Studio One 5 - the most complete and up-to-date tutorial

1. Introduction : Hello and welcome to Studio on 5.5, the most detailed and up-to-date tutorial. If you're watching this course, most likely you have already become the proud owner of persona Studio one, but you're confused and don't know where to start. Or maybe you've been using the program for quite some time, but you want to get to know it better. Learn all its numerous important and convenient functions. First of all, I want to say that I'm not a persona's employee. The company is not my sponsor or really involved with me in any way. Also, this isn't my first digital audio workstation. Throughout my 14 year career as a musician, composer, and sound engineer, I worked in FL Studio for a long time. And then in Cubase. I'm also familiar with Ableton logic and reason, but none of them have really clicked with me in the same way as Studio one. When you first get to know the program, you may feel insecure that you'll never master. However, I promised that things are not as scary as they seem. An important part of the persona's philosophy about studio one is an intuitive interface and the ability to learn the most important and most frequent functions in a minimum of steps. This mentality, along with some innovative solutions, really helped the program almost instantly take the role as one of the leaders in the market since its inception in 2009. Since then, every update makes Studio One more functional and faster without making the interface complicated, persona's has a voting system on their website. So all the updates include requested fixes and new features. They really don't release useless updates. The other global thing I love about studio one is the very strong native plugin said, if you're a mixing mastering engineer, all you need for success is to learn built-in tools. Of course, we will be looking at the latest release of studio 1.55, professional edition. Please note this is not a music production code. I won't be showing anything related to the chords to choose or how to tweak a compressor on a drum bus, or what's the best way to mix an EDM vocal? Nothing like that. This is a very detailed tutorial of studio and functions and abilities. During this course, I will be explaining every setting and function of the program, its meaning and its use. I'll try and explain everything as simple as possible. But if something confusing to you, please feel free to text me and I'll be more than happy to answer any of your questions. This course will transform you from a beginner to a confident professional user of studio 15. So you can enjoy all the functionality and convenience of this wonderful product. Thanks for your attention. Now, let's get started. 2. Welcome window: Once you start the program, this window will appear in front of you. Let's figure out what's in here. At the top of the screen, we see four main icons. New song icon. By clicking on this icon, we will get into our main work area where we will work on all aspects of the track up to Mastering. We can record our microphone, voice, guitar, play the midi keyboard, create our arrangements from scratch among midi and audio tracks, edited mix them using different tools. In general, this is where you live while you are creating a track. Of course, we're going to look at them in as much detail as possible in the following sections. After we finished creating the arrangement and mixing it, most likely we're going to want to master our track. In other words, to prepare it for publication. And this is when the project section helps out. Up next is the new project that icon. We can get to this section both from the main menu and from the previous song section. This section is intended for Mastering, which is the final processing of an already integral audio file, which we get after merging all the tracks into one. After that, we have the new show icon. This section is responsible for everything related to rehearsals and live performances. In other words, this is an extensive professional audio player where we can easily create and edit our playlist and control. It's mixer with all the effects. And then we have the Open icon. This is a function for quickly opening existing Studio One files. Below we see all of our recently open files, your songs, projects, and shows. In the middle, you can set an image of you as an artist, your studio or your brand, or any image you like. Now we're going down to the audio interface icon. This is where you can customize the configuration of your audio device, set its sample rate, and its buffer size, setup channels, and routing. Also in the external devices section, you can configure your connected midi keyboards, external synthesizers, and so on. We're also going to cover all the details of these sections later. Here, you can check for the latest updates and learn more about the program. Studio one has an interesting feature, full integration into SoundCloud, which is a popular music streaming service. This means you just connect your SoundCloud account and you can release the track directly from the studio one session with all the tags, descriptions, images, and everything. Another handy feature of the welcome window is the News Feed section, where links appear to program updates without any annoying ads. And then demos and tutorials, which is where you can find short but very useful Studio One tutorials from personas. 3. General Tab: Before we move on to the most detailed study of the interface and the functions of the program. You probably are going to want to configure the program and tweak your settings. However, if you can't wait to start discovering program functions, you can skip this chapter for now and come back here anytime later. To go to the program Settings and project settings, we need to go to the studio one menu. And here below, select options. Having selected the options, we see that the window appears. But I want to note that there are two tabs at the bottom. If we switch between them, this window changes. If we just choose options than we will manage the general settings of the program. And if we go to song setup, then we will manage the settings for the current session, which are meta-information that can be written down. For example, right, the artist's name, the year the song was released, and so on. Then let's set up the audio device and stuff like that. We will come back here later. We'll start with the options section, which is the main program settings. And moving to the general tab. By the way, each tab has its sub-tabs, which have certain menu items. So in general, let's quickly go through all the essential points. Here we choose the language is English. Next, we choose what we want to happen, right when we launched studios one. I have do nothing selected. But for example, you can choose to open the last song which was opened in the project before you close Studio One. Or you can open some kind of default project. Or you can create some new default song. I choose do nothing because I will want to choose what I need to do myself. We can also check the checkbox for updates. And also by default, the enable high DPI mode checkboxes enabled here, which is the high resolution mode. I recommend you always leave it on. Then we have the Appearance tab. Appearance allows us to customize the look of our program in different ways. If, for example, we increase saturation, we will see that the color of the program changes slightly. To reset the default slider, hold down Command or Control on PC, and click on it. And let's say q. You see our color changes a little here. Luminance the same, we can change it. We also can change plugin styling here, but this applies only to built-in plug-ins. You can choose from dark, light or colored. Well, the design of the notes is also darker light. We can also save the preset. Let's say we screwed up something here. We can save it and then load it, or simply reset everything to default. Next, we have a shortcut keys tab. Using shortcuts saves tons of time. If you often use a function, you can assign some keys to do these functions. For example, pre-roll is the key O on the keyboard, or shift C on pre count. Here you can search for the required keys or you can remap them as well. If you select any key, the key appears here. And if you click here and type the shortcut you want on the keyboard, let's say Shift S. Then we will see what we can assign. Right now, we're shown a warning that this combination isn't available, so we will have to choose another shortcut combo. Next is the Network tab. And there is only one position. We can enable or disable remote control of the program via Wi-Fi. Studio one remote is a mobile app allowing you to control Studio One remotely. So this option has to be enabled if you want to connect your phone or tablet. 4. Locations tab: Next up is the locations tab. Here we can choose the location of any files and everything related to them. User data files that are saved by default at this address for macOS. And if you're a Windows user, then your default address will be C. Users. Username, documents, Studio one, all songs, projects, shows and presets of native plugins from the persona's company or saved here. But if you need to change the save location, for example, if you want to store all projects and all shows on a separate disk, then you can use this icon to select the place where you want to save the project and they will be saved. I also highly recommend that you leave the enabled autosave checkbox on. This way, studio one will automatically save your project every five-minutes. You can also easily change the auto save time. However, I will say one of the most essential habits in our work is to regularly press Command S or Control S to manually save the project. And the more often you save, the better. Alright, So how about used Cash plugin data on safe? If this checkbox is enabled, then when the project is save, the cash of all plugins used in the project will also be saved. This function is useful when working on heavy projects. For example, if you're arranging a large orchestral piece and you have dozens of contact libraries running all at the same time. The ask to copy external files when saving song is a useful function for those who often work with external audio files. For example, you dragged an audio file from the desktop to your program window. If you click this, when you save your session, this file will be duplicated in the studio one folder. This way, you can delete the file from the desktop or wherever it was originally. And it won't matter, the program will still find the file in your session because it's in its own folder. Moving on. File types, all file types that the program recognizes are displayed here. But if you're a sophisticated user, you can add your file type. This is very rarely needed, in fact, but still you can do it. Sound sets. Here. You can change the location of the sound sets from persona's. Here we can see its default addresses. The address is the same as here. Only at the end is sound set instrument library. This is the place where the libraries of our instruments are located. For example, contact uses some third-party libraries and we can see and change this address. And last but not least, VST plugins. This is a very important tab. It's here that we can see that there is a checkbox for scan at startup, which means when the program starts up, it scans all the plugins that you have on your computer in the selected folders. I've already added the folders where I have plugins. But you can add and remove folders at your discretion. Mostly they're located in these directories here. Well, in most cases, there is also a button called reset block list. What's that? Let's say you were using a trial version of the plugin and the free period has expired, and when the program starts, it scans the plugins and a warning pops up saying that it's not working. So Studio one can't start it and after several attempts, it ends up in the blacklist. But then let's say later you by the plugin and you enter in the activation number and the plug-in is valid again. But the plugins still won't load into Studio one because it was included in the block list. In order to not re-install this plug-in, again, you just need to go here, VST plugins and click Reset block list. And then upon launch, it will scan all your plugins again and see that this one is now activated. 5. Audio setup: Next comes the audio setup tab, which is one of the main tabs you should know in the program because it allows us to customize the playback device. We can configure our audio driver or configure our sound card if available and connected to the computer. Here, we select the driver for our sound card, and we can also change the drivers settings by clicking on the control panel. Here. We can change the settings by navigating through the tabs. Below that, we can set the device block size. This is the buffer size. In other words, the number of samples that we can simultaneously load into it. Sample rate is the number of data points describing the soundwave. You can change your sample rate in the bottom songs setup tab. You can also see input and output latency. We can also enable the release audio device and background. This means when minimize, the program will stop using the device and instantly turn it on when the user returns to studio one. And if you don't check this box, well, for example, you won't be able to play any sounds in the browser while watching YouTube. As long as Studio one is open. A very useful function is in the processing tab. Here we can set our dropout protection. This allows us to reduce the load on the processor while keeping the plugins fully functional. The following modes are available. Minimum, low, medium, high, maximum. And it also becomes possible to enable low latency monitoring for instruments. So what's up with all that? Alright, let's say a plug-in with high latency is connected on our master channel or on the instrument itself. But we want to play in real time on a midi keyboard or recorded sound using a microphone. Of course, we need a minimum latency in order to play in time. To do this, we mark this checkbox. So what happens? Now? All the plugins with a delay of more than three milliseconds will be automatically disabled when monitoring a channel in the mixer. If the plugin has a latency less than three milliseconds, then this z letter will glow on the channel. I'm pretty sure this is a z from 0 latency, or the Bypass button of this plugin will turn green. These plugins will remain working and those that aren't marked in green won't work. So now, when we start playing the midi keyboard, are sound will only pass through the plugins with a delay of up to three milliseconds. Process precision, double-precision, 64-bit has nothing to do with bit depth or audio files. This is about internal number representation within the software code, not the audio samples themselves. So can you hear the difference? I haven't really seen a convincing argument yet, but many daws have added a double-precision mix engine to their feature list. Next, we'll see the monitoring latency itself. 6. External devices: Next, we have the external devices tab, which is also pretty important if you have any physical devices to connect to studio one. It's responsible for setting up the connection of any external devices, like midi keyboards, external synthesisers, some control surfaces, and any other gear you might want to work with your dog. Here I already have some devices connected. And to add our midi keyboard, we press the Add button and then select new keyboard here. But first of all, check here. If your keyboard has already listed, if it is, you just select the settings you want and that's it. Here. You only need to choose from where to receive the signal and where to send it. But what if your keyboard is not listed? Then we go here. New keyboard, then type the manufacturer name. Keyboard model. Midi channels. You must specify which midi channels will be used to communicate with this keyboard. If you're unsure of which midi channels to choose, just select all 16. Here. We choose where to receive the signal from. At this moment, when you set everything here, your midi keyboard should already be connected to the computer. Let's say I have a Native Instruments complete control M32 selected here. And the program tells me that such a connection already exists because I've already added it. And send to. Here, you need to decide whether the keyboard supports any external control and whether you can send anything to it. If you aren't sure, then it's better to leave them blank, just as in the previous case. Nothing bad will happen. We can also filter the main functions of our keyboard, enable and disable them. However, I recommend you don't touch this filter unless you really need to. Also, we can split channels. If your midi keyboard has a wide functionality and you want to route functions to different channels. You can set default instrument input. If we want this keyboard to always be set by default in Studio One. You can also enable MAPE Media Polyphonic expression, which is where individual nodes can have their expression data, allowing you to use velocity and other playing techniques to affect notes separately. Simply stated, you can play a chord and use pitch bend or aftertouch on each note independently with that chord. And you can also set the pitch range. After that, you press Okay, and that's it. Your keyboard is connected and you can play it. Same for other devices. If you have an external synth control panel, some faders, knobs, and everything is configured in the same way without problems. And pretty quickly, we also can edit our settings. So we press Edit, select our key border device, and we can edit the parameters that you said at the beginning. We can also delete the device and group all of these devices here. There might be many devices if you have a professional studio or if you change the connected equipment pretty often, then you can group them into different groups as well. One huge bonus is that if you disconnect the keyboard, unplugged the cord and then reconnect. Most dogs will give you an error and you won't be able to connect this device in the current session. Here, everything is done very conveniently. You can select the device you want and press reconnect, and then the device connects. You don't need to completely restart the program. Another check mark that's important. Notify me if devices are unavailable when Studio one starts. So when you start Studio one, you have different lines running. Everything is loading up as you see it. So if your computer doesn't see a piece of gear connected and this option is turned on, then a window will pop up telling you that the keyboard is not connected and asks you to please connect it, and so on. 7. Advanced Editing: Now we're moving to the most extensive tab in the program Settings and going to editing subtext. Here we have enabled crosshair cursor for tools. What's that? Alright, let me show you the second third tools on our tools panel. The range tool and the split tool, require increased precision most of the time. Therefore, when we enable this function, enabled crosshair cursor for tools. When using these tools, we see the intersection of the horizontal and the vertical lines on our cursor. And this allows us to determine the required point on our tracks as accurately as possible. This is very convenient, so I always leave this option enabled. Locate when clicked in empty space. If we click on a space, then this locator moves to the place where we clicked. If we disable this option than the cursor won't move unless we click this area at the top here where the numbers are written. Expand layers after recording takes. In Studio One, we can record as many takes as we want. Let's say this is the course of a song. And we want the vocalist to sing the chorus several times in one session. So we turn on loop and hit record. The recording is in progress. The vocalist sings wants than the playback ends here. It starts again from here. And when it starts over again, a new clip is created. A new take, the vocalists things again, and another is created, and so on until you stop. And then when you press stop these five or however many times the vocalist saying 30 times, whatever, these takes her saved. And if you have this option turned on, expand his on, then these takes will immediately open after you click on stop. If it's disabled, that takes will be folded into a compact strip. Moving on, Apply Folder track color to content. I have a folder containing one track. There can be any number of tracks in the folder. And if I now change the color of the folder, the color of the nested tract doesn't change. But if I have this option enabled, the color of the nested track will change to the same color as the folder. Colorized track controls apply. And you'll see that our channels become gray. If we turn it on. There are also painted with the same colors, like these stripes next to this track. It's much more convenient to find which track you need. So I always include it. Auto colorized tracks and layers. If enabled, all the newly created tracks and layers will be colored at default color. If disabled, that will remain gray until you change their color. Next, show channel numbers and tracks. I want to note that these numbers, 12345 are just cereal in this channel list. These are not numbers of the channels that we can see in the mixer. And if we want the channel numbers in the mixer to be displayed here, then we click this, apply. Now we have 18911, so on. No overlap when editing events. So what's this? If we check this box, then if we drag one event, one clip, but in Studio One, they're called events on top of another. The following will happen. This event has been cut and no overlap occurs. If we want the layering to happen, we disable this option. And now they will be layered on top of each other. And this gray area appears that shows you that they are layered on top of each other. Show event names. I think this one's pretty clear. The names of all these events are shown. If I click apply, the event names are not displayed at all. But I think it's much more convenient when there are names. Show envelopes on instrument parts. So say you're playing a key part life and you have a sustained pedal and the keys are sensitive to velocity. So then not only will the notes be drawn, but also the envelopes, the curves of these petals. If you want them not to be displayed, then simply turn off this checkbox and that's it. They aren't displayed. Show chords on events. If we use the definition of chords, which we will talk about a little later than the chords will be shown at the event on the clip itself. But if we disable than they won't be shown. Draw events translucent. Again, not much to say. Let me just show you the difference. When this option is turned on, my event looks like this. And when it's off, they look like this. Draw smooth waveforms. As the manufacturers say, if you don't have enough video memory, you can turn off the visual anti-aliasing of audio waveforms. We apply it to the audio wave and it becomes coarser. Though. It's pretty hard to tell the difference. Draw event badges. These are gray highlights for the event names apply and the badges disappear. 8. Advanced Automation: Next comes the automation sub tab, where we configure the work with automation in Studio One. Automation follows events. This means that automation envelopes locked two events. So when we're moving an event with automation under, it also moves the automation. But if I disable it, I can move the event, but the automation stays right where it is. Disable events under automation envelopes. This makes events unavailable to the mouse tools while viewing an automation envelope, which helps you prevent from unintentionally editing underlying events while editing automation. Like this. Automatically create automation tracks for channels. Enabling this option automatically adds an automation track for every new FX channel bus or VCA channel that you create in the console. In some way. This helps to retain quality between the structure of tracks in the Arrange area and versus channels in the mixer. Automatically add envelopes for all touch parameters. If you have any controllers on the midi keyboard and you bind them with some controllers and the program. Then if this checkbox is enabled, you touch the controller on the keyboard and the automation track is immediately created here. It's very convenient, and I always leave this one on reduction level. This allows you to control the precision of new automation data as it's written. This helps reduce CPU load during playback. Note that this setting doesn't affect existing automation envelopes. I believe it by default. Next, default envelopes for new audio tracks. If for example, you added an audio track right away, but by default you have to automation curves, volume, and panorama. You can also turn on the mute, but I think this is unnecessary. You can simply turn off the volume with volume automation. 9. Advanced Audio: The next sub tab is called audio. So let's figure out what we can do here. We can enable play overlaps for new audio tracks. What does this mean? And what are overlaps in general, if one audio event is layered on top of another, this is just called the overlapping of two files. And now by default, if we have disabled this option here, it won't affect it here because this is only meant for new files, which is new audio that we drag and drop in the arrangement area. If I change it now, then there is nothing in these files that will change. And only if I upload a new one, this play overlap option will be enabled here and it will affect it. And if we have play overlaps disabled, then the file will be played until the program encounters the second file. And it will start playing the second file. Which means here, the playback of the first file will stop. If we enabled play overlaps here and here. Then for the newly added files and for those for which we have enabled this function, the following will happen. This file will be played to the end. And at the same time in this section, in the second file, it will also be played. I hope that's clear. Use cash for time stretch audio files. Studio one uses a cash to stretch audio files. So what does stress mean? Time stretching is when you change the time of an audio file. Let's say you use a 120 BPM loop and you have a 1 fifth BPM track. You need it to fit, which means stretch this loop to 150 BPM. This is time stretching. And studio one uses the cash for time stretching. So how does that work? If you stretched an audio file from one-to-one fifty, and then you want to go back to 120. Most programs will recalculate back to 120. Here, the caches used, which means the original value is taken, it was immediately saved, and 120 is set right away. So you don't need to wait while it recalculates. In general, this save some computer resources and your time as well. Record tempo information to audio files. If you export any audio files from the program, then I recommend enabling this checkbox because in this case, information from the tempo of songs is written there. And by opening it in any other program that can read the tempo, or by opening this file in the same studio one, the program will immediately understand the tempo. This is very useful. You don't need to calculate anything. Everything is organized by itself. Use dithering for playback and audio file export. By default, Studio one uses dithering for file playback and File Export. Do there is low-volume noise introduced into digital audio when converting it from a higher bit resolution to a lower bit resolution. This helps to prevent quantisation errors during the process of reducing bit resolution. Use real-time processing to update mastering files. What's that? Real-time processing allows you to run audio in real-time through external gear Instead of just in the doll with plugins. In non-real-time mode, your plugins and mixer adjustments and the doll can be calculated faster than playback, saving you time when exporting. But if you're routing one of your tracks out of your interface into some outboard effects and external mixer or anything like that. Then back into your interface to be mixed with the rest of the tracks for the export. You need to do it in real-time as there's no way to play your song faster through your outboard gear to speed up processing. Next, pre-recorded audio input. If you enable this check box and click Apply or okay, then the program, if you have any device connected to the input or constantly create a buffer in five seconds. Roughly speaking, the recording will go constantly buffer in five seconds. What's that meant to do? If you then click on Record, the program will immediately save everything starting five seconds before you press the button. Next is record offset. What does it do? If we go to Audio Setup and see that we have a number of samples on the input latency. Then in the advanced tab, I subtract this amount. What happens in this case, when we record our line input devices, some kind of vocal or a guitar, there's a slight delay and it's indicated here. So to correct the delay, the file will be shifted relative to the composition for that same number of samples. And enabling this moves the file so that we don't have to move it manually later. The next value allows us to eliminate some conflicts between studio one and your audio card. Timestamps may be correct and don't correspond to studio one. Therefore, if you have any problems with playback on your audio card, for example, synchronization, then you can try to enable or disable this checkbox and perhaps everything will disappear. 10. Advanced - Midi: And now we move on to the next sub tab called midi. Here's what we can do. Enable or disable. Timecode follows loop. For example, if we want to loop some part of our track and some external sin, or some external drum machine. So a physical device is connected in the track through the midi channel. So once I click Play, the playback starts in both in studio one and on the external device. But what will happen if we loop a piece here and the cursor keeps coming back to the beginning of the loop. It played, came back here again. Played, came back again. If we have this checkbox enabled, the external device will receive a signal that we've reached the end of the loop and you need to start playing from the beginning. If we don't enable this checkbox, then the information won't be sent to the midi device, which means the midi device will simply continue to play further, but our composition will be looped in studio one. Then comes chase long nodes option. Let's take a look at this example. We have a no. This one is so long and let's say I place the cursor here. What do you think will happen now, if I hit play, this is not an audio file that will be played, but a midi file gives information only at the beginning about the duration of the note. So now nothing should happen if we play it, which means the note won't play and it doesn't. But if we go to Options here, we enabled chase long notes. The note will play regardless of where our cursor is on this note in time. Moving forward. Revealed pre-calc notes. Check this option to retain any midi notes played during the counting when pre count is enabled. This can be helpful when improvising or playing in parts that start just before the downbeat. Cut long notes at part end. If we have a midi note and if we have this option turned on, then the program will cut the node at the end of our event. And if we have this option disabled, the note will sound complete, although the part will already be finished. The note we'll end here. Enable retrospective recording is a pretty new feature and pretty cool. If you have a midi keyboard, you just sit and play, you improvise and you lay down a really cool piece. Anything cool? Alright, I can do this again. So you turn on the metronome, you start recording again, but you don't get the same thing. You've totally lost it. What do you do in this case, on the instrument that you've improvised, you click retrospective recording. This era. And everything that you improvise on the instrument flows out here into one midi event like this. And it's very, very cool, especially when you're improvising. So I recommend that you always keep this checkbox on. And the same as in audio. Record offset, offset by a certain number of milliseconds of recording in Midea. And everything, again, depends on what latency you have in your audio card and in the system in general. And we shift by this number of milliseconds only to a negative. 11. Console, Synch, Services: Now we're moving on to console settings or in other words, our mixture. The first item here is enable undo. I recommend this always beyond. This allows us to roll back. If we did any action. If we change any parameters, we just press the key combo Command Z on a Mac or Control Z on PC, and we return everything. The next point is to colorize channel strips. If I click Apply, then we see that all the channels are gray and only under them are these colored stripes. But I like it more when it's like this because it's much easier to find a specific group of channels or separate the channel. Colorized plug-in header. Let's say we open any plug-in. And here at the top, it has the same color as the channel itself. Let's open another. And here a yellow compressor, and it also has a yellow top. Moving on auto expand selected channel. There's an option to collapse the channel like this. And if we want it to expand when we click on the channel, we enable this checkbox auto expand selected channel. Apply. Okay? And now when a certain channel is selected, it unfolds. And in general, when you have a lot of channels, when you have a lot of instruments, this really can help. Failure mode, either touch or Joe. Let's say I click on the fader itself and drag it. This is the usual mode called touch. To reset the default value. I hold down Command or Control and click on the fader itself. But there's also jump mode. And this is when we can click anywhere on the movement of the fader and it jumps right there. Plugin menu. You can switch between the basic and extended menu. So when we press plugins to add some plugins, we can see that basic mode, all the folders are strictly organized and the search bar is missing. Extended menu provides you more options to find the plugin you're looking for, which is more useful when you know the name. You can just find it faster. Audio input follow selection. What does this mean? When we select any channel, the record button and the monitor button follow the selection. We select something and the monitor record button immediately turns on the channel we have chosen. Instrument input follows selection. This is exactly the same as the last option, except in the last one, we had these with audio tracks. This one applies to our instrument tracks. Next, solo follow selection. If it's on any track we select become solo. Channel Editor follow selection. When we edit one of our tracks and switch between the tracks. This track will also automatically open in the editor. Audio track monitoring follows record. If we enable the recording on a channel, then for example, if you say something into the microphone, you will hear yourself. If we turn it off, then you cannot hear yourself through these headphones. And this option here automatically turns on monitoring once you turn on the recording. But there's another option, audio track monitoring me, it's playback, which means when we turn on monitoring, the playback of this track is muted. Instrument track monitoring follows record is the same as audio track monitoring follows record. Only different kinds of channels. This option is meant for instrumental channels only. And Q mix mute follows channel. This applies to buses. We will talk a little bit more about buses during learning the console itself in more detail. The other two tabs, synchronization and services, are quite small. Here we can synchronize Studio one with external hardware devices. We select the inputs, enables synchronization and it all works very quickly and easily. And the services tab, I wouldn't recommend you go in there because there's a big chance to disable some services and the program, which may cause some bugs that you do not even immediately understand or see. But over time, things start to get buggy and things go wrong. So it's better just to not go here at all. It's mainly for the developers. 12. Song setup: Now let's take a look at songs setup. In the general tab, we set all the main parameters of our song which our sample rate. Briefly. When we set the sample rate, we set how many data points will be describing our sound waves. Sample rate is measured in kilohertz, and it commonly ranges from 4412192 kilohertz. I recommend you dive more into details about sample rate to define what value suits your particular task. Resolution. Also known as bit depth. This is the number of bits that one sample contains. Bit depth and sample rate are tied with each other. And these are the main parameters when it comes to digital and analog conversion. Frame rate. Yes. You can also load video into Studio one and operate it via a built-in video player. Frame offset allows us to move the video track itself relative to the starting point. Bar offset is a useful feature that can give us some space before the start of a track. Time-based. By default, it's bars, which is useful in music producing, but we can switch it to seconds, for example. And that would be helpful in dialogue editing or something else along that line. Display mode. Now you can choose your tempo representation in time linear or beat linear mode. In time linear mode, your track will stretch according to your tempo. And in beat linear, your track length will remain the same while the tempo will affect the speed of the cursor. Songs start and song n define the borders of our track. Basically, these functions only set our start and end markers, which we can easily adjust at anytime in our song window. So I don't bother to change it here. Creator line shows your username and generate. Our line just shows us the current studio one version. Stretch audio files to song tempo means that the audio files we load into our project will be automatically adjusted to match the current tempo of our project. Include effects when updating mastering file. By default, when we render our song into one mastering file, all the effects from all the tracks will be applied. But if for some reason we want to have our mastering file without any applied effects, we should uncheck this box. Then there is the meta-information section where you can upload a picture for your track and set all the common tags for your song. You can also turn on checkbox to pop up this window when the program starts. And the same about copywriting to show copyright notification. For example, this track cannot be copied. In general, the copyright is yours. Next is the Audio Input Output tab. Here we see that there is a stereo input and stereo output. For example, I have a headphone output. Now. I can also add another stereo output and for example, activate the next two channels that I have on the audio card. It's very fast and convenient, but I'll delete it all for now. Since this is a training project. And the same is with inputs. By default, there's one stereo input and to mono inputs left and right. We can of course add more mono, add more stereo. And we can also add a certain number of inputs. Let's say you need to connect something. You immediately click here for what you need. For example, three guitars. These will be mono inputs, and you call them guitars or whatever. And you choose a color for them. Press Okay, and now you have three inputs at once. Very convenient, everything is very fast. Now we can make our settings as a default and export them so we can use them on another computer. We also can import and use the already existing settings file. I hope these settings are clear. Now we're finally moving on to the song area. 13. Song Area Basic Navigation: After you've created a new track or open an existing one, you will see this picture of the arrangement area on your screen. And that's it. That's it. It's not exactly clear what to do, but no worries. We're gonna go through this. All right, So what's up here? As with most programs, here are the control menu for various Studio one functions. You have the toolbar where we have access to the most important and frequently used functions in the program. We will analyze all this in as much detail as possible later. But right now, I want you to understand the general concept of the program and how everything works here. Going below, we have the transport panel that in general is responsible for everything connected to playback and recording. Most everything you need to use often is located right here and here. I want to note that we can switch between using these buttons in the Start section, which I just talked about, song project. If we create a new project, we will be able to switch to it. And if the show is the same, we can switch between these sections quickly and comfortably. The general concept of the program is to fit everything on one screen so that you don't have any additional windows open. And basically they did it pretty well. If we want to edit some track, we go here, click at it, and we see we can edit the midi track. But if we switch to the audio track, then accordingly, the display window changes and we can edit the audio. This is great. And notice that this is a window within a window. It's built-in here. Of course, if you want to use this window and an adjacent monitor, then you can simply unpin it with this arrow and place it somewhere on the next monitor. But in most cases, I use everything on one screen. And it's all very convenient to open with one-click or with the F2 key. You can open everything quickly like this. The same is with the mixer, where the whole mixing process takes place directly. We will also analyze this in much detail later. And it opens using the mixed button here or buttons F3. It's not necessary to memorize these buttons, but it will speed up your work in the program. Then using the F4 key, we can open the inspector, which allows you to find out information about this channel and change its configuration. Here we have channels. This is a midi channel. It's displayed with a keyboard. And if we have an audio channel, then it's displayed as an audio wave. Here we can find out details about that channel, about the track that we've selected. Let me remind you again, the F4 key. And the F5 key opens a browser where we add various instruments, effects, bloops, any kind of audio clips, so on. Here, everything is sorted automatically and conveniently located. As soon as the program is loaded, it scans all possible folders where your VST instruments are, your loops and so on. All of this is sorted here. Here, all of the instruments, all of the effects, all of the folders with your audio files, all the loops, you even have access to the Cloud. In other words, this is the main source of connected components in our program. We take everything from here and place it here, or on some other mixer channels. This is basically the whole concept of the program. I mean, of course, there's a huge number of functions, tons of different useful features, and we will take them apart gradually. But I want you to understand that this is how everything works here. F2, F3, F4, and F5, or the main navigation keys between program areas. Of course, you can use these keys or you can click here and the inspector will open. It's entirely up to you. 14. Top menu: First thing, let's take a quick look at this top menu. Why quick? Because most of the functions here duplicate the functions we can access in different program areas. Let's start from file. Here are the common functions to create a new song project or show open any supporting File, Close this song window, or close all the tabs at the program. For example, if we have a few songs open or a Mastering Project or show, we can close it all with one click. We can rename this current song section and save a new version. For example, if we open an existing file and we make some changes, but we don't want to lose it just in case we want to come back. This will create another version so your original stays untouched. Or we can restore the version from any versions that were saved earlier. We can save which will replace the existing file. Save as where we can rename this file and choose its location and file extension. Save to New Folder is basically the same as save as and save as template allows us to create our own template that we can load and use anytime. We can find it here. New song user templates allow us to start a predefined project. For example, if you're a film composer and you want to create one template that's for cartoons, and another one that's for action. And then another one that's for cheesy drama and so on. You can open a template and all the instruments and effects are already loaded and ready to use. The revert option cancels all the changes we made since the last safe. Recent files. I think there's no need to explain that. Next, the whole edit tab contains functions that we will completely cover during this course. So let's skip it for now. Now, let's take a look at the song tap. Import File allows us to add any supported audio file from our computer. Import song data. Here we can choose some song projects that we've saved before an import it from specific tracks or settings of these tracks. We can also copy this content that we import to the folder of the current project. Here are the options of the channel we want to import. We can also import it with some volume and pan settings and include all the inserts and cents and the instrument itself. We can export mixdown, which means to render all the files in one audio file, including all settings and processing. Here we choose where we want to save and how to name our audio. Also some publishing options. Along with saving the file to the computer. We can also send it to Notion, which is a powerful sheet music editor from persona's. We can upload it to the persona sphere, which has a file exchanging Cloud for persona's users or upload this file to SoundCloud. Here we choose the specifications of the exported file, its range. We will talk about these markers later. Here we can choose an output if we have a few of them and export our file in mono. Then to bypass all the effects that we have on our main channel, use real-time processing, which is useful when using external gear, right tempo to audio files. So it will be easy for any dog to detect the tempo of the audio files we export import to track. This will also add this exported audio file to a new track of the song. Close after Export. Pretty obvious. And set the overlapping time between exporting tracks. Next, export stems, same as previous, but this option allows us to export each track to a new file. It will create as many files as the tracks we have in the project. Export Video. If we load a video to the project and then we create new audio for it, or we edit the existing. We can now export our music and our audio together with the video right away. We can send our tracks to persona's notion if it's installed or print score, which will be a sheet notes representation of our music. These three elements we will cover at the end of the course when we get closer to the Mastering Project and the show page, locate missing files. If we change location or rename the files that we use here in our song. Next time we launched the song, this window will pop up. This means the program can't find the needed audio files and can't load them anymore. So here we can show studio one their new location and choose them even if they have different names, the events with missing files will be filled with the files we choose. Locate missing devices. Same with our external devices. We can change their settings here, but now my devices are fine. Remove unused files. If we want to delete the audio files that we've loaded in the session and don't need anymore. Once we delete audio files from our session, they will remain in the programs pool ready to be restored. But if we're sure that we won't use them, we cook here, remove unused files, and now we can choose what we want to keep and what we want to delete. And if we click this checkbox, then we won't be able to undo it anymore. Copy external files when we import some audio from our computer in the program and then saving the song by default, Studio one won't copy these files into the song folder. And if we delete these files from the Computer, Studio, one won't find them. So after we load these files in song, we better save them in the song folder. So next time we will work with them directly from this program folder. There's also an option I was talking about in the location settings chapter. The option calls asked to copy external files when saving song. Show media folder and Explorer opens the program folder that contains our project files. Song setup, settings of this particular song. Song information, basic info about this project. Then the notes that we can leave for the entire project or every particular track. Now, track, event, audio, and transport are also the tabs of the content of which we will be fully covered in the next few chapters. The View tab is pretty simple and doesn't need much explanation. Every window, every panel and additional function can also be open from this tab. But it's more convenient to open these elements from the place they should appear. For example, show homepage. It's more convenient to open from the browse tab. However, this tab and all these top panel tabs in general is a place where you can quickly find all the hotkeys of this function right in front of its name. And of course, all these elements will be covered later. But there is one thing I want to mention now about the View tab. The new full-screen mode is now available for Windows. It enables Shift F and saves precious screen space. The studio one tab is very simple as well. Here we can manage our activation, install additional persona's content, different instruments, loops, samples, some documentation. We can list and activate persona's extensions, backup and restore all possible program settings and sign into the persona's account. Then we can open the SoundCloud client and macro organizer, which we will talk about later as well. Language, keyboard shortcuts and options. I think it's obvious. And last, the Help tab contains different manuals and documentation in PDF and HTML formats. Here you can also see detailed information about your current studio one version. 15. Automation, basic tools: Now we move on to exploring the main work area called song. Since we already covered the top menu, I prefer to continue the demonstration of studio and capabilities in full-screen mode. So why do I call this area main? Because if you were writing tracks from scratch or simply receiving tracks for mixing, then you will spend a significant amount of time in this area. We will start with the top toolbar. Let's hear from left to right. And on the left we see two dark windows. What are they? The first window is the Settings window. The second window is the Controller window. In the parameters window we can see parameters that we can automate or control. Let me show you how this works. Let's say I want to automate some parameter. I can just select this perimeter here. Let's say I want to automate the mix knob. I start rotating it. And by default the data from the knob is immediately transferred to this window. Everything is changing in the window. So what does that do for us? This gives us the ability to either just press a here or press the Option or Alt a key, click. And now we have an automation track. Now we can edit this curve by clicking on it. Also, we can create a clip separately from the track itself, separate from the channel itself. We click on this hand, just drag it down and create a clip somewhere below. It's just an option in case you want to edit your automation separate from the track. We can also click on these arrows here to select the last ten parameters that came here from the menu and select the method that the parameters will get here. For example, recently touched, this is just the last parameter that we edited. This means we go here and the last parameter, it goes to this window. This is enabled by default, but it also can be enabled on mouse moving. So let's say we move the mouse over the required parameter and it immediately goes here. And let's say I want to bind my physical controller, my external gear, to the virtual instrument in Studio One, serum, for example. I want to bind it so that when I turn the knob on my midi keyboard, this novel also turn in serum. This one. For example, cut-off. How can I do this? I choose my controller here. I click on it and I can see the knobs and faders available. Now, when you are connecting your midi keyboard in Studio One settings, you could choose your keyboard from the list or add a new keyboard. If you choose it from the list, you will have all these controllers already sent in here. But if you choose a new keyboard, you'll need to add your controllers manually by clicking this midi Learn button and simply touching them on your keyboard. And now I just turn the knob on my keyboard and I touch it here. I press this arrow, and that's it. They're assigned. To unbind this controller from the parameter, we just need to right-click on the controller and click on Assign. That's it. Here we have several tools. Here they are up to the vertical line. The first tool is an era, but this arrow has a drop-down menu, this one. And here we can select, for example, the split tool. And now if I press Command or Control, I can cut some events and then move them, delete them, and so on. This is done to provide you quick access to the tools you need. If you switch between them quite often than using Command or Control will save you time. We can also include a merge tool here that links to this arrow tool and the range tool. What's the range tool? This is a tool that allows us to highlight track area ranges. And now if I, for example, click on Delete, then just a part of these events will be deleted. But if I select completely with the arrow than the entire event is selected, and then the entire event is deleted. This is the difference between the range tool and the arrow, but we can combine them by clicking here. And depending on which area of the clip that you start to select from. So let's say I start to select, I will select the range. If I start to select that the bottom of the clip, then accordingly, it will work as an era. This combined tool is very, very useful, but you need to get used to it. This means if in the upper area, then we will have exactly the range tool. If in the lower area of the track, and this will be the arrow tool. Then next we have the Eraser tool, which allows you to delete just the necessary clips. Next is the drawing tool, which allows us basically most often to draw notes in the midi editor or the automation. Let's create automation for the last parameter. We already have it selected here. Now we press Option or Alt, and we've created an automation clip. Here it is. And now if I want to draw something, well, let's say freehand is when we just draw by hand. And I draw like this. And I get this kind of automation which is tied to quantize attached to the grid. If for example, I just want to draw straight lines than I do it like this. And accordingly, how we will draw it depends on the tool that is selected, parabola or square. But if for example, we have drawn some kind of curve and wanted to transform it somehow. Then we select the transform tool. We select the desired area that we want to transform. And now we can do whatever we want with it. Let's say I want to flip it or mirror it like this. Let's say I need this kind of automation. I don't know why, but let's say I need it. No problem at all. Alright, everything sounds fine. Now I can remove this yellow range. Just click on Delete and that's it. The automation remains as it is. This is very convenient. It opens up almost limitless possibilities in editing automation. So take some notes. Next, we have a tool called the Mu tool, which just mutes the necessary clips if needed. Then there's a tool called the Pen tool. Let's say I select some audio clip and click here. I can stretch it, which means elastically change our audio clip. Most often, I can actually do this in the audio clip editing window. We select the audio clip and I go to Edit. And then we can see this very window here. And here, it's more convenient to do it because the scale is larger and you have more functions. But it often happens that you need to slightly correct something to level the vocals quite a bit somewhere. It happens. So we can just take the instrument and fix it just a little bit. Then there's a tool called the listened tool. If you click on this event with this tool, then as you can see, we can listen to certain events. It's very convenient if you don't want to constantly click on the Solo button to listen to some part of a track. The listening tool helps you do this much faster. 16. Audio bend: Then after the vertical bar, we see some icons that allow us to access useful functions when working with the arrangement. Here's a question mark. It shows the descriptions of most of the functions, which is pretty convenient for beginners. Then comes an icon called audio bent. Once this, we click on this icon and we have this menu popup at the bottom. And to use this menu, we need to select any audio clip. You select the audio. And then we can select the mode for determining transients, which means the volume peaks of our audio clip. The transient detection mode can be standard sensitive. They slightly differ by threshold. So let's say I select sensitive and click Analyze. I analyzed it and look what happens. Uh, markers placed in the areas where the volume goes beyond a certain threshold. And now I can change this threshold and accordingly increase or decrease the number of markers if I need it, then I can both show these markers and hide them. If, for example, you have drums as I do, then you can choose Time Stretch Trump's. If this is a sound of a piano or some kind of violin, then we simply choose sound. If it's a solo instrument, let's say guitar or vocals, then we choose elastic pro monophonic format. And tape is just a, a sampler. Then here below, we can work with groups of tracks. How does this happen? Let's say I group these two tracks, the first and the second, two audio tracks. And I hold down Command or Control and select the necessary tracks. If I want to select several tracks and rho I hold shift, just click on the last and all the previous ones will be highlighted. Let's say I want to select these two and now group them. Right-click and group selected tracks. This is where I name the group. And now I have these two tracks grouped. What does it give me? The tracks are now linked and basic controls, such as volume or event change are applied to both of them. I go here and the track list. And if I press this show group's icon, I can see not only tracks but groups. Now I see this group I created. And by clicking on it, these two tracks are highlighted. If I want this time stretch parameter to be applied to one of the files, I mark, which file needs to be affected by this time stretch function. And if I don't want this group to exist anymore, but the tracks to remain. And I just right-click here and choose dissolve group, That's it. And now the tracks are independent of each other again. Next, we have actions. What exactly can we do here? The first is quantized, which means we can snap transients to the grid. We can also slice, which means cut empty spaces to lead or even separate ones that will remain. Parts like this. So let's try and quantize. This is how it sounds originally. Now I click apply, and let's see how it sounds. Now. We can hear there's some timing and prevent, but be careful with quantizing. It may misunderstand you. The result also depends on the number of markers. And the more there are, the more accurate the quantisation will be. On to the next parameter. Let's say we have a slice. We can now add autophagy, which means we will have everything cut into separate events. And at each event there'll be a fade in and fade out in the amount of ten milliseconds. Let's try what comes out of it. We simply split all these files into separate events. Sometimes it's necessary, sometimes it's not. Then we can also expose quantization here. 17. Strip silence: The next icon is called strip silence. By clicking on it, we opened the sub-menu and to work with it, we need to select an audio file. I'm going to choose the same one. And here we can select the modes that will be used for cutting these audio events. Let's say I choose little silence mode. You can switch between them and see what changes and how it all works. Then let's say the minimum length of the cut file. Let's say pre-roll, which means fading will be 0.001 seconds. And post role fade-out is also 0.001. I click Apply and look what happens. Those places that were silent are simply removed. If you want to remove some kind of background noise or some unnecessary quiet sounds, then this function helps a lot. But if we listen to it now, we can tell that in my case, it also removed some reverb tails. You can also select say, manual mode and set the threshold here. Let's apply a threshold and the amount of negative 30 dB and everything it quieter at this level will be cut out. This is a very useful function and I recommend using it. 18. Quantize, groove: The next icon is called quantize. It also opens a specific menu at the bottom. I think most of you understand what quantisation is. It's kind of binding events to a grid. We have two sections. The first section is a section grid just allows us to bind to the grid or fractional parts of the notes, for example, to eighth notes or 16th notes or 30 second notes. We can make it swing. We can turn on a triplet. And in general, choose what exactly we want to quantize. The beginning of the note, the end of the note the velocity of the node or the range. There are also prepared settings, let's say eighth note, quarter note, 16th note, and so on. It's very useful, especially in swing. It's a wonderful thing that can do very interesting and varied bits. The more interesting thing here is groove. And what does it do? Let's solo this instrument and listen how it sounds. I want another instrument to sound simultaneous with this instrument in the same places where the notes sound. For example, this one exactly in those moments where these no sound. I just grab and drag this event over to this area, drag and drop. And here we have these vertical lines that are responsible for velocity, the average velocity of these notes. And now, if I select an event, for example, this one, which I want to make sound at about the same time as this event. And click Apply here. By the way, you can remove the velocity here. Don't want the velocity to correspond to the same velocity. Or if we don't want to copy the end position of the notes, then click Apply. What's happening. The notes of this event now sound only in those places where these node 7, where the beginning of these notes sound, they copied the starting values. But notice that we mark the start here. If I want, for example, to copy only the velocity, I remove the start and I add velocity in here. Now, only the velocities are copied from here to here. I think this is just a brilliant solution that saves a ton of time. It's necessary a lot, so I recommend using it. It's a very cool thing. 19. Macros: Another very interesting solution in Studio One is Macros. And they opened with this icon. What our macros. Macros are small scripts that you can create yourself. There are very easy to create and very short. Although they may not be very short. What are they for? If you constantly perform the same action? For example, trim the event and then somehow trim it from that side and then trim it from this side and so on. You often performed some sequence of actions. And if you do the same routine every time, you'd ask, how can I automate this? And so persona's implemented in a long time ago. Now by selecting the global menu, you will open all the macros that are here, and you can filter them out and select the ones that you need. If you want to choose only the macros for audio editing, choose audio editing. In general, what is the point? I select the audio, I press negative 3 and my volume of this audio file is reduced by three decibels. Let's say I want to reverse this audio. Select Reverse. And it's reversed. Close gaps. If you have any gaps in the audio, you can close them up close gaps. In general, there's a huge number of macros here. Just look, sort through them. I'm sure you'll find a ton of useful things that you can use yourself. Because there's absolutely no point in covering them all. It will take more than one course. There's a ton of them, but I want you to understand how you can add your own macros. We click here on the gear, open the macro organizer and we can see all the macros that are now saved here. Here I can either add a new macro or even edit an old one using edit. So let's say we want to edit the old one. This is almost the same as creating a new one. The same window opens and look what happens. I rename it, choose a command, say I want to say Save, save the file. I want, for example, to just save first and then save as a template or save as a new version of the file. It doesn't matter. You just click add and you add, Save. Then save. The new version is added. For example, click Add. And now when you click on this Save, you will save and immediately save the new version of your project. This is done as simple and quick as possible. Choose any functions that are in the program and simply create a kind of script for executing these commands. You can group and organize them in the way you like. It's a very cool option. I recommend you familiarize yourself because you can add some of your own series of macros and use them right from here. If you use the functions often. 20. Global quantize, scroll: Next we have the quantisation settings, quick quantisation settings. And here we can enable input quantize with this icon. How does it work? Let's say you play on a midi keyboard. And of course, a person cannot play perfectly with the grid. So almost impossible. In any case, somewhere the timings won't coincide with the grid. If you want everything perfectly to match the grid, then you can just turn on input, quantize, play something on the midi keyboard, recorded all. And it immediately quantizes according to quantisation. Pretty convenient right? Next here, you can select directly quantization, which is now an eighth note. And then, for example, time-based, which means a unit of measurement of our timeline. These are bars and snap. I most often choose to be in adaptive stamp, which automatically adjust to events so that are next to the grid and so on. But if for example, you need to stop only two bars in some case, then now snapped goes exactly to one bar. First, second, third, here, the event automatically snaps. If I want save to bind quantisation. Here I have an eighth bar quantisation. Then look at this 123456781 bar, 1 eighth bar, and so on. I always use adaptive because it's more convenient for me. We can also bind events, for example, not only to the grid but also to other events. If the event is nearby and there are no bar lines nearby, then it will snap to the event. Look, if I turn off snap to grid now, then it binds exactly two events. There is no snap to the grid at all. This also is sometimes a very useful thing. Next, this icon just enables or disables snapping, which means we can just freely move our elements without snapping. Let's turn it back on. We also have a mode called Toggle ripple edit. If we turn it on, look what happens. Let's say I want to make this event a little longer and at the same time to move this event, That's where I would use ripple edit function. I simply select the event and move it. Let's say I want to make it longer by one bar. Click this and my second event is automatically moved. The same will happen, for example, when copying and pasting. By the way, to duplicate an event, you press the key D on your keyboard. D means double. There is an icon called auto scroll. If you have a long composition or just a zoomed view, then you can turn on auto scroll. Let's try it here for example. And then this window will follow this Locator. The window switches. We also have an option for the cursor to follow the Edit position. This means if our cursor is at the beginning, for example, I want to duplicate this event. I press D and then it jumps here. It doesn't stay in the same place, but it moves here. The same will happen with notes, with some other events that we will add it. Just the cursor will follow the editing. 21. Scratch pad, Video window: The next icon opens the scratch pad. Let's open it up. When we click the icon for the first time, to draft was created right away. And now we see it's displayed here. We can rename it, we can duplicate it, we can add a new one or delete the one that will be selected. So what's a scratchpad in general? Let's say I want to experiment. I wrote some kind of arrangement and I want to create variations of some events. I select two of some kind. For example, this one and this one. I take it and simply drag them here. This area is completely independent. Here you can change events, notes, change whatever you want. And when we have an active locator here, we will play this particular area. Then switch the locator here and play it here. Now let's say I want to change something here. I'm going to clean up some chords. Say I like how the way it sounds now, and I just take it and drag it over here and it works great. It's an element that allows you to do some kind of experiments with your track, with your arrangement. So you're probably asking yourself, why? I can do everything here. But when you get used to using the Scratch bad, this is very, very interesting, especially considering that we can create several scratch pads. You can have as many different variations of your arrangement as you want. Next comes an icon that opens the video window. Everything is very simple here. We just dropped the video here, import it, and we can extract our audio track for this video and edit it. It's an ordinary video window, nothing special. Everything is simple. We can see a few basic options such as add or remove the video, extract audio, set the offset, change window size online mu, as I mentioned before, after you're done with your track, you can export it back together with the video. So you don't need to use any third party video editors. Last step, there are the buttons that we're already familiar with. Start song project show, which we still will cover a little bit more detail a little later. 22. Performance monitor, Midi monitor, main playback tools: Next up is the transport panel. This is a very important control element for everything that happens in your project. So let's cover it again from left to right. The first thing we see here is the media icon. Let's click on it. So what's that? Let's figure out how the program communicates with the hardware devices that you connect. It communicates mostly via the multiprotocol, via the Midea cord. The device sends some midi signals to the program. And the program also send some midi signals to the device. And this is where the events are displayed. I can enable Show All events. We can filter them from here and for example, enable Playback. As you can see, a huge number appears here. A huge list of these midi events that studio one uses to communicate with hardware devices and the hardware device somehow response to it. So if I press record on the keyboard, we see which node is pressed. This is its velocity. These are some other parameters. In general, the point is that you can immediately see what kind of event it is. It's time when it happened and what message was sent. This is already touching into a bit of programming. So I think this is not entirely relevant to this course, but I believe that you should still know how it all happens. And accordingly, the midi device that sent this event is written here. Next, we have the Performance Monitor. This is a monitor that shows the current CPU load, our processor than the current disclosure. There are also these gray squares here and they turn red when the load reaches 100% here and there. You can also set dropout protection here, which I talked about in the settings section. We initially set it to the maximum. And also we can see here how much cash is used. A cache is some files that the program stores for faster operation. And we can clear this cash by clicking here on this key. So first, view the cash, how it looks in the folder and clean up cash also, what's important, and I believe it's necessary to know about this. We can look here at the device that consumes our computer resources the most. We click Show Devices and look, these are virtual instruments and virtual effects. For example, I have a contact instance running. It consumes the most resources. In second place is the Neutron plugin. By the way, we can sort them like this, then Valhalla reverb and so on. This means that we can immediately determine which plugin is using the most resources. We can also disable them here. We can see the path where this effect is located and it's tight. Insert effects of an effects or instrument. This is a very useful window, or sometimes you can make some observations on how your project is loaded because sometimes it's not clear what exactly loads your project the most, which plug-in, especially if it's a big project with tons of different instruments and effects. Next, we see some parameters have written here, the sample rate and also the total latency for the plugins. The total, it means both the input and output latency. If I click here, then I can go to the song setup, which you can see we've already analyzed in, I can correct any values here. Next we see the available recording duration in hours. It's determined from the amount of free space on your desk. The approximate time is calculated, which is how much recording can be done on your disk. Then here comes the display of the position of our locator in seconds and bars. We can then switch between our markers. Here I have a chorus marker, then I have a start marker and an end marker. We will come back here a little later to talk about these markers, their meanings, how to create edit and so on. But as you can see, we can switch between them using these arrows. Then we have a rewind mode a few seconds backwards or forwards depending on how long you press it. Then we have a reset to 0 position of the track. Then there's the stop button, the play button, and the record button. I think those are clear. By the way, to quickly make a recording, you can press the asterisk icon on the keyboard and then the recording will start right away. If we right-click here, we can enable loop follows selection. What's that? Let's say we have this loop segment. By the way, we can just draw a segment we want to loop, or we can hold Command or Control and click to set the starting point and press Option or Alt to set the ending point back to what I wanted to say. If we turn on this loop follow section, then when completing any clip, let's say this one. It immediately loops it's range. That's a very convenient thing. Sometimes we needed, sometimes we don't. Just remember, you can enable it over here. Enable play start marker. If we turn it on, then we will have this green marker. And playback will always start from this point. Wherever our markers, I press Play and playback starts from here, then returned to start on stop. After pressing the stop, we constantly returned to the place where we installed this locator. Turn it off now, the locator will stay where it stopped. If I turn this function on, returned to start on stop, then after I press stop this locator, we'll be coming back to the place where I put it manually the last time. Like this. I place it here. I press Play. It's playing. I press stop. And it came back to that place where I located. And it will be coming back there until I set the new location or turn this function off. This is the loop button itself. Left-click to enable or disable. Here are the positions of the locators of the loop, left and right, starting and ending points. If we change them, then accordingly it will also change the loop. Then here we can also enable synchronization if we need it with our midi device, by which I mean external device. We're moving on to the second part of our transport panel. 23. Recording tools, Metronome, Note repeat: Now let's continue with the second part of the transport panel. If we click on the record Panel icon, we can see some settings, some buttons, which we will cover from left to right. There's a record mode here. Let me now delete one of the many parts, clear it and play, for example, on the piano. And let's say now I want to record a part in a loop. I have this loop active. And if I press Record now, playback and recording start immediately, then I will be able to record something from the keyboard. First off, let me enable pre-comp. Pre count is a certain number of metronome clicks before recording starts. We will talk about this a little bit later of turned on pre count. So these beads will give me a moment to get ready for recording. But I won't turn on the metronome itself. I've got some pretty straightforward drums here, so I don't need additional clicks. And now if I click on the record, then we immediately here a certain number of clicks, one bar, and then the recording starts. Here I've played some unnecessary notes on purpose. Why? To show that the notes are not replaced. What I mean is if you play like this in a loop, the notes will not be replaced by other notes. They will just lay on top of each other and that's it. And every new layer, every new round of the loop recording, we'll just combine more and more notes I play. Though we can call it a default recording mode. It's not used very often, but of course, sometimes you're going to need it. There also is a recording mode called replace. This just means that we replace identical notes. If the same note has absolutely the same starting position, it will replace the previous one. So let's try this again. And now let's see what we have here. Put the notes haven't changed here. And do you know why? Because it's almost impossible to play perfectly at the same time the node is playing. But if you play at the same time as the note, then it will be replaced. And again, this recording mode is not often used. But now we see that they were replaced at the same starting point because we have input quantized turned on, which means the notes are automatically pulled to the grid, even if I played it not on the grid, they're automatically pulled to the grip and they weren't replaced by the program because the program attach them to the grid, not me while playing. I hope that makes sense. The next recording mode is called takes two layers. This is much more commonly used when we record one part, the second, the third, the fourth, and so on. All these parts are saved in separate layers. They won't be in one event, but separate layers. So here it's also important to mention instrument loop record. If I keep record mix enabled now, then I can hear all these layers playing at the same time. But if I turn on record takes, then I will hear each layer one after another. Let's see how this works. The new layer goes and look after I clicked on the stop, the layers unfolded immediately. If you remember, I said that there is an option in the settings where we can specify whether to expand layers automatically or not. And what does this all give us? How layers work here? Let's say I like this part here. I select it and look immediately moves here. Then let's say I like this batch and it moves here. So roughly speaking, I can make one layer out of 10. Then I collapse them. And this is how I get one event that's the best of all the takes recording and layers can really speed up or even increase the productivity of your recording by a ton. To remove layers, we select them with Command or Control and press Remove Layer. That's it. Now we have it as one pattern and if we don't need it, then we can also delete it. When we recorded one layer after another, we didn't hear the previous layer. If you were in record takes, if you're in record mix, then we will hear the previous layers. Undo last loop allows us to go back to the previous loop. If we recorded several loops and we are in the process, we can go back to the previous loop. We can also undo all the loops that were and start over during the recording. It's also possible to turn on Note Repeat here. I don't really use this thing, but I'm sure some people do because it seems pretty useful. How does it work? If I press active and hold any chord, it repeats. This is where we select rate. And also here, by the way, there are settings where all this is described and more. And there's also a gate here that cuts or extends fading sounds after every repeat. Then we can quantize all these segments and we can add an aftertouch. So now we can switch to single mode or single mode is winning. We have only one note. In our case it's this S3. And we can press the keys, and depending on the key pressed, the repeating frequency changes rate. So here we can change the root node. It's actually a pretty useful option. I haven't used it anywhere yet, but I'm sure I'll find a way to apply it and I think you definitely will to. Moving on. Next, we have the metronome, the metronome settings. We can choose the volume of the metronome itself. This lets us listen to it. By the way, there's the click and play option, which means the metronome only works at the moment when the recording is turned on, because most often this is exactly when it's needed. This is where we adjust the volume of our metronome. All three parameters which are accent, which clicks only on the very beginning of the bar, beat, one beat, which counts the fourth beat of the bar, and offbeat that clicks between the main beats. We can also change the tune of all those clicks. It's also possible to render a metronome track to create an audio track with our clicks. And there are two options to create this metronome track between the start and end markers or just in the loop branch. We can also save the