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SampleOne XT

Dropping Impact XT into a session is very easy to do. Choose the icon from the Instruments tab in the Browser. We can even click the expand arrow and choose from a predefined kit. Now, by just dropping it onto the session window, Studio One will create the instrument track and present us with Impact XT’s interface. Both of Studio One’s sample‑based instruments, Impact XT and Sample One XT, have been overhauled for version 4. The first thing these improvements bring is some very welcome colour. Sometimes it feels as though Studio One is in competition with Ableton Live to come up with the dullest‑looking GUIs, but load up Impact or Sample One.

A sampler is a bit like a synthesizer. However, instead of generating sounds using oscillators or operators, samplers start with an audio clip, or “sample,” and then play and process that sample based on how the instrument is configured.

Presonus Studio One Key Generator

SampleOne XT is a full-featured sampler that builds on the strengths of our original SampleOne instrument. It features triggered sampling, automatic time-stretching, a full range of tone-shaping tools, and flexible onboard effects. The following section describes how to use SampleOne XT.

Interface Overview

The main display features four 'tabs' along the top, each of which gives you access to a distinct set of tools and parameters:

• Wave is where you do the bulk of your sample and loop editing.
• Mapping is where you map the loaded samples across the span of the MIDI range.
• Envelopes gives you access to graphical representations of the Pitch, Filter, and Amp envelopes, for easy shaping.
• Record lets you record audio directly into SampleOne XT from nearly any audio input, send, output, or Instrument track, including a mode where samples are split automatically based on amplitude.

To the right of the tabbed interface is the Samples list, which shows the samples that make up the current patch. In the lower half of the plug-in interface, you'll see controls for sample Pitch (playback frequency), Filter (tone shaping), Amp (amplitude shaping), LFO (modulation), and effects. Rounding things out are the global settings in the Master module, and a playable onscreen keyboard.

Wave View

Wave view is where you do the bulk of your sample and loop editing. To select the range of the sample that plays when you trigger it, click-and-drag the blue triangles below the waveform. To fine-tune the start-and-end points, you can click-and-drag or click and type a value into the Start and End fields.

Trigger

Open the Trigger menu to choose the method by which to play the currently selected sample, from the following choices:

• Normal In this mode, the sample starts playing when you trigger it, and stops when you let go of the key (or when the recorded note that triggers it ends).
• One Shot In this mode, the sample plays through in its entirety when triggered. This is often used for drum sounds.
• Toggle In this mode, the sample begins playing when triggered, and stops playing when triggered a second time. This is most useful for loops and continuous, droning sounds.

Reverse Enable this option to reverse the current sample.

Normalize Enable this option to boost the amplitude of the current sample until its highest peak reaches a point just below full scale.

Load Next/Previous Sample in Folder These buttons let you quickly swap the current sample for its neighbor in the enclosing folder. This allows for quick auditioning of a range of samples, to find just the right candidate.

Root, Low, and High These selectors let you set the root note and note mapping for the current sample. You can also set these parameters in the dedicated Mapping view.

Loop a Sample

To loop playback of a sample, open the Loop selector and choose a looping mode:

• Sustain In this mode, when a note ends, playback continues beyond the selected loop range until the end of the release phase of the Amp envelope.
• Release In this mode, when a note ends, playback continues to loop until the end of the release phase of the Amp envelope.
• Ping-Pong In this mode, loop playback proceeds to the end of the loop range, then the sample is played in reverse until it reaches the beginning of the loop range, and so on.

When a looping mode is selected, the Loop Range bracket appears above the sample waveform, indicating the section of the sample to be looped. If the loop range begins after the initial playback range begins, the sample plays from the beginning of the playback-range position to the end of the loop-range position; then it plays from the start of the loop range to the end of the loop range and back for as long as the sample is triggered.

X-Fade Click-and-drag or click and type in this field to specify a number of samples of crossfade to apply to the loop points, to assist in removing audible clicks.

Follow Song Tempo Enable this option to automatically timestretch the current sample to fit the tempo of the Song. This is most effective when using rhythmic loops, such as drum samples. The sample must be tempo-tagged to enable this feature.

All Notes Off Click this button to stop playback of all currently enabled voices.

Mapping View

Mapping view shows each currently loaded sample as a Keymap Range selector that occupies a certain range of MIDI notes. The bright mark within each selector shows the current root note of the sample.

