WATCH ALL STUDIO ONE WITH JOE GILDER VIDEOS: • Studio One with Joe Gi... STUDIO ONE: www.presonus.c... PRESONUS SHOP: shop.presonus.... #JoeGilder #StudioOneWithJoeGilder
Learning to print effects will make you a better engineer/producer than saving it all for later. The best part is you can record the same performance on 2 tracks at once - one with effects and one dry. (Simple record enable to tracks from the same input and record simultaneously.) That way if the printed effects track isn't working later on, you still have a raw back-up to "save the day". I always record as if I have limited tracks and effects to work with. Those limitations are indeed a strength. Unlimited possibilities can be overwhelming in a way that limited possibilities won't be. In the end, they're both different skill sets to learn and use and you'll be a better engineer/producer for going deep into both approaches. This is a super important video for anyone working in the modern world of DAWs. Thank you Joe for a fantastic video (as always!)!
Definitely. I’m not too far off in my approach. Whenever I got my first UA Apollo rack unit, I really embraced the amazing features of their “Console” Interface control system. It was such a game changer for me, stepping up from some old firewire M-Audio Profile 2828 and a Digi 003 a couple of Apollo’s back in 2014. Being able to track everything with the Unison Neve 1073 Preamps, and whatever other plugins I needed on the tracks, including Aux sends for Reverb or Parallel Buss’ with absolutely no audible latency thanks to the onboard DSP chips is a godsend, and I can also treat the “console” and the plugins on the Apollo like they’re hardware units that I can record to disk. It’s also great for band practice, and doing live sessions if you have a couple and daisy chain them together with thunderbolt. One thing I wish I would have known when I first started out, is that pretty much any big studios/professional engineers are not shy about how much gear and plugins they use on their tracks. Pretty much every track gets a bare minimum of EQ and compression on the way in from the console, but also many of the important tracks like the Main Vocals, Kick/Snare/Room Mics, Bass, Acoustic Guitar, etc…get some pretty heavy handed compression[1176>LA2A on Vocals/Bass, DBX 160/Distressors on Kick/Snare], Wideband EQ Highpass/Air cut and boost, and atleast some de-essing on vocals before and after Comp/Eq, and then into the converters. Then All of the racks will get treated pretty heavily again, along with being sent to all the time based effects and fx/instrument busses. Especially the main vocals in any major label song, can have up to 40 db - 60+ db of gain reduction but spread out between many different compressor units on both the hardware and software side. Then will also have even more added when the tracks are bussed together. So don’t be afraid to set up a couple separate plug-in chains and busses, if you want to mimic a studio workflow with outboard and in the box units. Just remember to spread them out! One of my biggest mistakes early on was doing incredibly drastic boosts and cuts on each of my tracks, and would only use one EQ plugin to do it. Same with compression. I’d just lower the threshold on the vocals till the needle was pinned. lol. Nowadays, I know that theres an order to things. You may high-pass the low end on your tracks so the low end doesn’t trigger the compressors like crazy on the way in. Then use an 1176 to grab any big transients and a LA2A to slowly squeeze the track to come out at a pleasant overall level without any crazy peaks that will rip your ears off. Just in case, to state the obvious, there will also be plenty of tracks that may not need hardly any processing or possibly any at all. I just know I got a lot of bad info about how “pro-mixers” never overcompressed or used a bunch of plugins on their tracks to fix “bad recordings”. It’s all about context, but don’t be afraid to make a in-the-box copy of your favorite mixers setup by mimicking the front end hardware by tracking into the plugins, and then going into a completely separate set of plugins for the mix stage of it. There are so many great plugins and cheap hardware out there now that sound absolutely great now. I would totally pick up a used Apollo Twin, and then maybe a used 8 channel Focusrite or any decent interface/multi-pre-amp rack unit with optical ports to go straight into the Twin. The Apollo will come with Luna and a set of all the classic analog gear as plugins. One other great way to learn is to try mixing a live band. I’d suggest mix a friends band practice. If you don’t have a friends band, churches are a pretty relaxed way to get some experience, if you can go mix a practice session.I think the main overall point is to not get overwhelmed by choice and stay creative.
Guys thank you so much for all the info.. that was marvelous! I'm a little bit late here but I have a question.. what about gain staging? How do you guys usually setup input/output of the plugins and how many (in average) dbLfs you use on each track? Thanks!
Joe, I am not sure if you realize, what a great step PreSonus took by asking you to do these tutorials. I want to congratulate you and thank you for the way you explain things in a very clear manner for an average user. You have a great teaching gift. I can't wait for your videos. I learn so much from them and this positive attitude and energy. PreSonus well done! Joe excellent job you are doing to the Studio One community. I personally appreciate it very much.
Another benefit is saving CPU processing during playback and mixdown. Many plug-ins like basic compression and EQ get set once on a drum set and rarely change during a session. Save your plug-in processing power for more creative uses.
When I first read this, I thought that you could get the same benefit by just bouncing the completed vocal track. Then I realised the point. When you are editing you vocals from multiple tracks, or rearranging them in various creative ways, every take will already have the basic effects. This would save a lot of time over bouncing everything, and a lot of CPU over having plugins still on the track. Great tip!
This is really engineering I would say. Creating the vibe going in instead og trying to make it happen in the mixing stage. My recordings improved tremendously when I understood this, and started implementing it in my own productions. Makes recording more exciting too.
Pro Tools: If you want to record the effects you create an aux channel, you put the effects on that, then you create an audio channel, set the input to a bus number, set the aux channel to that same bus number. Studio One: Put the plugins on the input.