preset of this metronome and then just load it if we need it. For example, on some other studio one session. It also includes a preComp, which is what I was talking about. This is when before the recording starts, you'll have cliques going. And here the duration is indicated how long these clicks will go before you start recording. Here, I indicated one bar and also pre-roll. So what's pre-roll? We're now going to analyze how pre-roll works. But you can see if we turn on pre count, pre-roll, then pre count turns off. Here we turn on record mode replace. This is what I was talking about. It, here it is, and we can turn it on also here. Input quantize is also included here and here, which means the buttons are simply duplicated. This is pretty convenient. It's also possible to enable pre-roll here. Pre-roll is when instead of clicks for one bar, we play the music. I turn on the recording and my track starts playing one bar before the place where the recording will start. This is very convenient so you can listen to the track and get yourself ready. So there are two last functions of the metronome that we haven't looked at yet. Repeat accent, which when it's on, the accent will be repeated. Which means if the time signature is set to 68, the click will be played at 38, which is twice as fast, and so on. Click in pre-calc only, this option will make the click play only during the pre count when checked. And there is also the option to enable auto punch. So what's auto punch? When you select the loop range where you need to record. Then you move your locator somewhere aside and just start recording. The recording starts exactly at the beginning of the loop. And interesting enough, when the loop range ends, the recording will stop. So the track will continue to play. The recording will stop just in that loop branch. Here we can set the general time signature for our project. But we also have a thing called a signature Trek, where we can set an edit different timing for different parts of the song. We're gonna take a look at that in the next chapters of this course. Then we can also define the key of our composition. In this case, it's D minor. Also, the tempo of the song, which is 120 by default. Here you can see the approximate volume of our track. If our track clips, which means to go beyond 0 dB, then a red square will light up here. And also here we can adjust the volume fader of the main bus. And if we open the mixture, we will see that it's also regulated here. This is the value and the same goes with a mono or stereo switch. It's connected to the main bus. This is stereo and this is modern. This is very convenient. A lot of sand Engineer's mix in motto and then just check the results in stereo. And other people mix in stereo and then check for mono compatibility afterwards. Either way, the switch is going to be used a lot. 24. Track types: And now we'd like to move on to the track types that can be added in studio one. Here they are. Let's see how that can be added. But first of all, we can press the T key on the keyboard. And we will have this window where we can name the track or select the type of track or the number of tracks, which means we can create several tracks with the same name. They will be numbered slightly differently. In general, the point is that a certain number of tracks will be created, let's say 10. We can also pack this number of tracks directly into a folder track. From now on, I will say that there are Folder tracks that contain other tracks. Roughly speaking, it's just attract container that allows you to contain other tracks. Then we can assign a color to our track or enable the auto color. Auto Color automatically assigns a random color for each track created. Now I want to show you another way to add a track. First of all, of course, we can go to the top menu. Let me quit full-screen mode to display the top menu. Add tracks. And we can also click here, and there's also add tracks. Let's take a look at what this menu has. In general, we can click on the Add Tracks option. And we see the same window as the one that pops up when we press T. We can also add audio track, mono or stereo. Add instrumental track at automation track had the folder track that I just talked about. We're already a little familiar with the automation track, with the Folder track and probably with the audio track quite a bit. Well now analyze all these tracks in as much detail as possible. It's possible to add tracks for all inputs. This means if you have four or five inputs and your sound card, then just click here. And tracks for all these inputs are immediately created. Start recording right away. Everything is very fast. We can also add bus for specific channels. If we choose, for example, several channels, the bus includes inputs from these channels and gives one common output. It's similar to our water tap that receives hot and cold water from different sources and mixes it. We can send it to the master channel or again to another bus or another channel. We can also add a VCA channel for the selected chimps. We will talk about what a VCA is in the mixer section of this course. If we want to instantly pack selected tracks in a folder track, we choose pack folder. Another function is collapse all channels. If, for example, I have a track folder, one or a few, I can expand it and there are some tracks in there. Then when I click collapse all tracks, this folder automatically collapses. If you have a large project, it's very convenient to use it because sometimes it's quite difficult to navigate in a project with tens of tracks. And also we can apply track names to channels. These are the tracks here. And the channels are in the mixer. And these are the names that are here. When you click on this option, it will automatically be applied in the mixer in the console. So let's sum it all up. What kind of tracks can be created in Studio one, I'll press the letter T on my keyboard again, which opens this pop-up menu. And we can see there are four types of tracks here. Audio track receives and sends any audio signal, such as a mike or a guitar or so on. Then the instrument track, which is kind of a midi track that receives a signal from your midi keyboard and any other external mini device and sends this midi signal to your virtual instrument or the other way around. It's also possible to send a midi signal from your midi track to your external device or some cent, for example. Then automation track. We've already discussed how it's added. And the Folder track. Here are four types of tracks. And now let's get familiar with each of them. 25. Folder track: So let's start with the simplest. And this of course, is a folder trek. It's just a container that we can put any amount of audio, instrumental or automation tracks in. And you can sort them all how you like. What can we do here at all? Of course, as with all tracks, mute, solo enabled recording for all tracks that are in the folder, enable monitoring, which means we can hear the signal that comes from the audio card. If, for example, I speak into the microphone, then I hear a return signal when I turn on the monitoring, the record button, of course, enables the recording on this channel. And we can also send a signal from this folder, which means the signal from each channel inside. So roughly speaking, we create a bus that will receive these two channels. This is done quite simply. If we already have a bus that we want to add, then we select it here. I already have a bus, but I don't want to send it here. I want to create a new one. Then I just click Add bus channel and a buses created for these channels. Let me demonstrate how this is done. Add bus channel. Now we go into the mixer and find this bus here. We get it here. Of course, we're running a little ahead of ourselves because we aren't familiar with them mixer yet, but I'll show you slightly how it works. We have an input signal to this channel, and this is our output signal. And the output signal is sent to this bus. Here it is, this bus, rhythm guitars. The bus is displayed with this icon. So I've created a bus channel and named it rhythm guitars. And these two channels are directed in it. We're seeing them now in our mixer and here they are in the arrangement very first, second, both directed here in our folder. Everything is done very simply and quickly. We can create both a bus channel and a VCA channel, which we will talk about later. We can also create a group for these channels here by simply clicking the group channels button. Now let's open the inspector. As I said, it opens here or the F4 key. And look what's there. There aren't many settings. First of all, in the folder, we see that there are tracks that are included in this folder. Then we see here that we can add automation. By default, it's automatically turned off. So here we can switch between automation modes. We can also automate any parameter here. Let's say I want to automate something. I add some parameter. Let's say this one, close the window and I have it here. This will automate all the tracks inside. We can also choose the units of measurement for our automation here. Next we see that the channel is selected here exactly where this folder is sent. If there is none, then the folder is sent to the master channel right away. To be more correct, these channels are sent where they're assigned. For example, if there is a main on this channel, then it's sent to the master. And here it's sent to the side chain. So if we have none here, then accordingly, these channels are sent to where they need to go, where they were assigned. If we assign, as I've already said, bus or VCA, then accordingly, the signal from this folder will be sent to the bus or the VCA channel. We can also see here below, the beginning and the end of this folder are in the arrangement area. It shows us the earliest and the latest positions of the tracks that are inside our folder. We can also transpose the value of the notes. Transpose means changing higher or lower. Next, we can also change the overall velocity and block the folder so that we won't accidentally change it. That's all that relates to the folder track. Everything is pretty simple. It's such a useful track that can allow you to accommodate. 26. Automation track: The next track we're going to look at is the automation track. I already talked about automation, but I haven't covered automation modes yet. So let's go to the mixer and create some automation of this channel. I want to automate its volume. So I right-click and choose edit automation volume. I just created the volume automation envelope of my channel. And I can see it on the track right here. Now, here at the bottom of the channel, we can see the current automation mode. We click and see that there are few modes available. Let's quickly cover them. Auto off. This mode turns off the automation of this channel. It will still be in this list and we can draw any automation, but it will be disabled. It won't affect our track Read. The program will just read any automation curve we created for this parameter. And it will affect the parameter according to it. And if I move the fader while adjusting automation is playing, it won't change it in any way. Touch creates automation only while we're moving our controller. So look, press play. I touch and move the fader and it writes automation right away. And when I play on existing automation, that will change it only while I'm moving the failure. Once I released the fader, it continues reading the previous automation latch. Almost the same as touch, but the only difference is when I let go of the fader, the automation keeps writing at a straight curve from the point where I released the fader, right? This mode has a red color, which is a warning signal to all of us. In this mode, the automation will write the position that fader, even if we don't move it. For example, if I already have this automation and I don't move my fader at all. I just start playback and it rewrites all my automation from here to the current position of my fader. And now it's a straight line because I didn't move the fader. But if I move it, it will also write the automation and the way I'm moving. Okay, let's come back to the automation track itself. In Studio One, it's possible to create both separate automation tracks and those that will be layered here on our audio track, or instrumental track or folder track. So after we create automation on our track, it's layering on it by default. But when we right-click and choose Expand envelopes, we now can see our automation on a separate track. Okay? So now for example, if I have a simple automation and to view what parameter we are automating, we right-click on the automation track. And here we can select the following. Add or remove any parameters. We have this menu to automate some parameters. And here we can select an ad with the Add button. Or if we want to remove some parameter from the automated parameters, then we click remove. Everything is very simple, even the arrow leads us. Also in this menu, we can hide the automation and now we can't see it here. How can we see it? Now? It's very simple. We go to the track list menu and we see our automation. I just turn on this dot here and that's it. Automation shows up. We can also show the parameter that we are automating. We're just clicking on the automation line and creating these points to curve it, making it straight or rounded. But we can create automation tracks if we need to. Do this, we click here and select Add Automation track here in the inspector, there is no particularly important information. Everything is like in other tracks. We can write some comments and they appear here. No parameters are chosen here, and this is basically an empty track. So what do we do with it next? We can just select None here, add or remove. And we're entering the same menu that I just showed for automation. And here are tons of parameters that we can automate from console, instruments and so on. But of course, the most convenient way to automate something is if it's a studio one tool or plug-in, we just right-click and click edit automation. And it creates this automation right away. And if it's a third party plugin, we just touch the parameter we want to automate, and then just drag and drop it from here. This will create a separate automation track. But if we want this automation to be a layer of the track, we click top-left auto off. Here we choose a parameter and a mode, and that's it. That's it about automation. Everything is quite simple. When we press a and if expand on envelopes is on, then we will see the automation on a separate layer. And if expand on envelopes is off, then automation will be layered on that track that it was assigned to. 27. Instrumental track: The next track we're going to look at is an instrument track. You can add it in the same way as the previous ones, which means we click here or press T on the keyboard, add instrument track, and we've created an empty instrument track. I will show it on the example of the existing ones. By the way, the instrument track is automatically created if we drag and drop a virtual instrument from the browser into the arrangement area, we didn't talk about the browser yet, but I will just quickly open it to get some instrument from there. For example, zebra. I want to add it. And I see that an instrumental track is immediately created. Also, the drag and drop technology in Studio One is a very well thought out. And you can basically drag and drop everything, all the instruments, the effects loops and so on. We'll take a closer look at drag-and-drop, especially in the browser later. So here we've created an empty instrumental track. Although we rarely create an empty instrumental track, most often we drop an instrument and it connects to the track right away. But we need to figure out what's there in these settings at all. And instrumental track is a source of midi information in a program. And this midi information from an instrumental track goes to an instrument. If we drag a virtual instrument here, then this instrument is connected automatically. And if we want to see all the instrument channels that we've created, we need to go into the console, into mixer. And here, select instruments. They're all the instruments that we have now connected in the program. And we can choose to what instrument the midi information from this track will be sent to. We select the instrument here. It can be VST, which is a cross-platform type of plug-in that works both on Mac and PC. Or audio unit that was designed for Mac only. Also, if you have any external or which I mean hardware instrument connected to your computer, it will also be available in this list. We can also select the midi channel where the signal should be sent to this instrument from, by default, this is channel one. And in most cases this is sufficient. And we can also choose from where exactly to receive information on this midi channel. These are some external midi keyboards, some kind of controllers, and so on. By default, all inputs are selected, which means all midi keyboards that are connected to your computer will be activated when you select a channel. But if you need, let's say one channel. And to receive a signal from one keyboard, then we just select a certain keyboard and that's it. Also here we can select a group where we want to add this track. And now let's see what we have in the inspector. There are already a few more settings and options, so let's get acquainted. Well, first off, here at the top we have the name of our track written so that we don't get confused. And also here is an icon. And if we click on it, we can immediately display the instrument to which we now have this instrument channel connected to. We can also open the instrument directly by clicking here on the keyboard icon. Please note that the audio tracks are designated like this. Instrument tracks like this. Folders a little differently, and so on. Let's all just so that you don't get confused. Next is time-based. This is already a familiar value. If seconds it will float while tempo is changing. If beats, it will be locked into this position. We can also select a group, just like here. This is the same menu. It's just moved here. We can also select the layers if they exist. As we've already discussed, we can create new takes while recording new layers and then switch between them. And so just here, we can select layers or add a new one. For example, duplicate a layer or simply delete the layer we don't need. This works just the same way as an audio tracks. We can get layers automatically while looping the recording. All we need to do is just enabled recording modes takes two layers and record takes. Now if I record something and it creates these layers right away, I can hide them or expand them. And when I select any parts of them, this part automatically adds to my track this piece from here, this from here, and so on. And the new function is unpack layer to track. This turns the layer into the track like this. If I want to use the whole part of the recorded lay and everything is absolutely the same with an audio track. So I won't explain it in the next video. If this checkbox is enabled, then accordingly, the layers that exist now will move along with the event. If we turn it off, then the layers will remain in position. We will move the event. Follow chords is a very interesting option, which we will cover a little later when we analyze this channel, which is called chords. Then here we can decrease or increase the delay of our channel. Then we can transpose, which means to change a pitch. And let's hear what transposition is. A solo this track and listen. So every number of transposition is a shift up or down by semitones. Also here we can select the overall velocity. Let's raise the velocity of this track. Velocity is the force of pressing the keys. When you play, you press the keys with a different force and accordingly, the velocity parameter is recorded. Next comes a retrospective recording option. Very helpful. Let's say I'm just playing something, doing some sketches. And let's say I played something brilliant, but forgot how I played it. What should I do? I press this button and we see all the notes that I've just been played. Fairly simple. And you don't even turn on the recording. If you forgot or didn't have time and played something important, you can restore it this way. Then we see no effects here. What is known effects? This is a built-in set of tools to process our midi notes. Let me draw one single note to show how it works. This is how a single note sounds by itself. And if I add an arpeggiator, I move the slider to add a few notes. This is how it sounds. Now, plays this node multiple times. Then there's quarter, it creates chords from specific notes. There's also a repeater, for example, input filter to filter keys. So let's say that we will only receive information from this area of the keys, but we can, of course, expand AD and so on. In general, it's a very useful thing. Here we have menu options that are repeating these. And then the menu that is already familiar to us, start and transpose velocity and time luck. That's it with instrumental tracks. So let's move on. 28. Audio track: And now we're going to look at the audio track. The audio track is the most common track type if you use a microphone, guitar, or any other real life instrument. So what's an audio track? And audio track is a type of track where we can record and edit sound waves themselves. This is how it looks in comparison with the midi track that we covered in the previous video. First, I want to say that create an empty track. We can use the Add Tracks function, press Katie. But we can also get our audio track by transforming midi to audio, transforming the instrumental track into the audio track. For example, I wrote this midi part of my instrumental track. And there are many possible reasons we've may want to transfer it into audio. One of the most common reasons is saving the resources of the computer. So how do we do that? We right-click on the instrument track and choose transform to audio track. There's a few options here. Render inserts. If we want all our processing, all the effects of this channel to be integrated into this audio, preserve instrument track state. Now, this is a super important one. This function allows us to have a chance later to switch back to this instrumental track. It saves a ton of time and effort. So if I press Okay, now we can see that this track has transformed into audio and so has this event. And since we preserved our instrument tracks Stay. We can see these midi lines on this audio part. We can't use them on the audio track, but we can simply drag this part into an instrumental track and it turns back to the Midea right away. We can also transform this audio track back to the instrumental. But if we leave this checkbox empty, there will be no midi information saved and we won't have a chance to transform it back to instrumental. All right, so back to transformation options. It's possible to remove the virtual instrument, so won't load down our resources. But if we transform it back to the instrument track, this instrument will also automatically load with all the settings. And we can choose the audio tail. How many seconds this audio will be played after the part is ended. For example, now I leave this option disabled. So let's hear how this peaceful sound after transformation. You can hear it stops abruptly. And now if I add a few seconds of the tail, Let's listen to the result. It ends smoothly, okay, moving on, the audio track probably has the largest number of different settings. So let's take a look at them. First of all, when we create it, we can choose from where to receive the signal. And here we can choose, you can receive a signal from an external source, like an audio interface. Let's say you have a microphone connected to your sound card and select the required input here, It's also possible to receive a signal to an audio track from other tracks. For example, if we can receive a signal here from some buses, some instruments or any tracks, here is access to the inputs and outputs configuration. We've already covered audio settings in detail in the settings section. We can also turn on mono or stereo here if needed. Then select a group. We can also select the layer or take we need for the playback. Now, let's take a look at the inspector area and find out what's interesting here. Top section shows the name of our audio track, its icon, then the tempo option. Here we have time stretch selected. But if I select don't follow, then the audio event will remain the way it is. So if we drop some audio file from the browser and we choose don't follow, then this file will stay in its original tempo and it won't be bounded to the tempo of our project. It's going to be completely independent of our tempo and R bar positions. But if we want the track to be tied to our tempo, which is most often the case, then I choose father follows when we change, say the tempo, but the starting point of our track will always be tied to a certain point in the track. So let's change the tempo and check it. I change it, but the starting point remains the same. But for example, I want my track to be completely attached like now to the tempo. So then I choose time stretch. I'm changing the tempo. And you can see that the size of our audio event remains the same. Of course, in this case, we didn't change the positions of our audio clip but changed its tempo, which is speed. If we have selected the time stretch mode, then we need to use some technology, some algorithm to change its speed. The word speed isn't exactly appropriate when it comes to music and audio tempo in general. I'm just using it now to avoid some confusion. So here is time stretch technology. And you can select several algorithms. Already talked about these algorithms in the review of this panel. Next, we can select a group, a layer for playback. Also check the box so that the layers follow event. Then we can also choose play overlaps, which I talked about in the settings section. Then we can set delay which can go both negative and positive in value. We can also choose follow courts, which follows the courts. But as I said, we'll take a closer look at this in the chapter where we talk about chords tracks. Here it is. Then we can select tune mode, which is now default. But if you choose from the list, bass guitar, guitar, piano, brass, lead strings, what does it mean? If you hear any artifacts during time stretching, distortions or any other noises that appeared after time stretching, changing the length of the audio file, then you need to change the mode here. 2nd mode. Also here, we see automation that we have on the track. If we need to add something, then accordingly, we choose from these parameters that are here, or we can add new ones. We can also write any comment. Everything is the same as in other tracks. Then we can see the Mixer Channel of our track, which is very convenient. You don't have to open the mixer. You can add any effects or move them right here. And in general, do everything that you can usually do in the mixer. You can drag and drop any effects from the browser in the Insert section, or just use these buttons. If we press the triangle, we see mixed chains that are sorted by categories. For example, if I want to make the sound of a kick deeper, I click drums, I choose deep kick. And that's it. It's a predefined mix chain, automatically loaded. And we press Plus. We enter the menu with basic or advanced search