Setting Up A Mac For Studio One

Chapter 8: How To Set Up Your Room For Studio-Quality Sound; How To Find The Ultimate Home Studio Computer. Your computer is the command center of your home recording studio. It’s the brains and brawn behind the entire operation. This is one area where you don’t want to skimp. After initializing the Studio One 4 Professional v4.6.1 for Mac, users just need to open projects, set parameters, and check for updates and tips. In editing panel, it gives users complete control to record, arrange, edit, and mix the music with a complete set of virtual instruments, effects, and groundbreaking arrangement tools. Currently setting up my brand new mac mini. I've done this all before, year ago, including SSH, but this time, when I tried to generate my SSH key (ssh-keygen -t rsa -b 4096 -C 'myemailadress@serverdotcom') I got put into a dquote REPL, which I have never seen before. I have no idea what to do now. A google search didn't turn up anything for me.

Setting up a Studio: The Considerations. Understanding the base components is crucial in determining the perfect type of monitor for one’s studio. Using port converters or splitters is the easiest and fastest way on how to connect studio monitors to MAC.
The Zen Studio software is designed for Windows only. This would usually restrict you to using a PC, however you can also run Windows 10 on a Mac in a simple dual-boot configuration using the free tool Boot Camp, and this is fully compatible with Zen Studio and the Cronus Zen hardware.

If you've grabbed yourself a Universal Audio Apollo Interface to use with Studio One then here's our guide to getting it set up so you can get recording fast and take advantage of the cool features in the UA Apollo Console 2 software.

Setting Up The Hardware

The first thing to do is to get the audio interface connected to your Thunderbolt equipped Mac. However before you do this make sure you have installed the software supplied from Universal Audio, once this is completed then you will be required to restart your Mac.

Close you Mac down and then do the following before you restart.

Connect:

Plug-in the Thunderbolt cable here and connect it to your Mac.
Connect the supplied PSU, it uses a locking connector so you need to line it up insert and then twist to lock it in place.
Connect Monitor L and R to your speakers.

Then restart your computer.

Turn on your Apollo and wait for a couple of seconds and you should see the software for the Apollo booting up the Console 2 mixer software. This is a powerful application that allows you to set up complex record chains that can be monitored at near-zero latency.

Select The Apollo As Your Audio Interface In Studio One

Once you have the Apollo connected and powered up then it is time to make sure Studio One knows it is the interface to use. Parallel software for mac reviews. When you first start Studio One, you will be presented with a Start screen (see above), in the centre of this screen at the bottom of the page you will see 'Setup' - click on the image of the audio interface and you will be presented with the following screen.

This is where you set your interface using the 'Audio Device' drop down at the top, choose 'Universal Audio Apollo.'

One setting which is less important when using an Apollo is the Device Block size, this determines the amount of samples used to pre-process the audio, the lower this number then the lower the latency is induced during record and playback. The Apollo has its own DSP and Console 2 application which allows for ultra-low-latency tracking even when the Device Block size is set to a high value. If you plan to take advantage of the UAD DSP processing then set the Device Block Size to as high as you like to allow for more power when using VIs and other effects. If this is set too low on less powerful computers then you may start to hear the sound breaking up and distorting with working with higher track counts and lots of plug-ins.

Selecting The Hardware Inputs

To select the hardware inputs then first go to UA Console 2 application that you have installed as part of the Apollo software. With the Apollo you can use the Console application to monitor at almost-zero latency when tracking. This means you can use plug-ins when recording and you should not have any real noticeable delay when monitoring. In this case I have a guitar going into the front 'Hi-Z' input of the Apollo Twin and then I've added an instance of the Softube Marshall Plexi. However, in the image below the channel is muted, you need to make sure this is unmuted if you are going to monitor from the UA Console 2 software.

So now I should be able to hear my guitar going through the Marshall Plexi and I can adjust the volume of that signal by pushing the fader up on the Apollo Console 2 software. I can set the gain for the input using the large multi-purpose knob on the top of the Apollo interface. One thing to make sure of is that you have selected the right input to control with the hardware by pressing the 'INPUT' button on the interface and then pressing the PREAMP button to use the large controller knob for that function. It's easy to miss this part of the set-up and find yourself turning up the main volume of the audio interface instead of adjusting the gain on the pre-amp, so make sure you familiarise yourself with this functions.

