Screen 1: A simple ripple delete edit. At the top is the original material. In the middle, the first event has been deleted using standard editing. All that has changed is that the event has been removed. At the bottom, the first event has been deleted with ripple editing active. Note that all of the following events have been moved forward in time by the duration of the deleted event.
PreSonus Studio One Tips & Techniques
Can you update the Studio One 4 Pattern Editor so it supports Trap style rolls. I.e, Kicks, Hi-Hats and Snares?? Answered Mar 11 in Editing by derylpresberry ( 930 points). May 27, 2018 I upgraded to studio 4 artist from 3, I really love the DAW hands down its the best workflow Ive had and ever since I started with studio one I have never left this DAW, its amazing! I just wish that Studio One 4 Artist version had availability to better add-ons like the Chord Track and Harmonic Editing being that we are also paying customers. Studio One 4 Highlights As always, Presonus has not disappointed, the scale of new features added in Studio One 4 is considerable, they include; Chord track and Harmonisation - allows the users to identify and manipulate both instrument and audio tracks, giving real-time harmonisation and more. Feb 06, 2020 PreSonus Studio One Pro 4.5.3 Crack Free Torrent Here. PreSonus Studio One Pro Torrent interface is a very good and powerful studio. That is helped with what is, essentially, a single-window program design, which doesn’t count much on additional editing and enhancing windows or dialogue containers, or using the key menus.
We explore the powerful new ripple editing feature in Studio One 4.
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Last month I wrote about techniques for handling narration in Studio One, but I did not mention a tool that has obvious applications in this role: the new ripple edit feature in Studio One 4. Ripple editing is also commonly used when creating sound for picture, but Studio One’s lack of support for audio post applications means its ripple editing features will more likely be useful in composing, as well as in editing raw spoken word recordings or any recordings requiring culling.
Closing The Gaps
With standard editing, making a selection and cutting or deleting it leaves open space where that material used to be. Extending the end of an event when there is another event immediately following it results in the stretched event overlapping the following event. Ripple editing avoids both of these results by moving the following material in response to the edit: deleting material causes the material after it to move earlier in time to fill the gap, while extending an event causes the material following to slide later in time by the same amount. This is not always the editing model you need, but when it is, it can save a huge amount of manual work.
Let’s go back to narration, last month’s focus, as an example. Say we are working on a single track of narration, which was recorded continuously. Even a good reader is likely to have a few stumbles, or decide to re-read a few words, and there are any number of events that create unwanted material: throat clearing, coughing, making comments to the engineer or director, rustling paper, movement in a seat, drinking water or tea, and so on. Removing such garbage bits using standard editing leaves gaps between the remaining narration events, which need to be closed up manually.
Ripple editing, by contrast, automatically tightens the track up as you get rid of each noise. This is helpful when editing a 30-second spot, but completely essential when editing, say, an audio book, where one file may represent pages of text. In the end, you probably will have to move some events around individually to get the flow right, but it is much less work without gaps everywhere throughout.
Ripple Slips
The Ripple Edit button in the toolbar.This simple example of ripple editing turns out to be as easy to execute as one would hope. Click the Ripple Edit button in the toolbar to engage ripple edit mode, then select and delete material as desired. All the material following the edit on the tracks moves along in time to compensate. Move on to the next unwanted bit and repeat.
Material can be inserted just as easily: put the material to be inserted on the clipboard by copying or cutting it, place the cursor where you want the material inserted, and paste. The new material is inserted at the cursor and all the material following is slid later in time by the duration of the inserted material.
Note that you must actually paste the new material for this to work: even with ripple editing enabled, dragging and dropping material at the desired location does not result in a ripple edit. Other methods that do not produce rippling include nudging, the Move to Cursor and Move to Origin commands in the Edit menu, and the Quantize on Track command. Attempting to use these commands with ripple editing enabled can produce unpredictable results, and undoing the edit may not return the affected events to their previous locations. I did a few experiments where I performed a command, then undid and redid it multiple times. The results got pretty crazy. (Hopefully, nudging and the Move to Cursor command, at the very least, might get integrated with ripple editing in a future update.)
