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ALESIS Q49 NOT CONNECTING TO PRESONUS STUDIO ONE SOFTWARE
When monitoring the input strictly through software (without the benefit of hardware-based low-latency monitoring), buffer size is an issue. Still, I have done many successful sessions this way. That approach gets the session going faster because no time is spent setting up a separate cue mix, but it is obviously more limiting for everyone to listen to one mix. The quickest way to get an overdub session going is for the musician to hear the same main mix that the engineer and producer do. Studio One implements tape-style monitoring by actually switching input monitoring on and off on the channel, which creates an issue if used alongside low-latency input monitoring: when the transport is put into Record, the DAW input is heard and combines with the low-latency input signal, usually in an ugly way. Tape-style monitoring can be selected for Studio One by ticking the ‘Audio track playback mutes monitoring (Tape Style)’ box on the Preferences / Advanced / Console tab (Screen 1 above). In both systems, only live input to record-enabled tracks is monitored when the transport is stopped or when it’s in Record.
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In most implementations, the difference between tape-style and what is now considered standard monitoring lies in what you hear during playback: in tape-style monitoring you hear only track playback when the transport is in Play, while in ‘standard’ DAW monitoring, you hear the live input mixed with track playback. Like many DAWs, Studio One offers what is called ‘tape-machine-style’ monitoring.
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(In this column I’m not going to address the fourth strategy of monitoring through a stand-alone mixing console.) Tape-style vs Standard Monitoring There are three strategies for monitoring while overdubbing: monitoring through Studio One, monitoring through low-latency monitoring facilities in a PreSonus interface, and monitoring through low-latency facilities in an interface from another manufacturer. Not too complicated in principle, but when there is latency to contend with, the plot thickens. A musician obviously needs to hear herself while recording, but she also needs her own mix of the existing tracks to which she is adding. Monitoring can get surprisingly tricky when overdubbing or punching in. Give your musicians the right cue mixes in Studio One, and you’ll make a huge difference to their performances. Screen 1: Tape-machine-style monitoring, along with several other monitoring options, can be enabled in Studio One preferences.