Oh good, that must be new!

There is ... ... see new separate Topic

Following the lack of relevant info available in the Manual, in discussion forums, and video tutorial, I put in a Support Ticket via the PreSonus site and they responded within 24 hours!!! (Suck on that, AVID.) THE SOLUTION Right-click on any meter to access the menu and enable or disable Pre-Fader Metering. [For meters displayed either in the track Inspector, or in any Mixer CHannel, this works on the meter column on the left side, NOT the Fader button itself and NOT the column on the right that is above/below the Fader button!] When enabled, the level meters show levels independent of Fader position [PRE]. [And this seems to be the default] When disabled the level meters respond to Fader position [POST]. This is known as Post-Fader Metering. The selection you make [on any one Channel] will be applied globally to all Channels, including the Output Channels. HUZZAH! I can't believe that something SO important was SO difficult to find, but I now feel my conversion from Pro Tools is complete. From my system with POST enabled (PRE 'disabled') ... The other settings in the menu allow you to set the peak type and for how long to display it. E.g. with the following settings, you start playing the whole song, leave the room and, on your return, and see the maximum level achieved in every track. If the Master OUT had been clipping you will be able to identify the contributing culprit(s) ... there'll be bar in the meter window of each channel showing its highest peak.

It can be switched to display in the latest version, but I don’t think there is a global switch, just the per channel option

SOLUTION FOUND ... HUZZAH!!!! Details posted in separately in the next listed Topic so it can be easily seen/found.

Hey John. I've opened a support Ticket at Presonus. I see there that Sphere members can ask questions of each other ... is that what you meant? My perceived issue with Faders SHOULD be covered by the reference manual or in the many available mixing tutorials ... but it is not. Is it just I'm used to the Post Fader mixing option in Pro Tools, and other DAWs don't work that way? We'll see. I'll post the result if anything arises. Greg

I use Presonus Sphere. At $15 per month for Studio One Professional, plus all Presonus’ other software and sound libraries, and a basic collaboration space it is really a no-brainer.

Exactly - the channel fader strips do not show the OUTGOING levels! With ProTools you can toggle between the faders being PRE or POST ... ideal for recording then mixing. It's like mixing blind without this. I was also surprised that Studio One was slower than ProTools when bouncing/mixdown. The average never exceeds 3x. ProTools was often 5x or higher. Hopefully Studio One will soon start using the GPU (if available) for faster/parallel processing. But, hey ho, no DAW is without fault (I assume), and I got a good result from it. And hopefully there'll be no future costs ... or will they charge to go to version 6?

I found some things very easy, but many of my difficulties were because I was used to another DAW. Once I changed I realised a lot of it was not that Studio One was less intuitive. In fact most changes were an improvement, I just didn’t realise it at first. After all, why should Studio One work according to another DAW’s flawed methodology? My main issue with Studio One is more a lack of information, or obvious information, during mixdown. For example, during mixdown, you can introduce a level issue. When it comes to tracking down where in your signal chain you blew the level, Studio One doesn’t (or at least didn’t) tell you where in the signal chain you went wrong. It forces you to go through the gain-staging process, slowly. Really they could make that particular task much much easier. I find that Studio One actually improved and supported both recording and mixdown very well (other than that issue). Contextual menuing works very well. On a couple of occasions issues were more terminology differences than anything else.

I've just (and finally) completed my first Studio One project. WHEW! It finally became easier and allowed me to focus on the music rather than the mechanics and the interface!

Surely (and I'll stop calling you Shirley) this doesn't solve anything. When recording, the fader works AND SHOWS the changed INPUT signal levels in the strip. On playback, each fader affects its output signal level but does not SHOW the change in the channel strip.

Hey @GregB, It’s been a while since I’ve used Studio One but I know exactly what you’re talking about. Hopefully another Studio One user like @john can help shed some more light into this issue. Also, I’m mentioning this only because I’ve done this tiny silly mistake before. Sometimes, I’d have a track armed and it’d be showing levels associated with the realtime signal levels being captured by the input device instead of de-arming it and having it show the meter reading of the recorded wave form. 😅 I’ve learnt better to now to always have a separate channel set up purely for recording while keeping the main channels de-armed & no inputs selected where I do the actual processing and production work.

