Setting Up A Mac For Studio One

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 A Mac For Studio One Piece

Setting Up The Hardware

1) Connect the Launchkey to your computer and open a song/project in Studio One 2) Click the 'Studio One' menu at the top of the screen, then select Options 3) Go to the 'External Devices' tab and click the 'Add' button 4) Select the 'New Keyboard' option, then set the 'Receive From' and 'Send to' options to the first port on your Launchkey. Jan 01, 2020 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.

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.

4) set up the audio interface to DAW out 1/2 5) created a Mac Aggregate Audio Device and assigned it in S1's audio setup 6) created addidtional output and input busses for the insert in S1 7) put a S1 Pipeline on the vocal track and set the Send/Return The problem is, I get all 'Wet' and no 'Dry' signal. Applies to Presonus Studio One Version 3 and Version 4 Setting up your Focusrite Audio interface in Studio One is very similar to older versions of the software, however it is important to keep in mind that some of the MENU titles have changed in addition to where they are located. This process differs slightly between Windows and Mac.

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.

Setting Up Your Mac

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. 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':'

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Setting Up A Mac For Studio One Computer

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I’m going to show you how to set up a microphone in FL Studio.

This can all seem a little confusing when you are starting out. For this example, I am going to be using the following pieces of equipment:

A condenser microphone
A mic stand
A microphone cable
An audio interface
FL Studio – Producer Edition

These are a few of the basic components that I recommend you have for your home studio. This is the process you go through when you first set up your microphone and get it working in FL Studio.

After you have done some of these steps, you won’t have to do them every time.

PUTTING TOGETHER THE PIECES

So let’s start with the basic mechanical stuff.

MIC STAND

We need to set up the mic stand. We’re going to screw in the mic basket. This is usually a unit that comes with the condenser mic to attach to the end of the mic stand.

You need to screw this in so that it’s seated all the way and tightened down.

Once that is tight, you can set the microphone into the basket on the stand. Also make sure that the screw that holds the microphone up is tightened down all the way, otherwise the microphone basket will drop, and could potentially fall out.

That’s not something you want to have happen with a mic you’ve spent a couple hundred dollars on.

POSITIONING THE MIC FOR SINGING

Next you want to get the stand set at a comfortable height and position for you to sing in.

I like to adjust the boom arm on the mic stand so that it has a little bit of an angle. This way I don’t have to worry about kicking the bottom of the stand while I am singing.

I like to set the height of the mic where it makes me slightly tilt my head upward. I heard a while back from a producer that when you do this, it forces the singer to open up a little more when they sing.

They end up projecting more. So I’ve always tried to set the height so that I tilt my head a little bit.

POP FILTER

Next I get the pop filter on the stand. I screw it onto the skinny part of the boom arm of the mic stand. Don’t put it up too close to where the mic basket is, otherwise it’s hard to get the pop filter into a position that works.

You have to let the pop filter stretch a little bit. I like to have about 1-2 inches away from the capsule of the microphone that you sing into.

And then I stand so that my mouth is somewhere in the neighborhood of 4-8 inches away from the pop filter. This is just a rule of thumb. You can try different distances to see what you think works best for you. Each song will call for a different approach.

The closer you stand to the mic when you sing, the more bassy the vocal will sound (for the nerds out there, this is called proximity effect). The farther away you stand the more thin it will sound. And you will hear more of the room.

Plug in and turn phantom power on

So now that the microphone is positioned well for singing, let’s move into getting it plugged in and powered up.

Take the male end of the microphone cable that you have, and plug that into the microphone.

Now take your audio interface, that is plugged into your computer. Make sure that the phantom power is turned off.

If you have phantom power turned on when you first plug in a microphone, you can actually damage it. So don’t do that.

On my audio interface, there is a blue light and button that tells you if phantom power is on. Look for the button that says +48v or phantom power.

Plug the female end of the microphone cable into one of the channels that have phantom power available. Make sure to turn the gain down on the channel you are going to plug it into.

Once all the cables are seated in firmly both on the microphone and the audio interface, then turn the phantom power on.

Now nothing magical is going to happen at this point, because we have to get the program (DAW) set up to recognize your interface.

Making sure the audio interface is setup in FL studio

Setting up the interface can be a little bit of trial and error process. Especially when it comes to getting the buffer size correct for larger projects.

The larger a project gets, the more it taxes the memory and CPU of your machine. And when that starts happening, you can start getting glitches and pops in the audio.

So to keep it from popping and sounding bad let’s work on getting the settings correct.

SETTINGS

So open FL Studio. Press F10 to open up the settings window, and then navigate to the audio tab. You’ll see a couple of sections.

The first section is where you want to pick the audio driver. We will look for something that looks like the name of the interface that you have, but that is the ASIO driver.

I have a Presonus AudioBox iTwo interface, and the driver for my interface is called the AudioBox ASIO Driver.

After I have selected the driver, then I need to look at setting the sample size/buffer size. This is what will keep my computer from creating glitches and pops when I am recording.

When I click to change the buffer size for my interface, a separate window pops up from the manufacturer of the audio interface.

The window looks like this for my Presonus interface:

BUFFER SIZE

A rule of thumb here is to set the sample size as low as you can get it, without it causing problems in your audio.

I had my buffer size set to 256 samples for a while, but I noticed that when my projects started getting bigger, with more files, I was starting to get pops when I would record. So I ended up bumping up the sample size to 512 samples, and that solved the problem.

So you might be thinking to yourself, well if you set the number larger and it helps, why not set it to the highest number? Good question.