I have a vocal record template with just a touch of compression on insert to keep from hitting past digital zero, you could use limiter. I think it's a good practice so you don't ruin vocal takes.
This is how I've been recording my fairly large acoustic drum kit for quite a while. I put a large computer monitor in front of the kit and control studio one remotely with a wireless keyboard. Everything goes into and is monitored out of a Quantum 4848/HP60. I put on sealed headphones and can limit, gate, EQ, you name it without having to have a second person turning knobs on expensive outboard gear and can diel in a drum sound to sound just like the drum when I take the headphones off or like anything I can come up with. A great way to tame transients, prevent clipping and shape tone. With a good set of sealed headphone it's also a great way to practice with a pleasing drum sound and without blowing out your ears. I keep a volume knob on my belt and can adjust it accordingly. Thirty tracks with thirty songs no problem. Just turn all of the songs off in the monitor sends and turn on or off what ever song you want to play to as you go. It was a lot of trial a error to begin with and I had to figure a lot of it out as I went. I hope this concept helps someone. Joe, Thanks for covering this.
I love this! It's exactly the same with having a hardware synth instead of a software synth. With the software, you'll tweak for ever and ever. Hardware is like "yup this sounds sick let's track it" and then you have to live with it.
Hey Joe, I have Amplitube 5 inserted as you explain but I still hear the dry guitar signal when I'm recording which is annoying, I just want to hear the Amplitube sound. I have S1 Artist and the Studiobox I2. Can you help? Thanks!
Oh, you're right, this is so ancient, been recording vocals like this using a gate and sometimes a compressor. But I also love recording vocals directly with autotune like this. I even think it is the best way to record an autotuned vocal. As long as one knows the exact key, this is the best way to get the best autotuned vocal.
I just discovered this tonight as I had some room noise through my cheap condenser and saw I could toss an expander on the input. I guess the algorithms are getting psychic. Good tips!
Hey Joe,great video! Just came across your video via my Studio One plus membership/ Been using Studio one as a hobbyist for about 3 years.This is a trick I never considered, and his will be cool for some creepy vocal FX for my horror ambient tracks,esp at Halloween,lol Lots of potential creativity right there!!
This my exact recording practice. I record vocals with antelope audio Zen Go, through the processors, pre amp, compressor, expander and sometimes Auto tune synergy core and tape emulation. I like the results I get.
It took me a little bit of time to realize the actual mechanism you're using. It's simple, but it wasn't immediately obvious to me. So, for future readers (and future me when I forget this), the trick here is putting the plugins into the insert rows on the input strip itself. So it's the input to the audio track you're recording to. Simple, and effective. And I do agree with the spirit of recording live tracks like this. Part of the fun of playing live is the danger!
Ardour, the open source DAW also has this feature. In the mixer strip right mouse click on the plugin space, "Disk I/O" -> "Custom" (default is Pre-Fader). The "Recorder" item shows up and you can move it to whatever place you want, at the end of plugin chain or in the middle between plugins, after or before the fader, or so. The sound recorded to your track comes from this "Recorder" item position, so you can record the sound with some plugins of your chain and some not, if you want to. :) Cheers!
In my case, I’m the songwriter, the singer, the instrumentalist and the engineer. I have been using an Avalon VT 737 channel strip hardware for many years. The Avalon has great preamps that provide a nice strong vocal or acoustic guitar signal. What I notice now is the compression is NOT triggering quick enough usually on the initial vocal signal, so it allows a slight amount of clipping which is obviously unwanted. If it needs to be repaired that would be more than the $99 UA Avalon VT 737 plug-in. If it duplicates the hardware results, I’m all in. I would never add reverb, echo or other effects that are written to the track. If I have a track that clips then I have to sing it again anyway. In the mean time I’ll use Fat Channel and other Presonus std plugins to get started. Great video, thanks
I love this! Will be recording my noisy synths like this with all the distortion and effects right away. Cuz basiclly I often find a great tone, then I record and then usually start fidelling around trying to make it better, which often.... I dont, just trying to get back to square one. This will actually speed up my work flow, not wasting time trying to fix what I already think sounded great
Nice video on this topic also because I had forgotten that plugins on the input was possible because I never used the input view. Best of both worlds: 1 track recorded with plugins The second track recorded simultaneously with the same hardware input as track 1 without plugins. Afterwards you can play with it so you never finish your project 😀
This will not work on the input !! You didn't miss something I was wrong !! You can always record two tracks with the same input but the FX for 1 track has to be on the insert of the track and not on the insert of the input !! Sorry for that. If you have the FX on the insert of the track you always have the track without FX. Sorry I was stupid !!
Lol I’ve been using studio one for yearrrsss and I didn’t even know we could do this 😂👍🏼 I love it!! I always use analogue gear here in the studio, but I find my clients and in my own projects, we are using more amp sims etc.. I like printing effects and certain tones not just because of the fact that you live with it and move on, but also it saves a lot of processing power later when mixing 👌🏼👌🏼
Thanks JOE for taking my suggestion and make an excellent video. Just a little add, that is NOT happens with ampire. If I choose another amp sim (amplitube) I have to engage and disengage monitor or Z green button in order the hear the preset changes
just a personal opinion and might sound ridiculous to some. The only FX on a true vocalist's vocals should be some very cool Reverb Period. Compression, delay, pitch correction, ETC. which I have tried in many years of singing and vocal recording has always changed the quality of the tone in my vocals. In recent years the only FX I use on my vocals is a nice room reverb in Studio one after all the vocal editing is done and have never been happier with the quality of vocals and its natural tone.
