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Digital Subscriptions > MusicTech > Nov 2019 > GETTING STARTED WITH MIXING IN STUDIO ONE

GETTING STARTED WITH MIXING IN STUDIO ONE

Studio One is fast becoming the DAW of choice for producers working at every level: from hobbyists to professionals. Here, we highlight some of the software’s best features to help take your mixing skills to the next level

STUDIO ONE TUTORIAL

Since its release in 2009, Studio One has developed quite a following and has fast become a leading DAW for hobbyists, project-studio owners and serious audio professionals. With each iteration, Studio One has provided users with more and more tools to compete with the biggest platforms out there. Now at version 4.5, Studio One is perfectly suited to handling even the most challenging recording and mixing tasks. In this article, we’ll look at the tools and some tricks that make it easier than ever to mix to a professional level.

To begin with, open a new session from the main screen. So far, there’s nothing there but an empty session. You’ll have to add tracks (audio, group busses, FX tracks) as you need them. What’s nice about Studio One is that you can literally drag and drop your audio files into the session window and audio tracks will be created for each one. This same principle applies to MIDI parts and effects tracks; just drag-anddrop them into an empty area in the session panel and the software will create the tracks for you.

Alternatively, you could start from a template. It’s often preferable to work this way, because it’s so much faster to get mixing if you don’t have to worry about building all your tracks. Just create all the tracks you think could be in a session (kick, snare, hi-hats, bass, guitar 1, guitar 2, etc), then add your effects tracks (room reverb, delay, hall reverb, etc). The template can also contain the plug-ins, so if you have a favourite reverb, delay, compressor or EQ, you can store this as part of the template and have it load up each time you create a new song file. Once the template is created, it’s simply a matter of dragging audio files to the appropriate tracks.

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About MusicTech

It’s pretty much certain that if you’ve bought this magazine, then you will have parted with some of your hard-earned cash on gear for your studio. And let’s be honest, it’s a safe bet you’re not done yet. Unfortunately, our wallets aren’t bottomless, but even though we might think we have to spend ever-increasing fortunes on new tech to enhance our studios, it’s actually far cheaper to branch into the world of free software. In 2019, there are near-mountains of free software available – tailored for each part of the production process. But it can be a time-consuming quest to amass (and test) the right tools for your needs. So in this issue, we’ve rounded up the very best freeware that you can download to create your own free virtual studio. You might have also noticed that this issue comes with an added extra! We’re celebrating a whopping 200 issues of MusicTech – and to mark the occasion, we’ve put together a brand-new, freshly written guide to mixing. We hope it will serve as a companion to you in the studio, should you need to refresh your knowledge of key principles, mixing approaches and more. Elsewhere, we’ve got the final part of our Synthesis Masterclass series, which details how the computer became the ultimate synth! We also speak to former Pulp bass player and now Grammy-nominated producer Steve Mackey about his diverse career and also to the astute people at Black Lion Audio, who have combined the very best of modern technology with vintage designs. In our reviews, we spend time with Behringer’s Odyssey and discover a faithful and competitively priced recreation of a classic. We’ve also got our usual in-depth tutorials, tips and guides, so I hope you enjoy our 200th issue!

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