PRESONUS S1 Artist 3.0 [86/307] What next

Any selected range on a layer can be sized left or right by floating the mouse cursor to the edge of the range and clicking

and dragging, which alters the Track accordingly.

Comping With Groups

If one or more Tracks are in a Group, and comping is performed on any of those Tracks, identical edits are performed on

the other Tracks in the Group. For instance, comping can be performed on a single Track within a drum Group, and those

identical edits are performed across the other Tracks in the Group. This applies to soloing, activating, and removing layers,

as well.

While it may be best to avoid the scenario, comping can be performed across grouped Tracks with a differing number of

layers; layer positions under the Tracks determine the behavior of the edits.

What Next?

After comping on an Audio Track, it is common to consolidate, or bounce, separate Audio Events into a single, continuous

Event. You can do this quickly by selecting the Audio Events on the Track and pressing [Ctrl]+[B] on the keyboard. This

renders a new audio file and Event, and places it on the Track at the correct position.

A more flexible way is to merge the separate Audio Events into an Audio Part by selecting the Audio Events and then

pressing [G] on the keyboard. Any comping performed under the range of the Audio part results in the comps being copied

directly into the Audio part.

Transient Detection and Editing

Transient Detection is the process of determining the location transients within audio material, which can then be used as

the basis for editing. A transient can be defined as a short-duration signal that represents a non-harmonic attack phase of

a musical sound or spoken word. It contains a high degree of non-periodic components and a higher magnitude of high

frequencies than the harmonic content of that sound. When looking at the waveform of a recorded snare drum hit, the first

part of the hit—the attack—looks distinctly louder than the rest of the signal; the “louder” part is the transient, and the rest

of the signal is commonly called the “tail.”

Transients usually indicate rhythm in musical material, so that when the positions of transients are known, it becomes

possible to quantize, or correct the timing of, recorded audio. For instance, if a drummer was early on the downbeat after

a killer fill, you could fix it so that it is perfectly in time. In fact, it is possible to alter the entire feel of a performance and even

extract the feel of one recorded performance and apply it to another.

Detect Transients

To detect transients in any audio in an arrangement, select an Audio Event and open the Bend panel from the top toolbar,

then choose Analyze from the Detection area. Alternatively, [Right]/[Ctrl]-click on an Audio Event and choose Detect

Transients from the Audio/Audio Bend contextual menu. You can also open the Bend panel by clicking Audio Bend in the

View/Additional Views menu.

The original audio clip that the Event uses is then analyzed, as indicated in the lower left of the Event with a “percentage

complete” display. After detection, the Event becomes slightly translucent, and blue Bend Markers—vertical lines the

height of the Event—are placed at every transient.

CHAPTER 6│Studio One Reference Manual