Thanks Joe! I have been doing this for a while and share it with everyone I can. Now I can just point them to your video. The way I do it is to use the Plugin Alliance channel strips with the different tracks for the TMT. So far I have found that my favorite for every channel is the Lindell 80 series. Technology is great as you could mix and match the different channel strips, but committing to a sound has made mixing easier and less guess work.
I love this feature! I use it every week recording my church’s livestream. Any zero latency plug ins; Fabfilter, Waves, Plug-in Alliance.. It’s fun to commit.
Also in my case, I’m a singer-songwriter and musician before I’m a recording engineer. I use Studio One Pro (since version 1.x) (TEAC 3340s way back when) to write down (record) my basic song ideas, so I don’t forget, then later build the song to completion in Studio One. I once used Nuendo, then Cubase, but now only Studio One and it is a great DAW.
Beginning and intermediate level users would be shocked how often Grammy nominated/winning engineers print effects. When they hear what it should sound like they go with it. It ends up being more organic, human, imperfect, and interesting. I was surprised.
One thing that I would suggest for the people who record themselves is to record regular and then create plug-in chains or presets that sound good to them save them and load them up on the input channel later that way, if you feel you have the right EQ or compression settings or whatever for your vocals, you could always just load them up as presets on the input channel so it gives you like a hardware sound and workflow, but also the recall ability of digital the best of both worlds, lol
Hi Joe I have been using UAD LUNA for the last 12 months but am drifting back to S1 v5 as it has so many features I am recording my rock guitars through my helix. As it pushes a clean signal out of usb 7&8 I have been recording the processed signal through my apollo interface along with the clean di through USB 7 Having watched this video I will also record out of usb 8 and apply a guitar amp plug in giving me 3x options Sorry I know that wasn't the point of the video 😎 Ian
Reminds me of when i was a wedding photographer. First i used to shoot thousands of frames and then it would take DAYS just to sort through and throw out the duds for a single wedding. Eventually I started aiming for LESS frames and more keepers. Every shutter release was more purposeful and committed. I think the quality of my work improved as a result. I think the mental discipline of commitment in this context might do the same (improve your craftsmanship).
This is what effect chains are all about kids! Find a few effects you like combined on your vocals and save them as a chain. Make different chains for backups etc. I still don't add them until the final mix because once you're committed, that's it!! Jack ~'()'~
the good thing about it is no latency from plugins. If you are a beginner and dont understand EQ and Compression especially i would not recommend it but if you are experienced it might make things better.
As a drummer who doesn't have much recording experience, it would be really cool to be able to record audio to video simultaneously. Rec n Share is a app that will do it in conjunction with the Yamaha EAD10. The problem is the EAD sound quality is awful, and the app can greatly be improved on. I've heard your examples of some suggestions you gave Presonus. I suppose it's worth a shot? V 6.5 lol
Does this make sense? I am not a great singer (home hobbyist). Would it make sense to put something like Waves Real Tune Live on the input and print the subtle corrections. But then use the main vocal tuner after. Point, I am not running two vocal tuners after input.
Thanks for the video. I am new to using studio one. I am using arcade plug-ins. My instrument tracks are picking up sound but not recording and I cannot seem to find an answer that helps. Any advice as to what I might be doing wrong? Thanks
Hello Joe, Is it possible to record through the plugins on one channel and then simultaneously onto a second channel being only "Dry" to print? What would be that workflow if you want the plugins to feed to the "Artist" and then you have the dry running and available for the engineer for a backup?
Hi Myron, I think this would definitely be possible. I've been using Studio One for years. I believe if you set up a 2nd channel and set the input to the same but don't insert a plugin you should be good to go. Could be wrong but it's worth a shot.
@@strickland306 That was the exact same workflow that I had in mind. I can remember being able to do something similar to this with Cakewalk's Pro Audio back in the day and even when they moved up to Sonar. I am sure that Presonus has probably had this feature for a while, but this workflow has not been on my mind for a good minute. I am glad that Joe swept off the cobwebs from my memory banks. Can't wait for the in-depth video for this workflow. I would love to hear some of your things. When you get a chance drop a link. Have a great day. Thanks, Mark for sharing.
@@myrongrimes-broadcastmusic3247 If I'm thinking correctly, it should be a fairly simple process. I may try it a little later today. I am primarily doing online drum tracks in my home studio, with an occasional full band project with local guys. I'll try to get ya something for sure.
I think I already know the answer. I have a female vox that is moving around when singing but also goes from very soft to very loud. Could lite compression on the input save me a load of trouble with smoothing out her vocal dynamics? I had to use compression, vocal rider and more to tame. OR is it going to be the same exact thing as adding compression to track after and I might create more problems than solve?
I always put the effect directly onto the track while recording the vocal(s) so the singer can have what they need to sing. It doesn't stay and I can remove it to have a dry track later as also, a dry stem. I then do what I need to later with the track(s). I've never had an issue with doing what I do. PreSonus just rules!
