I am looking for someone really experienced in studio one that can assist me with my learning on operation. I have books , watched endless videos and still have several issues. I would pay someone for like an hour of time and maybe remote in to my computer to help answer questions I have. Like I said I gladly will pay for your time. I am running studio one 7 on Mac recording drums thru midi and guitars , bass keys vocal. Basic band set ups.
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Need help with Studio One 7 on Mac recording drums thru midi and guitars , bass keys vocal...
- Thread starter jcounce22
- Start date
@jcounce22 - Did you try to connect with @JohnnyG yet?
He said he tried to message you but didn't get a response from you.
He said he tried to message you but didn't get a response from you.
Surf.Whammy
New member
Doing digital music production can be a bit overwhelming, since there is so much information that for the most part cannot be avoided easily.
I do everything in Studio One using music notation, VSTi virtual instruments, VST effects plug-ins, and at times Reason (Reason Studios) via the Reason Rack VST in Studio One, which tends to be MIDI-focused although the various Reason instruments can be played easily with music notation, where perhaps the best and most useful example is the MONOTONE Bass Synthesizer, which is excellent for adding deep bass to the Gibson EB-0 bass in MODO Bass (IK multimedia), which I augment with Cyclop (Sugar Bytes) to add a bit of wobbly Dubstep-style growl in what I call a "Custom Bass Image", where instead of being just one Instrument Track, it's three Instrument Tracks, as shown in the image attached to this post.
For reference, I have been doing digital music production for about 20 years, and while I have a degree in Computer Science and decades of experience doing advanced software engineering, I tend to make an effort to avoid reading user manuals and other stuff like that, mostly because (a) they are written by technical writers based on what primarily illiterate software engineers are able to tell them and (b) they nearly never explain and show how to do practical things, at least in easily understandable ways.
I have quite a few ways to avoid the vast complexity of digital music production, including the perspective that there are 12 notes and 10 or so octaves, two of which only can be heard clearly by bats, birds, cats, dogs, dolphins, porpoises, sea turtles, and whales, as well as children so long as their parents never have taken them to a KISS concert, which basically reduces the normal range of human hearing to 20-Hz to 10-kHz rather than 20-kHz at the high end. The last time I did an online hearing test, my upper limit was 13-kHz, but all that's actually is important is 20-Hz to 10-kHz, although going subsonic is nice, which extends the low-end to 10-Hz and is felt rather than heard.
The beauty of this is that instead of needing to remember and work with 120+ different pitches, I just need to remember 12 notes and the fact that each note can occur in 1 or more of 10 different octaves, which intuitively maps nicely to {deep, middle, high} or something similarly intuitive. And it's particularly relevant for me, because I only learned soprano treble staff when I was in a liturgical boys choir, and it's the only staff which for me is intuitive. Electric bass is one of my primary instruments, but bass clef stuff makes no sense, and I have to stop and think for a few seconds or minutes to remember if notes are a whole step higher or lower than on soprano treble clef, where for reference I use Studio One staff transposition to specify how notes are played, where bass notes are played two-octaves lower than notated, and guitar notes are played one-octave lower than notated. This way, I do everything on soprano treble staves.
Some folks quite incorrectly believe that the higher the sample rate, the better, where standard CD quality is 44,100 samples per second and audio quality for video is 48,000 samples per second, which is a tiny bit higher because it makes the arithmetic coding easier to do, not because it's actually better, where they key is that Nyquist and other folks determined decades ago that reproducing audio exactly only requires sampling it just over twice as much as the highest frequency, hence 44.1-kHz for the 20-Hz to 20-kHz range of normal human hearing for folks who never have attended a KISS concert or if they did attend a KISS concert were not in the front row for more than a few seconds without wearing OSHA-approved hearing protection.
One of the easiest ways to determine whether someone is not so bright as they might imagine is when they suggest that sample rates above 44.1-kHz and 48.0-kHz actually do something useful. It's in the same set of things as so-called "audiophiles" who believe that $1,000 USB cables make music sound better, or that colorful crystal rocks taped to headphones improve hearing abilities. To understand this, I refer you to the enlightening YouTube video by Monty Montgomery.
The way I explain the Studio One Graphic User Interface (GUI) is simple and straightforward, where I divide each major section and give it a practical name, as shown in the second image attached to the post. The Studio One User Guide probably explains this; but best wishes on finding it in one location where everything has a simple and practical name--especially what I call the "Track Lanes". I suppose I would know this if I read the Studio One User Guide; but that's an activity I generally avoid for the reason I already stated, specifically that everything is explained from the perspective of technical writers who probably never actually use Studio One.
My perspective is that the goal is to create songs, not to mess with computer stuff. I certainly have the training and skills to mess with computer stuff, but my primary focus is on using Studio One to create songs, hence the ongoing focus on finding simple solutions for what appear to be complex problems. Yet, there are some solutions which cannot avoid being complex, so it's a balance where the goal is to avoid complexity when it can be avoided.
This an example of a YouTube video I made last week to demonstrate how the Dual Pan (PreSonus) native effects plug-in can be used to do true monaural panning, which for reference is not possible otherwise when one is working with stereo (two-channel) VSTI virtual instruments in Studio One, because what appear to be a true monaural panning controls in the Mixing Board actually are balance controls and only raise or lower the volume levels of the two channels and do not have the ability to move one channel from far-left to top-center-to far-right, which is what true monaural panning does and is something recording studios have been able to do since sometime in the mid-1960's when multitrack magnetic tape machines appeared. By the time Led Zeppelin were making hit records, Jimmy Page had discovered how to do "flying guitars", all with true monaural panning. The example song I use is "Dazed and Confused" (Led Zeppelin), which has a virtual festival of guitars appearing in several distinct locations in what I call the "Rainbow Panning Arc", which is what you hear when listening with headphones.
If you have some questions, then I probably can answer them in a practical way in follow-up posts.
As you can see in the Dual Pan YouTube video, I keep the volume level sliders pegged to 0 dB so that the LED activities are consistent and meaningful. I use a few compressor-limiters to set the volume levels, which is done precisely in a numerical and visualway that is easy to see--primarily the White 2A Leveling Amplifier, Black 76 Limiting Amplifier, and T-RackS Brickwall Limiter (IK Multimedia). It's an extra step, but it's precise, easy to see, and is logical. You can use the volume sliders in the Studio One Mixing Board, of course; but they are tiny and are not so easily fine-tuned.
Generally, I focus on finding at least one easy and intuitive way to do things; and for the most part once I find the way, I stop looking and move on to other activities, where as explained, the goal is to focus on making music not on messing with computer stuff.
[NOTE: These YouTube videos are best enjoyed and understood when listening with studio-quality headphones like SONY MDR-7506 headphones (a personal favorite).]
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