking an audio part and it's revealing to me the audit editor. Now, things are pretty similar with regards to audio editing functionality. So with this audio part, I can add some fades. I can use these tools up here to split up the paths. And for example, select different parts, create fades on it, change the volume clip level, and also, for example, moving things around. So that's all the same. Now let's talk about the difference between the tune, what you can do. So first off, you can actually expand this to have a bigger waveform view of your audio. I can also detach it so it's in it's own floating window. Or even better yet, if I've got a second display, I could throw this on our second display and make it a full-screen view and just have a much bigger view of the audio waveform. Also, on the left over here, I get a readout of the dB level. At the top being zero db, go all the way down to the most softest level. Now I can drag and change that, says that all you, maybe I just want to see a bigger view, but it's not changing anything with regards to the input level coming in. And as I make a change the size there, I can see that this becomes highlighted yellow and shows that this is a difference in the SAS. So I can drag up or drag this all the way down where it becomes gray again, it's back to its original size. So the nice thing about this is you get a view of the sort of headroom available and where peaks are with regards to their level. Now another thing that I wanted to talk about is the actions. So as I mentioned, all these tools are the same. But what you can do is you can go to the actions and apply some actions to the audio. So if I select the parts, I can go to action and apply these. Now, I can do the same thing in the range error. So let me just attach this again to the editor. I can use the shortcut F2 to minimize that. If I right-click on a clip, I can go down to Audio. And I've got the same sort of actions that can apply there. But the benefit with the editor is I can click a clip and I can go to the actions. And here's some extra actions there that I don't have available to me that were in the other one. So for example, I'm just going to undo the split that I did over here. I'm gonna put my play head over here at bar five. And what I can do is I can go to action and then say fade into cursor. Now, that was just seamless, instead of having to grab the fade tool and drag it there. They're just place my play head well once it maybe it by six this time. And then say action and say fade into cursor. There we go. So you got some actions that they can just really helped speed up your workflow. I'm not gonna go through all the actions, but maybe throughout this masterclass, I'll jump into some of these and you'll see them in action more. One thing, for example, is maybe I want to reverse the audio. I've got a reversed audio drum part now. I could place my cursor there and then go to action and say fade ins cursor. Now I've got a nice fade in to that position with a reversed audio part. So just some very quick things that can really help speed up and streamline the workflow. Now, the one other benefit that I want to point out is that you can set up different intervals are quantized values between the two. I'm not getting into quantiles right now, but what I want to talk about is the view of the grid. So if I change this down to bar, changes the size of this grid and the intervals between it. So I could, for example, have an eighth note grid over here and a range area. But maybe down here in the audio editor, I could jump to a 16th note grid, or even smaller because I've got a big waveform, I might want finer resolution. And then I can go into the editor, zoom up and get a much finer resolution of the intervals between beats and bars. So that gives you an idea of the auditor. Don't worry too much if it's something too much sense because we're gonna be jumping back and forth into this view throughout this masterclass. 18. Instrument Track Basics: In the following sections, we're going to be exploring instruments and instrument tracks and how they differ from the audio tracks that were being currently working with. So in this video, let's just go through the basics and then we'll expand upon that and show you how to use them. To add an instrument track. You go to the track menu and you can add an instrument track over here. But by default, nothing is loaded onto it, so you need to load it instrument onto this track. So I'm going to navigate to my browser. Click on the instruments over here or this tab over here. And then Dannon pre-service. These are the instruments that come included with the application. I'm going to take presence, which is a sample engine. And what I need to do is drag this onto the instrument track. Like I've mentioned before, there's a lot of drag and drop functionality in studio one, and this is one of them. So I'll drag that on. And now this opens up the user interface for this instrument. If it's accidentally gets closed, I can just click the little piano icon over here and it opens up the instrument editor. Now, if I play on my midi controller keyboard, which I will show you how to set up in the next video. You can see that it's playing in some notes. I can see some activity here as it hits the notes, but there isn't a sad. So with this instrument, in particular, I need to load a preset first. So I'm going to navigate down to this presence studio grant, which says, do you do grand piano and open up the studio grad. So now, when I play this back, there you go. That is what an instrument trackers. Now, I'm just going to quickly record something onto the track and you'll see how this differs. So I'm just going to drag this end marker out a bit. And I'm just going to record onto this track. So I don't want anything else record enabled. Now, I'm not going to use a click, I'm just going to play it in and then chastening. So here we go. Can you see the difference there? What am I do is just drag this track so it lines up with the others. This is what an instrument track looks like. And these are audio tracks. So on the audio tracks, you have audio parts and contained within the audio part is an audio file. And you can see the waveform representing the audio on their track. Whereas with an instrument track, you've got an instrument part. And within the instrument parts, if I just double-click this, dopends up the midi editor or musical editor. And here you can see muddy, no data. As I click on each little note there, you can see it gives a little call out of all the properties of that file. So for example, this node over here is a three, and I can see the velocity amounts and what chord it falls within. So you get a lot of detail that you can use. So the big thing is just knowing the difference between what you're saying. Also on an instrument track, you got this little piano icon. We're in the audio files. You've got this icon over here. Now, that is the basics of an instrument track. Let's now get into how we set up our external midi controllers so that we can input midi note data into the track so that it gets pushed to the instrument and the instrument plays back the data that's being played. 19. Setup a MIDI Controller: So now that you know what an instrument track is, let's backtrack and I want to show you how you set up your external multi-device search can input midi note data into instruments, otherwise known as sitting up a midi keyboard or midi controller. So connected to my system is a innovation launch key MK to 61 key keyboard. And I've got this going via USB and smart computer. And by default on my system and automatically detects the device. Now makes sure that your device is detected on your system. And if there's any drivers that you got from the manufacturer for the setup, install those first before proceeding with the next step. Once your external keyboard is plugged in and you've made sure that you've installed the relevant drivers. Next, go to the studio when menu, then preferences or edits on a PC, then dance preferences. And what you want to navigate to as this external devices. So if you're in the general tab over here, just click on external devices. This is going to list any devices that has been detected and sit up through studio one. So I want to add my keyboard. I can click this Add button over here. Now here's a list of manufacturers that have been set up and there's some default devices. So let's say for example, using an archive device and using the LPD, you can select that and add it. And I'll edit perfectly for your device. But mindful innovation, I don't see the name over here. So what I'm going to create is a new keyboard. You've got three different options here. You can create a new keyboard, which is a generic midi keyboard. You can create a new instrument. So this is connecting to an external midi instrument. Maybe you've got an external synth which will incorporate into Studio one. And then if you've got a control surface, maybe you've got a control surface with some faders and parts and you want to use those to control the parameters within Studio one, then you can set up a control surface. But for my purposes, it's just a keyboard. And I can give some details over here. The manufacturer is innovation, and the device name, I want to call this the launch key, MK to 61. Then I can choose which midi channels to use. By default, it has them all selected. But if you've got multiple different external devices connected to your system, you might want to send data around them on different Midi channels. For example, maybe I've got a drum machine, we're going to use that on midi channel to only. Or I've got a small 25 key midi controller, and I want to use midi channel three. But for this, I've just got one midi controller keyboard, and I'm going to leave it set to all the channels. Then here you can choose where it's receiving the midi data from. We're now talking about Midea. I mean, when you hit a key on your keyboard, it's sending data through the USB into your system. So over here, I've got my launch key, MK to 61 key, and that's the multiprotocol side of it. There's also some filters. Maybe you want to filter out some messages. So for example, on my keyboard controller, the pitch bend, I really don't want that to send the information to my system so I can tick that. So it doesn't send pitch no data. And then send to you, I'm just going to leave that blank for now. You can also split channels serve, you select this, you could split the channels of the soul, maybe some of the channels you want to go to this instrument way when some of the others to go to no instrument. I'll leave that unchecked for now because you're not going to be using that. And then you can set this up as your default instrument input. Meaning every time you create a new instrument track, it's going to use this as the default. Now our debts, I'm going to tick that and then I'm going to click Okay. So now under my list you can see that it's detected the launch key MK 61, and it's receiving from this midi channel. Now if I click Okay, if I just play on this keyboard, it's sending video data to this instrument. So let's have a closer look over here. On this instrument. This is the instrument device that the instrument track is sending two. It's using all the inputs, meaning anything under here is going to use, but I wanted to use a specific default input, which is going to be my launch key, MK 61. So that's perfect. This is the group channels that are going to use that. And then this is the layers which I don't need to use. Now, another good way just to double-check that everything is working perfectly fine is to take a look here at the buddy monitor. Each time I hit a Midianite, sending it in. Now if I click on this, it opens up an expanded window where I can see all the data. So I'm playing a chord, but if I just clear this now, play F2, you can see it's there. F2 showing a note on and note off. So it's important to note that when you hit a medic key, so pushed down, gets a notes on and then I let go. You get your note off. So just hitting a key on your keyboard is actually sending to Marino data information to your device. Knock and fools route some things that I don't want to see. So maybe I don't want to see my midi notes on and off. So as I'm hitting a key, I don't see anything. But when I move my modulation wheel, you see Marino data there. And if I clear things, when I move a controller, let me just do that at slow. You can see the note data and particularly information pertaining to that device. On my midi controller keyboard. That's enough information for now. I just wanted to show you first how we could set up a external device, which is a new midi keyboard, and how that midi keyboard is sent to an instruments. Now, let's say you don't have a midi keyboard controller, or you've got your laptop, MacBook, and you're going out on location. So you've got to sort of mobile setup client for that keyboard in with you. What do you do? Now? That is where the virtual keyboard comes into play. Now let's check that out in the next video. 20. Setting Up and using the Virtual QWERTY Keyboard: Like I mentioned in the end of the last video, if you don't have a midi controller or you going to be remote and location and you can't bring it with you. You can use the virtual query keyboard. Let me show you how that is set up. To get to this device. You go to your preferences. Then under external devices, click, Add, then navigate down to the pre-service folder. And in here, you can see a list of different pre-service hardware devices. But what we're looking for is the QWERTY keyboard. So I'm going to select that. I don't need to do anything over here. And I'm going to click Okay. Then I'm going to close this. And then on this instrument track, I'm going to remove this body part. And then for the midi input, I'm going to set this to the QWERTY keyboard. And in theory, if I hit the buttons on my keyboard, it should do something, but it isn't because it's one extra step that I need to do. I need to go to my mix console by clicking this button over here or using the shortcut if three, then hitting this external button over here. And what she needs to do is double-click this and the external devices to open it up. Now, with that open, I can use the keyboard or the computer keyboard right in front of me. For example, if I've got a laptop or a MacBook Pro, I can just use my built-in keyboard. Then you've got a bunch of different premises that you can select. So if I hold down queue, but if I hold down sustain, I've got a sustainable that note. I let go of that and I'm finished. The sustain, I can do bends. Modulation. Modulation is sad. I can jump up and down an octave or up an octave. Over here are the sharps or flats, how we look at it. So this is going to be C, This is going to be C-sharp. This is going to be d. It's going to be D-sharp, and it's going to be E, and so on. Then you can select the velocity. Now, the way of thinking about velocity, this is just going to be a very quick explanation. But basically, velocity determines how hard a, notice that with a virtual keyboard, I'm just hitting the button. But if I'm using my external keyboard, I'm hitting the keys with different strengths. Where over here you can determine what their philosophy matters. Low velocities are generally going to be softer, filtered add nodes. So I'm going to change that back to the crazy keyboard. So by default it sits AT, but you can ramp that up or down. So that is the liquidity keyboard, very simple, but very handy to use if you're on the go. Now, you can also pin this window so that it stays open. Meaning I can actually close down this mixer. And this is right there for me. Now there's Putin comes in real handy when you get into plug-ins as well. You can print things so they stay on top of the ear that you're working on and they don't disappear and you have to go back and open them up again. So that is the QWERTY keyboard. And just remember that you go down to the input here to change what device you want. So looking at my preferences again, I've got two devices setup currently, the virtual query keyboard and my