Hi My first STudio One project is 95% complete, after falling on my arse for every 2 steps forward. E.g. the stock plugins (e.g. Mixverb) don't sound or work the same as those in ProTools. I'm getting quicker with the shortcuts, although my "left-hand-resting-position" is still giving me grief ... e.g. ALT-Z (Zoom to fit) is much too close to CTRL-Z (undo) ... which means I often find I've undone heaps of special-effort changes ... and they're not in History so I can't easily restore them. Frequent saving helps for now. But, GRRRRRRR!!! THE MAIN QUESTION I HAVE: The MIXER CHANNELS show track sound. Sliding the mixer UP causes an audible increase in volume, but the visual animated METERING LEVEL ARE UNCHANGED!!! In ProTools, the whole session could be switched between PRE-Fader monitoring (for recording) or POST-Fader monitoring (for mixing). Is there an equivalent setting in Studio One??? I'll share the new track in a couple of days prior to release. Greg

Tru dat

The track inspector is your friend. It will save you a lot of grief when routing anything in S1.

yeh ... I only accidentally found the Send area when moving borders on the channel strip!

Welcome! Awesome. I’ll be really interested to see what you make of it. It took me a little to get used to it post Cakewalk, but I found the process flows were better and several things were actually more intuitive. Context menus are better. At first mix down weren’t great because of poor visibility on the signal chain making effective gain staging really clunky, but it has improved.

I purchased Pro Tools 7 in 2006/7 along with an MBox 2. The upgrade to v.8 was free (as within 12 months). The 1000+ page manual was daunting ... the days before YouTube tutorials! By the time I got around to doing my first home-produced album in 2015, I had fallen off the upgrade path ... you had to have at least v.9 to upgrade to v12. So I had to pay full price again! While I managed to be productive, the organisation (AVID) was giving me the sh*ts. They stopped supporting my Digidesign MBox2. The MIDI 'CC-Learn' feature was dropped, so I was unable to use the faders on my keyboard. Finally, with just 2 months notice, the customer base was told that the Support Plan (access to new versions) was doubling from $99 to $199 pa. I was livid. Within a few weeks, Presonus was offering a cross-upgrade to Studio One Professional at half price (equivalent to the cost of ONE YEAR's Plan from AVID), so I bought it in anger. But, as is always the case, when you have stuff to do, one returns to the familiar. I did another 12-track album in Pro Tools, and a few other small projects. However, the niggly things in Pro Tools have mounted and kept chipping away at my loyalty ... continuing with AAX only (no VSTs can be used!), random problems with latency and playback, internal instruments (XPAND!2) suddenly producing no sound at all, no renewed Support Plan meant that several of my 'special' bundled instruments were no longer available, etc, etc.. All the time worrying that my little plastic iLok USB might fail or get stolen/lost ... and nothing works without it! Now two NEW projects have come up. The lack of deadlines has given me the opportunity to switch and try doing a complete production in Studio One (5.5). These projects are: a cover/rearrangement of a German friend's song Nächster Schritt for which I translated the lyrics to English a few years ago a cover of Shine on You Crazy Diamond ... both tracks (Parts 1-5 and Parts 6-9). I've already made a start on Nächster Schritt as a reason/test-bed for learning. I have the full production in my head and am taking small steps to implement it. I've managed to interface my Scarlett 2i4 and test recorded my acoustic guitar to two tracks simultaneously as well as my MIDI keyboard. I can happily replay, edit, make MIDI music via different inbuilt instruments, apply effects like Reverb on a bus, use my old friends EZ Drummer and Ozone 9 in this new environment. I've mapped the stem of the original woman's vocal to a slightly different tempo that I've chosen. I've used the Arranger, Chord and Marker rulers, which work really well together and provided massive structural benefits. While I am now confident that I CAN do whatever I used to do in Pro Tools, in reality the going is VERY SLOW for several reasons: the interface is substantially different, and many important buttons/edges are hard to see the shortcuts are different ... simple things like Zooming are a pain a lot of the actual terminology is different ... e.g. a ProTools 'clip' is now an 'event' in Studio One the documentation is truly woeful. The Reference Manual is a joke at only 450pp, the 4 page index having less than 300 keywords. Many common DAW terms are totally absent (and Ctrl-F shows they're not anywhere in the Manual), e.g. Clip Gain. There is NO section in the manual on "MIDI", and the term is completely absent from the Index!!! [By contrast, the Pro Tools Reference Manual is 1520pp, while its Index alone is 44pp and contains 1500+ keywords). I LOVE manuals! Why spend 10 minutes watching a video when one can get straight to the chase in a manual via the Index. ANYWAY, I've made a start and will hopefully post new 'learnings' (both plusses AND minuses), as well as the actual music that results. Fortunately all DAW should allow the basics ... the environment, record, edit, mix, at least EQ/Compress, and bounce. Hopefully, more than just John will be in the Studio One conversation! Greg ,