On the other hand, when ripple editing is active, the Duplicate command does perform a ripple edit, moving succeeding material later to accommodate the duplicated event. Thus, Duplicate acts as an insert with rippling.
The Insert Silence and Delete Time commands inherently produce ripple edits, whether or not ripple editing is enabled. One other ripple-ish function to mention is arranger sections. Click on a section in the arranger track, copy it, place the cursor at an insertion point and paste, and Studio One inserts the section and ripples everything after, whether or not ripple editing is enabled. However, if you select that same section and delete, it merely deletes the section from the arranger track; the data in the audio and instrument tracks are unaffected.
Screen 2: Working across multiple tracks. At the top is the ‘before’: three unmodified tracks. Just below that, a selection was made just in front of the second event in the bottom track and extended acrossall three tracks, then Insert Silence was invoked, creating a break in the event on the top track. In the third example, a selection was made across all tracks before the first event and Insert Silence invoked. The edit on the bottom was made by turning ripple editing on, selecting the first event on each track, and dragging. As you can see, the results on the bottom two examples are identical.
Ripple editing does not require inserting or deleting material; selecting and dragging material with ripple editing active works fine. The difference between dragging and, for instance, the Insert Silence command, is that Insert Silence creates an edit and inserts silence right at the edit point across all selected tracks, while ripple editing by dragging can be performed on selected events across multiple tracks, even when they do not share the same start time. Focusrite clarett ableton live mac.
Ripple editing never affects material earlier than the edit point. For example, if you edit the leading edge of an event, rather than altering the material before the edit point, Studio One slides the material after it later to make room for the new material exposed at the front of the event.
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Music & Movement
Ripple editing is useful for more than spoken word, of course. When I am writing music, one thing I do is put Studio One in record and noodle around or try out multiple ideas, either against a looping beat or bass line, or just solo. I can then use ripple editing to sort the wheat from the chaff.
Screen 3a: Ripple editing multiple tracks with snap. At the top we see three beats of vocal (VO) pickup, then bass and guitar enter, bass right on the beat, guitar a little later.When ripple editing musical material, it can be valuable to enable snapping to the grid, to ensure that edited material stays locked to the beat. For this to work properly, at least some of the events getting moved need to start on a grid value.
In Screen 3a, a verse starts with a three-beat vocal pickup before the band enters on the downbeat. We want to add two more bars before the bridge for a few vocal whoops and shouts of ‘Hey!’ The drums are steady throughout and don’t need to be moved, but vocals, bass and guitar do. Of these, the vocals might not fall exactly on the beat, and the guitar might have some bends or other figures that make it a less-than-reliable rhythm reference. Plus, neither the guitar nor vocal events start right on a beat. But the bass is solid on the beat, so we use that as our reference. Type ‘N’ to turn snap on, set the Quantize value to a whole note and engage ripple edit. Shift-click the first events you want to move on the vocal, guitar and bass tracks.
Screen 3b: Here, we have ripple edited by selecting on all three tracks and dragging the guitar event by two bars. Note that the guitar event now starts on the beat, but the bass is a little early.You might think that you could drag any of the selected events and that all of the selected events and following events on those tracks would move exactly one bar. But look at the example in Screen 3b and you will see what happens when we drag an event that did not originally start on a downbeat — in this case, the selected guitar track event. After dragging, the start of that event lines up to the next grid line, which is a downbeat. The bass and vocal tracks have been moved, but not by exactly one bar. This is why the fact these tracks are not reliable rhythm references is important.
Screen 3c: And in this example, we’ve done the same thing but dragged the bass event instead and all is well.However, if we drag the event on the bass track, which does start on a downbeat, then everything moves one bar and is placed correctly (Screen 3c). The moral of this story is: when ripple editing with snap enabled, choose carefully which event you actually drag.
The ripple edit feature is Studio One’s single biggest tool for this kind of editing, but it turns out quite a few other features provide similar or related functionality. Some kinds of work only very occasionally call for ripple editing, but when it is needed, it can provide significant impact.
Published November 2018
PreSonus Studio One Tips & Techniques
You can make a basic arpeggiated melody more interesting by messing with the probability and repeats parameters. The latter are also reflected in the timeline (top).
The new pattern editor in Studio One 4 isn't just for drums!
Studio One 4 introduced pattern-based step sequencing as an alternative mode to the familiar piano-roll MIDI editor. It's one of those features that makes you wonder why every DAW doesn't already have it. It's simple and intuitive in a way that's reminiscent of the creative tools we've come to enjoy in hardware. Pattern-based sequencing is most often used for drums, but as we'll see in this month's workshop, the Pattern Sequencer in Studio One can be just as easily directed to synthesizer and instrument sounds, and can very quickly generate something unexpected.
Insert Pattern
There are a few notions you need to get your head around in order to not find yourself befuddled by Studio One's pattern system. The first hurdle to overcome is how to put a pattern onto your timeline. The process feels quite convoluted at first, because there's little connection or flow between patterns and instrument parts such as MIDI clips. Ignore your desire to right-click or search around in menus: the Insert Pattern keyboard shortcut is the way to go. Click in the timeline where you want to put a pattern, select the track that it's for and hit Ctrl+Shift+P for instant pattern insertion.
The inserted pattern will default to being one bar long, with 16th-note resolution, so containing 16 steps. Changing the number of steps and the resolution will alter how your pattern is displayed in the timeline and also the speed at which the steps are played. This is best understood using a drum pattern, so, with a pattern inserted on an Impact XT track and a kit loaded, paint in 16 hi-hat steps plus a single kick drum on the first step so that you can identify the beginning of the pattern in the timeline. (You can make use of the little Quick Fill buttons that appear on the top right of the editor as rows of four boxes — these are super-handy, try them out!)
With 16 steps at 16th-note resolution, you get all 16 steps playing within the one bar, obviously. Increase the resolution to 32nd notes and your 16 steps are playing at double the speed, so the pattern plays twice in the same bar. If you set the number of steps to 32, the pattern will expand to show 32 steps; if you used the Quick Fill buttons, the new steps will already be populated, whereas if you drew them in by hand, they will be empty. If you go the other way and change the resolution to eighth notes then the bar is divided into just eight steps, and they'll play at half the speed of the default pattern.
Fiddling with the resolution and step counts thus affects the duration of notes in a pattern relative to the project tempo. Subsequently, it affects how the pattern fits in the timeline. If you drag the right edge of the pattern in the timeline to four bars you should be able to see the pattern repeating (remember that kick drum we put in to mark the start of the pattern?). When the resolution and step count are set to the same value — 16, 32 or whatever — the pattern will always fit into one bar. But as you change the ratio between them, your patterns occupy more or less space in the timeline. For instance, if you want a two-bar pattern, the resolution has to be half the number of steps, so 16 steps will fill two bars if the resolution is set to eighth notes.
If that relationship feels like too much maths, wait until we start setting different resolution values for each note!
Rhythmic Melodic Patterns
On with the purpose behind this month's tutorial, which is to look at how we take a simple melodic pattern to interesting places. And we're talking about the rhythm of the notes rather than pitch. First, remove all other distractions and create a track with Mai Tai (the default sound is perfect for what we're about to do). Hit Ctrl+Shift+P to add a pattern. Let's keep it simple with 16 over 16, but you might want to bring the tempo down a bit, into the 80s. A pattern on an instrument track defaults to the piano-roll mode: this is what you need when writing melody, but comes at the expense of a few features such as the Quick Fill buttons and individual, per-note step and resolution counts. We'll come back to these in a minute, but in the mean time, pattern-based melody can feel a lot like a custom arpeggiator and that's a great place to start. If you have a MIDI keyboard attached, find yourself a three- or four-note chord, click the Step Record button and play each note in the chord in turn, over and over until you have filled the 16 steps. Alternatively, enter notes with a click. Loop the pattern in the timeline, click Play and you've got a great but ordinary arpeggiated pattern.
With about three clicks and a drag you can now completely transform this into something very different.
At the bottom of the pattern editor you'll find automation lanes. These are not the free-flowing lanes of the piano roll but per-step functions. (If they are not visible, click the tiny mountain-like button at the bottom of the piano keyboard to reveal them.) By default there will be three tabs labelled Velocity, Repeat and Probability. Let's start with Probability, which dictates how likely a note on a step is to play on any given cycle of the pattern. At 100 percent, a step will always play. At 50 percent it will play half the time, and so on. Drag your mouse through there, and your nice and clean arpeggiation quickly falls apart in very interesting ways.