innovation launch key as a midi keyboard. So I'm going to switch that back to my default device. And now we can carry on 21. Creating Instruments Tracks: So now that you set up your midi controller keyboard and you know the basics on instrument tracks. Let's dive deep and see what we can do. So as you saw earlier, if you want to create an instrument track, you go to the track menu and you add an instrument track. But by default, and nothing comes installed on their track, you don't have an instrument assigned to it. By drag this down. There is no name, meaning it's not directed or LinkedIn instrument. So I need to go to the brushes panel and to the instruments folder. Here are all my instruments including math, third party instruments. Their studio one can see on my system. But down here in this pre-service folder, these are the stock instruments that come bundled with studio one. So for example, this matter, I can take this and drag it onto this track. Now this track is assigned to the martyr. Other ways of grades instrument tracks is you can just take this instruments over here and drag it to an empty space over here. That creates the insulin track. And a sense for you. If I go to the presets on the SmartArt and just change it. Track if an arm that and then arm this track. Now you'll hear the synth. That as you saw, I changed the presets, which you can also do is navigate to instrument. Scroll down and grab one of these presets and drag it onto a gray area over here. Now it's loaded that instrument and the preset. Or you could even take the preset from here and drag it right onto the other plug-in. So that changes that preset for you. That's pretty neat. Now, if you want to remove a track and this is really what I want to show you. So I'm going to close this down. And then I'm going to right-click on the track and say Remove track. That has removed the track. But if you look over here, I can still choose between the instruments I've created. So this is my tie, this is my tattoo. And then the other track I just deleted had no hizo. He has my hizo. Says the matatu, which is a strike over here. All jump up to the first martyr synth. So basically these tracks aren't hard locked to the instrument. You can actually have other instrument tracks and pointer to the instrument. If I, for example, go to this mix console, you can see that I've got $0.03 over here. But if I right-click on a track and say Remove track, still retains the instruments. So if you've got a tracker tool and remove in your song and you don't want it linked to the instrument and you want to remove the instrument from your song as well. You can right-click on it and say Remove track and instruments. They removed their track and it removed the instance of it. And I'm ECS console. So these are just some things to bear in mind when you're working with instruments, when you're creating them, when you're learning presets and how you want to jump between them with different tracks within your Ranger. Another thing to point out in the mix console area over here is I can hide my instruments. This is probably the default view. And then when you click on the instrument over here, it reveals to show you your instruments. These are grayed out because they aren't assigned to any track. So if I create a new instrument track, I can choose to link that to matatu. That comes out of there. I can right-click over here, choose another instrument track. This can go to Mockito that comes active as well. Or I can drag another instance of matter browsing for the presets. So I'm going to go for this better donor. That's going to be the motto instrument that I want to use. So there we go. That's that sound. If I didn't like it, I can always just take the preset and drag it onto the plug-in and it will change the preset within that plug-in. Joseph Bell. Actually find it easier dragging paresis from there, then trying to scroll through this preset menu over here. So just keeping an eye on the instruments over here. If I take this Belmont hasn't instruments and choose to remove it, but I'm still going to keep the instrument that removes the track. But you can see that the instruments they announced grayed out because it's not linked to anything. And then obviously one other important thing that I want to mention is you got mater here, my tattoo Cynthia, you can actually click over here and rename it. Maybe call it smells like there'll be the fifth sinth in the song. And then this Mockito, you can rename this to say place. And in this mosquito, Let's rename that to chorus synth, just something random so we can remember it. There. You can see your different instruments, you rename them. You can point to them with in the insulin track over here, choosing where you went to point the midi data to. And that pretty much covers it flinch when tracks, it's really not too complicated. It's just good to know where everything is and when you remove tracks had still retains the instruments within the mixed console. Now in the next video, let's take a look at what happens when we record to a instrument track and what happens with the Maddie? 22. Recording MIDI to Instrument Tracks: Now let's take look at when we record to an instrument track. I'm going to remove this track ands instruments. Then on this track over here, I want to open up my tie and browse for a different preset. Maybe going for this Dinah bells, Let's try this out. And that'll work. So let's go to our color settings. Let's set up a pre-roll of 2 bar. Then I'm going to jump to bar three, makes sure that the midterm is armed and then I'm going to hit Record. Okay, So there is the mini recording. As you can see, it looks very different to audio waveforms. We've got the waveform niche can see in the audio part, we were the many parts. You got these lines that represent midi data. And if I double-click on this part, is going to open up the midi editor. And with this, I can edit the money that I've created. So for example, I've got these notes here. The first one is f, a and then C fonts and make it monarch could just take this nodes and chug it down to G-sharp. And now I've got a minor. Putting their back, I've got a major. So it's all showing you how the notes are represented, what they playing. And what you can see is that some things are coming in a bit early of things a bit late. And that's when midi editing tools come in handy. So we can use all the tools that are available to us and the editor to perfect our performance and really tweak it and get it to where we want. The next video. Let's start looking at midi editing tools and high can use them 23. Using the Piano Editor: In this video, let's take a look at the medial instrument editor. So I've got an instrument track over here. And here is a part with somebody data in. If I double-click this, it opens up the lower panel revealing the editor. And in the data here it shows the midi piano roll. You might be very familiar with this, where you've got a piano roll showing you the notes of the keys. And then on the right here, this is your midi note data. So I've played in some chords and you can see the notes of each chord, and you've got to start position and an imposition. Now the editor depends on what types of tracks you've got churn. So for example, if I just go to the browser now going to loops, and I just take an audio loop and drag that year. So creates an audio track with a loop. This is now going to show the audio editor and the bottom. So depending on what type of track you've got selected is going to show the relevant editor. So going back here, I'm just going to meet that audio part and go to the instrument track. You've got some very similar tools that you can use here in your midi editor that she had an audio editor. I've got my arrow selection tool. We can select nodes and move it around. I can also hover over the end of the nodes and change the length and the start point. And what you're seeing here is the grid value. So my grid is set to 1 bar, what I consider to consider its coordinates, or eighth notes and eighth notes, you can see the grid changing. So here is 16th notes and anti three-second nodes. And if I zoom in, you'll see those fine increments. Now, use needs to change a to the value that you want depending on which gametes working with. So I'm going to leave it set to quarter notes and just zoom back in again. Now what I want to show you is that I've got snapping enabled and a note will snap to the nearest quarter note. As I dragged it. That snaps there, snaps there, snaps there, and so on. If I take the snap off or use the shortcut n, Then I can freely move this midi notes around with added snapping to a grid. But it's quite nice to keep snapping armed. And only when you need to use a shortcut in and move things off and then enable it again to step things again. I can also split node. So let's say I take this node and extend it all the way here, and I want to split it. So I'll select the split tool or use the shortcut to. And now I've split it into two nodes so that one long note that I draw it out. I now have two nodes where I can adjust the start and end points of them. I can select the note and just delete it. So I'll select that and press Delete and it removes it. Or if I want to meet her notes, I can select it and needs it. So if I want to meet, notes are selected and I can use the Move Tool or I can use the shortcut F5. So as I do that, it's meeting those nodes, jumping back to one over here, I can select nodes, get a five and hit that. And instead of having a chord here, I've got one note that's playing. Also, I've got to draw tool. And let's draw tool is going to draw in depending on the link that I've set for the quantize grid value. So that's drawing it in at coordinates. If I set that to a bar, it's going to draw in a whole bar. Now this can get quite messy sometimes if you're drawing in some parts, you don't want the long Barnett, you want a shorter interval and having to jump up here to make changes. So let me show you a shortcut that you can use to help you jump between the different quantized values. So instead of having to jump through these quantize settings by jumping up to as many here on creates a keyboard shortcut allows me to jump between these, and this is pretty easy to do. So I'm going to go to the studio one menu and then Dan's preferences or on the PC side, Edit and then Preferences. Then here you just want to make sure you got General and then you've got to keyboard shortcuts. And in here I want to search for quantize. And what I'm looking for is the quantize menu and then these different subdivisions here. So you can see you've got a bar, you got half nodes, coordinates, eighth notes, 16th notes, and 30-second ads. And with each one, you can enable a shortcut. So I'm going to click here and a mass sad, I'm going to hit Control on the Mac. And one, if I hit Assign. And there's an issue with this as a scientist, I have a keyboard shortcut. It's going to let me know. On your side, just assign it to a key that you want to use and check that it's not interfering with any other key commands. Then the next is a half node. So I'm gonna go to the Enter key and do Control to sign that eighth notes is down here. I'm going to assign that to three. Then eighth notes or 16th notes on a sign I have to control for. Then let's go to the second aids. Control for and Control F5. So we've saved the shortcuts. I'm not really going to need 60 fourths. I'm going to apply that and click Okay. Now watch over here. I'm pressing Control one, jumps back to bar, control two, half notes control three, control for control Five, jumping between those different interval values. That's pretty neat. So for example, I can press Control one, go to my draw tool, go over here, drawn along nodes, then maybe go to here, press Control. Three attempts to eighth notes. Go over to this bar here and press Control 2.5 note. So that allows me to very easily jump between those different instill values for the grid. I can also just go to my arrow tool lesser around those and press delete or move them. So that's just a very handy shortcut. What we're going to be looking at a lot of ways to make things more efficient and Alpha, and that's one way to be efficient is by changing that quantiles value and jumping two different things. Now, now that you know how to edit your midi data in the next video, let's take a look at quantizing and how you can use this to help tighten up your midi performances. 24. Quantizing MIDI and the Quantize panel: Okay, so now that you saw how this piano editor works and some of the tools you could use. The next big thing to get into is quantizing midi notes. Now, first let's determine what quantizing is, and then I'll show you the functions that you can use to help you quantize your midi data. Taking a look at these midi notes, you can see that you've got to start and an end point. And some nodes are, there, are just a head off the grid or maybe our bed late. And what you can do is you can use the Quantize functionality to take your notes and tighten up those starts and ends. So for example, if I just zoom up over here, those notes are not sitting right on bar four. I can use the quantize function to select those nodes and quantize them and get them to jump right on bar for now sometimes you want things to be very hard quantized. And when I say hard quantized, sitting exactly on the grid were other times you want things to veer off, get a bit closer, but not be exactly on the grid so that you can retain the live performance that you recorded in. But this is a bit sloppy. So let's see what we can do. So I'm going to select all my notes. I'm going to set my quantile, setting two coordinates. I can see the interval values over here. If I jumped to eighth notes, that's a bit too fine for me. I don't really need those. A jump back to coordinate. And then I'm going to simply press the shortcut Q and S going to quantize my master nodes right onto the closest coordinates. You see that? I'm just going to undo the changes. Take a look here, here, and these over here. And when I press Q, just push them right onto the nearest coordinate. So it's pretty easy to do. That is basically quantizing. I could take those notes and maybe choose a different quantiles value. So I could say maybe to the nearest 16th, note, select them all using commodity and hitting Q. But does the same thing. Now if I took something like these notes over here and move them, maybe they, and I select all the notes and hit Quantize. See how that's jumping it to the nearest 16th note when instead, I actually wanted to go over here. So what do you wanna do is just make sure that you choose the right quantize interval measurement that you want. Just take a look at the length V are many nodes and where they sort of sitting here, coordinators perfectly fine. I'm going to stick through all and press quantize. Now, what this is doing is it's quantizing the nodes by 100 per cent, meaning it's going to push it right onto the grid. If you want to get some finer details and more control on quantizing, what you can do is open up the quantiles panel over here, and we're just going to stick for grid and go through some parameters. So over here you can choose exactly one contracts your performance. Now remember I set up these shortcuts for the Quantize interval measurements. If I go to control one or control to control three, you can see that these are the same intervals. So that is a bar that is half nodes, coordinates, eighth notes, 16th notes, the second and 64 nights. So just give me the music symbol for that value. I'm going to stick to coordinates. And over here, I can choose how I want that to be quantized. Straight means it's going to be straight on the grid. You've got some different things. We can add some swing or give it a triplet feel. We'll get into that in a sec. Now over here, I want the star to be quantized 100%. If I drop this maybe to about 50 per cent. And I select all my notes. And I had Q. You can see it's quantized my notes, but not exactly on the grid. So it's pulled them in but left them still a bit loose compared to the start of the performance or the live performance that was