Hey Studio One 5.5 has been released with a heap of new features and bug updates. Here's a brief overview of what's new in Studio One 5.5: 1. Track Automation on Project Page Studio One 5.5 introduces automation to the Project Page. 2. Clip Gain Envelopes on Project Page The Project Page now provides Clip Gain Envelopes which allows for precision fixes of any gain issues when mastering without the use of dynamics plug-ins. 3. Listen Bus on Project Page The Project Page now provides a Listen Bus for monitoring via a separate output and effects from the Master output. This lets you use room correction plug-ins or headphone monitoring tools when mastering or mixing. 4. Track Transform on Project Page The Project Page now includes Track Transform. Track Transform lets you create reversible, non-destructive mastered track renders, including every insert effect and automation parameter. This means you can reduce the required processing power for your session while keeping the flexibility of not committing to permanent mastering decisions. 5. Multiple format export for Digital Release The Project Page Digital Release window now provides a list of available audio formats which can be exported at the same time — within the same render time! Each audio format keeps its own export settings. This means you can export your mastered EP/album as both a high-resolution, 24-bit/96kHz WAV and AAC for streaming at the same time! 6. Target Loudness on Digital Release The Project Page Digital Release window now provides new Loudness options to let you set target values for loudness and true peak during export. A list of common target loudness presets is provided. Presets for every major streaming service are included — from Apple Music to Spotify to YouTube — which means no need to Google streaming service settings! You can also create custom Loudness settings and save them for future use. 7. New high-end dithering algorithm Studio One 5.5 uses an exclusive, new, proprietary dithering algorithm with minimal conversion based audible noise, distortion and other artefacts while preserving low-level signals. 8. Drag and Drop MIDI files to Chord Track to extract chords MIDI files can be dragged on to the Chord Track and their chords will be extracted. It works with any .MID file. This includes any chord packs or songs in Standard MIDI file format. Studio One’s chord detection works with both Audio and Instrument Events. 9. Create a strum pattern by dragging notes A strum pattern can be created manually by dragging note events in a selected chord while holding the [Cmd+Opt] or [Ctrl+Alt] keys. Strummed chords can be created with a single movement. 10. Ampire now optimized for fast preset switching on Show Page Improved preset switching in Ampire with the emphasis on live performance. Changing between Ampire presets is now faster. It is optimized for use with the Show Page, allowing you to trigger your Ampire presets by MIDI pedalboard. Other features / improvements worth mentioning: Mix Scenes now include automation Plug-in Nap available per-plug-in Copy / Paste / Swap pads from any bank in Impact XT ATOM-series controllers can control sample edit parameters in Impact XT and Sample One Draw vertical note stacks Support for Steinberg CC121 controller Support for Tascam Model 12 mixer Import/Export support for Opus audio file format Diagnostics Report plug-in list available Automation tracks display plug-in name and position Chord Selector had three more intervals: 2|9, Flat-5, and Sharp-5