To change the root note of a sample, click-and-drag the sample's root-note handle left or right across the keyboard display. The notes on your keyboard that trigger the sample are indicated in the Keymap Range selector, which is the blue bar extending to the right and left of the note handle. To restrict the range of notes that can trigger the sample, click-and-drag the left or right edge of the Keymap Range selector.

Envelopes View

Envelopes view gives you graphical representations of the Pitch, Filter, and Amplitude envelopes that you can freely shape using the mouse. Click-and-drag the handles on each envelope to change the shape. The Attack, Decay, Sustain, and Release values are shown as numeric selectors below each envelope. These can also be changed by click-and-drag or click-and-type. Below them are the curve controls for each applicable envelope value ('AC' for 'Attack Curve,' 'DC' for 'Decay Curve,' and so on), which let you precisely set the curve of each envelope segment.

Record View

• Record Press Record to begin recording immediately. Press the button again to conclude recording. The resulting audio is shown in the Samples list, and is then available for use.
• Gate Record Press Gate Record to enable amplitude-based recording, in which each distinct region of audio (as specified by the Gate Threshold controls) is recorded as a separate sample. This is a great way to record a set of drum samples, for example.

Gate Threshold The Open setting specifies the signal level at which recording begins while in Gate Record mode. The Close setting specifies the signal level at which recording ends. You can also set these ranges by clicking-and-dragging the triangle-shaped markers in the signal level display.

Name This field lets you specify the name of the next recorded sample. If more than one sample is recorded before the name is changed, the samples will share the specified name, followed by a numeric identifier.

Resolution This selector lets you set the bitrate of the recorded samples.

Insertion Key This selector lets you choose the initial root note of the recorded samples. If more than one sample is recorded before the Insertion Key is changed, the samples are assigned to the next-higher note each time.

Samples List

To add a sample to SampleOne XT, drag any audio clip from the Browser, or any Audio Event or selected range from the Arrange view, into the Samples list. The waveform for the audio clip appears in the main display. If you drag in a selected range from the Arrange view, the range is bounced to a separate audio file and then added to SampleOne XT.

Note you can quickly access samples that are in the same file location as a loaded sample by using the [Previous] and [Next] button to switch to the previous or next sample in that file location.

By default, the keymap range is set from C0 to B5, with C3 set as the sample’s root note. With the SampleOne XT instrument Track properly set up, and Monitor engaged, press any key within the default keymap range on your keyboard to play the loaded sample. C3 is set by default as the sample’s root note, so playing the C3 (middle C) key on your keyboard plays the sample at its original pitch and speed. Playing the keys above C3 shifts the sample pitch higher, and playing below C3 shifts the sample pitch lower and slows down playback speed.

When adding a REX file to SampleOne XT from the Browser with the Send to New SampleOne XT command, the REX file’s individual slices are mapped across the keymap (starting at C3 by default, dependent on number of slices), with each slice given its own note.

Playing Multiple Samples

Up to 96 samples can be loaded into SampleOne XT at once, with each loaded sample displayed in the sample list. Select any sample in the list to edit its playback, loop, and keymap range, as well as its root note and loop status. All loaded samples are triggered simultaneously, depending on the keymap range for each sample. For instance, if C3 on your keyboard is set to trigger every sample, pressing C3 triggers every sample at once. In this way, multilayered, or multitimbral sample-playback can be achieved.

Replace a Sample

To replace a sample in SampleOne XT, select the sample that you wish to replace in the Samples list. Then drag any audio clip from the Browser, or any Audio Event from the Arrange view, into the main display. The sample replaces the previous one in the sample list, and the previously displayed sample waveform updates to reflect the new sample.

Edit Sample This button lets you specify individual envelope settings for the currently selected sample, rather than changing those parameters for all samples, as done by default. If after you've made custom alterations to one sample, you wish to reunify all samples under the same settings, press Reset.

Edit Pitch, Filter, and Amplifier Parameters

The output of each sample loaded in SampleOne can be modified with pitch, filter, and amplifier parameters. Note the [Edit All] button, which allows the simultaneous editing of all sample parameters at once when engaged. The following describes the use of these envelopes.

Pitch

The Pitch controls modify the pitch characteristics of the audio output. Click the button in the upper left corner of the module to activate/deactivate the effects of the Pitch controls.