recorded first. So you can choose how hard you want to quantize things. You can also choose to quantize the end. So let's say I want to take all the n nodes and push them to the nearest coordinate. So there it's quantized the ends and the star. Very handy, or let's say, I don't quantize to start, but I want to quantize only the ends. Then I can select all the nodes, hit Q. And what it's done is it's shifted the ends of each nodes to the nearest coordinates, but it hasn't quantized the beginning. You do have some functionality on how you want to work this. Over here, you've got velocity now velocity deals with the automation lanes over here. Now, when you hitting notes in, you can have a different velocity. And that velocity mount triggers the instruments and different way. For example, the most common thing is a low velocity means a low volume. I'm going to get into velocity a few coming videos, but for now, that's basically what this is over here. You can set how high the velocities can be if it's gonna be at 100% or less when you quantize it. But I'm not going to worry about that for now. You can also store settings. So these are programmers. Let's say for program a, I want coordinates. Let's say for program B are 1.5 notes worth maybe the start set a little bit lower. Then for C, I can set this to 16th notes. And for D, Let's have this at a bar. So as I jump between each thing, you can see it retains the settings. You can set up some Programmed quantized amounts that you want and jump for them and then apply them. Now, I skipped over this sort of straight triplet and swing thing over here. Let's take a look at this. But first I just want to program in a quick drum pattern and then we'll jump back to this. So I've just added the impact drum machine onto an instrument track. And I've recorded in this very simple drum pattern. I'll play it back for you. It's just a kick snare and it has a double-click this, you can see the Menino data. So what I want to talk about now is the different fields that you can add in. For example, the swing and the triplets. At the moment everything is straight On 16th notes. So if I select 16th notes, so you can see the grid day, if I change it to color nodes, you can see that there's less spacing between the interval jumps. So I'm going to go for coordinates because that's matching up with this hats patent, which are coordinates. I can select it all and quantize it and it's really quantized. But what I want to show you is swing. So when r increases, swing them out, watch how the grid changes. So I'm going to pull that back down and just zoom up a lot on this grid and watch as I increase that Zoom, sort of pushes things off. So with swing, you create a groove pattern. And that changes the feel of the piece, even though it's still in 16th notes, you've added a 45% swing and it's going to sound slightly different. So I'm gonna select all the nodes and hit Quantize and you'll see how it pushes some of those 16th notes alphabet. Sounds like this. Now, this was before, very straight. And then quantizing it to the swing. I'll do that again with increasing amounts and just soloing the drums. So let's just pull this down actually first. So there's no swing. Quantize it. And then add in about a 70% swing. Here we go. I think you can hear what's going on there. Now. You can add swing or you can take apart and move it from straight to a triplet feel. So taking a look here, here is straight with no swing, looking at the grid. And if I go to triplets, instead of having a full beads, 3-3, 0.2, what you've got is you've got 123456, so it's changed the interval amount. So you've got six subdivisions between this instead of the straight four. So I'm going to take triplets, select all the nodes, and hit that and it pushes everything. Also say it pushes the higher patterns to the nearest triplet. So maybe it's not gonna be right, but I think you can hear the difference. Going to quintuplet, that's even further divisions and then taking it even a step further, etc. Tablet. So you can see there is a very different subdivision. You can even add some swings. I'm going to add some swing with a sip tablet feel very strange, but it's great. You can hear how you changing that grew from a straight groove pattern through to something with a bit more swing and a bit more change in subdivision. So that's how to use the quantiles functionality and quantize Pell 25. Using the Velocity lanes: In this video, I want to talk about velocity and editing the velocity and the velocity lane. Now this is probably the feature that are used the most in the midi editor next to writing in and programming in the middle node data. So if you want to see the velocity, you go down here and you click this plus sign and this opens up an automation lane. And then on automation lane, you can choose the velocity layer. There's some other options here that you can select and view different midi data. But for now we're just sticking with velocity. Now before getting into how we edit this, Let's talk about velocity. Now probably the most basic way to think about velocity is linked to volume. If you've got a low velocity, There's gonna be a low volume and a higher velocity is gonna be a higher volume. Now that's a bit more to that, but let's just stick with that idea with velocity linked to volume. So I've got the drum solo it, and I'm going to play them back. I can select different midi note data and it highlights to reveal those nodes within the velocity lane. So let's say I want to lasso around these high hats and then I bring them down. Can you hear how the volume level is getting softer? Likewise, if I bring this up, It's going to sound like the level of those hired. So a ladder. Let's do it to another part of the instrument. So I'm going to play back, and this time I'm going to select the kicks. Now let's say I want a softer kick, more of a subdued kick. I can take those hats and drop them down as well. It's sunny, very nice. So just doing some velocity changes can dramatically change the way your midi instrument response. Now I'm just selecting a part on the drums, for example, I'm selecting all the hats, all the midi note data and editing them. But I could go in and also select just the notes and edited all select the node just here and edited. For example, maybe some of these orbits are allowed. You can hear that That's the stairs and I'm adjusting. Maybe I want to go in and adjust them as well. So there's multiple ways of editing velocity. But what I'm trying to point out to you here is what velocity does. And by making changes, how you can hear the changes. So like we started in the beginning of the video, velocity is quite closely linked to volume, but actually linked to have it instruments going to react to a velocity change. Velocity is simply just midi note data. And this data is being sent to the instrument in telling the instrument to do something. Let me show you another instrument and she had reacts to velocity. Some the answer or the drums and go to the space part. Take listened to it first before we do anything to it. Now I'm going to select all those notes. I could just less around them. Or another way is to hold down Control or Command a on the Mac and selects all the nodes. Now I'm going to drag this up. So this velocity is doing something different. Not does sound like it's ladder. But what it's actually doing is it's opening up the frequency cutoff filter on the synth. Now that might sound a bit confusing. So let me show what I mean. So this is the cutoff. So if I just play a note as I open up that folder, hearing more of the frequency on that base and linked us filter is the velocity mat. So when there's a higher velocity is going to open up this filter. So with that in mind, if you click on this button here, it's going to happen. This plug-in sits on top. I'm going to drop these notes. If Apple is philosophy back down here and increase this up, it's going to have less effect. And that's going to open it up more. So velocity is a very creative tool, depending on how it works with the instrument. Most of the times by adjusting the velocity, you just going to change some volume levels on some instruments. But other times you might notice when you're increasing that, that the sand or the tonal quality or the timbre is actually changing as well. That's just how the instruments been designed. For example, with this base when you playing software, that filters cutoff. And then when it's ladder, you're getting more of those frequencies from the base. So that's just giving you a very good understanding velocity. Most of the times you might just be wanting to go in and just editing some of the parts. For example, maybe you just want to go into the drums and just select some nodes and find some that are maybe a bit too loud or you need to make some others ladder, then that's a good way to quickly go into the velocity and edit those. So I hope now you have a good understanding on what philosophy is and how you can use it in this automation lane to improve your many performances. You probably going to be recording or programming and your midi note data. And then afterwards going back in and editing velocities 26. Using the Drum View: In this video, I want to talk about the drum view. So you've probably seen the piano view over here where you've got a muddy part. This is an instance of the impact drum machine. And then when I double-click to open it, you get this piano V over here. Now what you see is the midi notes. If you hover over midi notes, you also see the drummer silence. So C1 is the kick blow, C2 is the snake law, and so on. Also, if you make the midi note data bigger, you'll also see the names of each sound. But there's actually a better view for viewing drum Maddie no data. And that's if you click over here and you go to the drum view. Now, what's nice about this is you're not seeing the note length of the drum, you just seeing a single hit because if you think about a drum, it's just a single hits. And it's got the naming convention over here for each type of drum. So you can clearly see what each leaners. So for example, there's the kick blow, here is the snake law, here is the hat sharp. And I can just play over each one to hear the sounds. So it's a much neater view for drum programming. So just showing you the lengthened gain. This is the kick blow. Now I've assigned a shortcut so I can jump between the piano view and the drum view. For the piano view, I'm just holding down Shift and one, it jumps me back and as you can see, it's sort of flipped on its head. So you've got the C1 here and then it's going up. And you can see there's different note length data for each nodes. Now, for the drum view, edit the shortcut Shift to jump back to the drum view. And it just looks like a way to view. I can see exactly where each hits it is and I can see the naming convention for each drum on the impact drum machine. If I just want to go in and program in some more drum node data, what I can do is just right-click choose the paint tool. And this is going to paint in some 16th notes. So over here, let's say I just wanted to do a snare. I could just click there. And it's going to put all those notes right on the grid there. I can jump back to my arrow tool and just change those velocities. So I create a sort of snare roll. And then if I just go back to the Paint tool, I could use the shortcut three. If I just click a note again, it just removes it. If you look at the points, that sort of becomes like a drumstick. So when you click it creates the drum nodes. And then when you click on them again, it's going to remove them. So a very easy way to program and your drums specifically with the instruments that come bundled with pre-service. For example, like impact, which is a drum instrument. If you load that up, it's going to load up the drug names for you and what notes it's assigned to. If you're using a third party drum instrument, then what you're going to have to do is probably choose a type of assignments so that you can build up a drum map for your instrument. I'll show you that in the next video. 27. Bus Channels and Routing: Now in this video, I just wanted to talk about some different routing options that happen within Studio one and the Max console. So let's say for example, I want to take all these drums and I want to wrap them to a bus tunnel. Then I can select the track, hold down Shift, select this last track, right-click on it, and then say add best channel for selected tracks. So that creates this passion. And over here, I can call this drum, so I'm just double-clicking on it and giving it a different name. And basically what that means is all these tracks are going through to the drums. Take a look here. So my drum tracks, in fact, the instrument is going to the drums, which is the best channel. And then the best channels is going to the main out. So I can adjust the volume level of the drums with just the spider on the best channels. So that is just giving you a quick indication of the routing that can happen within the next console. Now, if I was close to mix console, you can see that I've got those tracks over here, but I've also got the bus channel. They can use that you can see because if I click on over here, I've got linked visibility of tracks with the console, which basically means that whatever tracks are in the mix console, you can see in this view as well, you've obviously got much more flexibility with routing possibilities. For example, let's say I take these keys and the lead, I'm just going to select those two tracks. I'm going to right-click on it and say add bus was late to tracks. This, I'm going to say keys and lead. So basically the keys and lead are going to this track. Then what I can also do is take this bass track and this motto over here to say, I'm going to group those as well to a track. And I'll call that my ties. Let's just say that for now. Then. If you just take a look at the routing, you've got the keys that are going into this keys and lead and into the main output. Now watch this. I'm going to select the drums, keys and lead and the matter. And I'm going to bust that to another channel. And I'm going to call this music. So I just want all the music coming. So if we take a listen, I've got, for example, the keys going into the keys and lead them from the keys and neither is the music. The music, it's the main outlet. So what I'm just trying to point out here is that you've really got a lot of flexibility with writing your tracks by how the outputs going into Bus channels and then from the best channels to different outputs, or even into the best channels, are going to get deeper into different routing possibilities and folders and grouping. But for now I hope that just gives you a good understanding on the customization and flexibility you have with the Max Console, your tracks and routing possibilities. Now in the next video, Let's jump into the insert section and see what we can do there. 