Another great feature of the UA Console software is that I can choose to record with the sound I can hear from my plug-ins or I can choose to record it clean even though I can still hear the sound of the plug-ins. This is achieved by pressing the INS button on the UA Console software. When illuminated red and showing 'REC' then the effects will be recorded, when illuminated green and showing the 'MON' button then the effects will be heard but the signal will be recorded without the plug-ins. (see right)

Setting Up Studio One To Record

So far you've set up the Apollo interface so that you can record though it using UAD plug-ins, however the final part of the process involves you setting up Studio One so that it records the signal from the Apollo interface.

WARNING: One thing to be clear about and to avoid any confusion is that the software Universal Audio use for their Apollo interface is called Console, however the mixer in Studio One is also called Console, so whenever you see the term Studio One Console it means the mixer within Studio One and not the Apollo Console 2 software.

Open the Studio One Console from your menu. Then click the 'Inputs' option so you can see the inputs coming in from your audio interface - in this case, the Apollo Twin. If you play your guitar then you should see the input showing on the channel. You can see it in the image below. At the top of the meters you can see the name of the input given to it by the Apollo and at the bottom (in red) the name it is given in the Studio One Console. To the right of the picture you can see the metering for the track I will be recording on Track 1. At the top of the metering you will see both the input and output settings. Click on the top one (in this image called Input 1). It is here that you set your record input to match the name of the inputs at the bottom of the Inputs window, as shown to the left of the image. Below Input 1, on the record track, you can see the word 'Main' - this is to tell you that this track will be monitored via the Main outputs in the Studio One console. These are routed to the main outputs on your Apollo interface.

Monitoring

Using the UA Console 2 software gives you two options to monitor (listen to your audio when recording) your performance.

1. You can monitor via the UA Console 2 software and have near zero-latency monitoring as described earlier. If this is the case, make sure you deselect the blue speaker icon on the channel when recording (input monitoring) and just select the red record icon. Then you will hear the audio from the UA console software and not from the channel input.

2. If you prefer, you can monitor from the Studio One Console, in this case you do need to have the blue ([input monitoring) icon lit to be able to hear your performance. If you do this, turn the fader down on the UA Console 2 software input channel.

Monitoring via both is not a good idea, you will hear both the audio from the UA Console Software and from Studio One and the sound will be at best phasey and at worst have an echo on it.

Summary

Using an Apollo as an interface offers the advantage of recording with great sounding plug-ins at almost zero latency, following these simple steps will make sure you can get the best from your Universal Apollo interface with Studio One.

James from Pro Tools Expert gets an exclusive first look at the new UAD Apollo Twin desktop audio interface from Universal Audio, find out what he thinks in this extended show and tell video review. Watch the exclusive video interview with Universal Audio here http://youtu.be/Sq9dk4IfZGo','source':'

Set Up New Mac

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Studio One 4.53 introduced integration with Native Instruments’ Komplete series of keyboards, which is a big deal. Although these keyboards are theoretically dedicated to NKS-compatible plug-ins and mixer/transport hands-on control, with Windows systems (Mac fans, there’s more on this later) you can use the keyboard as a general-purpose, hands-on MIDI controller for non-NKS plug-ins, including all bundled PreSonus effects and instruments (as well as plug-ins from other manufacturers). Also, unlike standard NKS, you’ll be able to control effects, regardless of whether or not they’re inserted in an instrument track.

There’s a lot to cover, and since this is more like a tutorial than a tip, it’s split into three parts: DAW control with Studio One, creating custom templates for plug-ins, and how to apply the templates in your workflow.

INTEGRATING THE KEYBOARD

Choose Studio One > Options > External Devices, and click Add. Scroll to the entry for Native Instruments, unfold it, and select either your A/M or S series keyboard for Receive From and Send To. I’m using an S49 (Fig. 1).

Figure 1: Komplete is selected as the keyboard, with Split Channel selected for more convenient use with multitimbral instruments, like IK Multimedia’s Syntronik. Realflow 2014 mac torrent pirate bay.

INTEGRATING THE CONTROL SURFACE

Now let’s set up the Komplete keyboard as a new control surface. Again, choose Studio One > Options > External Devices, click Add, and scroll down to the entry for Native Instruments. Unfold it, and select Komplete Kontrol DAW – 1 for both Receive From and Send To (Fig. 2).

Figure 2: How to add the Komplete keyboard as a control surface for DAW integration.