• Transpose Transposes the pitch of the sample in semitones. Variable from -48 to +48 semitones.
• Tune Adjusts the tuning of the sample. Variable from -100 cents to 100 cents.
  • LFO Adjusts the range within which the LFO affects pitch. Variable from -4 octaves to +4 octaves.
  • Env Adjusts the range within which the envelope affects pitch. Variable from -4 octaves to +4 octaves.
• Attack (A) Adjusts the amount of time it takes to reach the Env value from the original pitch of the sample once a sample has been triggered. Variable from 0 to 20 seconds.
• Decay (D) Adjusts the amount of time it takes to reach the sustain level after reaching full volume. Variable from 0 to 20 seconds.
• Sustain (S) Adjusts the Sustain level. Variable from -∞ dB to 0 dB. The sustain period continues until the sample trigger stops.
• Release (R) Adjusts the amount of time it takes to reach the original pitch after sample trigger has stopped. Variable from 0 to 30 seconds.

Filter

The Filter parameters modify the frequency characteristics of the audio output. Click the button in the upper left corner of the module to activate/deactivate the effects of the filter.

• Cutoff Adjusts the filter cutoff frequency. Variable from 20 Hz to 20 KHz.
  • Vel Adjusts the maximum range, in octaves, within which note velocity can affect the maximum filter range (the value used when velocity equals 127).
  • Mod Adjusts the range, expressed as distance in octaves, within which the modulation wheel on your Keyboard can adjust the instantaneous filter cutoff frequency (the value used when the mod wheel value equals 127).
  • LFO Adjusts the range within which the LFO affects the cutoff frequenecy. Variable from -8 octaves to +8 octaves.
  • Env Adjusts the range within which the envelope affects the cutoff frequency. Variable from -8 octaves to +8 octaves.
• Res Adjusts the relative resonance of the filter. Variable from 0 % to 100 %.
• Type Selects the filter type. Choose from LP24 Ladder, LP24 Zero-Latency, LP12 Ladder, BP12 Ladder, HP12 Ladder, LP12 State, BP12 State, HP12 State, and Eco Filter (lowest CPU use).
• Attack (A) Adjusts the amount of time it takes for the filter cutoff frequency to move from the frequency value to the envelope value once a sample has been triggered. Variable from Variable from 0 to 20 seconds.
• Decay (D) Adjusts the amount of time it takes to reach the sustain level after reaching the envelope value. Variable from Variable from 0 to 20 seconds.
• Sustain (S) Adjusts the sustain level, which is the mix of the signal filtered at the envelope value with the signal filtered at the frequency value. Variable from -∞ dB to 0 dB. The sustain period continues until the sample trigger stops.
• Release (R) Adjusts the amount of time it takes the filter to reach the frequency value after the sample trigger has stopped. Variable from Variable from 0 to 30 seconds.
• Drive This lets you specify an amount of filter overdrive, to add fullness and saturation artifacts to your sound.
• Punch This control lets you add a range of percussive attack to the start of each note. At the lowest setting, dynamics are unchanged. At higher settings, the sound becomes more aggressive and more readily pops through the mix.
• Key This control sets the relationship between incoming note Pitch and filter Cutoff. In physical instruments, higher notes tend to produce higher harmonics, brightening slightly as you go up the scale. On a synthesized instrument, if the filter stays static, setting the proper tone in the lower note ranges may cause inappropriate dullness in the higher notes. So, with the Key parameter, we can compensate for this, and create a more natural-sounding range of timbres up and down the keyboard.
• Soft This control lets you switch between two differing analog-modeled processing circuits within the filter. Engage Soft for a mellower, darker tone. Disengage it for a brighter, more aggressive sound.

Amp

The Amp controls modify the amplitude characteristics of the audio output. Click the button in the upper left corner of the module to activate/deactivate the effects of the Amp controls.

• Gain Adjusts the maximum volume of the audio output. Variable from -144 to +20 dB.
  • Vel Adjusts the relative amount that note velocity affects the maximum amplitude. Variable from 0 to 1.
  • Mod Adjusts the relative amount that the modulation wheel on your Keyboard can adjust the instantaneous amplitude at any time. Variable from -1 to 1.
  • LFO Adjusts the range with which the LFO affects playback volume.
• Pan Adjusts the stereo pan of the audio output. Variable from full L to full R.
• Attack (A) Adjusts the amount of time it takes to reach full volume once a sample has been triggered. Variable from 0 to 20 seconds.
• Decay (D) Adjusts the amount of time it takes to reach the sustain level after reaching full volume. Variable from 0 to 20 seconds.
• Sustain (S) Adjusts the sustain level. The sustain period continues until the sample trigger stops.
• Release (R) Adjusts the amount of time it takes to reach a level of -∞ after the sample trigger has stopped. Variable from 0 to 30 seconds.

LFO

Various parameters of SampleOne can be modulated, or varied over time, with the LFO. The following describes how to use the LFO to modulate parameters.

• LFO Click the Activate button to activate/deactivate.
• Sync/Free Choose to sync the modulation speed to tempo (variable from 1/64T to 4 bars), adjust the speed freely as frequency (variable from 0.01 Hz to 500 Hz), or sync to note-on by selecting neither Sync nor Free (variable from 0.01 Hz to8 KHz).
• Rate Set the modulation speed of the LFO, in either rhythmic subdivisions of the Song tempo (Beats), or milliseconds (Speed), depending on Sync/Free status.
• Type Click to select, from top to bottom, the sine, saw, triangle, square, or sample and hold LFO waveform.
• Delay Adjusts the amount of time before the LFO affects anything once a sample is triggered. Variable from 0 to 2 seconds.
• Mod Adjusts the peak amplitude amount with which the modulation wheel controls the LFO signal strength (LFO strength when mod wheel value equals 127). Variable from -1 to 1.

Master

The Master controls act on a global level, affecting all samples in the current patch.

Master Sets master volume for the entire patch. Variable between -∞ and +10 dB.

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Mono Turn on this option to enable monophonic playing (one voice at a time only).

Glide Enable this option to introduce Glide, and adjust the relative amount of Glide using the Glide Time knob below. Glide creates gradual shifting over time between consecutive notes, as opposed to the usual immediate switch from one note to the next.

Polyphony By default, up to 32 voices can play simultaneously, meaning you can play 32 separate notes before the first note you played are cut off to allow more voices to play. Click and drag on the blue number to add or subtract total voices. 64 voices is the maximum.

Effects (FX A & FX B)

SampleOne XT offers seven built-in effects processors to add dimension to your sounds. They are arranged in two banks: FX A (Modulation, Delay, and Reverb) and FX B (Gater, EQ, Distortion, and Pan). You can enable or disable each effect by clicking its name. You can show or hide the FX section of the plug-in window by clicking the [FX] button.

FX A

Modulation

This processor creates time-based modulation effects. Choose from the following modes by clicking the [Chorus], [Flanger], or [Phaser] button:

• Chorus This processor creates effects similar to that of multiple identical instruments playing the same part simultaneously. The synth signal is fed through a short, modulated delay, which is then mixed with the dry signal. Chorus offers the following controls:
  • Mono Engage this option to sum the wet (effected) signal to mono.
  • Delay This control lets you set the length of the modulated delay. Higher settings create full-bodied chorusing effects, while lower settings create more pronounced harmonics, akin to the effects of a Flanger.
  • Speed This control lets you set the speed at which the delay line is modulated. Lower settings create slow, sweeping effects, while higher settings create faster, more aggressive modulation.
  • Width This control lets you set the degree to which the delay line is modulated. Lower settings produce subtler chorusing effects, while higher settings produce more pronounced changes in timbre over time.
  • Depth This control lets you blend between the dry signal (all the way left) and the chorused signal (all the way right).
• Flanger This processor creates resonant, hollow-sounding sweeping effects. The synth signal is fed through a short, modulated delay, which is mixed with the dry signal. While similar to the workings of a Chorus effect, Flangers get their signature sound by employing smaller delay times than those used in chorusing, combined with a feedback system that can add extra resonance to the sweep. Flanger offers the following controls:
  • Mono Engage this option to sum the wet (effected) signal to mono.
  • Delay This control lets you set the length of the modulated delay (in ms), which changes the pitch of the resultant resonance. Higher settings create lower-pitched resonance, while lower settings create resonances at a higher pitch.
  • Speed This control lets you set the speed at which the delay line is modulated. Lower settings create slow, sweeping effects, while higher settings create faster, more aggressive modulation.
  • Width This control lets you set the degree to which the delay line is modulated. Lower settings produce subtler flanging effects, while higher settings produce more pronounced changes in timbre over time.
  • Feedback (FB) This control lets you set the amount of output signal to feed back into the Flanger. Higher amounts of Feedback add to the resonance of the sweeping effect.
  • Sync Engage this option to enable setting Flanger modulation speed to a rhythmic value (such as 1/8th-note or 1/4-note) relative to Song tempo. Disengage to set Rate on a continuous scale.
  • Depth This control lets you blend between the dry signal (all the way left) and the flanged signal (all the way right).
• Phaser This processor creates dreamy, otherworldly sweeping effects. The synth signal is fed through a series of all-pass filters that alter its phase. When mixed with the dry signal, this creates a series of peaks and valleys in the frequency response that changes depending on the degree of phase shift applied. Phaser offers the following controls:
  • Mono Engage this option to sum the wet (effected) signal to mono.
  • Shift This control lets you specify the amount of phase shift to apply. Lower settings focus the phasing effect in the lower frequencies, while higher settings focus the effect in higher frequencies.
  • Speed This control lets you set the speed of modulation applied to the phase shift amount. Lower settings create slow, sweeping effects, while higher settings create faster, more aggressive modulation.
  • Width This control lets you set the degree to which the phase shift amount is modulated. Lower settings produce subtler effects, while higher settings produce more pronounced changes in timbre over time.
  • Feedback (FB) This control lets you set the amount of output signal to feed back into the Phaser. Higher amounts of Feedback add to the resonance of the sweeping effect.
  • Sync Engage this option to enable setting Phaser modulation speed to a rhythmic value (such as 1/8th-note or 1/4-note) relative to Song tempo. Disengage to set Rate on a continuous scale.
  • Depth This control lets you blend between the dry signal (all the way left) and the phase-shifted signal (all the way right).