The buffer size you set also affects how you hear the sound in your headphones. So the higher you set the number, the more delay you hear. So if you set it really high and are recording your voice, you will hear a delay.

So while you are singing a new line, you might still be hearing a line that you just finished singing. That can really throw you off when you are recording.

So the balance is to find the lowest number you can go without creating pops, and not so high that you start hearing weird delays in what you are recording.

So try out either 256 or 512 samples first and see how that works for you.

Now you can exit out of the settings window by pressing F10 again.

Setup channel in FL Studio to record from

So now we have the mic, stand, and cable all connected. We’ve set up the audio interface so that we can record. Now all that’s left is to set up a channel to record in FL Studio.

Do set up this channel, we are going to work in the Mixer window. To open up the mixer, press F9. And you are going to see a window that looks something like this:

SETTING THE MIXER VIEW

If it doesn’t look exactly like this, that’s okay. It may just mean that your view is a little different than mine. If you want it to look the same, then select the VIEW drop down menu, and pick EXTRA wide, this will give you the same look that you see above.

Setting Up A New Mac

The reason I like this view is because you can see all the effects that you have stacked on a channel at a glance. And you can click on those to quickly bring up the effect that you want to mess with. That can save a lot of time when you get into the mixing phase.

So now that we have the mixer windows looking the same, let’s click on one of the empty insert channels. For this example I am going to click on INSERT 5. There is no magic to this number, I’m just randomly selecting one.

MIXER CHANNEL INPUT

On the right side of the window you should see some options that say IN, then a bunch of empty slots, and the OUT. This is where you select the INPUT you want to use from your audio interface. And it’s where you can put the effects that you want to use on this channel if you want to.

So for this example, I plugged my mic into input 2 on my audio interface.

So when I click on the drop down menu for input, I should see a window that looks like this:

I want to make sure that I pick the MONO channel, since I am using a mono source, the microphone. If I had a stereo source, like a keyboard, that was plugged into Input 1 and input 2 on my interface, then I could select the stereo input.

But since the microphone is a single source, I select mono.

When I do that, you will see a few things happen on the insert channel.

The first thing is that you should see some green bars appear. This means that the channel is now getting a signal from your microphone. As you talk into the mic, you should see the bars go up and down.

ADJUSTING THE AUDIO INTERFACE GAIN

So what you want to do now is adjust the gain on your audio interface channel to that the peaks of the green bars are hitting between -16 and -12 on the Insert Channel. This is just setting the signal level for the source you are recording.

I’m just giving you a rule of thumb when you are starting out. Getting the audio level in that range will allow you to have good audio to work with, without all the crazy noise that can happen if you set it too low.

This is another Goldilocks kind of principle in audio recording. You want to set the audio loud enough that you can manipulate it without getting a lot of bad noise in the background, but you don’t want to set it too high, so that you can’t adjust it, or you get clipping.

So when you are setting your levels you want to get something in the middle.

FILENAME AND LOCATION OF RECORDING

The second thing that happens when you select the INPUT from the drop down menu is the Record Arm button lights up RED on the Insert Channel. This means that the channel is armed for recording.

Sounds dangerous, right?

If you right click on the red button, you will open up a window. That window will let you name the file what you want, and tell the program where you want to store the recorded file.

I like to name my audio clips with word that will help jog my memory about what the clip is about. For example, if I am singing a section of the song, I might name the file something like vox-verse1. That way once the clip is in the playlist, I can easily see what the content is.

NAME AND COLOR THE MIXER CHANNEL

Something else that I like to do to keep myself more organized in my projects is to color code the mixer channels that I am working on. This color coding transfers to the clips you record as well.

All the organization nerds just clapped their hands and cheered.

So select the mixer channel that you just set up your mic on. Press F2. This will bring up a dialog box that lets you name and color code the channel. So for my vocal, I would call it VOX, and I typically color the channel with a dark blue.

And I do this on all my projects. So when I open up a project and I see dark blue audio files in the playlist, I know that these are all vocal clips. I do the same thing with other instrument groups like drums, bass, synths, strings, etc.

I’m a very visual person, so it helps me see at a quick glance what all I have in a project, and I can quickly narrow down to what I am looking for.

I suggest that you develop your own color coding and naming system to help keep your projects organized. This will save you a lot of trouble in the long run.

CLICK TRACK

One thing that I want to give you a suggestion about, is that before you start recording vocals, I would put together your foundational elements of your track.

I like to set a metronome up and get the basic drum beat, and at least a scratch guitar track down set to the metronome, so that I know the timing of the song is going to be steady. That way when I go to record vocals, I don’t have to have the metronome in my ears.

This can be distracting, and it can also bleed into the recording it you have your volume up in your headphones.

So lay down some foundational elements, then record your vocals without the click track.

This will save you a lot of heartache of trying to clean up vocals that have a click in the background.

CONCLUSION

So now you know how to set up a mic in FL Studio.

I also go into detail on the recording process in another article on the site. So if you need some more of the nitty gritty details on the settings to use and some different methods of recording, then you can check that out.

That wasn’t so bad, was it?

Nope.

So what’s next? Well, I think that setting up a mic is a great part of the basics that you need in order to feel effective in using FL Studio as your DAW. I also have a resource that will walk you through the rest of the basics, like recording settings, working with midi , setting up drums, organizing your projects.

Setting Up A Mac For Studio One Windows 10

It’s a FREE course that will get you up to speed quickly and easily.

I’ll show you step-by-step a way to get familiar with FL Studio, and set you on your way to creating loads of music.

You can check out more information about the basics course here.

Well, that’s all I have for you.

I hope this was helpful.

Talk to you soon,

Jeremy

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