@@hadicarefree This has nothing to do with latency. Your latency is coming from within your set up. Check to see what your numbers are and adjust accordingly. Also, look up latency issues via Presonus to view how to adjust what your problems are and you should be ok
Do you have a video on how to download, install and set up a plug in by chance? Because I am completely lost, I’ve watched other videos on “how to” but it isn’t working. Any help is appreciated. I’m an idiot. Thanks in advance
the fact is that the singer will be hearing the effect and singing with it (effecting their performance because of what they are hearing during tracking with the effects- a good thing!) as its recorded - so A perhaps a better Vox performance ((with eg, fast slap back effect - even to use as a lowvolparallel in the mix later worst case maybe - or maybe record the dry Vox on one mono track and the delay from that liveperformance separately on another track,, then the wet delay could always be used nicely with the dry Vox, obvious but people overlook how much better the result could be,,,, then can always use a delay as an insert on the dry Vox also later whilst mixing)) and B will be totally different result than just a clean vocal and adding inserts after. I know that if I use a stomp delay pedal while I play guitar and stomping it to change the tempo as I'm playing freestyle I cant recreate that if I never comitted to it - so SOME things are best to record with some effect, simply for the better performance also. A liverecordingshaker maybe adding a fast verb or even a stereo aux fx bus with a bit of width stuff eg, maybe clip it etc... ? ! I do think people overlook recording some things live performance with effects. I much prefer some subtle effects on the way in, and also have 2 mics one with the effect and one for the dry Vox also to do stuff to with inserts afterwards then copy use that chain on a final live performance take. I generally find peoples recorded stuff these days to be too shitty because of the digital 'lets record it dry' thing - acoustic guitar say 2 mics I might want to use some gentle flanging or chorusing on the way in maybe... this is how older stuff was done? I know that with my guitar amp I get an awesome sound by using my pedals on the way in, so why not with loads of stuff effects. Its something that vocal delay automation rides need I feel, because the engineer gets in the zone doing their 'performance' of automation on a delay volume ride on a fxchannelbus on the Vox, but then plays it back and its not identical, this is also where I am going to experiment with printing also. I think its important if experimenting around with this to record 2 tracks for each, a dry and then the effect on another, unless... Just sharing my thoughts on it.. I.E. Magic has to be captured! not expected to appear magically on digital mix down! Just my opinion
Hi Joe, how do you record vocal in studio one where the situation is your vocalist wants to listen to your plugins such as reverb or autotune without having the plugins stamped on your actual track? Thank you in advance.
@@Betrayedbyreason thank you dor your reply. I did that, but the latency is so obvious. Looking how to set the delay of the latency to compensate the direct effect monitoring latency. If someone out there can help me with this?, thank you in advance. FYI my audio interface is Zoom UAC3.
I don't want to print the FX, I would like somebody to tell me how to add some reverb to my tracking vocal from S1 for the benefit of the singer as my SSL 12 doesnt have FX without recording the reverb?
Hi Joe, I imported a music file and it plays, but when I record the vocal it shows that I am recording,but no playbook? Any ideas what I am not doing? Thank You
Hi Joe - perhaps you should clarify this method only works if you have the effects in mono. It won't work for stereo reverbs and stereo delays as the recording will be in mono. That was what I meant in my original comment which seems to have caused some disagreement!
The reason I would use this is to record 2 tracks of the same input for my guitar. One track is the signal with the effects pre-applied and the other one is the clean signal, when I want to change the FX during the song. But since I am new to this maybe there is another way to do this (e.g. clean-distorted crossover). After all the question is not so relevant to the video but I would appreciate your input if there is a way to change the FX during the song?
Learning to print effects will make you a better engineer/producer than saving it all for later. The best part is you can record the same performance on 2 tracks at once - one with effects and one dry. (Simple record enable to tracks from the same input and record simultaneously.) That way if the printed effects track isn't working later on, you still have a raw back-up to "save the day". I always record as if I have limited tracks and effects to work with. Those limitations are indeed a strength. Unlimited possibilities can be overwhelming in a way that limited possibilities won't be. In the end, they're both different skill sets to learn and use and you'll be a better engineer/producer for going deep into both approaches. This is a super important video for anyone working in the modern world of DAWs. Thank you Joe for a fantastic video (as always!)!
Definitely. I’m not too far off in my approach. Whenever I got my first UA Apollo rack unit, I really embraced the amazing features of their “Console” Interface control system. It was such a game changer for me, stepping up from some old firewire M-Audio Profile 2828 and a Digi 003 a couple of Apollo’s back in 2014. Being able to track everything with the Unison Neve 1073 Preamps, and whatever other plugins I needed on the tracks, including Aux sends for Reverb or Parallel Buss’ with absolutely no audible latency thanks to the onboard DSP chips is a godsend, and I can also treat the “console” and the plugins on the Apollo like they’re hardware units that I can record to disk. It’s also great for band practice, and doing live sessions if you have a couple and daisy chain them together with thunderbolt.
One thing I wish I would have known when I first started out, is that pretty much any big studios/professional engineers are not shy about how much gear and plugins they use on their tracks. Pretty much every track gets a bare minimum of EQ and compression on the way in from the console, but also many of the important tracks like the Main Vocals, Kick/Snare/Room Mics, Bass, Acoustic Guitar, etc…get some pretty heavy handed compression[1176>LA2A on Vocals/Bass, DBX 160/Distressors on Kick/Snare], Wideband EQ Highpass/Air cut and boost, and atleast some de-essing on vocals before and after Comp/Eq, and then into the converters. Then All of the racks will get treated pretty heavily again, along with being sent to all the time based effects and fx/instrument busses. Especially the main vocals in any major label song, can have up to 40 db - 60+ db of gain reduction but spread out between many different compressor units on both the hardware and software side. Then will also have even more added when the tracks are bussed together. So don’t be afraid to set up a couple separate plug-in chains and busses, if you want to mimic a studio workflow with outboard and in the box units. Just remember to spread them out! One of my biggest mistakes early on was doing incredibly drastic boosts and cuts on each of my tracks, and would only use one EQ plugin to do it. Same with compression. I’d just lower the threshold on the vocals till the needle was pinned. lol. Nowadays, I know that theres an order to things. You may high-pass the low end on your tracks so the low end doesn’t trigger the compressors like crazy on the way in. Then use an 1176 to grab any big transients and a LA2A to slowly squeeze the track to come out at a pleasant overall level without any crazy peaks that will rip your ears off.