28. Using Insert Effects: Now in this video, let's talk about inserts and high use them and why use them. So the big thing to explain about inserts is this is where you add effects that process your track. So for example, on the insert effects, this is where you'll add things like compressors and EQs and modulation effects to modify an, alter the sound to get it to fit within the mix on how you want it to sound. So for example, with this keeps track, let's say I want to add a compressor. What I can do is click on this plus sign over here. And then this comes up with an area that I can navigate my system and find a plug-in. It's going to show my third-party plug-ins because it is sorting it by vendor. Or I can navigate down to the pre-service folder and see the stock effects that come with pre-service. Or I can choose to buy flat. So just lists all my plugins on my system in one big long line in alphabetical order. I can choose by folders, sub-folders, its filing them into different types of categories. For example, if I'm looking for any delay effects, this is going to be studio and delay effects plus any third-party effects that have been labeled as delay. As you saw, you've got vendor and then you've got top. So top breaks this down into the top of plugin format. So to do one reads VST plugins or audio unit plug-ins on the Mac. The Mac, I can see my VST plugins that are compatible. If V is t2 plus t3 plugins my audio units, and then the pre-service plugins. So basically these are third party plugins and then these are stock plug-ins. Oppose need like the vendor one so that I can navigate to the different type of vendor and then she's plugging. Alternatively, you can also just type in here. For example, I want to look for compressor and then it filters out any types of other plug-ins and shows you the ones that will match up with what you want to do. This is the stock compressor from Studio one. Now if I just solo these keys and play them back, I can see that the audio is coming into the plug-in. And then I can use the dials on a plugin to alter how this is going to affect the device. So I just want to apply some slack compression that's happening. And now I've got my compressor, which is first my chain. Then let's say I wanted to add an EQ. Then what I can do, another way of doing this is going to the brass panel, clicking over to effects. And here you see the same view that I showed you earlier. You've got flat, we're lists all the plugins in one row. You've got folder where it breaks down into the folder tabs at the top of effects, the vendor and then the top. So this over here on an EQ, I want to go for the pro EQ, that is the stock EQ from one. Now what I like about this view is it gives you these little icons. One what the effect looks like. So I'm going to go down to pro EQ. And there it is. I can just take this and drag it on. And now this is the pro EQ plug-in. After the compressor. I could go in and make some changes to the plugin. I'm just filtering out the frequencies that I want and then attenuate and boost some other ones. Now, an important thing to keep in mind is that you can also change the chaining order of the plug-ins. So this is going audio coming into the compressor and into the pre cue, and then at the main output. Now, if I want the EQ to come before the compressor, I can just simply just drag it above. And now I've changed the chaining order. So what's important to note is the plugins come from the top-down in a serial manner and then go after the output. I can also bypass plugins. So if I just click yeah, That's bypassing the EQ and that's bypassing the compressor. If I double-click to open up the effects, I've got the bypass here. You can see when I bypass that everything goes gray and then I can enable it again. Now, what happens here? If I've got the EQ open and then I click and open the compressor that closes the EQ. Now there's couple of ways you can go about jumping between different plug-ins. First off, I just want to enable this compressor. And if you look in these little tabs over here, I can just jump between the different types of facts. For example, let's say add a chorus after this. So I've got three effects. Here's the chorus. I can make some changes. Then I can jump to the compressor, make some changes there, and then onto the EQ and adjust that as well. Now, if you want to see all the effects in one go, what you need to do then is peanuts. So if you put it over here, it's going to stay open. Then I can open up the compressor. I can pan that. And then I can open up the course. Now that allows me to see all three effects at the same time and I can make changes to them. And then we don't want them anymore. You can just click here so that it goes back to its normal behavior where it just jumps between the other plug-in when you openness. Now there's also a mini view. So if I just click on this, it opens up this little mini view here. And I can see the shape of the queue. And I can even make adjustments to it like that. I can see there's no points and make the adjustments. Obviously the view isn't as big as the plugin, but it's great just having that many views as you can quickly jump to. I can click it again to minimize it. And then go here to see the compressor. And then click over here to see the other parameters that are in the chorus. So I can change the depth, the spacing, and the delay. Now another thing I want to point out is, let's say our clothes, the mixed console. And I press F4 to open up the inspector. I can see those same plugins over here on the Inspector. I can see there's many views. And then I can also open up each effects. And then I can also just change the chaining order of each plugin. Now, if you want to jump for some preset change that have already been built up, you can click on this drop-down arrow over here. So for example, if I just go to the next console, I'm going to click over here. Let's say I want to go to, What should we go for? This algorithm is sinth and I want a good crush chain. So now this opens up a chain with an Auto Filter, chorus, I bet crusher and pretty cute. And I can arm those whenever I want. Also, if I don't like what changes I've done, I've got an undo history, so I can undo that. And I can get back to the chain of events that I had. If I built up a chain that I really like, then I can just click on here, navigate to the end and state store effects chain and give it a name. So let's say I can call the keys chain. I can choose a subfolder. So here are all the sub folders. I could have it under a bass, drums, guitar, instruments. I'll leave it maybe under instruments and click. Okay, and then I can recall that at any other time. So I can go to instruments. And then in instruments over there, I have got my keys, Jane, and I can just recall that up. So I hope that gives you a good rundown on the insert effects. And in high you can use them. How you can add your own insert effects and hiking pulled up a chain, bypass effects and in Savior and chain. One thing I did forget is that I can actually also just click on the thing here. I can bypass the effect, what can even disable or remove it. So if I disable it, it goes gray. And then if I remove it, it removes it from the chain. Now, in the next video, let's talk about copying and moving instead of facts around. 29. Copying and Moving Insert Effects: So in the last video, you saw how you could use the insert effects. Now in this video, let's take a look at how you can copy and move around instead effects. So let's say you like the edits that you did with this pretty Q. And you want to apply this to another track as well? I can just simply select it, click on it, drag it here. Copies that across to my lead chain. Same with the chorus. I can just drag it there. And it copies that grows with the same settings. Now, if you want to move a plugin, then what you need to do is you need to hold down Option. And as you drag watch what it says. It says move compressor. So I'm moving the compressor onto my impact instruments. And what that does. So what it does is it removes it from the original track and moves it onto the new track. So just be their mind if I just drag across, I'm copying. But if I hold down Option or Alt, it moves it to the other track. I thought I just mentioned that that's quite a great way of just moving things across. For example, if I like this compressor and I want to apply it to all these other tracks and just drag quickly and a quickie copies across that compressor. So just a very easy way to work when you wanting to copy across multiple effects onto other tracks. Now in the next video, we're going to move on and take a look at these sense 30. Using FX Channels: In this video, let's take a look at how we can create fixed channels and what do you use a fixed channels for? The last video, you saw how we edit insert effects. Now the best way to probably think about how to use a fixed channels or when to use them, is if you've got a track and you want to apply a specific evicted, then you can probably use the effects on the insert effect. But if you want to use an effect that can be shared across multiple tracks, then that's where in a fixed channel comes in handy. So you create the effect on the effects channel. And then from these Sends here, you send levels of these tracks to that affects channel. A great example of this is when you use a reverb as an effects channel, and then you send each tracks that reverb so you get a coherent sad and all the tracks and luck they exist in the same room. So taking that example in mind, let's see how we create an fixed channel. If I go over here and I click this drop-down menu, you can see I can add other robust channel and effects channel or BCAAs and all channels. For this, we're going to create an infection that creates a fixed channel at the end there. Now remember if you've got this option to keep your fixed channels to the right, then every time you create an effectual, it's going to place it all the way on the right. Now, I'm going to click over here and I want to navigate down to the pre sourness folder. I want to add the room reverb, reverb over there. And a good thing is always to make sure any effect that you place on a fixed channel, that the mixed with a wet mix style is set to 100 per cent. This is set to 100% by default, which is perfectly fine. And I'm just going to keep the default patch that's loaded up. Now, if I go cross onto one of my channels, for example, let's maybe go across until the hats. If I click this, I can send this Hats track to the fixed channel. And when I create that, it creates this fader here, which is my sin table. And this determines how much of that track is going to be sent to the fixed channel. I'm just going to solo this hats and play it back. Now as I increase this, you can hear that reverb coming through. That just to neaten things up, let's label this reverb just so it makes more sense. It changes the names accordingly on the same levels as well. And then if I choose to add to one of the other tracks now can see the fixed channel. So I'm going to add some reverb to the symbols as well. And on this day, let's add some reverb and playback. It sounds good on those gloves adding quite a bit. We look at this lead at as well. And then on the keys, softening of those keys by adding some reverb. Now what you'll notice is when you solo track, it also solos the reverb. So you're not just hearing the dry signal. If our antique that, you'll see that the reverb, the solo is green and that's because solo safe mode has been enabled. So to do that, I just hold down shift, for example, if I just went to the keys and hold it down Shift. Now that track is also insert a safe mode. So no matter what tracker solo, it's going to solo the keys as well. But I don't really need this track in Solar Safe Mode, so I'm just going to remove that. But a good thing just to point out is, no matter how many sends you create, they all created in Solar Safe Mode. So you're always hearing the effects of the effects channel on the track that you sell as well. Now I want to show you another way that's quite nice. Create some fixed channels. If I go to my browser and I select an effect. So for example, I want to add now a delay, a fixed channel. So I want to use this bead delay. And if I just take this effect and I drag it onto the track, you can see that it adds a fixed channel. And what it does as well is it names the effects channel, the name of the object. So that's a lot easier than going in and adding new fixed channel and then having to go in and rename it. I quite like this just really fast and simple. So I consider those hats and take a listen. Just a beat delay. And it's added for listener as well. I'll click here and say beat delay. Now if I play with the back, is going to close that delay effects and close the browser. I can hear their effects by meet them. That's with no effects. And then with the fixed channels. So that's using fixed channels. So it's a great way to use one effect that spread across multiple tracks. Good examples of effects that you can use, our reverbs and delays because these are type of defects that you can share across tracks to bring a coherent sense the next. So now that you know how your inserts and fixed channels and since working next, let's take a look at this master output and what we do here with our effects 31. How the Main Output Works: So in the last few videos you've seen her instead affects work, has send effects work plus the controls on your fader over here, we've got your mute solo and then record arm, and then how you can move the fader. Now if we're talking about the routing, you've got audio that comes into the track, it passes through the inserts effects and then gets controlled by the volume fader on the track. Then you can also choose to send amounts of each track to a reverb send, and then your tracks go out into the main output. Now in the main output, you've got an insert section. So you can add, insert effects onto the track over here. And then you've got to post. What is the difference between inserts and post will insert effects or pre-fader effects, and then post are fixed or added after the fader. Now, what does this mean? Well, what it means is that these effects are processed before they hit the volume fader on the master output over here. So this master volume fader doesn't have any bearing on the audio that's coming into these insert effects. So for example, let's say I want to add a compressor. And with this compressor I just wanted to do some mild compression on the output and just even out some of the peaks and troughs and audio. So just some slight compression happening over there. Now this Vader, if I move it, it's only going to have a resulting effect after the compression. So it's going to be compression and then it's going to go into the volume fader. Now if I use the post effects section, let's say for example, I want to add a limiter. So I'm going to add the studio one limiter. And then I'm gonna do a slight gain increase. Just drop the ceiling so that nothing peaks above this value. So we've got that increased volume level and I can adjust this volume fader and the limiter is going to be happening after the volume adjustments on this fader here. So that's really what she just needs to understand about this master section and the insert and the post. You've got the insert section. Then the signal chain goes through these insert effects, then to the volume fader, and then after the volume fader, you have your post effects. So that's really the difference between the main master output and then your tracks. You've pretty much got similar settings and everything. You've got your mute solo, you've got your volume fader, your insert section. You don't have a sensation because you're not gonna be sending your app put back into these sense, What did you do have is you can enable your click, so you could turn the Click on and off. You can adjust the clinic level. Maybe you want the click ladder. You can also check your mix and mono. So if I click this, the output is going to have a minus I put. Compared to when it goes back to steer. You get a much wider mics. Now it's good to actually check your mixes in mano just to check if they're compatible, if they played back on a monitor system. So it's great just to check every now and then, just to click this and playback your audio and just make sure that nothing is getting cancelled out and you're actually hearing most of the elements in minor. Now, if you do want to know more about mixing, I have got two dedicated courses on mixing and mastering. We're getting into way more detail on all of these things. So if you do definitely want to get deep into mixing, check out those courses. But for now we're just going to look at the basics on this mixed console. And then we'll dabble into some mixing a bit later in this course. So what you're gonna be doing on your main output is going to be adding fixed to finalize and polish your mix. So for example, you might want to do some slack compression, overall changes to the mix, some slight compression. You're not doing big changes here. Now you need to think about this with regards to mastering and mixing. You're doing, you're mixing over here. And then you can do some basic mastering on the main output. So this is small changes to your mic's, not Studio one does have a dedicated mastering application that you can use. So you're gonna be doing the editing and mixing in your song. And then you'll move over onto the project with a dedicated audio mastering application. Now there's two ways of thinking about this. You can choose to master within a song, or you can export out your song and pull it into a project and do the mastering there. There's definitely some advantages to working in the projects page. You've got some more advanced meters and it's more dedicated to a mastering workflow. But if you want to add some Washington processes on this main output, just to increase the level and just do some slight changes. Then by all means, do that and just export out your sum. So it just depends on your workflow. But as you'll see when we get later into this master class, you'll see how advanced this project section is if you do want to get into mastering. So that's jumping the gun a little bit, but I just wanted to give you a good understanding on what this main output is used for and then how you can take it further by moving over into the projects. Now let's take out some other features that you can do in the mixed console and actually can help improve your workflow. 32. Using Folders and Bus channels: In this video, I want to talk about folders wired need them and high can use them. Now, when you start building up your tracks, your track and can get quite extensive. And your project can get quite complex. And you can use folders to allow you to pad tracks into a folder of similar types of instruments to help you organize your song. So, for example, I've got my kick snare hits, these are my drums. If I right-click over here, I can scroll down to pack folder. And what this is going to do is it's going to pack those tracks into this folder. Then I can click here to reveal those tracks within it. I can also label this something that makes more sense, unlabeled drums. And now if I don't want to see my drums, I can just minimize them here and I can keep on working with other tracks, but still be able to click on here to view them when needed. You can imagine if you've got, for example, 100 tracks and your song, you can bundle them into different folders and just help organize all your tracks. Now, you can also move tracks out of a folder. So let's say I don't want these drums in this folder anymore. I can select them. And you can see there's a hierarchy way of things that they stacked. So you've got over here and then this juts out over here. These tracks are within the folder. If I take this and just jump above, it's going to move these tracks out of the folder. And if I need to move things back into folder, I can just select them again. And as I hover over here, it's going to say move tracks into folder. I'm going to meet them out quickly and just show you something else. So that was how I could pack into a folder. So I'm going to remove that. And also if I go to track yet, you can see I've also got the option there to pack a folder or add a folder track. So if I just edited folder checklist for example, I've got that over there and I'll label it drums there. I've got my folder and then I can select my tracks to move within it. Then the one thing that is a bit of an issue is that there is the decoupling of a folder to be tracks that makes console. So if I go over here, I see my drums there, but minimize them and go to the mics console. I don't see my drums because they packed into a folder. Now that's weird. Bus channels come in handy on this little dialog window over here. If you're not seeing it, just make that bigger. You can wrap your folder to a bus channel. So if I click over here, I can say Add a bus channel. And that's going to add a bus channel for the name of the folder. So I'm going to say add best channel. And this has created a drums bus channel. If I go over to my Max Console, now I've got my drums over here. And I can click this to expand to reveal my drums within that folder that's assigned to the drums bass channel. So that's just a nice way of being able to neaten up your mixed console as well by pairing it with a channel to the folder. Another neat thing is that you can pack folders within folders. So let me show you that I've got these drums. Now let's say I want to create a music folder. So I'm going to select all these tracks over here. And I'm going to pack them into a folder. And I'm just going to call it music. And I'm against creates a bus channel for that. Now, I can take this folder and move it into that folder. So what we've got here is you've got the music folder. These tracks are all in that music folder. And then with N, that music folder is drums folder and reveal that. And these are the tracks within the drums. So you're seeing a clear hierarchy structure here of your folders. You've got the main music folder. You've got the tracks within the music folder. And then there's another folder within the music folder that has some other tracks. And obviously because each folder has been assigned to bash channel, you can add processing onto their bus folder. So for example, maybe on the drums, I want to add some compression. I'll dial in a compression setting for those drums. And then these drums are going to the music folder with all these other tracks. And on this music folder, I could, for example, add an EQ. And other EQ, I want to do a slight dip in the 500 hz area, maybe a bit higher, because I've got some vocals that are going to be going over an R1, those vocals to sit in this area just above the music. So let's say I add a audio track. This is going to be above, so it's not within that folder. And these are the vocals. And on this vocal track, I can add an EQ, push it up in that area. So the vocals are going to be prominence in that area. But obviously on the mixed folder with all the music tracks, I've done a dip there to make space for that vocal. So I hope that's given you an idea on waking go this, you can have different tracks packed into different folders. And within those folders, you can have sub folders within folders. And in the Max console, you can view things easily in how everything is related. For example, these tracks are all being routed to the music folder. And then you've got your drum tracks that are being routed to the drums folder. Drums folder is routed to the music folder. So quickly just going over that again from the drums, my drum tracks again to my drums folder. The best channel, which is the drums folder. The drums folder, it's going out to the music channel, which is this music folder over here with the vocals are simply going out to the main output. As you can see, folders are great way to help you categorize your tracks and organize them. But at the same time, a son into Bus channels to do bus processing to those tracks within the folders. Now, you've also got the option to rach your tracks or add a VC AHL. I haven't spoken about VCA channels yet, so I'm going to speak about that in the next video and also show you how you can create a folder and take your tracks in the VCA channel and router to a folder 33. Whats Are VCA channels and Why to us them: In this video, I want to talk about the difference between bus channels and BCAAs. Now a VCA is a voltage controlled amplifier. But the simplest way of thinking about a VCA is it's a volume control fader that you can use to control other tracks. So for example, if I take these tracks over here, the kick, snare and hats, and add a bus channel for the selected tracks. I've got the best channel for the drums over here. And if I solo that, I've got the drums. And I can move this and change the volume of the drums. And I can also add some processing on it. That is a bias channel. Now I'm going to undo the changes and now show you the difference between a VCA. So I'm going to take out that. I don't have that rationale. Is that all gone? Yes, it's all gone. So now what I'm gonna do is I'm going to select the same tracks. And I'm a right-click and say add VCA or selected channels. Now this gives me a VCA here it's moved it all the way to the right. Because if you check over here, I want to keep my BCA channels to the right and look slightly different to bash channels because the fader on that is Rick. So that's how you can see it's a VCA fader. Now watch these tracks as I move them. So I'm going to solo the VCA fader. I'm going to label it drums, VCA. And I'm going to change the volume. As I've moved the VCA fader, proportionally adjusting these tracks over here. So the nice thing about the VCA fader is you're not adding any processing. It's simply a volume control. And whatever you push on this fate of yeah, as being pushed to these tracks as well. Now, notice something different. When I created a bus channel and I moved it down, I could still hear the reverbs because these Betas weren't being moved down. Just the audio was being pushed through to bus channel. And on that bus channel I had volume control of those tracks basically being summed. So they're being sent here and summed to Ebass2. But with the VCA, I'm not sending these tracks to the VCA. I'm just using the BCA to volume control these tracks. Just depends what you want to do. If you want to have volume control over some tracks, but you don't need to add bus processing to them. Then the VCA fader may be the way to go. So you've got this VCA fader where it's pushing the changes on this volume fader to these respective tracks proportionally. Now that's the simplest way of explaining a VCA fader. Now when we get into automation, I'm going to show you how you can use these movements to push that automation to these tracks. So it's actually a nice way of working with automation. But for now let's just simply think of it as a volume control for the tracks being centered. I'm going to undo that VCA fader. So let's just remove that over here. And I just want to show something else. So when we pack tracks to a folder, so I'm going to select these tracks and say pacts, the folder. I've got that folder there up to label it drums. Now I have the option to creates a burst channel for this called a VCA for this folder. This time, I'm going to slick VCA. So now what I've got, if I just open up my mixer, is I've got a red Veda park there on the Folder track. Meaning basically if I just open this up, I've got a VCA fader on my folder. Having volume control of these tracks, we are not adding any processing. I like this way because I don't have to push all my VCA faders, although into the interior. And I've got this fader right before these tracks. And I can just hide and show those tracks when I need. This is a way to go if you want the folder to organize your tracks, but you don't need to process the tracks that are packed into the folder. That's a quick explanation on VCA faders, how you use them, or should I say VCA channels? Other people call them VCA faders. But that is a VCA channel. But I will show you further when we get into automation on high can use these VCA faders to help you push automation from the VCA fader or VCL, a channel to the other tracks that are being centers. But for now, it just give it a depth that a VCA fader is a volume control for the tracks or channels being pushed. It 34. Using Tempo Track: So when you create your first song, you get the dialogue box that comes up that asks you, for example, if I just create a new song here, it's going to ask me for the song tempo. So by default it's sitting out at 01:20. But when I created this song, it was set up at 126. And you can see that bar going dance by temper here. And you can see the input of timbre. I can also double-click here to change the tempo. So let's say I wanted it to be 150. I could go in there and it creates a faster tempo. If I make it quite drastic, Like let's say 200, you can see temper. I said that back to 126 and I want to say something else. I want to show you how you can work with a tempo track. So you can create additional types of tracks if you click here. These are other types of tracks that you can create for your project that don't specifically have parts of them like muddy parts and audio parts. So as you can see here, I can create a tempo track. What's this going to do is create a lane or temporal line. And on this lane, I can input my tempo and make changes to the template. More importantly, for example, I've got the setup 126, but let's say at bar seven. So that's about halfway through this little loop section over here, I want to increase the tempo, will have a jump up in tempo. What I can do is just place my cursor there. And over here, I'm going to click the plus sign. And with my playhead still in that position, I'm gonna go here and change the tempo 236. And as you can see what that does, I'll just place my cursor here, is it creates a new point on this tempo track and there's gonna be an increase in timber. Watch this. So just keep an eye on here as a playback. I'm also going to enable the click so you can hear how their timing increases. So keep an eye on yet. A jump up in timbre. Let's say over here, wouldn't jump up again. So I'm gonna click there, click the plus sign, and then change that to 146. So now we've got three different jumps up in Tampa. Jumps to 136. It's 146. Also, if you just place your cursor where you've made these tempo changes and act like minus, it's going to get rid of those points. So I'm gonna get rid of debts and I'm going to get rid of that. Likewise, I could also just select the area and click Delete and it moves it. Now another thing you can do is sort of tamper ramps. So to demonstrate this, I'm just kidding. Increase the size of the tempo ramp. And I'm going to create a point over here. And I can either click the plus sign or I can actually just hover over here and make the points. So as you can see that it's snapping and I'm making a point there. I'm going to drag up. And now basically what I've got is a tempo ramp. Also, if I need to just change either settings like that is 139, I can just hover over there and put it in that new node data. And as you can see, there's an extra points. I can just get rid of that by double-clicking it. So for example, let's just make another point. If I just drag that, I've created another point, just double-click and it removes it. So now if I play back to you in here, have a tempo slightly increases over time from bar three spots in. And also looking here, you can see that reading increasing. Also, you can change the slope. As I hover over on the era, there's this middle bit. And as a drag, I can make the curve more exponential or more linear or more logarithmic. So that's just changing the shape. So if I go like this, It's going to slowly increase. And as it gets here, it's going to ramp up a lot faster. Watching this at ramps up. Now. There we go. You can go quite crazy. You could create another point. Jumps this up, maybe jump this back down here again, change the curve shapes what you want. But honestly you really not going to go as well. It's just nice to know that you've got this feature set that you can go in and change the tempo. But more likely than not, what you're gonna do is stick to one temper and maybe have some one tempo jump up. But what's really nice is if you are working with more than one song within a song. So for example, if we just grab these areas, Let's say, for example, this is one song and then you've got another song within your song. So two songs within one song, and it's got a timbre change, then you can just map it out. So for example, let's say on the song over here, if I just put my cursor there, this is going to go to 140. So my first Soviet, my project is 126 and it goes to the next song. It's at 01:40 with multiple songs maps out in your song. You can map out the different tempo changes. So that's how to use the tempo, track, the viewer to edit, and then make some changes to it. 35. Time and Key Signatures: In the last video, you saw how you could create a tempo track from this list over here, there's a selection of other types of tracks that you can create as well. For example, you can also create a signature track. And what this allows you to do is show and insert the time signature or key signature. I'm just going to remove this tempo track for now. So I'm gonna go over here and uncheck tempo. So always seeing is the signature track. Now, this song is in 44, so by default, it's set at 44 and we're not created the song. I could put in the time signature. But what if you want to change the time signature or put in a new time signature, well, you can just click on this. It brings up the Edit time signature and you can change what you want for the numerator and denominator. For example, maybe this track is in FAR for I could change the numerator to five and now it's an FR4 time signature. Or if I want to add a new change, for example, maybe there's a section over here and this changes to fireball. Then I can place my cursor here, hit the plus sign into a time signature. This will be 54. And then as you can see, the reader changes. And maybe at bar 18, it goes to a 68. So I'm there that again to insert a time signature and this will be 68. And as you can see, the grid changes accordingly. Just to hear these changes, I'm the playback and click going through the full 45.68 and you'll hear how it jumps between the different time signatures. So what I'm gonna do is just remove these and just add in some different time signatures so you can hear the click. Over here is the full fall in over here and add in the 54. Then over here, I'm going to add in the six-eighths. If I want to edit their positions, I can just drag them accordingly. But what I want to do is just place my cursor here. I'm going to playback with the click. So you can hear the full fall going into the fall and then into the succeeds. Here we are with the for-for. You can hear that click now into the fire, for now into the six-eighths. So you can create the necessary time signature changes that you want in your song. Maybe using swing, more progressive, where this complex time signatures, then you can use this input them. And also I can just click on that to remove it. And I want to show you one more thing. So instead of adding time signatures, you can add as well as key signatures. For example, I know the song is in. If I'm going to place my cursor at the beginning and hit Insert key signature, and the song is in F. So that's showing me the time signature for four and a key of the song in F. Now if I jump to another section here and there's a different key signature or a key change. I can insert that. Maybe it goes from F to a D. There we can clearly see the time signature and the key changes in the song. So that's how to use time signatures and key signatures and to view this type of track 36. Creating a Marker Track and Markers: In this video, let's take a look at how we can create a marker track and create markers. I'm gonna go over here and click time signature to me that time signature track, and I'm gonna click on marker. So now I've got a market track. And the first thing I wanna show you is by default, there is a start and an end marker. So when you create your song, you can set how long the song is. For example, if I go to start and say new song for the song length, I've set it at 5 min. So jumping back to the song over here, this was the five-minute mark. Now, if my song is shorter, I can grab the end and start markers and change them. So there will always be a start and end marker. But if you want to create other markets, for example, the song starts over here, but my beginning of Mars burst verse maybe, for example, is only here. So I can place my cursor there and hit the plus sign. And it creates market too. So this is my one, this is Marker to, I could double-click it to give it a name. So this will be first one. And I'm just going to zoom out. And maybe I've got another section over here. This will be chorus one and chorus two. Just to make things more clear, I'm just going to click the More and change the colors so that can be blue. I can right-click on here. This will be red. And this two will be, let's say, a different blue. And then this will be chorus two. We'll make that rate as well. So here's this one. I'll place my cursor here. The plus sign. Name that chorus one In this will be V2. And then this will be cos t. So the nice thing about markers is it just gives you a very nice clear indication of where everything is. So here's the start of my song, jumps into verse one, Then this course to his verse and chorus t. At another neat thing is in this information box over here. So if I have my mini instrument track selected, it gives me all the information for that track. But if I go to the market track, what's quite nice is I can jump between markers, so I can just click over here, jumps to V2. That jumps to chorus, verse, chorus and end, whatever so and jumps of stars. But on the sun over here I've just copied regions cross. I'll quickly jump to another section offers, we'll see how you can create markers and jump between different sections in your song. But here I just wanted to show you how I create these markers. But it's really nice that you can go here and just jump between the two. Or if you don't want a marker, you can just remove it here as well, all by clicking over here and removing it. So that's how to create markers. They are great way to navigate a song, which I will show you in later, but had to navigate, but just first want to show you how to create the market track and create markers 37. Creating and Using the Arranger Track: Now in this video, I want to show you what the range of trackers. Now this might be a bit confusing because you've got your marker track and in your market track you can create markers. For example, maybe this is the verse section. This is the pre-course, and then this is the course section. And then you can jump between the markers to jump between the different sections. Range of track is pretty similar, but you can do some unique things with it to really enhance high build up your arrangement. So let's view the arrangement track over here. I'm going to hide the market track and then view the arranger. Now with the arranger, you just click where you want to start making your first marker or arrangement point within the arrangement. So over here, I'm going to select the Paint tool to paint in the points. If I hover over here, I can click to create a point in the arrangement. I'll make another one over here and another one over here. Then I can jump back to my arrow tool, select those and drag them out. So by default, it creates an intro, a verse, and a course. So for example, if I go here and add another point in the arrangement, that is going to create a bridge and then that is going to create an artery. So those are the default naming conventions that are built up within Studio one. But I want to change the naming and change them to different things. So not only those two. And I'm gonna go to my pointer tool, double pointer tool. I'm gonna go to my pointer tool that I'm going to right-click on this double-click over here. This is my first one. Then I'm going to right-click on here. And this is going to be a pre-chorus. And then this is my course. So just playing through the different sections. This is the verse. Then going into the pre-course. It's sort of a little buildup section here and then hits into the course. Now, let me show you the unique features that you can do with the arrange section. Let's say I want to create a verse 2.6 sex and parts that can hold us over here. I can drag it here. I can hold down Option. You can see it adds another section and now it has copied the verse to that section. Now I can just right-click on here and say there's two. Now, if I want to copy the pre-chorus and have another pre-chorus, I can do the same thing. And then maybe after this, I'm going to have a double chorus at the end. And now I've got an arrangement that I built up very quickly by just dragging these arrangements sections. But let's say I want to switch things around. Let's say I wanted to go verse, chorus, pre-chorus, and I can just take that be that they're slick both of these. So I'm hitting that then holding down shift and dragging them across. Oh, let's say, I want to go from the chorus straight into the pre-course. And so the course again, what I can do then is I can take this precourse section, drag over here and you can see it says Replace, says Basic going to wipe that second verse and replace it with the pre-course. Now, let me just go over this little button over here. So this is showing you the arrangement. I can jump between the two different sections by just clicking on them. You can see your player jumps to the different positions. Let's say I want this course to be doubled. I'm going to select it and hit this and just doubles that section. Then let's say I want to double this. I will just make sure I've got this selected and I can double it. So that's just a very great way of building up arrangements and doubling sections and switching sections around, instead of having to deal with parts and moving all the parts around. You just grabbing these arrangement blocks over here and drag them around and rearranging your arrangements. And this is with a very simple song. I've just got 123456 tracks here. But you can imagine maybe if you had like 40 tracks over tracks and he had to move all those parts around. It will be way easier just using the range of track and using this jump between the sections. So that's how to use the arrange of track and pull it up. You're sort of arrangement blocks and change up your arrangements 38. How to Automate a Parameter: In the following videos, or want to talk about automation, what it is, how you can use it, and how your productions and songs can benefit from it. So if we take a look at the sun over here, I'm just going to bring up the mics console. So you can see I've set all the levels or the volume faders for each track. And as I play back, you can hear everything, but everything is static. Meaning each level is set at a specific level. Each pan is set at a specific position and effects they're not changing. But what if you want, for example, a parameter to change over time? For example, maybe with this lead line as I play it back, I wanted to increase in level and volume. Now that is where automation comes into play. And it's pretty easy to set up. So you just choose the parameter that you want to edit. You right-click on it, and you choose edit automation. Now watch on my trip up over here as I do this. So automation and what it creates is it creates an automation lane on my trachea. Now I can go in, let me just make this track a bit bigger. And I've got my pointer or arrow tool here. And I can draw in node points. And I can say maybe at bar eight, I wanted to reach his maximum. But over here, I want to dip this down. So as I play back, watch what's happening on the sleep tracker. You can look here or here. So that volume fader is increasing over time. Following that automation that we've drawn in. I can also change the curved shape over here. So that is going to change the curve. So it kicks in a lot faster, then slows down as it reaches its maximum. Or inversely, I could change the shape over there. Or I could even create more points if I wanted to along the shape. So maybe I want it to dip back down again over here. And so on all the backup, you have that flexibility of using this arrow tool to draw in the automation. Now, I just want to get rid of everything there and just show you a few more things. So here we're back to where we started. And if I had a, it's going to hide or show the automation. So I've already clicked on this volume fader and chosen to edit the automation. I couldn't remove the automation, and now I don't have any automation. But as I press a, you see it displays no automation. Now, another way to do automation is if you go to the control box over here, just make sure that you've ticked recently touched. Now, let's say I move a fader. First, I'm just going to move this pen. If I look here, it's revealing to me that I've moved the pen. Now if I go down to this lead channel and move the volume fader, I've got the volume here. Now if I click and hold on this hand icon here and drag it onto the track, you can see it's going to create a volume automation lane for me. So I've got my volume automation. Let's say I want to go to the pen. I've clicked on the pan. I can drag there as well, and I can see my pen. Now I've got two parameters that I've automated or chosen to add as automation. And I can click over here to jump between them. So I'm going to click over here and create that same volume increase on this track. And then let's say I jump across to the pen and I just want to pan it across. So I'm going to make some node points again and then just drag this up. So what this is doing is it's panning from lifting as I move to different points within my timeline, you can see how that panned Veda is changing. So if I just play this back here, that lead on the left volume coming up, and it's paying more to the right. Similarly, if I wanted to automate some parameters on my effects, I can just open up the effects. So this is the chorus. Let's say I want to automate the depth. I can right-click on it as well and say it automation. And there we go. I've got an extra automation lane here for my depth. And I can increase that as well. So if I just open up this course, I'm just going to pin it so you can see it. And then I'm gonna keep an eye on this lead channel over here with a volume fader. And the parents who got three different parameters here that are being automated overtime. So that is the basics of automation. You choose a parameter that you want to automate. You right-click on it, choose to edit the automation. And then you can view the automation on the track. And if you hide it, you can press a to hide it and in a again to reveal it. Now in the next video, let's focus in on some more ways that you can draw in automation 39. Drawing and Editing Automation: Following on from the last video, you saw how we could create automation for parameters. And I just use the arrow tool, create some node points and draw in some automation. Now I just want to undo that automation, just going back to our initial volume automation. And which can also do is you can also use the paint tool to draw an automation. So watch. As I draw, it's drawing a node points. And as I let go, it just sort of smooth that automation and creates an automation point for you. I can make something more drastic and it follows along and creates that automation for me. So as I'm playing back here, you can see how this is going to be moving up all over the place. You've also got some extra draw tools. So if you just click on this little drop-down menu over here, you can draw in a line tool that's doing a line of a selection. Likewise, you can use the parabola tool. So this is great for creating some sort of rise effects. So that's creating the shape for you. Obviously, if you've ever had shorter, you basically choosing your minimum annual maximum point for the rise. And do you see you've got all those node points, but it's very simple to do. Also, I've got a square tool. As I drag it, it's going to draw in a square waveform. As I drag up, it's gonna get bigger when else can compress it. Now, with this works really well, is if I go into the pan, so let's say I go to pan and I can maybe just sent to their pen. And as I drag over here, I can create automation of the pan going from left to right. That's really handy for creating effects like that. If you just wanted to jump around the stereo field, some automation, use that tool. Likewise, you've got a triangle tool. So this will create a triangle wave shape. So the same as a square root but just with a triangle. And also there is wave form shape. Same methodology. And then assign I quite like the sign because there's quite a smooth shape. It's not as drastic as the square waveform. And then lastly, you can transform. So let's say create a waveform over here. And then I go to the transform. What I can do if the transform is I can make a selection and then I can transform that selection that I've selected. So this is just a nice way of going back in after you've done some automation and just tweaking it with some transforming of basically the automation data. So that's how to draw and edit your automation 40. Create Automation Tracks: Now you might have noticed this before, but when you go to the track menu, you've got your audio tracks, your instrument tracks, but you can also create an automation track. So watch, as I do this, as I click here, it creates an empty automation track for me. Then I can, for example, let's say open up the mics console, click on the lead volume. I've got it up here in the control. I can drag this onto the automation track. So now I've got a separate automation track for my lead. So I could go here and say lead volume automation. And basically this is decoupling the automation from the track. This might be nice if you just want to keep the two processes separate. So you've got your track over here, but you want your automation on a different track. So you can go in and draw some things onto it. And you can clearly see what's happening, but still see what's happening on your parts over here in the lead track. This might just be a bit of a preference thing, but you might want to have your automation decoupled in separate automation tracks instead of on your tracks and your song like this. Also another thing if you just grab a parameter, so let's do that again. So I'm getting rid of that automation track and I'm getting rid of the Max console there. Now, if I just say click on this keys and click on the pen. So I've got the pen here. If I just drag this to an empty space, this is going to create an automation track for me with the parameter set. So that's what an automation track is and how you can use it. Like I already mentioned, this might be a preference thing where you wouldn't have your automation decoupled from the track and separate so you can view just the automation and then video tracks. But it's nice to know that you can work either way. 41. Explaining the Automation Modes: In this video, let's talk about the different automation modes and how you can use them. In the previous tracks, I showed you how you could create automation. For example, I did an automation track over here and how you can draw in different automation. But what if you want to draw in that automation in real-time while you playing back the audio. Well, that's what we're going to be talking about now. So I'm just going to undo the changes to here, and I'm just going to remove this automation track for now. We've just got these tracks over here. Now I'm going to open up by Max Console. And in your mixed console, Let's take this keys track, for example. Down here you can see you've got this auto off. Now, these are the automation modes that you can choose between. If I click here, you can see you've got Read, Touch, Latch. And right. Now let's start off with, right? So what Riot's is going to do is it's going to write in any automation while you move parameters during playback. So for example, I'm going to play back now. I'm just going to solo those keys. And I'm going to move this volume fader and see what happens. So as you can see, it's writing and automation has a playback. So that is the write mode. So I'll write in more automation. And then if I switch back to read, what it's going to do is it's going to read the automation that I've written it. So you can watch the fader over here and over here to see that movement has been recorded in just a bit to demonstrate things, I'm just going to turn down the sand to fix because they tailing off a bit too long. So I'm going to undo that automation and j, some of the other motion modes. Moving on. Let's take a look what latches. So I'm going to play back. And while I play back, I'm going to make a movement. And as I let go of the fader, take look what happens. I'm going to draw in. And then I'm going to let go. And what happens is it's going to latch on to the last movement. I can move again. And then they'd go. And actually, that's Latch mode. Basically, when you move a fader, it's going to latch onto the movements that you do. And as soon as you let go of a fader or parameter, it's going to stay in the last position that she lifted. Now, check out something else. Let's check out touch. So I'm going to leave this over here and we're playback and watch as I make changes. So this is reading the automation. I'm going to leave it for a bit and I'm going to touch it. It records in their automation. And as I let go, it goes back to the previous state. And then I can touch it again. That does it. It's just loop back again. So it's reading the automation. Grab it does the touch recording n, and I let go. And it goes back to the previous automation. So that's really it. Basically you're either going to write in your automation. You can use a latch to write it in and the left to the last movement, or you can use touch. I find a touch works really well. Let's say for example, you've used rats and latch and you've recorded something in, and you want to go make a quick change. For example, let's say I've got this blank area here and I want to play back and do some editing there. Then I can playback using touch mode. And when it gets that point, I can make the change. And then let go and continues with was. And then when you've done with all your automation changes, That's when you go back to the read mode. And it's going to read the automation that you've recorded them. But now let's say you've done some automation, which actually don't want it playing back reading that automation. Well, that's when you go to the auto off. Now it'll have the automation on the lane. But if you make any changes, it's not going to read those changes that you've recorded them. But then you can always jump back to read. And it's going to kick in again and read stuff. And that's just doing with the volume fader. Let's say now I want to go to touch and I'll use the pen. I can make changes there. It's going to record those in. Then I can go to my faders. It's going to make some sin changes as well. So basically now, if you take a look, I've got all these premises that have been automated. And also, if I just click over here, what this does is it expands to reveal all the lanes that have been automated. So just to show you that again, I can click that. I can press a to hide my automation so there's no automation. Then hit a again, it's going to show my motivation. And here is the lane that I wanted to view. But if I click this button over here, which is basically expand envelopes is going to expand to reveal all the automation they have done for those tracks. So that is the automation modes and the differences between them and how they view the automation and expand and view all the envelopes for that automation that you've created. 42. Linking your MIDI Controller: In this video, I want to show you how you can use your midi controller, assign these two parameters in your song so that when you move the parameters, record automation into the tracks. So let's first take a look at our song. In the Sonya. If I open up the mics console, I just want to make sure I've got tracks for everything over here in my track list. I've got the impact kick, but I don't have the staff and the hats. So what I'm gonna do is first create some automation tracks for them. And then I'm going to go and drag these up here. So they're in the right area. Then up my mix console. And if I just move the snare over here, I can grab the assignment for here and drag that to the automation tracks. That's creating a volume automation track for my snare. And the same for the hats. Then I can just needing some things up. So I just want to take the keys and then drag them down here. I've got my drums are based on keys and my lead. Now let's take a look at how we can create the assignments with the midi controller. I'll go over here. I can see which devices I can use to control parameters. So if I just click on that, it opens up this external devices view. And basically I can map out the parameters that I want to use to automate and link to other controls. I'm gonna click midi Learn. And as I move a doll, it's going to add it to this view over here. So I can see it and I can see it's control. So I've got eight controls over there. Now what I need to do is I'm just going to move this to the side. I'm going to open up my mix console. And first what you need to do is move something that you would automate. So I'm going to move the kick volume, then I'm going to move control one. And then I'm going to click over here to link the two. Now. And I'll move that. Watch how it's moving market. So the two are linked. And then I can do the same for the wrist. So I'm just going to move the snare and then move the volume for that and link those. So stay volume is linked to control two. Then I'm going to move controlled Three. Move my hats. Link that. Move control for me if my base link that we've controlled five, and then move my keys. Link that then move controls sex. We've my lead link that then move control seven and my tie. That's what I want to link and map that. Now if you just take a look, as I move these, I've got control over them. And even with the state and had severe you can see how it's showing the changes in volume on the automation lane. So what I'm going to do now is I'm going to play back and just make sure that my automation modes are set to rats all these tracks. And as I play back, it's going to record in the automation onto these tracks. I'm just going to turn off midi Learn so that I'm not clicking on anything else. And it's adding the parameters. And I'm just going to close this down. And I'm going to play back and move these tiles. So can you see what happened there? So as I move the dials, it's made automation for all the tracks. And if I go to my Mexican soul and I just turn everything to read mode and playback. You're going to see how that's gonna move and attack the automation that erasing. Or I could go into touch mode. And then if I wanted to move some parameters and it's going to call them in. So that is how you can use your midi controller and linked parameters, two parameters in your song and tracks search can record in automation onto those tracks. Giving you much more tactile approach where you've got a hands-on control and it just gives you a different field compared to drawing in and writing automation with your mouse. 43. Exporting Your Song: Let's talk about how you can export academics done. So you've been working on your song. You've finished everything with the mix. And I want to export it out as a format that you can play it back and send around and shares. So to do that, you're going to go to the song menu and we're going to go to the export mixdown. Or we can use the shortcut Command E or Control E. And that's going to bring up the export mixdown dialog box. And there's a couple of different options that we gotcha. Starting off. First is the location on where the export is going to mix down to. By default, this is going to create a mixdown folder in the folder with a song as if you want to navigate to a different folder, you can click over here and navigate your system to a different location. You can give your son that's going to export out a specific unique name. For demonstration purposes. I'm just going to call this export mixed. And then also, once you've done your mics down, you can also choose to publish directly to these platforms. So there's notion which is the music notation application by persona's. You can upload to your preceptor sphere account. If you're a sphere member, you can upload it to SoundCloud. Now you can do this if you have linked your SoundCloud account to studio one, that is closure. Go back to the start page. Over here. R can connect to SoundCloud. Now I haven't done this yet, and I will show you in another video, I can connect to the SoundCloud clients. And then when you're exporting, you can publish straight to your SoundCloud cats. Now, back to the song. I'm going to use the shortcut again to open it, which is Command E or Control E. And we're gonna go through some of the other options. So for now, I'm not going to publish. Then down here, you can choose the file format that you want to export out to you. So this has a selection of different lossy and lossless audio formats. Your lossless formats, are you aware of AIF and FLAC files? And then falling on over here or lossy format. For example, an MP3 is uncompressed audio format. So there is some loss and audio quality, but they still sound really good as formats that you can use to share around with the file size is smaller. You select your format. And then over here I've got some extra options that you can choose for the top of file format, for the one that you've selected. So for example, I'm going to choose a resolution of 16 bit because this is the CD standard resolution. And for sample rates I'm going down to 44.1. So this is the CD audio quality standard, 16-bit at 44.1. This project was done at 44 point 1.24 bits. So it's going to add some down-sampling to downsample to the 16-bit. I could also, for example, select another format. So there'll be two formats export out at the same time. I might choose MP3 sample rates. I'm going to stick to the same. I can either have a constant bit rates or variable bitrate. Stick with constants, and I want the highest portray possible for MP3. Then moving along onto the expert range, we've got a couple of different options here. You can either export out between a loop. So that depends on where the loop locators are set up. So for example, if our select and arrange here, I'm just going to select the intro. And another shortcut is Shift P. That's going to set the loop locators for that area. Maybe I want to extend this. I can extended ads. And then if I go back to the export mixed and dialog box, if I say between loop, it's going to export out all the audio from the song between intro and verse one. So options we've got between song starts and end. This is pretty self-explanatory wherever your start and end markers or it's going to export out between there. You can export that between each marker. So what this is going to do is depending on how many markers you've set up. It's going to do a separate mixdown for each session. So it'd be from start to intro, intro to verse, verse to verse one again over there. Verse one, chorus one and so on. And this is just a really nice way. For example, if you may be going to a live context, you can mix that each market area and then you can pull us into the software that you're using for live performance and then drop these in and then just trick the different areas when you want to jump to different sections in the arrangement. And then the final option is between select markers. So over here you can choose which markers you want to export. So maybe between chorus one and this one, I want to select that, and that's going to be my export range. But for this, I want to set the song starts and end. If you start is maybe all the way at the beginning. You can just take that and drag it to a close era. I like to keep a little bit of a gap between muscle first bar and we're sometimes in, I've got some maneuverability when I move things around. So I've set up my start and end marker. So that is the export range I'm going to use. It's telling me the duration of this export range, which is 4 min and 19 s. And then finally, we're going to move over until the options in section over here. All my tracks are going at the main output. So if I open up my main mixer, even though I've set up all these different folders that are going to different buses. They all eventually end up going through my main aperture. Now, I do have a mastering chain that I work with. So when I'm mixing and editing my audio, I like to have a mastering chain, but then I can always bypass these if I want to go to the project section and do mastering of more than one track and add on a different mastering chain. If you had other outputs that you've set up, you could select them here, but I've only got the main output. I can also choose to export that as a mono file, maybe on a checksum monarch compatibility on export that as mono and check out on some money systems. I could do that, but I'll leave it as stereo. Now what you saw nana was that I had a mastering chain and our wins and bypassed the effects. I can also choose this option here to bypass any master effects. So I'm doing my mixing and editing. I've got to mastering chain on that I'm using as a rough guide. When I come to this export option, I can bypass the master effects if I'm sending this to mastering engineer and they just want the mix without any mastering effects that have applied. Then you can also do a real-time processing. Meaning when you're doing the bands, it's going to bands in real time. Now this works in particularly handy if you've got some external effects and things plugged into your system and you want to capture them as well when you're doing your export. I don't have any hardware or external gears, so I'm going to leave this unchecked. You can also write the tempo to the audio file. So I've got a tempo of 60 BPM, is a tempo change of 96 ppm over here. And if our wrath listen to the audio, and I take that audio file that I've exploited that and pull it into some other audio application that reads the metadata. It will read the metadata of the tempo that has been embedded in the audio file. If I did want to, I could do export mixdown and import that track back into my song over here. For example, maybe I want to export out the mixdown and pull it in. Maybe edit near the NMR song, and just jump between the mix and the finalized exploit mixed. I'm just compare the differences. This option is quite nausea, close off to export. So once it's done, the export is just going to close the style of window. Then finally, you've got this option here, overlap. Now this one's a bit of a confusing one, but let's say you went between selective markers, for example, between, let's say, verse one and chorus one. Okay, so we've got that. And you add an overlap of 1 s, basically that's going to add 1 s of time onto the end of that mixdown. Don't really need this in the case that we're doing. So I'm gonna leave it at song starts and end marker. And all of god's is closed off to export. Now I'm going to click Okay, and then it's going to start the exports in non-real time. So non-real time it's going to do all the processing in the background. And then you'll see when we finished that we've got an exploited wav and mp3 file of Amex. With this window, it's going to show me how much time it takes to do the export mixdown and any other things. If you have any errors like some clipping, there will be a warning dialog box that comes up in yellow here showing you that some of your audio has clipped. If this is the case, then you're going to have to jump back to your mix. You're going have to check which track is clipping the main output that you are exporting from. I'm just going to fast-forward to the end. Now we're getting near the end of the exports. We finished our mix down there. If I just minimize this, here is the folder and there is my MP3 and malware file. I can click on each one to play it back. So here's the MP3 that is image that I've loaded up. Exported fun. I can jump to the web file and play that back. All good there. And basically, like I said, when you've got a song and you make an export, it creates a mixdown folder for you, my songs here, and then in the mixin folder or the exported mixdown bars. So that's just some nice categorization of adding the subfolder in. So that is how to export your mics down. Now let's check out some other options epic can do with importing and exporting 44. Importing Files from Other Songs: Now staying on the topic of important exports. In this video, let's take a look at how you can import files and tracks from other songs and projects into your current song. So for example, I've got a selection of these tracks in the song. Now if I want to input some tracks or channels from another project, what I need to do is go to the browser. And then for example, I need to navigate to the files from the file tab over here. So in my music folder, I've got these input tracks, and I want to input tracks from this export mixdown song. In this you've got three folders. You've got tracks, performances, and Presets. In each are different types of files. So these are all the tracks within the Sung. These are buses, and within the buses are the related tracks. So for example, in the base folder, I've got two bass tracks here, and then in the guitar tracks folder here, or further folders. And in each folder or the tracks. And you can see by the icon WhatsApp attracted is. So this is an instrument track, this is a folder track, and these are audio tracks. Just remember this icon set you saw from earlier video. It's actually really simple. All you have to do is take the track and drag it onto an area on your sung over here. And it inputs that track, including all the inserts and audio or midi ports on the track. There we go. It's pulled in the audio part for that track. And this is actually the same song at the same tempo. If you pull the track from another song with a different tempo, things matter, Atlanta. But as you see, I've got the track, yeah, I've got the volume, I've got the painting. Everything is set up. Now if I, for example, remove this track, so I'm just going to remove that. And let's say I take this whole guitars folder and drag it over here. So they go, That's important, the folder. And if I just drag this down over here, you can see the bus channel that's associated with it. If I expand the folders, here are the other folders and with in each folder or the tracks that are embedded within it. And if I click on the folder, you can see it's inputted in all the tracks. It's got the right level, it's got the right panning. So it pulls in a lot of details. Now, I use this is, I work on a lot of different songs. And let's say I want to pull the drums from another song. I navigate to that song. I go to the track and are pulling those drums. If it sits at a different tempo. But I just want that instrument track with all the settings. I can just go and remove all the parts. So I'm going to remove all those parts. And what I'm left with are the tracks and the folders setup with all their pending the volume information and their plug-ins that are on the tracks. So it's really a super handy feature now uses on a daily basis, working between songs where a lack settings are used in specific things and I can just pull them in. Now, if you just take a look at the other things that you can import in, I'm just going to remove all these tracks, so I'm just going to select them and remove the selected tracks. So we back to where we started. So you've got performances, for example, under the motto pad. I've got these dotted music X-Files. And if I drag these in, I can just drag it onto an area over here. And the range area that is pulling in. Nothing associate, but just the midi note data. So there is no data for that part, but nothing on Instrument track. So I could pull in my own instruments onto this, but have the associated midi note data with it. And then if I just remove this and just take a look at the other thing which is presets. Over here. I can pull presets for any of the tracks that I had selected. So let's say for example, on the sensor over here, I like what I've done on the matter. I can just drag that in and it's pulling in the instrument for me. So not all the associated note data. I've got that synth, and if I just opened up, It's got everything that I've set up for that sentence. So really a handy feature. And particularly if you just want to pull things from other songs, you can use this like I showed you. You've got full tracks where it pulls all the audio parts and body parts and instruments and plugins. Or you've got the performances where it'll just pull, for example, the muddy no data on their performance. Or you've got presets where, for example, like here, you can pull in just the instruments. And as I mentioned, I used this on a daily basis and really find it helpful because you might be working in a song and you liked what you did with that base part, then you start a new song and you want to recall what you did in that base part. You might even want to take the whole audio part associated with it. Then you can use these to pull in from other projects 45. How do Audio Loops Work: Now in this video, let's talk about audio loops and high can use them. If you go over to the Browse panel, you see there's a loops tab over here. And then in this loops, more specifically called audio loops, that you can use as blocks that you can pull into your song to help you get ideas for songs and build up arrangements and buildup instrumentation. So these are broken down into different categories. This is sorting by style. I could sort by instruments, so I can see all the different types of instruments and so on. And you got three other sorting blocks over here. So for example, I could say sort by style, then sort by instruments, and then sort by character. So there's just three ways of sorting these loops. So let's say I want to go for something that's more EDM based up just when you take some loop ideas, throw them into the arrangement as a starting block for an idea, for a song on to start off with some drums. So I'll go here. And then these are also broken down into further categories. What you'll notice is when you open some of them, these are just web files. So if you select it and just auditioned it, it just single hips. But if you go down to the loop section over here, and these are audio loops, you can see by the filename that there's the filename and then the extension is orderly. And I can take these audio loops. And additionally, I'm just going to click on that and audition it. So this is a full audio leaf. Now, what you'll notice, there are further tags for the loop. These are drums as characterized as EDM electronic loop and no kick. So this is the loop that's auditioning bag. And you can see that the loop bpm is 128. But my song is set at 110. That's what it's playing back at. If I increase this, you notice how the loop speeds up, as in Tom, with how I set my song. So you can basically audition leaves at your Song's timber. But let's say that at 12ths. Not once I'm happy with that. I can take that loop and drag it in and it creates a track. I can play it back and there's the loop. Now let's just add some other sides. So that is the full section. This tastes at these hats. Yeah, I like them, so I'm going to drag them in as well. And then this is a percussion loop. So maybe taking that and putting it under this loop up here. But what I'd like to do is maybe have this as a starting loop. And then these two following that. I'll drag these over here and intake these lesser around and drag it to the beginning. So now we've got this. So for this hats loop and it kicks in every year. So you can see how I can use them as building blocks to get ideas down for your song. Now, let's try another instrument. Maybe I wanna go for a bass part. We will go for a basic loop as well. And we can go through these bass parts and auditioning. So here is a base loop that is in C and 140 bpm. It's maybe trust meals. Let's look at this not base, that's a C-sharp minor. So I can drag this one here that is double the length. So if I play that back, you're now going to have these hats. There's a space part then these loops kicking over here. And the nice thing is, is that everything when you pull it in is matching to the grid or the tempo of the song. It sounds good, but what I'd like to do is maybe drag these out here, increase their head parts. So it's double the length, then take this base part duplicated over here. Or I can just select parts and hit D to duplicate them. So there we've got a bit more of an arrangement. And I think that everything is set a bit higher So we can actually tracks and these levels down. So such as clipping that may master output with the loops. Perfect. So that's how to use audio loops. These are really creative tools that you can use to just to help get some ideas or inspiration flowing. Or maybe very good the song. And you just want some extra layering of instruments or types of sounds, then you can jump for these loops over here and start dragging them into your songs. See how they work with your production. 46. Creating and Using Music Loops: Now I want to talk about music loops, how they are beneficial and high can use them in your workflow. These are just audio loops. So I pulled these from the browser. The browser, I dragged them in and they matched up with my temper. And I use them as a starting block for an idea for a song. Now over here, I've created a martyr synth. And on the synth are programmed in a pot. So there's instrument part for that. Then on the mixer, If you take a look here, over here, over here, I have done some adjustments to the volume level and I've added a chain of effects. You can see I've dialed in a bud crusher. There is some compression over here with the form of this compressor on the fair channel. And a limiter then is followed by a chorus effect. A pretty cute, we have skipped that some of the signs and accentuated some of the others. And then a slight bit of room reverb. Now, let's say you like this instrument. He liked the idea and you want to save it so that you can recall it in other songs and lead a sum. Then what you can do is open up your browser, navigate to the files folder. I've created a music libs folder, and I can store my music lips here. So to do that, you just grabbed the muddy part and you drag it on here. And you can see you can export to this folder and it gives you two options, either music loop or midi file. If I hold down Option or Alt, I can jump between the two. And if I just do midi file, It's only going to save the midi data. But if I choose a musically, it's going to save a music file which includes the instruments, the midi data, and the plug-in effects that you've added. So I'm going to drag out there and it creates this instrument. Now, I'm going to create a new song. So I'm just going to jump back to the start menu and do a new song. Here, I've got a new song. Now. If I take this music loop and drag it over here, you can see it looks like the middle part. But as I dragged on, it actually adds the motto synth and an artist. And I've got all the settings that are dialed in with it, including the modulation effects. And then the effects chain like Esau, I had a bud crusher Effect Channel the chorus EQ, and the reverb. So it's pulled everything back for me. So it's great that you can store these music loops and then use them later in other productions and songs. Now, let me show you something even cooler. If I just right-click on this and say show package contents, I've got this little drop-down menu here. And now I can go into each atom that's within this music loop. For example, if I click over here, I can see all the effects. This is the instruments and then this is the muddy part. So let's say I just want the muddy parts and I want to put it onto a new track and add a new instrument. Then I can just take the muddy parts over here. So there's so many part dragged on and I've got the new part and I can assign a new instrument. Or maybe I just want the Martha said, I want to pull in that sense that I added and then start adding my own facts. And Maddie, I can drag this here. And then I've got tomato soup. And then maybe on the smartest sinth on Add the blood pressure, the fat channel, or don't want the chorus, but I want the EQ. I'll leave the room, reverb that. And I can drag this onto my inserts track over here. And now that adds those effects with the settings are dialed in. So this is great flexibility with the music loop file and what you can do with it. It's towards your instruments, the midi data, and the effects that you've dialed in on that track. And you can choose what you want to pick from that music loop when you're jumping between songs. If you find an instrument sad and a plugin chain and everything that's really like, then definitely save it as music loop because you can always recall it at later times in other songs 47. Conclusion: Thank you so much for watching this class and I hope you enjoy your journey with studio one and your songs and your productions