The first three divide the spectrum into frequency bands based on an octave, third-octave or semitone the final one, Segments, is similar to the third-octave display. The Spectrum meter is the most prominent, and provides no fewer than eight ways to visualise the frequency content of your track in real time. Once you engage playback, the screen lights up in PreSonus' trademark light blue all over the metering section. You might also find it very revealing to load up suitable reference tracks, to provide both sonic and visual comparisons. You can also add extra markers if you want individual movements within an extended piece of music to show up as separate CD tracks. Start markers for each track are set automatically to the beginning of the audio, but can be moved if you want to inject more silence before the music kicks in. Tracks also feature gain lines that can be grabbed and adjusted, which is useful for evening out levels across tracks within a project. You can navigate, zoom in and out and loop sections just as you can in the Song editor, and the Project page also features basic editing: for instance, you can tidy things up by pulling on the fade in/out handles or trimming the start or end of each track. Studio One defaults to giving you a two-second gap at the start of each track, but you can change this by clicking and dragging, or by manually entering a gap length in the track list at the top left. You'll probably notice that the only uniform thing about your tracks is how non-uniform they appear! This gives an excellent first overview of your new album (I'm going to keep calling it that until it becomes true). Once added, they appear alternately along a pair of lanes at the bottom of the screen the reason there are two lanes is so that you can move adjacent files relative to each other and set markers for your whole Project without things overlapping visually. These can be added by dragging and dropping from your operating system, from the Studio One browser that hides on the right, or using the Project / Import File menu item. Once you've created a Project, the next step is to bring in some audio files. Next month, we'll get into the mastering plug-ins and processing. In this month's workshop, we're going to walk through the Project side of Studio One to get to grips with the workflow, meters and tools provided. But there should also come a point where you start to worry less about the mix and more about how the track stands by itself or amongst other tracks as part of an album of music. You'll probably uncover things in mastering that will make you want to scurry back to your Song to fix it in the mix, and that can be a useful advantage in doing all this yourself.
STUDIO ONE CRACK AT THE END OF SONG PROFESSIONAL
A professional mastering engineer would inevitably come to your music with a different set of ears and ideas, but on the assumption that we're doing this ourselves, the Project side of Studio One gives us the opportunity to look at our music differently, and that can be very helpful. I find that mastering is best approached differently from mixing songs. But if you ever do reach the point where no amount of fiddling with faders and adjusting arrangements is going to make your track any more fantastic, it's time to dust off the Project mastering tools.
The mastering side of Studio One can get a little neglected, possibly because thinking about mastering would suggest the laughable notion that you've actually finished a track.
Studio One's Project window offers a fully fledged mastering environment. A typical mastering Project, with individual songs laid out along the timeline at the bottom.
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