Just in case, to state the obvious, there will also be plenty of tracks that may not need hardly any processing or possibly any at all. I just know I got a lot of bad info about how “pro-mixers” never overcompressed or used a bunch of plugins on their tracks to fix “bad recordings”. It’s all about context, but don’t be afraid to make a in-the-box copy of your favorite mixers setup by mimicking the front end hardware by tracking into the plugins, and then going into a completely separate set of plugins for the mix stage of it. There are so many great plugins and cheap hardware out there now that sound absolutely great now. I would totally pick up a used Apollo Twin, and then maybe a used 8 channel Focusrite or any decent interface/multi-pre-amp rack unit with optical ports to go straight into the Twin. The Apollo will come with Luna and a set of all the classic analog gear as plugins.
One other great way to learn is to try mixing a live band. I’d suggest mix a friends band practice. If you don’t have a friends band, churches are a pretty relaxed way to get some experience, if you can go mix a practice session.I think the main overall point is to not get overwhelmed by choice and stay creative.
Guys thank you so much for all the info.. that was marvelous! I'm a little bit late here but I have a question.. what about gain staging? How do you guys usually setup input/output of the plugins and how many (in average) dbLfs you use on each track? Thanks!
Joe, I am not sure if you realize, what a great step PreSonus took by asking you to do these tutorials. I want to congratulate you and thank you for the way you explain things in a very clear manner for an average user. You have a great teaching gift. I can't wait for your videos. I learn so much from them and this positive attitude and energy. PreSonus well done! Joe excellent job you are doing to the Studio One community. I personally appreciate it very much.
This is one thing I love about Studio One. I have a noisy home and putting a gate on the input saves me a lot of editing later.
What kind of gate
@@tycollins4439 noise gate or expander works well in some situations.
Another benefit is saving CPU processing during playback and mixdown. Many plug-ins like basic compression and EQ get set once on a drum set and rarely change during a session. Save your plug-in processing power for more creative uses.
Man I wish I knew this years ago, surely would have saved me time and money.
When I first read this, I thought that you could get the same benefit by just bouncing the completed vocal track. Then I realised the point. When you are editing you vocals from multiple tracks, or rearranging them in various creative ways, every take will already have the basic effects. This would save a lot of time over bouncing everything, and a lot of CPU over having plugins still on the track. Great tip!
This is really engineering I would say. Creating the vibe going in instead og trying to make it happen in the mixing stage. My recordings improved tremendously when I understood this, and started implementing it in my own productions. Makes recording more exciting too.
Pro Tools: If you want to record the effects you create an aux channel, you put the effects on that, then you create an audio channel, set the input to a bus number, set the aux channel to that same bus number.
Studio One: Put the plugins on the input.
I could never relate to Protools interface.
This!!!
How to stop latency while recording in protools while doing this
@@M.R.Nation buffer size 128 or more
@@M.R.Nation
I have a vocal record template with just a touch of compression on insert to keep from hitting past digital zero, you could use limiter. I think it's a good practice so you don't ruin vocal takes.
I do this on every track. Everything for me goes through the slate virtual channel and new York preamp on the input section. I love this feature.
This is how I've been recording my fairly large acoustic drum kit for quite a while. I put a large computer monitor in front of the kit and control studio one remotely with a wireless keyboard. Everything goes into and is monitored out of a Quantum 4848/HP60. I put on sealed headphones and can limit, gate, EQ, you name it without having to have a second person turning knobs on expensive outboard gear and can diel in a drum sound to sound just like the drum when I take the headphones off or like anything I can come up with. A great way to tame transients, prevent clipping and shape tone. With a good set of sealed headphone it's also a great way to practice with a pleasing drum sound and without blowing out your ears. I keep a volume knob on my belt and can adjust it accordingly. Thirty tracks with thirty songs no problem. Just turn all of the songs off in the monitor sends and turn on or off what ever song you want to play to as you go. It was a lot of trial a error to begin with and I had to figure a lot of it out as I went. I hope this concept helps someone. Joe, Thanks for covering this.
I love this!
It's exactly the same with having a hardware synth instead of a software synth. With the software, you'll tweak for ever and ever. Hardware is like "yup this sounds sick let's track it" and then you have to live with it.
Joe is always on point!!!!!!!!!!
Hey Joe, I have Amplitube 5 inserted as you explain but I still hear the dry guitar signal when I'm recording which is annoying, I just want to hear the Amplitube sound. I have S1 Artist and the Studiobox I2. Can you help? Thanks!
You explain things so well and you never ask for money
Effect sounds amazing. Thanks for sharing the settings
Oh, you're right, this is so ancient, been recording vocals like this using a gate and sometimes a compressor. But I also love recording vocals directly with autotune like this. I even think it is the best way to record an autotuned vocal. As long as one knows the exact key, this is the best way to get the best autotuned vocal.