FENDER MUSICAL INSTRUMENTS CORPORATION SIGNS DEFINITIVE AGREEMENT TO ACQUIRE PRESONUS AUDIO ELECTRONICS, INC. HOLLYWOOD, CALIF. (Nov. 1, 2021) - Fender Musical Instruments Corporation (FMIC), the world’s leading musical instrument manufacturers, marketers and distributors, today announced it has signed a definitive agreement of merger with PreSonus Audio Electronics, Inc. The Baton Rouge, Louisiana based brand is the leading designer and manufacturer of recording and live-sound hardware and software solutions that solve real-world problems for working creatives. “We are thrilled to welcome everyone on the PreSonus team to the FMIC family and excited about the future growth opportunities available to both companies," said Andy Mooney, CEO Fender Musical Instruments Corp. “Our teams share the same passion for music, the same commitment to innovation and the same desire to inspire and equip current and future generations of artists” “I would like to extend our utmost gratitude to our loyal Baton Rouge and Louisiana community that have supported PreSonus for the last two decades,” said Kevin Couhig, Chairman of PreSonus. “It has been wonderful being a part of this incredible journey with PreSonus. I’m excited to see what the future holds going forward” "After more than 25 years PreSonus feels it has found the right partner to support us as we continue our growth,” said Jim Odom, Founder/CSO PreSonus. “We look forward to showing our current and future music community what this opportunity means for them.” “PreSonus and Fender's combined vision, the way we see the future of music creation, and the fundamental alignment of goals has made this an exciting idea since the first conversation," said Jim Boitnott, CEO PreSonus. For more than 75 years, Fender has been committed to creating tools supporting artists. With each technological advancement, the way that people create and record music is constantly evolving. While most guitar and bass players still plug into amplifiers, many also plug their instruments into interfaces, using virtual amps and effects to create their sounds. Players of all levels are spending more time online than ever before and using a variety of products and technologies to learn, practice, jam and perform, record and share. This modern workflow has expanded the traditional signal chain to include capturing and distributing creative content to the world. Fender envisions an ecosystem that seamlessly integrates hardware and software to create an effortless end-to-end experience for customers at all levels in their creative journey, and joining forces with PreSonus makes that possible. Founded in 1995 by Jim Odom and Brian Smith, PreSonus designs innovative audio products that provide professional sound quality and features without sacrificing affordability. Throughout its history, PreSonus has built innovative tools for musicians, content creators, producers, and audio engineers. Today, PreSonus is a leading designer and manufacturer of both recording and live-sound hardware and software solutions that solve real-world problems for real working creatives. Completion of this merger is subject to U.S. regulatory approvals and other customary closing conditions. At this time, FMIC and PreSonus will continue to operate as separate entities. Gibson, Dunn & Crutcher LLP acted as legal counsel to Fender Musical Instruments Corporation. PreSonus was advised by Robert W. Baird & Co. and legal counsel was provided by Butler Snow LLP. For technical specs, additional information on new Fender products and to find a retail partner near you, visit www.fender.com. Join the conversation on social media by following @Fender.

Hey So, Studio One 5.4 has a bunch of new features including native support for Apple Silicon M1 Processors. Native mode for Studio One 5.4 gives additional CPU optimization for improved overall CPU performance. It also introduces a new Plug-in Nap option which disables processing for any plug-ins that are not currently passing audio and so improves overall CPU performance. You can monitor the status for each plug-in in the updated Performance Monitor. It also has other stability improvements. The Note Editor inspector now contains a new Chord display for notes beneath the existing Input Chord display. Multiple formats can be exported in one pass when just one single format is selected, making the switching of formats as simple as selecting a different format. Studio One 5.4 is available as a free update to Studio One 5.to 5.3 owners and to PreSonus Sphere members. Existing users, open Studio One and on the Start Page and click “Check for updates” to get it.

Hey New version of Studio One, version 5.3 released Read the announcement here: https://blog.presonus.com/index.php/2021/06/29/studio-one-5-3-arrived/ and the full Studio One 5.3 Playlist. Cheers John

Hey Overviews and feature tours are very useful. Worth keeping up to date with updates too.

Hey An essential for Studio One beginners and DAW beginners overall: