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Edit

Some people say that editing is where the greatest artistry lies in recording. To be sure, a great deal of time and energy are spent in editing. Studio One® makes light work of a lot of heavy editing tasks, like comping, groove quantizing, and editing across multiple tracks of MIDI data.

Comping.

One of the most common editing tasks is comping, the assembly of a "composite" track from portions of different takes. The process couldn't be easier than it is in Studio One. Audition the candidate pieces by clicking on them with the Listen tool, then drag over the best part of the best take to select it, which immediately copies it to the comp. One click, one select, one comp edit done.

Here's a video in English, Spanish, French, and German that shows Studio One 2.0's initial implementation of comping in depth.

We also offer a video that shows the improved comping features in Studio One 2.5 and a video showing how easy it is to comp multitrack drums in version 2.5

At a NAMM demo, Studio One guru steadyb discusses comping and Melodyne integration in Studio One with help from absolutely smokin' Grammy-nominated blues guitarist Phil Gates.

Finally, our friends at macProVideo.com have prepared an article and video about comping in Studio One 2.5.

Multitrack MIDI editing.

You built up a monster beat with Studio One’s Impact™ instrument, Instrument track by Instrument track. Now you want to copy-and-paste four bars of it to a different location, delete a few hits for variation, then edit a few notes to get different drum sounds. Multitrack MIDI editing gets the job done, letting you see and edit all of the tracks you need at once in Studio One's Music Editor. Select and delete, grab individual notes and move them, quantize, and perform any other manipulation of your performance data on any or all of the tracks displayed in the editor.

Transform effortlessly between audio and MIDI and edit either—or both.

Studio One Professional comes with Celemony Melodyne Essential, the industry-standard plug-in for pitch modification. With Melodyne, converting an audio track to MIDI is as simple as telling Melodyne to analyze the track, then dragging an Audio Event to an Instrument track. Work with the performance data and the instrument until you're satisfied.

Then use the Transform Instrument Track to Audio command, and you're back to the world of audio.

You also can go the other way: Start with an Instrument track, use the Transform Instrument Track to Audio command to transform it to audio, edit the audio, and use Melodyne to convert back to MIDI. 

No matter which way you do it, like magic, all of your MIDI and audio edits are retained. 

To see Track Transform in action, click here.

Drag-and-drop groove quantizing.

The drummer was completely in the pocket on that last take but the bassist played it a little too straight. The gumbo needs more spice. You wish you could put that bass player into the drummer's groove. What to do? Drag-and-drop, of course. Drop the drum tracks (all of them) in the Quantize panel's Groove Map and shazam! The drummer's groove is driving the tune. Now quantize the bass to the drummer's groove, add some “Tony’s” Creole seasoning, and ladle generously over rice. It's a tasty recipe, so save it for later as a Groove Template.

Strip Silence and Audio Parts.

Your horn tracks have lots of headphone bleed but it's only noticeable between lines. (Horn players like their phones loud.) We can handle that with no more effort than a quick visit to the Strip Silence panel. Now each horn line is isolated, with all the in-between sections removed. Or use Strip Silence to isolate hits in a bongo track to use in a sampler.

On the other hand, maybe you want to have that bongo track as a slice-based loop. Strip Silence may know where the silences are, but the Audio Bend panel can tell you where the beat is, cut the file up, quantize it, and merge it into a slice-based Audio Part. You can even drag it to the Browser and create a new Audioloop file, or drag to the Mac Finder or Windows Explorer and make a REX2 file. That's getting the job done!

To top it off, a Link button in the Strip Silence panel allows you to link fade-in and fade-out times to Pre-Roll and Post-Roll.

Quantizing and Humanizing, Scale Snap.
Electronic music can involve slapping around a lot of data: slipping things into time, making them feel less mechanical, experimenting with different modes and scales. Turn to the Arrange view's Quantize panel for a one-stop shop of quantizing options, including both Grid and Groove quantization, quantizing to polyrhythmic subdivisions, quantizing presets, and separate strength controls for quantizing Event or Part start, end, and velocity.

Of course, some tracks are created fully quantized. The Humanize command can replace some of that "machine-music feel" with a bit of the mysterious imprecision that people bring to music.

As for scales and modes, Studio One's quantizing capabilities extend to pitch, as well. Using Scale Snap, pitches can be restricted to any scale you want to use or devise.

While we're discussing quantizing, check out this video about quantizing MIDI in Studio One. Also, the folks at AskAudio have prepared a tutorial on the Quantize, Humanize, and Scale features in Studio One.

Audition layers soloed or in context.

The Listen tool lets you audition a layer by itself but you also need to be able to hear different layers in the context of the Song. Each layer has a Solo button that is independent of the track's Solo button, and the layer Solo buttons act like radio buttons, so you can click the Solo button of a layer and immediately hear it along with the rest of the Song.

Unlimited Undo (we all need it).

Unlimited undo can save your skin when you don’t like something you did. But it can also be part of the creative process, letting you go back and grab an earlier idea or edit. The combination of unlimited undo and Studio One's Versions feature lets you do time-travel that would make H.G. Wells jealous.

Explode Pitches to Tracks for drums or orchestration.

If you record drums using trigger pads and drum sounds, you end up with the whole performance on one Instrument track. What if you want to handle velocity or quantization differently for the kick than for the toms? Cutting-and-pasting gets old fast. Better just to let the Explode Pitches to Tracks command move each pitch of the source track onto its own, new track. It just does what you want.

Look, listen, and learn (videos).

We have lots of videos that offer a variety of tips and tricks for better editing in Studio One.

 

Click here to see a video overview of the Inspector, Audio editor, and Music editor.

Have any old CD loop libraries you'd like to turn into discrete files on your computer? Lilacwriter (aka bedstrom on the forums) shows us how easy this is in Studio One using the cool Browser functions.

Nudging and editing MIDI (Instrument Part) notes is quick and easy with these tips.

Want to align Instrument Part notes to an Audio track? Here's how to get it done.

Here's how to bounce instruments to audio files.

Our friends at macProVideo produced this story and set of videos about time-correcting audio using Audio Bend markers.

Also from macProVideo is this story about using sidechains in Studio One.

Glitch happens. Fortunately, lilacwriter comes to the rescue, showing how to quickly fix common digital audio glitches in Studio One.

Studio One comes with an excellent Gate plug-in but sometimes it's better to simply insert silence to gate toms. Click here to learn how.

This first link takes you to the introductory episode of our Editing the Sermon series. Continuing the series, here's video on adding a bumper that introduces the sermon. We also offer this video on general audio editing for sermons and a video on rendering a WAV file in Studio One. The final video in the series really belongs with our discussion of mastering (and is linked there as well); it discusses using the Project page.

Here, Studio One user Chris Knox provides an overview of how to use some of his favorite Studio One editing features.