I just discovered this tonight as I had some room noise through my cheap condenser and saw I could toss an expander on the input. I guess the algorithms are getting psychic.
Good tips!
Hey Joe,great video!
Just came across your video via my Studio One plus membership/
Been using Studio one as a hobbyist for about 3 years.This is a trick I never considered, and his will be cool for some creepy vocal FX for my horror ambient tracks,esp at Halloween,lol
Lots of potential creativity right there!!
This my exact recording practice. I record vocals with antelope audio Zen Go, through the processors, pre amp, compressor, expander and sometimes Auto tune synergy core and tape emulation. I like the results I get.
It took me a little bit of time to realize the actual mechanism you're using. It's simple, but it wasn't immediately obvious to me. So, for future readers (and future me when I forget this), the trick here is putting the plugins into the insert rows on the input strip itself. So it's the input to the audio track you're recording to. Simple, and effective. And I do agree with the spirit of recording live tracks like this. Part of the fun of playing live is the danger!
Ardour, the open source DAW also has this feature. In the mixer strip right mouse click on the plugin space, "Disk I/O" -> "Custom" (default is Pre-Fader). The "Recorder" item shows up and you can move it to whatever place you want, at the end of plugin chain or in the middle between plugins, after or before the fader, or so. The sound recorded to your track comes from this "Recorder" item position, so you can record the sound with some plugins of your chain and some not, if you want to. :) Cheers!
This is very useful to me and it solves some problems I was having, thank you!
I like your attitude about committing instead of tweaking forever.
For me this is to correct and adjust "not so ideal" microphone according to the vocal so it always ready at anytime..
thank joe , that's the only thing that's come in my mind after this video!
So used to recording with a compressor in the studio, this is a great way to emulate that workflow at home and save some cpu.
In my case, I’m the songwriter, the singer, the instrumentalist and the engineer. I have been using an Avalon VT 737 channel strip hardware for many years. The Avalon has great preamps that provide a nice strong vocal or acoustic guitar signal. What I notice now is the compression is NOT triggering quick enough usually on the initial vocal signal, so it allows a slight amount of clipping which is obviously unwanted. If it needs to be repaired that would be more than the $99 UA Avalon VT 737 plug-in. If it duplicates the hardware results, I’m all in.
I would never add reverb, echo or other effects that are written to the track. If I have a track that clips then I have to sing it again anyway.
In the mean time I’ll use Fat Channel and other Presonus std plugins to get started. Great video, thanks
I love this! Will be recording my noisy synths like this with all the distortion and effects right away. Cuz basiclly I often find a great tone, then I record and then usually start fidelling around trying to make it better, which often.... I dont, just trying to get back to square one. This will actually speed up my work flow, not wasting time trying to fix what I already think sounded great
Nice video on this topic also because I had forgotten that plugins on the input was possible because I never used the input view.
Best of both worlds:
1 track recorded with plugins
The second track recorded simultaneously with the same hardware input as track 1 without plugins. Afterwards you can play with it so you never finish your project 😀
This will not work on the input !! You didn't miss something I was wrong !! You can always record two tracks with the same input but the FX for 1 track has to be on the insert of the track and not on the insert of the input !! Sorry for that. If you have the FX on the insert of the track you always have the track without FX. Sorry I was stupid !!
Lol I’ve been using studio one for yearrrsss and I didn’t even know we could do this 😂👍🏼 I love it!! I always use analogue gear here in the studio, but I find my clients and in my own projects, we are using more amp sims etc.. I like printing effects and certain tones not just because of the fact that you live with it and move on, but also it saves a lot of processing power later when mixing 👌🏼👌🏼
This is also great for reducing cpu usage when tracking and mixing a session!
Thank you soooo much for this video.
Great job. Informing rare things can be done.
Well expleined.
I just tried this. It's amazing
this is is such a cool feature in S1 I have just recently started using!
Why would anyone give you a "Thumbs Down"? Love your insights, thanks a bunch.
Good video. Thank you for the upload. Very thorough. Its detailed as well.
Thanks JOE for taking my suggestion and make an excellent video.
Just a little add, that is NOT happens with ampire. If I choose another amp sim (amplitube) I have to engage and disengage monitor or Z green button in order the hear the preset changes
Should I record rap vocals through plug in?
If you set your inputs up right you can record dry and wet at the same time creating a giant parallel compression mix.
just a personal opinion and might sound ridiculous to some. The only FX on a true vocalist's vocals should be some very cool Reverb Period. Compression, delay, pitch correction, ETC. which I have tried in many years of singing and vocal recording has always changed the quality of the tone in my vocals. In recent years the only FX I use on my vocals is a nice room reverb in Studio one after all the vocal editing is done and have never been happier with the quality of vocals and its natural tone.
I do this all the time with vocals but usually just with a little compression.
Thanks for the knowledge bro, nice info 🎉
How much do you charge for mastering a project for me or who do you recommend me to go to!!!
Thanks Joe! I have been doing this for a while and share it with everyone I can. Now I can just point them to your video. The way I do it is to use the Plugin Alliance channel strips with the different tracks for the TMT. So far I have found that my favorite for every channel is the Lindell 80 series. Technology is great as you could mix and match the different channel strips, but committing to a sound has made mixing easier and less guess work.
Yo tengo el Bx_Console de focusrite, como lo podría hacer?
I love this feature!
I use it every week recording my church’s livestream.
Any zero latency plug ins; Fabfilter, Waves, Plug-in Alliance..
It’s fun to commit.
Committing is awesome!
Also in my case, I’m a singer-songwriter and musician before I’m a recording engineer. I use Studio One Pro (since version 1.x) (TEAC 3340s way back when) to write down (record) my basic song ideas, so I don’t forget, then later build the song to completion in Studio One. I once used Nuendo, then Cubase, but now only Studio One and it is a great DAW.
the gate /high pass filter should be built into the input ,like the phase button and gain options are.
this is dope how you have this option
Beginning and intermediate level users would be shocked how often Grammy nominated/winning engineers print effects. When they hear what it should sound like they go with it. It ends up being more organic, human, imperfect, and interesting. I was surprised.
I've never actually heard Joe sing...and damn that's a nice voice!
LOGIC needs this
One thing that I would suggest for the people who record themselves is to record regular and then create plug-in chains or presets that sound good to them save them and load them up on the input channel later that way, if you feel you have the right EQ or compression settings or whatever for your vocals, you could always just load them up as presets on the input channel so it gives you like a hardware sound and workflow, but also the recall ability of digital the best of both worlds, lol
Joe's the best.
Grateful for u brother 💯
Hi Joe
I have been using UAD LUNA for the last 12 months but am drifting back to S1 v5 as it has so many features
I am recording my rock guitars through my helix. As it pushes a clean signal out of usb 7&8 I have been recording the processed signal through my apollo interface along with the clean di through USB 7
Having watched this video I will also record out of usb 8 and apply a guitar amp plug in giving me 3x options
Sorry I know that wasn't the point of the video 😎 Ian
Dont know if anyone suggested, record one track with effects and another dry. best of both worlds!
This is brilliant! A perfect application for me would be with a tape plugin to get an analog sounding recording. Thanks!
Nice teaching 🤝👍 💯
I just started trying to accept and commit to my final mixes 😂
What fun! Thanks for showing us this "Hendrix" trick LOL
Another great video showing studio one is superior.
The one thing i dislike about digital. I record this way on purpose especially backing tracks . Thanks for the confirmation Joe!
Reminds me of when i was a wedding photographer. First i used to shoot thousands of frames and then it would take DAYS just to sort through and throw out the duds for a single wedding. Eventually I started aiming for LESS frames and more keepers. Every shutter release was more purposeful and committed. I think the quality of my work improved as a result. I think the mental discipline of commitment in this context might do the same (improve your craftsmanship).
This is what effect chains are all about kids! Find a few effects you like combined on your vocals and save them as a chain. Make different chains for backups etc. I still don't add them until the final mix because once you're committed, that's it!!
Jack ~'()'~
the good thing about it is no latency from plugins. If you are a beginner and dont understand EQ and Compression especially i would not recommend it but if you are experienced it might make things better.
As a drummer who doesn't have much recording experience, it would be really cool to be able to record audio to video simultaneously. Rec n Share is a app that will do it in conjunction with the Yamaha EAD10. The problem is the EAD sound quality is awful, and the app can greatly be improved on. I've heard your examples of some suggestions you gave Presonus. I suppose it's worth a shot? V 6.5 lol
Does this make sense? I am not a great singer (home hobbyist). Would it make sense to put something like Waves Real Tune Live on the input and print the subtle corrections. But then use the main vocal tuner after. Point, I am not running two vocal tuners after input.
I really like these tips! Thanks!
I think at the very least I'll stick an expander/gate on the input to kill off any hum or noise floor on the way in.
I love it!!!
Thanks for the video. I am new to using studio one. I am using arcade plug-ins. My instrument tracks are picking up sound but not recording and I cannot seem to find an answer that helps. Any advice as to what I might be doing wrong? Thanks
Thanks for this, but how do I track with plugins with virtual instruments? I want to make changes such as filters while I am performing.
Great, thanks joe!
great video!
Hello Joe, Is it possible to record through the plugins on one channel and then simultaneously onto a second channel being only "Dry" to print? What would be that workflow if you want the plugins to feed to the "Artist" and then you have the dry running and available for the engineer for a backup?
Hi Myron, I think this would definitely be possible. I've been using Studio One for years. I believe if you set up a 2nd channel and set the input to the same but don't insert a plugin you should be good to go. Could be wrong but it's worth a shot.
You read my mind. Would love to see Joe walk through this setup 🤘
@@csikora5150 Definitely would love to see that video. Thanks csikora5150
@@strickland306 That was the exact same workflow that I had in mind. I can remember being able to do something similar to this with Cakewalk's Pro Audio back in the day and even when they moved up to Sonar. I am sure that Presonus has probably had this feature for a while, but this workflow has not been on my mind for a good minute. I am glad that Joe swept off the cobwebs from my memory banks. Can't wait for the in-depth video for this workflow. I would love to hear some of your things. When you get a chance drop a link. Have a great day. Thanks, Mark for sharing.
@@myrongrimes-broadcastmusic3247 If I'm thinking correctly, it should be a fairly simple process. I may try it a little later today.
I am primarily doing online drum tracks in my home studio, with an occasional full band project with local guys. I'll try to get ya something for sure.
I think I already know the answer. I have a female vox that is moving around when singing but also goes from very soft to very loud. Could lite compression on the input save me a load of trouble with smoothing out her vocal dynamics? I had to use compression, vocal rider and more to tame. OR is it going to be the same exact thing as adding compression to track after and I might create more problems than solve?
so helpful thanks
Can i put EQ on input when recording acoustic guitar, to rid of bas boominess maybe put dynamic eq in 200hz?