CHOOSING THE MODE OF OPERATION

To edit NKS plug-ins, press the PLUG-IN mode button in the keyboard’s cluster of six buttons, toward the upper right. Controls that don’t relate to a synth or effect, such as the Transport, Metronome, Tape Tempo, and the like remain active. When it’s time to mix and you want full integration with Studio One’s mixer, press the MIXER button.

The following describes how the control surface for the current S-series Mk2 keyboards integrates currently with Studio One; click here for information from PreSonus on suitability with other NI keyboards, and updates.

Transport. The Play, Rec, and Stop buttons do what you’d expect, but there’s more to the story than that—there are several nuanced options. The following assumes you’re starting from a stopped transport.

Press Play to begin from the Play Start marker. If there’s no Play Start marker, playback starts from the cursor’s current position. If you stop and re-initiate playback, playback re-starts from the cursor’s original position.
Return to zero: When the transport is stopped, press Stop again to return to zero.
Pushing on the big navigation knob toward the right initiates playback from the Play Start marker. (Note that this involves pushing downward into the knob, not left/right or up/down.) If there’s no Play Start marker, playback begins from the Loop Start, whether the loop is active or not.
Push downward on the navigation knob during playback to jump to the Loop Start, which resumes playback automatically from there.
Pressing Shift+Play operates the same way as using the navigation knob for playback control.
With any scenarios involving the Play Start marker, it doesn’t matter if it’s before or after the Loop Start, or within the loop itself.
Press Rec to initiate or punch-in recording. Press again to end or punch out recording. If you don’t record audio or MIDI while recording is active, there’s no blank event—it’s like nothing ever happened.
Shift+Rec toggles the count-in between on and off. When you press Shift and count-in is enabled, the Rec button letters light bright red. Otherwise, the rec button letters are dimmed.
Loop toggles the loop between on and off. To move the loop (whether enabled or not), hold the Loop button down, and rotate the navigation knob. For example, if the loop extends for four measures, moving the knob 1 click clockwise moves the loop forward to the next four measures. Moving the knob 1 click counter-clockwise moves the loop backward to the previous four measures.
Metronome toggles between on and off.

Mixer

The display for each visible channel shows the channel’s name, fader level, pan, metering (but not overloads), and status of a channel’s Record, Solo, and Mute buttons.
Track select buttons. The eight buttons above the display select a track, however, moving the navigation dial left or right moves from one track to the adjacent track (left or right respectively).
Hold Mute, and then select a channel with its track select button, to mute/unmute. The keyboard’s corresponding select button glows yellow.
Hold Solo, and then select a channel with its track select button, to solo/unsolo. The keyboard’s corresponding select button glows blue.
Shift+navigation knob move down (not push inward) selects level for the selected track. This mode remains selected until changed. Both the associated track knob, and the navigation knob, alter the selected track’s level. Holding Shift while moving either knob provides finer resolution. The individual track knobs provide the finest resolution.
Shift+navigation knob move up (not push inward) selects pan for the selected track. This mode remains selected until changed. Similarly to level selection, both the track knob and navigation knob alter the selected track’s pan, and holding Shift while moving either knob provides finer resolution. The individual track knobs provide the finest resolution. Note: The Pan control for the Main channel is always shown panned full left. You can ignore this, because the Main channel doesn’t have a pan control anyway. The pan is centered properly.
Auto toggles between Read and Touch (write) automation for the selected track. Be aware that you can’t choose automation off with Auto.
Left/right arrow buttons select channels in groups of 8. However, if the last bank of eight has fewer than eight channels, the display will fill with the last eight channels. For example, if you expect the last bank to be channels 17-24 but only 22 channels are in use, the keyboard will display channels 15-22. This is by design, because it makes sure there aren’t any blank channels—you can always see eight channels at a time. If you hit the left arrow button, it won’t go back to channel 9, but be offset by the same amount as the previous bank. To “reset” the banks, hit the left arrow button until you’re back at the beginning.

Setting up a mac for studio one computer

Miscellaneous Functions

Undo and Redo. For Redo, hold Shift and press Undo.
Quantize. This quantizes whatever is selected, at the current quantize value.
Tap this, even if not lit, for tap tempo. I love this feature when starting a song.

This takes care of the mixer and transport functions. Next week, we’ll cover how to create custom MIDI control setups using the Komplete Kontrol application, and that will prepare us for Part 3, which describes how to create “faux NKS” control surface capabilities for PreSonus instruments and effects. Yes, it really is possible…