options, depends on your settings. And of course, we also have access to the center section, which is incredibly convenient. So this effect we add here is applied to the entire track and the entire track is processed. But let's assume that we want to process only one event, one part of the track. And I want other events in this track to remain on processed. Basically, we need this quite often in our workflow. So how do I do it? In Studio One? It's actually really easy. We just turn on the event affects enable here. And now we have this area for adding effects directly to the event itself. Not for the channel in general, but for the event itself. So let's say I add a distortion effect. Now let's listen. Now there's no processing. And here we can hear our distortion. And so later let's say I decide that this affects suits. And so it says saved computer resources. I just need to click the Render button. What is rendered do? It integrates into the audio all the effects that we load in the inserts. Here, we can select the tail that will remain after we render this effect, which I already showed while transforming midi to audio, it's absolutely the same. And here we can also see the file tempo line. So if we drag and drop this from our browser, some loop that doesn't have any tempo information. Studio one will detect it and tempo, and this line will be colored red. We can either approve the tempo, make it half or double, and then clear the value. This feature came along with the latest five-point to update. And I'm not quite sure why, but it seems to me that this function doesn't really work properly. Yeah. There's a lot of files that I tried to drag in my arrangement area, but they're tempo is left undetected. All right, moving on. 29. Track area navigation: Now we're going to take a closer look at the arrangement area, navigation through this area, some additional options as well as settings for individual track types that we've just reviewed. And so let's take a look at the small details of the arrangement area. First of all, there are M and S. What are those? When we mute several channels and we want to unmute them, we can simply press this button and the mu is disabled. But this option is remembered. And we can press M again and only those channels that were manually muted the first time will be muted again. And the same thing happens with solo. With this button, we can enable or disable all insert effects. These are insert effects. These are cents. And with this button, we can turn them all off completely on all the channels, buses and even on the main channel everywhere. If we disable the no inserts are applied, enable, then all the inserts are applied. You can even see the delay time and the CPU change here. We can choose the size of the tracks from here, from the smallest to the biggest. Or to change the size of these tracks, not step-by-step, but smoothly like this. I prefer using it by holding the Command or Control and the scroll mouse wheel. And we're going to the bottom right area. Now. Here we can adjust another Xun. This slider is to zoom our arrangement area of the track and it's zooming relatively to our playback Locator. We can also zoom in steps by clicking on these pyramids. But I think the most comfortable and functional way to zoom is through the left-click on this timeline. We hold left-click and if we drag it down, it zooms in. If we drag it up, it zooms up. And at the same time we can move left or right according to how we move our mouse. It's very convenient and you get used to it pretty fast. Another handy way to zoom in this area is to hold Command Shift or Control and Shift while scrolling. We can also scale up the audio files themselves. Here, look, look at the audio files. I will move this fader and you can see that the audio files seem to become louder. Let's do more. Let's say as much as possible and try and play the track. I want to show you that nothing changes. It's just a scale. We can hold down Command or Control and click to reset everything to default. So it's just the scale of the display of the audio files. Sometimes this is useful when the audio file on our audio track is pretty quiet and you want to see what's happening there to see its actual sound wave, this function can be useful. And a couple of words about the track list, we can either enable or disable our tracks by clicking on these white dots or these icons at the bottom. And here, by clicking on these three dots, we see additional show options. For example, I choose show tracks with events. And now I can see all the tracks that have events and all the empty tracks are hidden. Or for example, show tracks with events in loop branch. And now I can see only the tracks that have something in this loop, orange, which is pretty convenient. 30. Track context menu: Now let's take a look at the advanced features for track types. And we're going to start with Folder tracks. If we right-click, this is how we open additional options. Then we can see that there are quite a few options here which are cut, copy it, delete, then duplicate, and then duplicates shared. So what's duplicates shared? Note that the keys are different. If you just duplicate, then this is D. And if duplicates shared, it's shifty. Let me show you here we have two independent events. If I edit this event somehow, let's say I want to draw this note here. Then the note has been added. We'll see here in the miniature that this note was added In the second event here. It hasn't changed at all, which means they are independent of each other. But now if I press shift D and duplicate this event, now if I change this event in any way, then accordingly, this one depends on, but this one is also now dependent on this. In order to remove this dependency here, we can right-click event and then we can select separate shared copies there now independent. Okay, let's start at the top. We've already seen that a Folder track has a few additional options in the context menu. But if we click on instrumental midi track, we will see that there are already a little more options here. We're already familiar with time lock and edit lock. Time lock is when we block on the movement of our event. And edit lock is when we cannot edit it in any way. We can move it, but we can't change the length. Sometimes this is pretty useful. Here. We also have cut, copy, delete, duplicate, duplicate, shared, and there are recent items, which means the last functions that were used for events. Then we have certain options for the event, instrument parts and musical functions. There's quite a few of them here. Let's do a quick overview because they aren't difficult. But of course, you need to know what's in there. And so event here, we renamed the event. This is its name. Then send it back center front. If we have two events overlapping, Let's say like this, and we click Send to Back, then it will exchange. The first event will be on the top of the second and the other way around. Then we have new options over here. Then add a ranger section from selection. What's that? We didn't look at the arranger track yet. But I can say for now that this option lets us create a part in the arranger track with the size and location of the exact event. Then we can bounce selection, which means a render the selected event and turn it into an audio track with only one click. But since we are now on the instrumental track, some preferred to call it the midi track. I will automatically create an audio track and render our event there. Then we can bound to new track. Now what's the difference between this one and the previous option? For example, we have a few separate events on our instrumental track that we want to turn into audio. But when I click bounce selection the first time, it automatically creates a new audio track board. And if I click bounce selection on my second event, it will add this event on the same audio track that was created the first time. But if I don't want them to be on one audio track, I choose Bounce two new track, and it creates a new track every time I click on it, then we can do mixdown selection. What's makes sense selection? If we choose at least two events, we can bounce them into one audio file like this, super useful. Then we can export selection. Since this is our instrumental event, which is basically a bunch of midi commands, then we can export it on our computer as a music loop file. Which is only studio ones file extension. Or we can choose here a midi file which is possible to open on any DAW or any other program that supports midi. We can also merge events. And if I now select the two events and check this option or just press G on the keyboard. They will simply become combined into one event. Then we can split it grid. This is how it's done. And it's divided by quantization depending on what quantization is chosen here, this is how it's going to be divided. Next is the crop to content function, which removes all unused spaces before and after are notes in the event, just like this. Next, we can remove gaps. Here I have gaps between my events. And if we click Remove gaps, then it just fills the space with empty events so that there'll be no such gaps. Then toggled time lock and toggle edit lock. These are just duplicates of these options here that we discussed before. And the last one here is separate shared copies. As I said before, this is when we share the dependencies between events. And then here are the quantisation settings generally it's all clear here. I'll just show you the difference between the regular quantize and quantize on track function. When we use ordinary quantize, which is also shortcut key Q, then we quantize our midi notes inside the event. But when we want to use quantize on track, we quantize our events themselves. Next summer we're going to take at is called instrument parts. So looking ahead, I will say that this is our instrument part and this is our pattern. They look a little different. If we open it, this is an instrument part, and this is a pattern. Also for those who are familiar with fl Studio. This is pretty similar to what's called a step sequencer. So instrument parts. First we can insert an instrument part, which is our ordinary event. Or we can insert a pattern here. Of course, we will analyze their differences later. Next we can convert these events between themselves, pattern to part and part two a pattern. Then we can extract it in core track. The core track is, as I said, a global track. Here it is. And the chords are defined in it. And if, for example we have some chords here, we can transfer them here in a chord track automatically without writing all this manually. Transfer them automatically, views different variations of chords in chord progressions. Then you probably want to set the menu. Later. We'll talk about ports, then detect key signature. This is to automatically detect the key of your track. Here it is in the key of B minor. And the automatic key detection doesn't always work perfectly because some nodes may be missing for a particular key in your part or you're using some exotic mode. Therefore, the program may simply make a mistake. So always check it. We can also explode pitches to tracks. What does this mean? This means transferring the same notes but on different tracks. For example, click this, and now we have D on one track, II on another, sharp on the third, and so on. Then I can remove part automation for a specific event just like this. And it's also possible to render instrument tracks. Let's say I have some kind of note effect here. I talked about them. No defects are applied specifically for midi events. And if I want this node effect to be, let's say applied to notes, then I click here, render instrument tracks and ordinary cords. If we apply an arpeggiator to them, we will turn them into a sequence of notes. This is really useful for saving CPU resources. Next, musical functions. There are quite a few of them here, and I think most of them don't need much explanation. But of course, we will come back to this menu later. We will come back to it during the edit window overview because this menu musical functions is also available there, but in a little more extended version. Now if we right-click on the audio, then we will see that the menu here changes a little. Event remains the same. Instrument parts has only a couple of the options from the previous menu available. And now we have a large audio menu here. And this audio menu is also part of the edit window. So we'll talk about that in that video. 31. Midi editor: And now we're gonna move on to the work areas called Edit, mix and browse. We're going to look at them from the left to the right. Let's start with the edit area. Let's go ahead and open it up. This area changes depending on the editing object. So if we open this instrumental event, our edit area will look like this. And if we open a pattern, it's going to look like this. And if we open audio, it will look like this. Let's start by looking at these workspaces by editing midi, which is already a little familiar to us. This area has three basic view modes. Piano view, Drum view, and score view. The piano view opens by default. And here we can see this keyboard. The horizontal axis represents our timeline from left to right. The vertical axis represents our pitch. Lowest notes at the bottom and highest at the top is all very convenient and simple. But if you have a drum part, we don't need the length of the notes or you just need to set starting point of view be, for example. Then you can switch to the area called drum view. We click on it and we see that there are no note durations and this list represents only existing notes on our part. To display all nodes, we can click here and look at all the notes. If we edit here, then accordingly all notes will be the same length, which is not suitable for any other type of instrument. But this is the most convenient way to edit our drum part and a lot of the percussion instruments in general. The next view is score view. The sheet music representation is especially useful for people who use to read and write musical arrangements as notation. This is also still the best way to deliver your music to professional musicians. For example, if you're a film composer and you want your orchestration to be performed live, then you need to deliver your sheet music somehow. With this built-in score view, you don't need to use any third party notation programs. You can use all basic notation tools here. And after you're done, you can easily print your masterpiece by clicking on this button. I won't start explaining what every musical sign is here because it's more of a sulfate Jia. Music theory. Context menu allows us to perform the standard copy paste functions. And if we go to the scores of menu, we see double interval. This creates an additional note in the interval you will set. And here's an additional transpose functions filled with breast, which is adding required rests with their unused space in a particular bar quantized to Notion sent to voice. We can create different voices here, transpose pretty obvious and rebuild score. This option fixes all mistakes that were made here. For example, if you put too many notes and a bar, we can also define what kind of track we have. So the program will adjust the score view for it. Apply staff preset. We can find here any instrument type, and this will automatically change our view. Name and abbreviation staff type. This was the most exciting thing for me about the score View Update because I'm a guitar player, but not as a sheet music profession. Here we can choose the view type. So for example, I can switch from standard two tabs. And now these lines become strings of my guitar instead of the stave. And these numbers are the fret numbers and so on. Perfectly familiar with tab view. So I can easily work in it. We can also add a standard view to our tablature or switch to grant staff, which is a piano view for two hands. This drum set is designed for percussion. And we can also see sheet music as a single line. Tablature and drum set views have additional settings and presets allowing us to choose the exact instrument kit. And tuning. Score view has different view modes, such as continuous. The score will go horizontally from left to right. We can turn this on or off on our tracks, on the track list. And there will also be shown here, pages or full score. These multi instrument pages will be located from left to right, single track of view of a particular track. Only here we can see additional view settings such as the size of different elements, font orientation and so on. Tempo representation. Also, everything here is very cool, convenient and simple. Moving on, let's say we're in piano view and we can open our track list and switch between the instruments without leaving the editor and edit them right away. So let's say I have a base and it's now selected. And you can see this pencil is glowing blue here next to it. By default, it will glow for the selected track. Let's say I want to simultaneously see some midi event nodes of another track. How do I do it? This is actually a really well thought out things in Studio One. I click here, for example, rhythm guitar. And now along with my basic notes, I see this chord part with faded color. I can't do anything with it, but I can see an event called rhythm guitar as a shadow or any other midi track that I have. But if I want to suddenly edit it as well, I click on the pencil here. And then I can also edit this event. Not only this one, but also this one. This is the most convenient when you are looking to build a arrangement correctly and make sure that the notes don't intersect so that they arrangement sounds right and the notes don't conflict with each other. That's what makes this method so cool. Anybody who's worked in FL Studio understands me because this function is also enabled there. But it's not as functional. They're here, it's much more interesting and probably even simpler to configure. Here, we just see the selected track, selected instrument. Here. We see the name, more precisely the type of track. We can mute it, solo it. We can also turn on addition notes, which means if we click a note without this checkbox, then we can't hear how it sounds. But if we turn on audition notes, we will hear how the note sounds. Then we see default velocity can be set here. If, for example, you draw some notes with the mouse, and then you simply add a note by double-clicking the mouse button or the draw tool and holding command or control and an error mode to use the pencil. And by default, you are exposed to exactly 80% of the keystroke force. It's exposed to you. By the way, navigation here is done in the same way as in the general arrangement area. Zoom is done like this, or by holding down Command or Control and Shift or scrolling the mouse wheel. Folding only Shift while scrolling. Then we're just moving left and right. And by holding command or control while scrolling, we're zooming in our editing area. One of the newest features in Studio One is the smart Midea tool. So when we pick an arrow, we can draw a note holding Command or Control. And then if we zoom in, we can see this velocity sign on top of the note and the splitter sign on the bottom. So when we drag this velocity sign up or down, we change the velocity of this note. But if we hold Option or Alt, we can mute this note. And accordingly, we can split our note on the bottom. And if we hold Option or Alt, we can split the node together with the event itself. What's also interesting is here we can set the scale of our composition, which means we can choose its key. Let's say I have a natural B minor, and I'm not very good at this key. And I want the program to promptly, if I turn on scale here and select B and natural minor or whatever my key is. The now I can't place notes outside of the scale. So if I put a note here, it's simply jumps over it. This is a really cool option and a good solution for those who aren't really well-versed in keys. And here we see the start and end of the note, its length, also pitch, and then the velocity of a certain node. And we can also mute it. Here. We can choose, for example, the instrument that we will create these notes with. This is an ordinary error. This is the split tool. This is a pencil for drawing notes and automation. This is an eraser that removes the notes that we don't need, or we can simply delete by selecting and pressing delete, as well as an icon for mute. And then icon here for listening to the part, we can also enable step recording here, what step recording? This is when we draw our notes by our midi keyboard. Unlike ordinary recording in step recording, time is not running and the position of our locator only moves after we press something. So let me demonstrate. I press Edit and now if I press the keys on my keyboard, they are appearing here. Record the notes and steps, not in real time. And these steps are determined by the length of the notes. Here we choose how long the notes should be an accordingly, write it down. I use this function when I can't play the part as fast as it should be. And I don't want to change my tempo to play it in real time. So here we can switch between exactly these steps forward and backward. This function is also presented in score view over here. Next we have a panel. We're already familiar with quantization. Here, quantization can be set for the selected notes. We choose Notes, press Apply, and all of these are quantized. It will be the just the same as if you select Quantize from this menu or press the Q key. If you need, you can customize your macros. By the way, I probably didn't say that we can also set pictures for our custom macros or for those that already exist. Here we can add an icon, select the picture. And now it looks like this. Macros are the coolest things that's V1 hasn't general. And it just may seem difficult and inconvenient when you're first starting out. But once you get used to it, your workflow will get much faster and easier. Next comes the Actions menu, where we can select operation on notes. And I've already talked a little about these operations. For example, we can select notes, the lowest notes, and the highest notes here. According to the note range, then select range, for example, from C to a. And all notes from C to a will be selected and also de-select, cancel the selection. Then we have delete notes. We can delete double notes and also delete notes shorter than, which is whatever value you put here. Moving on, there's a Transpose option, which allows us to shift by a certain amount of semitones or octaves on our selected notes. Apply scale is exactly what I was talking about. If we choose B minor here and your heart is not played within this key, then having chosen everything here will change nothing. So for the notes to tighten exactly for the selected key, you need to click Apply Scale. We can also freeze pitch if you're writing the core data from the chord track to the midi track. And when you're turning off the core track, your notes will revert to the original position. So if you freeze pitch, your notes won't change. We'd also increase or decrease velocity for some groups of notes. And then also freeze velocity for some notes or restore velocity to the original value quantisation settings that we've discussed already. So here are the humanized settings. When we play in real time, we don't play perfectly straight to the grid. And what usually happens when we make a piece of music who recorded straight away after we get some idea or simply improvising. And the result can be really messy to rock to wrong. So we quantize it to make it perfect. Problem is, when it's too perfect, it also doesn't sound like it's fine for electronic kinds of music. But for example, if it's a solo piano part, then it's going to sound robotic and synthetic and boring. So humanize lets us add some imperfections to slightly shift notes in time and change their velocity randomly. For example, from negative 15 to plus 15 percent. Then we can change the length of notes here. We can also change the length of the directly selected part completely. For example, I have a part with eighth notes, but I changed my mind and now I want to say double up its size. I simply select notes that I need and choose here to stretch the parameters done. Now I've got 16th notes, distribute notes. Any selection of note events can be equally distributed at a variable percentage. Then we can split the grid if we need it. Here, notes are separated by quantisation and purge events that we've already tried before. The last bunch of options are here. Extend a part in, it's simply stands our notes until the end of the event. Repeat notes to pardon duplicates notes as long as there is a space for them in the event mirror notes. This does helpful note reflections like this. I choose mirror on the middle and here notes vertically, and this is what happens. Thin out notes. This deletes notes and designated order or randomly. I assume it helps to reduce mud and frequency conflicts. When we have a few instruments playing the same chords or chords with the same nodes simultaneously. The function called fill with notes. It's some kind of a melody generator. The options here are pretty simple and I'll recommend that you try it out. I'm selecting this quarter note, eighth note, 16th note, fill whole part and apply scale. And here's what it generates. Now I can set a keyboard shortcut for this fill with notes function to have a quick access and generated as much as I want until I like the result. This can be really helpful if you're running out of ideas. Now here we can change the color of these notes. Now, look, my note color depends on velocity. The more velocity the redder, but the less velocity strength of pressing the key, the greener than them. But we can change this dependence, for example, on pitch, which means the color will change depending on the pitch of note as well. Or let's say just paint the notes in a color that matches our part, our track. I mostly keep it in pitch. Next, we can select an option that allows us to select notes along with the automation, just like I do now. Say this is my note and this is my automation under it. Select part automation with notes is on. It moves together. If it's off, I move a note, but automation stays. Next. Quantize, time, base and snap. These are the same menus that we looked at on the general track area. Also toggle sense that lets us bind a note to the grid. Auto scroll that moves our window together with playback cursor and synchronize editor to arranger. If we enable it, then these two windows are linked with each other. If I zoom in here, it zooms there also. As we can see, here is a certain area at the bottom. This is the automation area. By default, these tabs are displayed here. Velocity, note controller, sound variations, note modulation, pitch bend, and after touch. All this data, except sound variations, will be displayed after you have played something. And what's really cool, we can add almost any parameter here that we want to automate. So let's say I click here and I want to add expression. I choose it, and it adds this panel right away. Now I can edit this parameter by simply clicking with the mouse. Or of course, we can use this pencil. Any method of drawing, everything will work, all automation as it should, but only at the separate event, which is a very useful thing when you need to write some unique automation to different events. But here's also a tab called sound variations. What's that? Here? In this area, we will see our key switches. Key switches are specific keys on our midi keyboards that switched the articulations, performance techniques such as legato, staccato, tremolo. A lot of instruments have their key switch map. So how does it work? Here's a panel in the Inspector. I click on this wrench and the sound variation mapping editor appears. This is the place where we can add, remove, and edit all our different sound variations for a certain instrument. And it's presets. For example, I have a cinematic studio Brass library loaded in my contact virtual instrument. The full ensemble patch of this library has eight main articulations and it switches are written here, C minus one, minus one, and so on. In contact, they're also marked here with colors. All I need to do is to create a new sound variation. And to set its name and key. I create one more, and it automatically sets the next key. My first key was C minus one. It automatically sets the new variation to C-sharp minus 1. It's incredibly cool. Here we can pack them in folders, remove, restore changes, transpose the whole set of key switches in different ways, store or load this sound variation present. It's also possible to activate these switches, not with one particular note, but with different sequences. So now I can draw my sound variations right here. And I can select certain notes, right-click and apply sound variation. So let's take a listen. Here. My legato articulation is playing the long note, now turns to staccato, the short ones, tremolo and so on. Super fast and easy. And to make it even faster, we can create macros to each articulation and we can also connect them to the studio one remote application. Now let's get back to the general settings of this automation area. To remove a tab, we can simply select Remove, and it's all removed. We can also display several areas of automation here. To add another area, we click this and it's similar to this one. But for example, here you can display any other automation parameter and there can be several of them, 3, 4, and so on. To remove them, you click Minus and they're removed. Almost everything is the same in the drum view section with some exceptions, note lengths and so on. But basically everything is the same. Editor window can also be moved, resized, pinned, and closed with the use of these buttons. 32. Audio editor: Now we double-click on the audio clip and the edit area view is adapted for audio editing. So let's go ahead and check out what we have here. First of all, here we see the same toolbar as in the global track area, which we looked at earlier. So it doesn't really make sense for me to repeat myself. These tools are the same as there, but here they only apply to the current event. So let's take a close look at actions that are individual for the Edit window when editing audio. So here we have normalize audio. This increases the gain of the region incrementally based on the loudest audio peak. Reverse, which is a cool feature to create this sort of intros and smooth transitions. Strip silence. We've already talked about that. Then we can edit audio using Melodyne. For those who aren't familiar with Melodyne, I'll shortly say that this is a very powerful tool to change notes inside the audio file. You can fix pitch in fixed length. You can do transitions between the notes and so on. This is especially helpful for vocal editing. It's the same with ReVoice Pro. It's also a very cool plug-in for vocal editing. And the same thing is done here in the same way I click Edit. If I want to edit, remove, if I want to remove the editing. We can also add faders. Create auto phase. Here we have these sliders that display the volume. This event will start playing with the lowest volume, and here it will be the highest. Then you can also create cross fades. Cross fades are the same faders that just appeared here, but only when two audio events intersect. If we overlay to audio events on top of each other, then the volume of this one we'll fade out into the minimum and this one will rise to the maximum in the intersection area. So it will create a smooth transition effect between the two audio events. We can also decrease the volume or increasing. It's much easier to do it like this by clicking on the top line of our audio event and dragging it up or down. Reset gain envelope only takes place if you've edited the gain envelope in some way. By the way, gain envelope is a very cool feature in Studio One. It activates by clicking this checkbox and allows us to edit this volume line in any way we want. So reset gain envelope simply removes all the editing of this volume curve. Detect transients, which determines these peaks. It's a little more complicated than that, but the program has a very smart algorithm for their detection. Also, remove Ben markers that appeared after we have defined transients or added by ourselves. Also split it, bend markers. We can also detect courts if there are chords played on the audio, you can use this tool to find out the names. And this is all determined quite accurately if you do it on a chord. But if you do it on individual notes, you'll be confusing the program. To see the cords that are defined, we need to click on this icon and our chords appeared here on this line. We can also extract these chords that have been defined here. Extract them into core track right here. Currently my core track is empty, but once I click Extract, they appear here. And then we can apply chords from core track. This will adjust our audio track to match the core track. We can also do extract key signature from the vent, which means a key signature from this event will become the general key of the whole track. Now, audio parts. Here we can merge audio parts. If there's a few of them. Then select this event and the pool, the audio pool of our project is located in the browser. So this option is just a shortcut. And here are all the audio files that we've added to our project. New version is a new studio one feature that allows us to create versions of the clips. For example, I have this audio clip and I make some changes with its gain envelope or editing it in Melodyne. So let's say I like everything and I want to duplicate the clip and just press D. And now we can see they became dependent on each other. If I now wanted to edit them individually, separately, we're just creating new clip versions. Now I change the gain envelope here and it doesn't affect its copy. Same with Melodyne. And we can see their number down here. We can also send this audio file to Native Studio one sampler, select Sample 1 or impact. Now here in general, everything is the same as in previous Windows. There's nothing particularly new here. We can choose which audio track we want to edit. We can mute solo or switch it to mono or stereo. We're pretty much done with editing audio here. So now we'll move on. 33. Pattern editor: So now it's time to figure out what patterns are and how they work. Generally, the patterns are very similar to instrumental parts. But look, if we stretch the event, this Miniclip, then we're going to see that there's nothing further here. It's empty. Which makes sense because we didn't write anything further. And if we stretch the patterns, we will see that it repeats itself regardless of how we stretch it. This is very convenient for some drum parts that are repeated constantly throughout the track. Or a synth ostinato melody that is repeated throughout the track really comes in handy. Of course, you could press shift D and make dependent copies of each other in this way. But working with patterns is much more convenient and I'll show you why. Now this is the same pattern. But as you might have noticed, they look different. This is because there's variations here. One pattern can have a certain number of variations and you can select them here. I have two variations of my drum part here. First, kick and snare only. Second kick, snare, high hats. Let's have a detailed look now. I click Edit and we see this picture. Let's start with the top men. And here we can click the icon to open the inspector of our pattern to see additional information. Here, we can store current pattern load previously stored one. By clicking on this piano icon, we can open our current instrument and we can also turn on audition notes so we can hear the sound of the note when clicking on it. We also can enable editor follows cursor. Then when playing through patterns with different variations, they will all be displayed one after another. If this function is disabled, only our current pattern variation will be displayed. The one that we selected. Here, all the variations are displayed and we can switch between them by simply clicking on them or using these arrows. And accordingly, here we choose variations. Here with hats and without hats. You can create a lot of variations here. What comes next? Which for those who've worked in FL Studio and have used the step sequencer, you probably going to understand everything that works here. But I'm going to say it right away, looking head that everything here is pretty much more thoughtful and much more convenient when you understand and get used to this step sequencer. We can set the number of steps. Now I have 64 steps set, which means 64 of these cells. But the cool thing is that for each separate track, for each instrument, we can set the different number of these steps. Let's say it's 64 now, but I can put four and see what happens, how it works. While other tracks of this instrument are going to reach 64 steps. This track repeats after a. It's a real playground for your ideas and allows you to wildly experiment and create something unusual or incredibly interesting. We can also change the resolution, which is the length of the notes. Now I have the length of these squares here, 16th notes. But we can change it to anything else if it's necessary. And this area is a map of our instrument. On this track, I use an instrument called Impact, which is a Native Studio one drum sampler. And when I open it, I see my drum samples. And once I add new or change existing ones. Automatically update the list in this pattern to decrease or increase the size can also drag here. But as you can see, everything changes not quite the way we're used to seeing here in the previous Windows. Also here is resolution. It's the same as here, but it applies for an individual track only. And this is general. We can also expose swing and set gate. Gate works when you have some long notes. Then all of this. And the more gate you set, the more trimming occurs. So what's an accent? Accent is kind of an increase in velocity, the strength of pressing the keys of certain notes. And here it shows 30%. We left-click on the squares we create or delete our notes. But if we need an accent, then we press command or control and left-click, you can see a white stripe at the bottom. This means an accent. The velocity of this instrument will be 30 percent more at this moment. Next, there's a button to enable recording. That is, we can write right here, right away. This will all be quantized as needed. There are also prepared options, and I want, for example, to make every second step filled. I click and every second step is filled. Or we can fill in every step also to clear the lane or shifted. This is how the patterns work. It's very convenient. We can add automation of any parameters. I will also tell you about one very interesting thing. In addition to velocity for each of these steps, there's also a repeat function. Let's say I have a high hat and I want the high hat to be here not once during this period, but let's say twice. And look what happens. Now you can hear that the hat doubles up. And if we do several high hats like this, we can do more reps, let's say four more. It's very cool for some kind of trap beats and so on. This is where it's done very simply and quickly. Also, delay at the start of the note. We can barely hear it, but this can kinda help to humanize beads or give a little space for another be. The next feature that set by default here is probability. So what is the zoo? It's actually a really useful thing. Let's say you're creating a hi-hat part and you don't have any ideas to start. So you fill up the lane, but it won't sound interesting. Now if you set probability, let's say on 50 percent, what happens? The program will randomly determined whether you need to play this note now or not. So let's elicit. The less this value is, the less often that this or the note will be played. Or let's say we can put more. It's really cool because when you do it this way that the beat becomes so diverse as if we spent like a whole day writing the half part throughout, an entire composition and its unique everywhere. It's kind of a brilliant thing and I really use it often. This allows you to make the composition more lively, more real. Although you may not even really hear it, or you might not even listen those hats when they hit each square a little bit differently. It just adds a little sense of being fresh and lively. So now I'd like to show you how variations work. Here. Let's say by default, we have only one variation as soon as we create the pattern. By the way, let's show you how they're created. In addition to the fact that you can go through the events, we can also say double-click on a track and create a part track. But since we need a pattern, we hold down Option or Alt and click twice to create a pattern. By default, it only has one variation. Let's say I have a simple beat like this and I want to make some other variation based on the same variation. I can rename it by clicking on the name defined steps and resolution that this variation will have. And based on the variation, I can make another variation. I click on this duplicate variation button. I duplicate it, rename it. And now I can change this variation. For example, adding hats here. You can make it even easier like this. Now I simply duplicate this pattern. Duplicate, and here we have a selection of variations. For example, if I do this at first, I'll have a pattern without hats. Cool. Now we can create a huge number of variations here and simply duplicate the same pattern and choose between drum variations. It's incredibly convenient, but that's not all here. We can operate not only with these percussion squares, but we can also turn on the melodic mode here, which means the pattern can work not only with drums, play them cyclically, but also some melodies. Here we open the keyboard and here everything is absolutely the same as in a regular instrument part. This is very convenient and I strongly recommend that you use patterns because it saves you time and space in the arrangement of window. 34. Channel types: And now we're moving on to a familiar interface, the work area of the mixer or console. Here we press F3 or click here on the mixed button. And we see this area. If you've already added any instruments, any audio here to the arrangement area, these tracks automatically added to the mixer to avoid confusion. All know that in the arrangement area, they're mostly called tracks. And in the mixer channels, although one track can have a few channels in the mixer, a few outputs. So what's here? We're going to slowly start sorting it out because there's a lot to unpack here. But everything is quite simple when you understand the navigation. First of all, like all workspaces, mixer can be turned into a separate window like this to place somewhere on an adjacent screen. You just expand to full screen and worked with the mixture on a separate screen. And if we don't want to have a separate window, then we simply attach it back with this Attach button. Next we have the input and output settings that we already talked about. We can additionally open it up here and accordingly, configure our inputs and outputs if necessary, by clicking on this little arrow. And also if we click right here, we will see a menu called add bus channel, add effects channel, add VCA channel, and add ox channel. So there's four types of channels that we can create. There's also a channel of instruments right here. When we create a track here, for example, this is my contact. I drop it here on the arrangement area, and a channel is automatically created. This is an instrument channel, but we cannot create such channels on our own. However, it makes no sense to create them because these channels are needed only for tracks. Only when we create a track. This channel is created in the mixer, the same with audio tracks. The channels for them are automatically created. So let's take a look at these four types. What's the difference between them and what they are? Let's say I want to add a bus channel. A bus channel as a channel that is designed to combine several audio signals from other channels. Let's say there are two instrumental channels, and I want to send instrumental channels to this bus and then to the main channel. The main channel is a master channel. It's the one here, because we only have one output connected. If we look, we have one output here which is made. But if I make several outputs, then we can switch between them here and sends signals to one bus, sum to another. It's all very customizable and very convenient. I want to send these two channels, for example, to this bus. How should I do it? Very simple. I click here and I select bus one. Before I make any routing, I always name my channels properly. So I want to name this bus channel guitar effects. Then I hold Command or Control and select two channels. And then I select here hello, where I want to send them. And now our signal from these two channels goes to this guitar effects. Here they will unite. And if I insert some effects, there will be processed. And this mixed signal will go to the main channel, to the master channel, whatever you call it. By the way, when we select a few channels that we can simultaneously adjust their volume here and pan here. Very easy. No need to create groups or something. Just selecting and moving sliders. Also, after this bus, we can output to another bus, and so on and so on. And now I can process my channels here. For example, if I want to add an EQ, well, now I'm processing these two channels on the same bus at once. The buses for and once I delete this bus, my instrumental channels are directed to the main right away. The next type of channel was that affects channel. The effects channels are designed for parallel processing. What does it mean? We have inserts and if I add some effect here, it will be fully applied to this particular channel. But there are also sense. Here I choose where I want to send my signal for parallel processing. Why parallel? Because when I chose it, I can set the amount of signal I want to send. For example, if I want to send a signal from this instrumental track to the effects channel with reverb on it. I choose it here, and I set it by 50 percent by default. Now my instrumental track will be processed by reverb in half, and I can adjust this amount with the slider if I want. So the main channel will now be receiving 50 percent original signal straight from this instrumental track and the other 50 of process signal from this effect channel. If I mute it now or deleted the full amount of dry signal from this channel before it it straight to my main channel. Next is the channel called VCA. Vca channels are special assignable controllable faders in the console that allows simultaneous movement and automation of the volume of multiple channels. The individual volume faders of affected channels can still be moved independently. All faders move as one, only when we change our VCA fader or automate its position. This is the difference from a group. If you group tracks, they will also be bound by volume. But you won't be able to change the volume of a single track. And the VCA channel is most often created this way. We just select two channels and click here at VCA for selected channels. The same can be done with the bus. We don't have to create a bus separately. We can just click Add bus for selected channels and everything is automatically connected directly to this bus. And here we can already process the VCA channel is a kind of controller. So we can't insert effects on it and so on. In my situation, the signal from these two tracks is directed straight to the main channel. And this VCA controller is just a tool for simultaneously volume changing. What's interesting, the scale doesn't show the current level because the volume of all the channels connected to this fader can be different. It shows the amount of volume I increase or decrease for all the channels that are assigned to it. Which means if the positions of this VCA, fader and faders of all the channels are the same. They will move in sync. Let's say here 0 dB and there are 0 as well. Then in that case then move like twins. But if the volume is different, the faders are moving with different ranges. This why is that? The volume scale on faders represents human loudness perception, which is different on different values. As we can see, such a big range from 10 to 0 dB. And the more to the bottom, the less range between values. So for example, if I want to add 10 dB on this VCA channel, I'm moving this fader up and the failure of this channel is moving slowly because its value is less than the value of the VCA fader. And this one is barely moving at all because its value is even lower than the previous one. However, they both got 10 dB louder. I hope I managed to explain this and you can assign this VCA to any type of channel. For example, I create two bus channels that we're already familiar with, and I can add a VCA channel for them, done, their level can now be controlled with this VCA fader. Let's remove it and move on. The next type of channel is the ox channel. Oxysterols are very useful when you need to connect the third party external instrument. Let's say you have some kind of external sinth. You created a midi track and an instrument track here. Send this midi signal to your external instrument. And what happens? You want the signal to come back to studio one as an audio signal. You need to return it to the mixer and mix accordingly with all other instruments. But we send a midi signal and the audio signal returns. And that's exactly what the ox channels are mainly for. Here we can choose the input of the audio card where they external instrument is connected and can change the volume. We can mute it solo, everything just like a normal plugging. By the way, since studio 15, 0.2, we can also transform the instrumental track that is connected to the external device into the audio track. We can render it in just the same way as we do with the regular instrumental track with the virtual instrument on it. So that's it with channel types. Now we turn to a more detailed look at the mixture itself. 35. Additional settings: We're now gonna take a look at the additional options and settings for the console or mixture area. So first let's click here on the tool icon. First of all, we can let the program sort our effect channels here so that they will be on the right side of all instrumental and audio channels. This means the main audio and instrument channels will be here, and the effect channels will be here. The same as with bus and VCA channels. It's very convenient, but it's set by default. I always leave it that way because I know that all these three types of channels will always be on the right. We can also preserve order of channels with a folder track. If we look at the sequence of channels in a folder track, here I have a folder track and these channels are in the following sequence. The order is the same as in the mixture. If we disable this option, then accordingly we can change their sequence as we want. Link visibility of track list and console. If we have this option enabled and we're in the track list. And here, for example, I want to disable track visibility. I can do it by clicking on these white dots. So I turn the tracks off and they disappear both here and in the console. If I turn this option off, they will disappear only in the arrangement area, but will remain in the mixer. Link expression and visibility of Folder tracks. If we enable this option and open, close the folder, the tracks will simply disappear from the mixture completely. I always keep this option disabled. Also, autos expand selected channel. We've already met this option in the settings. And if we make all the tracks so narrow, and now when we want our channels to expand like this, we enable this option. And channels open with one click on. If this option is disabled, we have to double-click to expand the channel. Colorized channel strips. I think it's clear that it colors the channels completely, or only the strip below. We can also turn on colorized plugin Header. We met this option in settings as well. This is the coloring of this top plug-in panel. Next, input controls. This option enables additional pre-fader controls. It means these controls are triggered before the signal arrives on the channel here. So before the signal is attitude effects, we can either increase its volume or decreasing, then reverse the phase of one-channel left or right or both together. In general, the option is useful, but it's disabled by default. Next up is sense whether to display sends in the channels or not. Io connections, which means input and output connections of channels. Here they are on the instrument channels. So you can see which instruments sends a signal to this channel and where the signal is going from this channel. And the same is with these channels. We can also show VCA connections here. Bca connections are shown here underneath the fader. Here they are. Now if I create a VCA channel, I can assign this channel to right here. Next is group assignment, which opens this menu here, where you can select the group where we want to send this channel. I don't have any groups created. That's why this menu is empty now, then we can display channel notes, which looks like a notebook for each channel. If we double-click, we can write something here, which is a nice little option that if you have an additional monitor dedicated for the mixer only. So you don't waste free. We can also enable the listen bus. What's that? As we can see, it appears at the very end, right after the main channel. This means it doesn't affect any element of our mixing chain. This is a monitoring feature. If we want to hear, are mixed through some effects, but we don't want to apply it to this mix. This is a very useful function for me because I always use a reference plugin which allows me to get the most truthful sound on my monitoring system. And if I drop this plugin just on my main channel, not only will it take an additional space there, but I'll always have to turn it off before I render anything. With listened bus, I don't need to turn it off. Next option is also simple. If it's enabled every time I'm soloing, my channel sends a signal from this channel straight to my Listen bus, but not the main channel. We also make the channels more compact like this or like this, using this icon, this icon is already familiar to us. It narrows the channels. Then we can display all the inputs that we have configured in this area, all inputs and outputs. Here they are our inputs, three elements, everything matches, and all outputs. As you can see, I click and nothing is displayed. But why? Because I only have one output. And here it is. May I had several than we could display them here external. We can display any external devices like midi keyboards or midi controllers and similar devices. Here they are. Next, we can show all the instruments that are present in our project. By the way, I want to note that if you delete an instrument track, then the instrument itself remains loaded in the project. It remains here. But you also need to delete the instrument. It's important to understand this because often it happens that you simply delete a track, but the instrument remains and it keeps bugging down the CPU on your project. So there are two ways to delete your track. And when you right-click on the instrument track, remove track, and remove track and instrument. So for a complete removal, you choose the second option. There's also a fairly new feature here called adding scenes or scenes. Let's say you want to create two arrangements on it as acoustic arrangement. And the second one is with Trump's. So if you create a new scene in this scene, you mix everything up to everything as you should. In the second scene, you simply add or remove instruments or do whatever you want. Re-mix, rearrange. You can create an unlimited amount of different versions and apply changes by clicking Update seen from the context mean. What's most interesting here is the recall function. It allows you to bring back changes that you've made when you double-click and come back to that version. And there are different options of recall. You can recall the whole mix or selected channels only and so on. Everything here is pretty simple. So I think it's needless to explain every checkbox. By the way, the scenes are also displayed here in the track list. And here the groups are displayed. Already talked about them. And also scenes. Scenes here can be created or deleted, renamed, updated, so on. Then we can show the groups channels. We don't have groups now. We didn't create them. So they're not here. But I think it's clear that we can group the channels as we'd like, and the channel list is directly displayed here. That is, all the channels that we have in the mixer are displayed here. We can turn them on, turn them off, and they turn off in the Arrange area straight away. We'd also right-click and select some additional settings. Here they are, which are already here. What's important here is that we can copy the channel settings. So let's say I want to copy the settings of this channel. Copy. And let's say I want to paste it all here. Paste channel settings, everything is copied here completely. Both the position of the fader and the position of the knobs of all effects. Everything is completely copied. A very handy thing when you just need to copy several different states to other tracks. You can also do this. For example, if you have another song open, you can copy the faders from one song to another position. And indeed, all the effects. She is a pretty handy thing. 36. Adding FX, channel editor: Now let's see how we can add effects to the channel. Also, let's take a look at a very cool thing called Channel Editor. So if we added some kind of instrument, for example, this one, piano, how do we add it in effect here? Let's say I want to add some EQ or something else. Studio one makes it as simple and as fast as possible. I click here on the Plus and type. Let's say I want to add an EQ, I type EQ and add an equalizer from my list of equalizers that I have. No matter what kind of plug-in it will be. You can remove, turn it off. Expanded. Expansion is only supported on built-in plug-ins. And this is a built-in EQ so we can expand it. And we see this small version of our plugin with basic tools. But this is not supported on third party plugins. However, I do want to say that persona's has an excellent kit of built-in plug-ins without any fame or pretentiousness. Just powerful tools full of usability and modern features. Just spend some time with them and you'll short your list of third-party plug-ins to a pretty small list. I wish I knew it before buying like a ton of third party plugins that you could notice in this course. If we've added any favorites, then we can go here, favorites. And I have this pro UQ. You're going to add those plug-ins that you like that you often use and just find them here and quickly, nice and easy to use that on the channel. It's very fast. We can also save the preset. For example, I set something here and I want to save it as a preset. I click Store presets, type the name of this preset and save it. And then I can easily open it. I can also save any sequence of plug-ins here. I mean not only individual plugins, but also a whole chain of plugins by selecting store effects chain option, naming it, and choosing its category. There's also predefined plug in chains here. Let's choose, let's say vocals. I select male vocal, a click, and I have two plugins loaded, which are immediately ready to process the vocals on this channel. Here's a compressor with certain settings, specifically for vocals. And also here as an EQ which has raised frequencies that I usually rise on a male vocal. Because these are my whole vocals. The lows are removed and the highest frequencies are raised. Of course, this just gives us a starting point so we can adjust it anyway we want. Okay, so let's remove all this and go directly to Channel Editor. This is also a very interesting and useful thing if you understanding it opens by clicking on this icon. See every channel has this, not even the master chain. We click on it and we can see this panel with eight knobs and buttons. So what's that all about? Also, XY controllers open here. What do we do with those to work with them? We click here on macro controls mapping, click, and we have buttons here, from first to eighth buttons, and then from first to eighth knobs. And we combined them to any parameter of the effect that is on this channel here, I click Add targets, and then it all bonds. So everything is already attached. Let's say here is NADH one and I sign input level, and now it works here. Now if we come back here again, there is an additional window. We click on it. And here we can change the dependence of the rotation of this handle on the parameter. For example, if I curve it like this, the volume increasing will be smooth at the beginning and sharp at the end and so on. And now we understand how it all binds. It's the same with x y controllers. X can be bound to one parameter, y to another, and then you can drag them around and they will change for you. But another cool thing is that you can connect some kind of external controllers to all the knobs. If you have some kind of knobs on your midi keyboard, or if you have some kind of external midi controller, then you can connect these knobs. Now let's go over here to routing, and let's see what we have here. Let's open the channel editor on the channel where we already have any effects. Let's say here, I open it, go to routing and look, I have one effect here. Here's the second effect. And here they are. First, second, here they are connected one after another in the same order as in my inserts area. But there's a cool thing here called a splitter. The splitter splits the main channel into two channels. Here are three options of how we can split our signal. Normal mode, which allows us just splitting into two channels. So say I want to create parallel processing. This means mixing dry and wet signals. So I add it here, empire, which is a guitar amp, and this mix is distorted and the original student, so I drop it in the left or the right. It doesn't matter in normal mode. I'm going to drop it to the left, and now I can adjust the amount of signal. Fader. Number one is responsible for the left side of the splitter, and number two for the right. So now when I slide the first fader, I increase or decrease the amount of distorted signal. And the second slider just adjusts the amount of clean signal. Same goes with any effect. I can also drop something on the right side of my splitter and adjust its level. The other type is channel split. This option allows us to split our signal into the left and right channels and process them separately. Now if I drop some effect to left side, the process of the left channel of my stereo signal and the right side, right channel. We can also split channels by frequency range, and here's the frequency at which they will be separated. One channel will have a frequency from 20 to 240 hertz, and the second from 240 and higher on this switch position. And I can easily change their frequency range and also their signal level. This is a very useful mixing and sound design feature. And it's one of those things that can really bring your mixes up to top pro level. A lot of users don't use it and don't even pay that much attention to it. Each splitter of the chain can have up to five splits and you can create a separate output for each of them. Now in version 5.2, the splitter has become a separate element in the Insert area. So we could add it from this menu. We can edit, expand, or remove it. When we expand, we can turn on or off the signals, change the level of each one. It's also possible to change Split mode. So all the main functions are right here. We can also store this affects chain for the future. It's all made very easy right here. Super fast, super simple. And once you get used to it, it saves you tons of time. 37. 37. Console shaper: Now I'm going to tell you about a pretty interesting and really unique feature in Studio one, which is the console shaper. Shapers and effect that can be added to any bus channel or the main channel. It's added using this small mix effects button. If we click on it, you see it's only here on the bus and on the master bus, not on other channels. Then here it is, console shaper. Let's add it to the master channel and see what it does. Here's such a small, inconspicuous plugin, but it's actually a really interesting and cool thing. So what does it do? It emulates a real console, a gear console. If you mix in a big studio, then it just emulates this big console. All kinds of audio devices always add a certain color to the sound. And this plugin is designed to simulate these colors of console's. So what is their first of all, the drive knob, which allows you to make any kind of saturation on your track, which is typical for consoles. And there's also a noise knob where we can turn on the noise that will be mixed into your track. This is also a normal thing for console. Concepts are a little noisy. Check it out. If I put it as much as possible and you can hear that there's no let's just set it to the minimum. Then there's cross-talk here. So what's that? It's when the channels cross each other a little bit. This actually works in a really cool and interesting way. The volume of one channel will be audible in another channel quite a bit that communicate with each other. So in general, it's a very interesting function. The main thing here is not how they communicate with each other, but how it sounds. So let's go ahead and AB this. Let's start from here. I'm going to periodically bypass it and we're going to listen to how it sounds. With it disabled. It sounds like this. Turn on. And here if I turn the drive off, I get a slight overlap. But it actually kinda seems to glue the track together. The track sounds more monolithic when we use the console shaper. It's pretty interesting the way it works. There's also an extended version of the plug-in that's available in the persona shop. It's called a CTC one pro console shape. There's more saturation and coloring options as well as three optional preempt types, which is a classic tube and custom. There's a lot of presets, some gain compensation modes. It's a really cool tool for top-notch mixing. We aren't going to tweak the knobs now, this is about mixing already. But I did want you to take this powerful feature into account. 38. Browser: Home page: So now we're moving on to the browser area. We press F5 or click on this browse icon. And this already familiar area opens up here on the homepage. If we click on this house icon here, we see links to the main tabs of our browser. Instruments, effects, loops, files, Cloud, shop, pool. As I said, this is the main source of data for our project. Everything is here. Instruments affects the audio clips, audio loops, everything that we need to write a track from scratch. There's also two buttons on the bottom. First button allows you to re-index all presets. So what do you use that for? Let's say I use a plugin, for example, this one. And it came with some very interesting settings that I would like to save. I click here and I will select store preset. I'll name it. And accordingly, I want our reapply it later. But if I want this preset to be available in other plug-ins right away, then I need to click re-index presets. If you don't want to wait until the next session, until the next time when the program starts, then just choose this option. Also here I can open Plug-in Manager, which is a very useful window. Here we see all the plugins that studio one has identified installed on your computer. And it determines, of course, the standard password plugins are installed and buy the additional paths that you specified it in the settings are very shown where to set this up. Here You can follow this link and open the area with the settings of the links. And here let's say I have only a few paths where I keep my plugins. I have my need plug-ins here and I can turn them all off. Or if I check it now, my plug and less will be empty. I can turn off certain plug-ins only by clicking on this white dot. I can choose what kinda plugins I wanted to display. Display only a chosen type, VS2 via s3 native, which are built-in plug-ins or to show plug-ins from chosen vendors. There's also a blacklist. You can even call it a blacklist. As I already said, this is a list that includes plugins that can be scanned when the program was launched, or they have some issues and they can't be loaded into Studio one. If you can later fix them. For example, if you activate a plug-in that had its trial version expired, you should reset this block list or remove a certain plug-in from it. We can also remove plugin settings and update plug-ins. This means, let's say you install the plugin in the current session while the program is open and you want to start using it right away. So all you need to do is click update plug-ins. So now everything is scanned at once without restarting the program and you can already use it is really useful. Speaking about restarting Studio one now has a debug tool which opens first thing when you launch the program after an unexpected closing. So let me go ahead and show you. I'll close the program from the Task Manager and started again. We can see this window with additional options. We may disable certain types of plugins, are certain plug-ins for the Plugin Manager or start the program without using some system services and protocols that we think may have caused Studio one to crash the last time. And if we don't want to change anything, we select Start normally. 39. Browser: Instruments, Multi instruments: So now let's go to the instrument tab and see what's there. First of all, I think it's clear that all instruments and affects that the program has found BST plugs, AU plugs, if you're on a Mac or displayed here, you can sort it by a couple different ways. Flat for you just expands all folders and fully displays all instruments. Folder view displays exactly folders. It can also display by vendor, which is the most convenient sorting method for me, and also by type VS2 via s3 AU. If we click on this tool icon managed plugins, we can add plugins to favorites or hide them with one-click only. Let's say I expand this plugin and I can hide it so that it's not searchable at all. I can also add it to simply my favorites by clicking on this star. Now I go and favorites and I have it here. I use this plug-in a lot, so I'll probably leave it that way. I can also show thumbnails, these pictures. I'll show you how to do them later because by default they aren't there when you install the plug-in. And so in general, this is how we add or high plugins. And here we can also switch the display mode, make it bigger. Okay, and now we want to create a thumbnail. How do we do that? First, we need to open the plugin. We want to create a thumbnail for the fastest way is to just open it just to drag and drop in the arrangement area. I click here where it's name is and click Update plug-in, thumbnail. By the way, a screenshot will be made of exactly the view that you currently have active here at the moment. So you can change the view of your plug-in somehow before making a picture, but it's appearance doesn't matter. The main idea is the visualization for fast search, update plug-in thumbnail, and that's it. We see the picture right below. It's a super cool feature that makes it really easy to find plugins. There's also the ability to create a multi instrument, which is a really cool feature. And I'm gonna go ahead and show you in most of the Dawes when you need to layer instruments, which is simultaneously play one part on different instruments, you need to create separate tracks. And every time we change this midi part, we're going to have to copy and paste into every track that we layer on. In Studio One, we can play one part with different instruments within one track. To do this, we can drag and drop this new multi instrument from the browser. And here it is, looks similar to the effect splitter that we covered before. So what can we do here? Here we can add our virtual instruments, tuple menu that we've already seen. Next, note effects. I've already shown the purpose of node effects before, which is arpeggiator, a quarter input filter, repeater, or the native basic processing tools of our midi notes. And the splitter tool here works great with no defects. Let's say I want to add these three virtual instruments to this channel. I add them, and now I want two of them to be processed with an arpeggiator and the third one to stay untouched. As you see when I had the arpeggiator, it applies to one instrument Only. In this scenario, I need to add a second arpeggiator to the second instrument. But if I add a splitter, it creates a sub chain. And now I can add one note effects for all the instruments of this sub j. It's very convenient, especially if I have a big instrumental set here and I want to apply different effects to different sets of instruments. Of course, we can still process these multi instruments separately, just the way we do if these instruments were single. And we can even create a split processing chain for every instrument with our splitter tool if we want. In general, it gives us unlimited opportunities for sound design and mixed creations. So to create a multi instrumental track, we can drag and drop new multi instrument from the browser. But the faster way to do this is to add one instrument to another. For example, if we already have an instrument loaded and we're just choosing another instrument from the browser and dropping it on the existing one. Studio one now asked whether we want to load which means to replace the existing instrument or to combine. So if we choose to combine, we now have a track with two instruments on it. A super easy and powerful option. By the way, there are many pre-installed multi instruments here. And mostly they sound very good and very professional. You should check it out. 40. Browser: Effects: Now the effects tab here, this top panel is exactly the same as in the instruments. And in general, everything is very similar. Only some of the folders are different. Here we have effects chains. These are the effects chains that I talked about in this section with the mixer. And so if I want to add some kind of chain of effects, for example, clean stack, I just drag it here, and these two effects are immediately added here. You can also create your chains of effects. Of course, there'll be saved in one of these folders. Or you can create a new folder here and save it to it. Then there's a mix effects folder here. This includes only the console shaper, which I talked about. We added it to the bus or master channel. And there is also a Favorites folder and a recent folder. 41. Loops and Files: The next two tabs we're going to look at are quite similar tabs, but at the same time, these tabs are very different. The loops tab and the Files tab. Both tabs allow us to add various audio files to the project, samples, loops, everything related to audio in general. In the Files tab, we can open any folder that we have on the computer, regardless of whether you're on a Mac or Windows. And it's quite fast to open files from this folder. You can simply drag them and drop them as I already showed you. And what's the difference? The loops tab contains the sound sets, samples, different construction kits that we get from the persona's shop. We can enter the shop either from this shop tab or from the webpage in our browser. There are not only some paid samples, loops, plugins and so on. There are also free, pretty high-quality plugins, samples, and loops. Let's say we go to F3 and here are loops. Then free plugins and some virtual instruments. It's all of course free. You can install it. Click here, installed and the whole thing is installed, and then it's displayed here in the loops tab. Then you can open it up like this and see what content these sounds sets have. You can easily listen to each of them. Next, let's go to the Files tab and see how it differs. As I said, we can open any folder on our computer. For example, I open my samples folder where I have all my samples loops, all the audio material that I use to create music I have adhere. To add our folder. We need to click on this area. We click and then let's say we add a new route tab. This adds us a root folder. And now we can already find the folder we need here where all our samples are located. And let's say here we have a folder with samples. I click on it and set as root. And now this tab will display this particular folder and you can get quick access to your files. As I do. This is very convenient or you can make several tabs here, sort your samples, for example, into loops and someone shots into vocal cuts and so on. Now I want to show you a feature that's pretty unique to studio one. At least. I don't think I've seen it anywhere else. Here we have an instrumental track with midi events on it. And now I want to save this particular event or the whole midi track, complete all the processing of this track and use it in another project. How can I do it? And is it possible at all? I'm pretty sure that even if this feature exists in other Dawes, it's not nearly as convenient as in studio one. Here you can drag it to any folder, open any folder on your computer. Here in the Files tab, drag needed midi event here. Slow down a little before dropping it because we have a menu here named export to, and we have two options, Export as a music loop or medulla. And we can switch between these two options by pressing shift or command or Option on Mac and shift or control or Alt on PC, it switches by any of these keys. Of course, I can save this piece just as a midi file as midi information. But the first option is way more interesting. Music loop is an incredibly cool thing in Studio One. And look at drop it here, wait for awhile, and here it is. It also automatically takes the name of the track. By default, we can't see its contents. But if we right-click on it and show package contents expanse, and look what we have here completely all the information about this track down to what effects were applied on the channel in the mixer right here. It's incredibly cool. And when we, for example, open another track or any other song, we can just take this piece, listen to it right here. And then with one simple movement, we drag it to any track, to any channel, and it all is completely added at once. So this is kind of an archive that stores all the information about the piece that we saved, all the midi information, effects, settings, everything. So if we drop it on the next channel, we can see that the effects chain remains the same as it was when I stored this music loop. 42. Cloud, Shop, Pool: And now we're gonna take a look at the three remaining tabs, Cloud shop and pool cloud tab. First of all, you must have an official version of Studio one so that you can use this tab. In particular, personas exchange because you need to log into your personas account. Here using the sign-in button. I've already entered it, so it glows with a little gray color. We go to personas exchange next. So what's that? A kind of cloud that allows you to exchange all kinds of files between studio on users. It was actually a pretty interesting thought. I even found several files here that I downloaded and it's all completely free. So say we're interested in a new color scheme for studio one. We can go in here and there's tons of color schemes here. For example, we see it's brief description. We install it and apply it. And the color scheme of studio one changes immediately. There's quite a few of them here, so you can choose something to fit your own tastes. There's also all sorts of effects chains, grooves, input, output, device configurations, macros, patterns, tons of stuff. Next is the persona sphere. In general, persona sphere is kind of a global network through all the persona's products. And you can create your account, list, the products managers subscription, and many other things on the persona sphere webpage. But this particular tab allows us to store and exchange our files between studio one users. All we need to do is drag the tracks, drag our files into this window. And there are three functions of uploading. We can drop here uncompressed WAV files, processed audio files, which includes all the effects. And we can upload a studio one audio loop. We switch between these using the command or control, but it's also possible to upload a mixdown using the export mixdown function that we already covered before. We open it and choosing the publishing option upload to persona sphere, done, it will start sinking. And accordingly, we can work with the files that other studio on users shared with us from this tab. Then the shop tab we've already covered. But just in case I'll show you how it's possible here. If you want to buy something, you go into the folder of some extension and here's the price. Then there's the pull tab, which I mentioned earlier. We can sort our files according to various parameters. The pool is a certain section where all the audio files that we add to the project are placed. And accordingly, you can drag them from here, place them again in the project. But note that if I delete a file here, it doesn't disappear from the program. It remains in the pool anyway. So all the audio files are stored in the pool. And accordingly, we can also listen to them like ordinary audio files. So let's say we're loading and then removing a ton of audio files from our project. And now we finally choose the suitable files that we want. And we want to clean up our pool from all that useless audio files that we're not going to use. We just go to song and choose Remove unused files done. But now cleaned up our pool and deleted files that weren't used in our current session. 43. Ruler track: And now we're going to study global tracks. To enable the display of certain global tracks, we need to click on this icon, or we can move to this area and see that six additional icons appear here. These are the icons for displaying certain global tracks. Will sort them out one by one. Now, I'll return it the way it was. It's more convenient for me. Now we're going to click on this icon and the icons of all six global tracks appear here. Let me remind you what kind of icons we have. This is our track list where we can see all our tracks that are here. Then we can see the scenes we add for the mixture. We also can see groups, and then we have the inspector icon. We can also open it up with the F4 key. Then we have such a tool. I haven't talked about it yet, but it's all quite simple. Everything in persona's his opinion is pulled out here. The most basic settings that you will need. They are pulled from the Settings area here. If you look, you will see that we have passed them all just this is a closer access for them. This icon allows you to display all the automations that you have in your project or hide them. This plus allows you to add new tracks, one or a few. Now let's see the first global track. This is the ruler track. What's that? It's kind of an informative track. Let's say you create music specifically for the video. And accordingly, a video clip will be placed here. You'll watch it using this window and so on. And you need to not only see this time-based in bars, the unit of measurement for your track, but also seconds. That's what the ruler track is for. You choose the second unit of measurement that you want. It can be framed samples seconds also bars, and you already see the display of time in seconds here. It's a very useful feature while working with video. Or for example, you need to create a piece of music with a specific length. 44. Marker track: The next global track we'll look at is the marker track, which is a very useful thing. These are some flags that are added to this line here, the marker line. It allows you and the program to correctly determine what part of your track that is or what event happened in your track here. Here, start and end markers are added by default already. By the way, these markers determine the range of your track when you send it to the Mastering Project. So only everything that is between these flags will be rendered. Of course, we can move them whenever we need. We can also add our custom markers. So look here, I have a marker called Bridge. And to add a new marker, we need to put this cursor somewhere. Click here on the Plus. Let's say I have Intro to and to rename it, I just double-click on it and right. Okay. And now I move it to where I needed. For example, this is the intro. This is the verse. This is the chorus. Things like that. It's all very convenient. I can very quickly navigate between these markers. If you remember, I said that the transport panel has these arrows that will allow you to move between markers. But there are also shortcuts to these arrows. Shift plus n is the next marker, and Shift plus B is the previous marker. Now I can navigate between these markers. 45. Arranger track: Next up is a track called arranger. It allows us to determine where each section of the track is. So let's start with how do you add a new arrangement? Here I have some kind of track going. I want to add a new arranger segment. I can either pick this pencil or just hold down command and control and draw over here. And I have some kind of arranger segment at it. I can adjust its length by dragging these edges. Then I can rename it. I right-click on their ranger. I can select this color and also rename. I double-click on this name here and I name it somehow. Then press Enter and everything is renamed. I can also select all the events that are under this arrange or segment. You already on the existing one. Let's say I already have an existing segment. I click here, select events in section, and I click an all events are selected. Then I can copy all these events completely under the segment into the new scratchpad. Copy the new scratchpad. And now we have this piece of arrangement in the draft and we can edit it however we want. We can also move this segment into scratchpad so it will disappear from here. Or to remove the range. Create markers from arranger sections like this. Markers are now created. Then I can cut, copy, delete, duplicate. I can also duplicate shared, which means the whole duplicated section and the original section will be dependent on each other. As I showed with events. Let's say I want to move this part somewhere in another part of the track. I just take it and drag it. It's very simple, very fast, or I want to copy, for example, I press command or control C, move the locator where I need it, press Command or Control V, and everything is pasted and the new feature of the arrangement track is playback. Now if we select a ranger track and open inspector, we can see this sync mode. We click on it and see these options off one to four bars and end. What's that? If I double-click on the tracks and the track list or the arranger section, my track will start playing. From this section, we can see this act of Guitar Pick icon. And if it's already playing, and I double-click on any section, playback switches two. And so these are the options of when exactly the playback will switch to this section after I click on it, kind of delay. So look, if it's off, it switches to this section right after I click on it. If I choose one bar, the new section starts playing after one bar, 24. And if I choose n, the section that I double-clicked on, it will start playing only after this current section ends. It's a really handy thing for arrangement. When you've already written some parts of the track, for example, the intro, the verse, the bridge, some focal part, you know, things like that, and mark them as certain parts of the track, then it's very convenient to move them and create some kind of new arrangement and rearrange the track and so on. It's especially useful in the show page that we're going to cover at the end of the course. And in general, this is what the arranger track is for. 46. Chords Track: Next comes the global chords track. I think you've already roughly understood how it works. But now we're gonna take a look at it and as much detail as possible. So let's turn on the chords track and see what's in there. I think it's clear that we can draw any chords. And here, this is done in absolutely the same way as with the arranger. Track. Hold down command or control and draw any court of any length. To change the chord, we can right-click and select the required cord. Here. You can select the root node, select its chord type. We could choose It's intervals. We also define the bass note for the court. We can select all the same chords. Let's say we have a root note C, and select all see chords that you have in one track. We can transpose the chord up or down by a certain number of semitones, then clear chord track, which will delete all the courts from there, the usual operations are cut, copy, delete, and duplicate, but there's a more convenient way to select courts. We double-click on the section that we want to change and we find ourselves in a very convenient area for selecting chords. Here we can also enable audition chords. This is also a very convenient thing. It will play a chord I click. Let's take a look at the inspector first, we can turn on addition courts. And interestingly, we can also choose an instrument to listen to chords. This list shows all the instruments that are currently loaded in our project and we can switch between them. We can also turn on the instrumental input here. And for example, we can play any chord on the keyboard and it will immediately be determined here. And we can choose the next or previous court. Okay? But again, let's figure out why we need this chord track. So let's say you write a track in one key. Then you change around a few chords and the whole track can be immediately rearranged to a different key. And let me show you how it's done. There's some midi track, for example, this one. For this midi track to follow these chords, I need to select follow chords here in the inspector, there are several modes here. This is a parallel mode, which means these notes that we have here will follow strictly in a court narrow mode. It's shifting notes to the nearest in this key, closest to this chord, which is currently selected. And the base mode is meant for a single note parts. This pulls up the root nodes of the selected court. And now look, I have narrow mode turned on here. And we will have notes here that are pulled up to the nearest notes of the selected court. And now if I change the chord here, for example, to a G minor than the notes have changed right away. But that's not all. Why? Because we can do the same with audio clips. And this is even more amazing. If we select any loop, Let's take, for example, this one, a major loop, and drag it here. And here we need to make some adjustments. We need to enable follow chords and choose universal mode, which is meant exactly for audio. I'll also choose guitar in tune many. We have a few options here. As I mentioned before, these are options of the sound processing algorithm that will be used for our tuning. Just try them all to choose what works best for your current audience. Now, I'm switching chords and we can hear the difference. I can choose only one chord from the loop or the whole range from it. Now, all the cores of this loop transposed to C major chord, F minor, G major, any court, it just requires a couple of seconds to process this audio while the court is changing. So isn't this cool? Audio clip easily adjust to our key and we don't need to go into Melodyne or Auto-Tune or any other pitch correction to the notes of our audio file or pulled up to the notes of the court. And to be honest, I haven't seen something like this in another program. It's really cool. But I want you to pay attention to important things. First of all, for these chords to follow, you must have enabled following, not here, follow courts, but also this button is pressed. Follow, then everything will work. And the second thing is resources. When you change your chords in the audio track, it will increase CPU usage a little. So once you get to where you like, it, just bounced the selection Command or Control B to bounce it to the same track. Or Command Plus option B, or Control Alt B to bounce it to the new track. By doing this, you're gonna keep your resource usage quite low. 47. Signature and Tempo tracks: The next global track is called signature. This is the size and key of our track. Sizes, the time signature, which defines how many notes of a specific length, one bar will contain. The classic is 44, which means there's four quarter notes in one bar. 34 means three quarter notes in one bar, 686 eighth notes in one bar. The key signature is the same as here, but if we define it here only, it will apply this key signature to the whole track. But thanks to this key signature track, now we can modulate our key during the whole song as many times as we want. For example, this bar will be in C Major, next, in F minor, and so on. And these aren't chords. It's a key tonality. Same with our time signature. This is 22, this is 58, and so on. The next global track is the tempo track. Let's turn it on. Here. Everything is also as simple as possible. You can change the tempo of your composition on a track. It's very simple. Let's say I have made it BPM and I want my track to start there with 50. For example. I change this curve and everything sounds the way it should. We should just click on this curve and make as many dots as we want. The tempo track is zoomable. We can expand it till the bottom end of the arrangement area and the Zoom tempo view. Here also max and Min values. These are our tempo limit points, which means if we don't really need big tempo changes, we can narrow this maximum and minimum range, and we can operate the range of, let's say, only 10 BPM in this big window, which allows us to make more precise changes. You can also do the inverse of that. We can widen this range a lot. You'll probably need a big range of tempo when working on a film score, especially when it comes to transitions between slow and highly dynamic scenes. We operate this curve mostly the way we operate, the automation, raise or lower a whole range, Cut, Copy or delete dots. We can also set the tempo of the particular dog. If we hold Command or Control, we can move the mouse left and right. And these ranges will equally move in opposite directions. If we hold Option or Alt, we can move the whole range up or down, left or right. If we click and hold a dot and then hold shift, we can slightly move it and release it anywhere without snapping it to the grid. And if we hold Command and Option or control plus L, we have quick access to the pencil tool to draw as many dots as we want. 48. Mastering project: And now we're already moving on to explore the next working window, which is called Project, where we can master our tracks, prepare them for release, and also prepare them for burning to a CD if necessary, to send this track directly to the Mastering area. And for this track to be linked to the Mastering area, we need to go to the song and then add to project and create a new project with the name of our track. Here. New project chased by the past. Here we set the sample rate. For example, I will choose 48 K. Here I leave everything as it is and click Okay. You can also create an empty mastering project and then work on it, load some audio files and so on. For example, if someone just gave you his track to master, you don't need to open the song session at all. You just create an empty Mastering Project and work there directly. However, you can link your song and project anytime you want. So now we find ourselves in the mastering window, the project window. Here it seems everything is completely different, but the main meaning remains. Here we can see much fewer options because there are fewer things you need to do with one single audio. However, mastering is a very important step in music production. And this project window has everything needed for. Everything here is as powerful and convenient as in the song area. Here you can work with one file per session or with the whole album. You're gonna have your ten to 12 songs loaded in the project window simultaneously. And you can process them independently of each other. There'll be loaded in line one after another, like in the playlist and also on the master channel. Here it is, we can add effects before we change the volume and post effects that are added after the fader, after we change the volume. And here we have inserts for the selected event. We have only one. Therefore, inserts will be applied only for this event. Here at the top, we can see a familiar area and the area of controllers. We've already covered it. And there's nothing complicated here. Everything is actually the same. We can also update our mastering file. So what's this for it so that we can go to our song and go here again, change any parameter. Let's say I want to make this percussion part a little quieter down 3D. Now I press Save. I'm on PC, so I press Control S. If you're on Mac, then Command S, everything is saved and I go to project. So what do I see? I see a red dot at the event. It means that the track is not sync with the project file, with the file of our song. So we need to select the required event and click Update. Here we're shown which event we want to update. Click Okay, and our track is rendered. After it's rendered, will get the already updated file in the project window. If you notice any flaws in the track you're mastering, you can always go back to the song project and fix it. This is incredibly convenient because they're all kinds of nuances that we would like to correct on the mixing. And it will be impossible to fix in the mastering stage. Then we have the burn button, which allows us to burn our album. If we have a lot of tracks here. For example, if we burn it to a CD, I'm not sure if someone is still using CD nowadays, but if you do, you won't have any problems using this menu. You can also save your project as an image and transfer, for example, to some record label. You can save your tracks as an album and send them. You can also upload the entire album to SoundCloud at once or to the persona sphere. A DDP image disk description protocol image, also known as dpi, is a set of files are used when replicating a CD or DVD. That set of files contains all the data necessary to create a CD or DVD. Pictures, audio track titles, and the order of tracks are all included. So a DDP is a format used by most disk replication plants to create copies of an album. Ddp is generally created by the mastering engineer and is the final step in the audio production chain before it's sent off to be replicated, distributed. We can also make a digital release of our tracks. I have one, so only one is chosen. But of course, if there's an album, then there will be a lot of them. And we choose in what format, where exactly we want to save this album, all these tracks, in what format and what resolution with what bit rate, then use range of events here, which means this interval. By default it's set to the length of one track, so we always leave it as is. But if we need to correct it, then we correct it. Then add tract numbers to file name, often done on CD recordings. If I have say theory of one chased by the pass, then if this is the first file and one, also add the artists to the filename. So here you can delete theory of one and it will be automatically be added here. Then use real-time processing if needed. And we can also publish on say, SoundCloud or persona sphere. Here we see the time that we can burn to a CD, 80 minutes is the maximum. And we can turn on auto scroll if we have a lot of tracks that accordingly they will spread like this here over the entire length. And auto scroll is a pretty useful thing. So let's get back here. Navigation works exactly the same here as it does in song area and Info view. If you need to see something, then we can go here. Now this window, first of all, here we can name our album. Let's say some kind of how to use studio one, for example, artist for example, Theory of one and define, say, CAN write comments to the track. All this will be recorded on a CD. Genre year of issue artwork, which is the picture of the album, and so on. Here we can directly write tags for the track itself. Here's for the album, and here is just for the track. And if we add a picture here, then accordingly, this picture will be displayed beautifully in the players. When we listened, the picture is displayed in the player for each track. And all this can also be filled in here. Next, we can analyze the volume of our track, the overall average volume of our track. Loudness information. If we click here, we can expand the loudness analyzer. And we see that here. Negative 14.5 lakhs. Here we see different units of measurement of loudness. Moreover, pre effects, if we add effects here, then the volume would be measured both before and after the effects. And all this is not measured in real-time. It will analyze much faster. And if we add any inserts, this button appears here. Update loudness. Here we can add inserts, effects for each event, for each track. And here we can add inserts for all tracks. Here we can add effects also after the fader. This means if we change the volume here, then the already changed volume will be applied to these effects. These will receive the unchanged volume. These are the pre-fader effects. These are the post-fader effects. Let's try adding some kind of effect to the master channel. Let's say I add a compressor, tweak it a little, and now we can check the updated loudness. And note that there's also macro controllers here. And we can use both parallel processing and sequential processing and also bind all of these controllers wherever we need. If we look at this area, the analyzer area, then first we can turn it off and on. And also include different types of display like this. And like this. We also change range. That is the fading of these peaks. But say I want to make it long and now you see the peaks freeze. It's convenient for slow pieces. We can also turn on average, which is slow to, here's the average value of the track. We can also enable loves or LU to display the volume and use peak RMS. Then the scale is k2, k3, k4, teen, and K12 for mastering. These are the loudness standards with different acceptable headroom for different types of audio. Here we can reset these values if we want to try again. And here we see the phase correlation coefficient of our track. The more to the right, the more the track is in monitoring, the more to the middle, the wider stereo without phase issues. And everything from the middle left. Stereo with phase issues. In general, that's pretty much everything in this window. It's pretty much everything you need to perform professional mastering. 49. Show page: And now we'll take a look at the third work area, or third work window in studio one called show. It's meant for live performance, which means you can take full advantage of all studio one's capabilities, all the effects, mixer, virtual instrument, and so on, in a separate area. Let's say I want this track to play somewhere live tonight. I need to remove any instruments from here and play them live. Let's say I don't want this lead guitar to actually play. I want to play that life. I remove the instruments that I'm going to play live. So what I need to do next, we're coming back to the song menu as well as with the project. And here, add to show and create a new show from our project with the same name as our song project. We create an empty show. And here you can add some real instruments or some kind of playback element, and so on by default. But I think it's more convenient to create a show from scratch. Here we define the name of the show and sample rate. Click Okay. Now the project is being rendered in a separate mixdown file, and we'll see it in our show. After the track is rendered, we find ourselves in the show workspace. As you can see, everything is done in the studio one style, like the previous two workspaces. And so let's check out what's here. We see these windows with automation and control, like we saw in the previous two windows. And we have two tabs, overview and controls. Overviews, the active tab currently displayed. And here we can see the players who are currently active, those who participate in this performance in the show. And most often when there is some kind of live show, some background checks are used. So just as we did, some part of the instruments is removed. For example, guitars or remote vocals are removed, some keyboards are removed. And it's pretty much just drums and everything else is played live. After that, we have the controls tab. This is where all the controllers are bound, which can be bound to an external device or a control panel of some kind. And we can click here to see how the touchpad looks. We can bind any value, absolutely, any of the external devices or from the instruments and effects that we have here in the mix section. Here's the same mixture that we're already used to. We can also choose the type of this console, but let's come back to the overview workspace. Here's a few things that are already familiar to us. Toggle snap, auto scroll and Info view buttons. Next comes to perform, but, and this is a kind of control panel window. If we press it, then this working area opens where you can just adjust all the sliders, turn on buttons, adjust the knobs, and we also see the current track and can start playing it. Roughly speaking, you have a tablet or some panel where you can control everything. It's pretty convenient to reset everything to default. As elsewhere in studio one, you hold down command or control and left-click, everything is reset by default. But if you don't want to use this panel, then you can simply adjust certain parameters on the hardware device, on the controller. Now, first of all, in this window we can write an artist. Then venue is where we'll be performing. Let's say it's Street. Sure. Why not? Then the title of our show itself, for example, live Jan. And we'll see our first track here, which will be the backing track. So let's rename it, double-click. And write backing track that here. Now here we can also add a picture of our show if necessary, we can add any number of these items, these tracks, we click, Add senseless item and add more tracks. But it's much easier to drag and drop them from the browser. I'll clear this area, remove set list item, and we just drag and drop tracks from any folder on our computer, which we'll see in the File tab. And so we have a backing track. Okay, great, What do we do next? First of all, we need to choose what to do at the end of the track. That is, you can continue playing the next track. You can stop at the end of this track, or you can just loop the track. Let me delete this for now. And so let's say along with this track, we need to play something live. How did we do it? First of all, let's add one more player. We will add ox channel for my lead electric guitar. How many players do we need to add one auto color? No, I'll choose Read Input, left and right. Output may. And ticking the ascending box will allow studio one to choose our inputs and order and click. Okay, so what do we get now? Now certain real instrument has been added. But what if we need exactly the same sound that we have in the song? Let's go to song. I'll save everything here. Command or Control S. And we go to song. Here we go to the mixer, and now we need to copy, copy channel settings. Then we go back to the show and here paste channel settings. And if we also had an instrument track, we would probably want to save the preset of the virtual instrument in song and loaded and show. Let's try and add a virtual instrument player. Set everything up. And now we're saving the instrument with the presets and copying settings of its channel. Like this. By the way, I have enabled 0 latency here. I remind you that you need to go to Audio Setup and click Enable low latency monitoring for instruments here. But if you're in the song window, this isn't always that necessary. In the show window. We need this quite often because we want signal from our external instrument to be processed without any delay during playing live. And of course, we can also add here and effects channel. Add some kind of effects. Let's say a Valhalla Vintage reverb. We can add an unlimited number of players, here, performers. And we can mix this whole thing using just the mixer, just the way we're used to from the song window. The new feature of the show page is arranger and courts tracks. They can be both imported from Psalm page if we have them created there, or we can draw them right here on the show. Sync mode of the arranger track is the same as in the song area. But here we also have additional playback options that we can apply to every single section. Here they aren't continue, which is then regular mode. That's where the playback will go further after this section is done. But don't forget to check the main mode here is also set to continue. Stop at end. The playback will stop at the end of the section loop. The section will be continuously repeating loop and continue. Here we can set the number of times we want this event to repeat before the playback will go further and skip. If we don't want to play this section at all. All the arranger parts are presented in the perform window. We just click on the third dot and there are sections. We can also see our chords track on top along with the arranger show page with its complete feature set, is also available on the studio one remote application, which makes live gigs and rehearsals easier if you have a tablet. So that's pretty much it. We've set everything up and we're ready to perform.