Nice video 👍
I always put the effect directly onto the track while recording the vocal(s) so the singer can have what they need to sing. It doesn't stay and I can remove it to have a dry track later as also, a dry stem. I then do what I need to later with the track(s). I've never had an issue with doing what I do. PreSonus just rules!
How do you do that without having latency problem?
@@hadicarefree This has nothing to do with latency. Your latency is coming from within your set up. Check to see what your numbers are and adjust accordingly. Also, look up latency issues via Presonus to view how to adjust what your problems are and you should be ok
@@richardgroce7839 but it definitely has to do with CPU..because you putting those effects on every track when recording vocals..with low latency
@@soundsfromYYBY I have never had an issue with latency doing this.
@@richardgroce7839 i said Cpu
Do you have a video on how to download, install and set up a plug in by chance? Because I am completely lost, I’ve watched other videos on “how to” but it isn’t working. Any help is appreciated. I’m an idiot. Thanks in advance
Can you do the same thing but not commit to it. Just as a reference for the artist like uad?
If I put a compressor this way does it prevent it from clipping? Or does it record the bad sound and compress it?
will you still mix these vocal? what will the backed in effect during mastering
Hi Joe, is an option to loop record and have a preroll before each loop? thanks!
the fact is that the singer will be hearing the effect and singing with it (effecting their performance because of what they are hearing during tracking with the effects- a good thing!) as its recorded - so A perhaps a better Vox performance ((with eg, fast slap back effect - even to use as a lowvolparallel in the mix later worst case maybe - or maybe record the dry Vox on one mono track and the delay from that liveperformance separately on another track,, then the wet delay could always be used nicely with the dry Vox, obvious but people overlook how much better the result could be,,,, then can always use a delay as an insert on the dry Vox also later whilst mixing)) and B will be totally different result than just a clean vocal and adding inserts after. I know that if I use a stomp delay pedal while I play guitar and stomping it to change the tempo as I'm playing freestyle I cant recreate that if I never comitted to it - so SOME things are best to record with some effect, simply for the better performance also. A liverecordingshaker maybe adding a fast verb or even a stereo aux fx bus with a bit of width stuff eg, maybe clip it etc... ? ! I do think people overlook recording some things live performance with effects. I much prefer some subtle effects on the way in, and also have 2 mics one with the effect and one for the dry Vox also to do stuff to with inserts afterwards then copy use that chain on a final live performance take. I generally find peoples recorded stuff these days to be too shitty because of the digital 'lets record it dry' thing - acoustic guitar say 2 mics I might want to use some gentle flanging or chorusing on the way in maybe... this is how older stuff was done? I know that with my guitar amp I get an awesome sound by using my pedals on the way in, so why not with loads of stuff effects. Its something that vocal delay automation rides need I feel, because the engineer gets in the zone doing their 'performance' of automation on a delay volume ride on a fxchannelbus on the Vox, but then plays it back and its not identical, this is also where I am going to experiment with printing also. I think its important if experimenting around with this to record 2 tracks for each, a dry and then the effect on another, unless... Just sharing my thoughts on it.. I.E. Magic has to be captured! not expected to appear magically on digital mix down! Just my opinion
If I just wanted to monitor my live recording with a eq with low end rolled off snd or a deeeser, I should put those on my post fader???
Hi Joe, how do you record vocal in studio one where the situation is your vocalist wants to listen to your plugins such as reverb or autotune without having the plugins stamped on your actual track? Thank you in advance.
I think you would put the effects on the track (not the input) and then click the little monitor button next to the record button on the track.
@@Betrayedbyreason thank you dor your reply. I did that, but the latency is so obvious. Looking how to set the delay of the latency to compensate the direct effect monitoring latency. If someone out there can help me with this?, thank you in advance. FYI my audio interface is Zoom UAC3.
@@MrTruemalaysian no problem. I do not know how to handle the latency issue.
@@Betrayedbyreason thanks man.
you need to create a drag and drop template
I cant hear the wet play back. I can see that its working on the decibel fader but i dont hear it.
My Black Lion Audio Revolution arrives tomorrow. It comes with Artist. Does this work on Artist or Pro only?
I don't want to print the FX, I would like somebody to tell me how to add some reverb to my tracking vocal from S1 for the benefit of the singer as my SSL 12 doesnt have FX without recording the reverb?
Hi Joe, I imported a music file and it plays, but when I record the vocal it shows that I am recording,but no playbook? Any ideas what I am not doing? Thank You
Hi Joe - perhaps you should clarify this method only works if you have the effects in mono. It won't work for stereo reverbs and stereo delays as the recording will be in mono. That was what I meant in my original comment which seems to have caused some disagreement!
Why not record left and right mono one clean and one with effects?
Because they is so much packed into studio one its not possible to notice every feature in the software, But Hey.... I like this one. Thank you!
The reason I would use this is to record 2 tracks of the same input for my guitar. One track is the signal with the effects pre-applied and the other one is the clean signal, when I want to change the FX during the song. But since I am new to this maybe there is another way to do this (e.g. clean-distorted crossover). After all the question is not so relevant to the video but I would appreciate your input if there is a way to change the FX during the song?
Cool. Thanks
How you manage the latency when recording with plugins?
Check out this video that Marcus did a couple days ago: th-cam.com/video/R5QSw6pJOzU/w-d-xo.html
@@MrSRellz thanks buddy🤝
Hello how to stall audio at the input as on logic Without quantizing it. Thank you
You can only record through presonus plugins right? Like pro tools plugins with pro tools carbon?