Next, click on Repeat and add a couple of repeats to a couple of notes. These notes will then play the number of times you specify within the space of that single step. The rhythm and structure of your pattern has now taken on a life of its own. And while we're thinking about automation, you could also add a lane for the filter cutoff and have a different filter setting for every single step. You can of course do this for every parameter, and I hope you can see how endless the possibilities become!
Patterns & Variations
Changing the step size and resolution gives instant variations on the same simple chordal pattern.
By default, copies of a pattern in the timeline are just 'ghosts' of the original. To vary the content of a pattern you need to either insert a new pattern or generate 'variations' of an existing one. A pattern can have multiple variations, and the advantage of this is that you can select and swap between variations in the timeline within that originally inserted pattern's part. What Studio One doesn't do very well at the moment is manage these patterns. Each newly created pattern is called 'Pattern' and each variation is just 'Variation' with a number. It would seem sensible to assign a numerical value to the patterns automatically, but you have to rename them by hand. You can drag and drop variations from the pattern editor to the timeline, but only from the selected pattern.
If you open the pattern editor's inspector, you will see the variations listed; the original pattern is always called Variation 1. You can add a completely new and blank pattern variation, or make a copy of the original in order to tweak it. These variations become available from a pop-up menu when you click on the bottom‑left corner of the pattern in the timeline. Variations don't have to bear any resemblance to the original in time, steps, notes or duration.
Chordal Resolution
Meanwhile, back in the timeline you can use the same step/resolution relationship to vary the meter of the pattern, from long drawn-out notes to bursts of sound. Select a polysynth sound in Mai Tai and press Ctrl+Shift+P to generate a new pattern. Let's set this to eight steps at eighth-note resolution. Click Step Record and enter a chord on each step. Copy and paste to duplicate the pattern in the timeline, and then duplicate Variation 1 in the pattern editor. In the second variation, change the resolution to 16th notes and select Variation 2 as the content of the pasted pattern. You'll now have a bar with your eight chord stabs, followed by another bar with two lots of eight chord stabs played twice as fast. You could go much further. This is a good place to start playing with the Gate percentage, or maybe start tweaking the probability in the fast patterns, and it gets rhythmically interesting really quickly.
Pretty Poly
The Pattern Sequencer is a great place to experiment with polyrhythms — two or more phrases playing together that do not share the same rhythmic structure. Duplets over triplets would be the most common example, where one rhythm is playing two notes in the same space that another is playing three. As I say the theory is not that important and Studio One doesn't really offer any help in that regard. Instead let me show you where to fiddle and you can experiment for yourself.
Editing your pattern in Drum mode allows you to adjust resolution and step size on a per-note basis, which is ideal for creating polyrhythms.
Studio One 4 Review![]() Studio One 4 Drum Editing
To make this work, you need to mess about with the rhythm of individual notes. Create a simple pattern of three- or four-note chords — say four stabs of one and four stabs of another, in an eight-step, one-eighth-resolution pattern. In melodic mode, we can't access the note lanes individually, but switch to Drum mode and we can see just the lanes of the notes that were played. Now we can change the step count and resolution of each note independently on their lanes. Choose a note and set it to 1/8T and 12 steps. Choose another note and set it to 1/16T and 24 steps. Both lanes still match the bar length of the pattern, but they now use different rhythms. You can also use the Quick Fill buttons to get a better idea of how the rhythms are working together. You can set these parameters to whatever you want and have steps spilling out into other bars, taking a couple of chords to some very strange places.
The beauty of the Pattern Sequencer in Studio One is that it can generate ideas. It can revitalise melody lines, introduce probability and right royally mess about with your chordal structures. It challenges you to do things differently and to consider things that perhaps you never would have thought of.
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Studio One defaults to saving patterns as Musicloop files: press Shift to choose the Pattern option.In other pattern-friendly DAWs, such as FL Studio, all your patterns are always available in the browser. In Studio One, you have to manually export your patterns into the browser by dragging and dropping them from the timeline into a folder under Files — make sure you press Shift to change the export option to Pattern rather than Musicloop.
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