Delay

This processor creates an echo effect, either as a single delayed repeat of the input signal, or a trailing series of echoes. The Delay effect offers the following controls:

• Low and High These controls let you set the cutoff frequencies of the provided high-pass and low-pass filters, which effect only the delayed signal.
• Delay Time This control lets you specify the length of the delay effect, in rhythmic values (such as 1/8th-note or 16th-note) relative to the tempo of the Song.
• Feedback (FB) This control lets you set the amount of effected signal that is fed back into the Delay effect. At zero, there is just one repeat. As you increase the value, the trail of repeats grows.
• Mix This control lets you blend between the dry signal (all the way left) and the delayed signal (all the way right).
• Ping-Pong Mode This menu lets you enable and configure the stereo Ping-Pong delay mode. You can choose from the following modes:
  • Off The delay works as normal, without ping-pong functions.
  • Panned Using a multi-tap delay structure, this mode pans each delay repeat to the right or left, in sequence.
  • Dotted and Double These modes work similarly to Panned mode, but employ staggered spacing of the delay taps to produce a dotted-note or syncopated straight rhythm in the delay repeats.
• Reverb Enable this option to route the output of the Delay effect to the Reverb effect, enabling further diffusion and abstraction of the delay signal.

Reverb

This effect places the synth signal within a synthesized reverberant physical space, ranging from short reverbs that emulate smaller rooms, to long reverbs that evoke the sounds of large spaces, such as halls and cathedrals. Reverb offers the following controls:

• Pre-Delay (Pre) This parameter lets you specify an amount of delay applied to the reverb-processed signal, in a range between zero and 500 ms. This emulates the delay inherent in large spaces between the impact of a sound and its audible reverberation. Lower settings are best suited to shorter reverb times, and longer settings with longer reverb times, but let your own taste be the judge.
• Damping (Damp) This control lets you set an amount of high-frequency attenuation to apply to the reverb signal. Spaces with soft surfaces tend to lose treble quickly as the sound reverberates, resulting in a short bright reverb followed by a progressively darker tail. Spaces with harder surfaces retain high-end more efficiently over time. Set Damp to its lower range to emulate hard surfaces, and to the higher ranges to enable further damping, to emulate softer surfaces.
• Size This control lets you set the length of reverberation from the moment a sound starts, in a range between 100 ms and 10 seconds. The larger the size, the longer the tail of the reverb, and the larger the emulated space sounds.
• Low and High These controls let you set the cutoff frequencies of the provided high-pass and low-pass filters, which effect only the reverb signal.
• Mix This control lets you blend between the dry signal (all the way left) and the reverb signal (all the way right).

FX B

Gater

This is a rhythmic gating effect, able to create a series of syncopated breaks in the synth signal. A variety of presets are provided, each with a different rhythmic gating pattern. However, the fun really begins when you create your own. Gater offers the following controls:

• Beats This control lets you set the length of the gating cycle, in rhythmic values (such as 1 bar or 1/2-note) relative to Song tempo. For example, at a setting of 1 bar, the 16 steps in the cycle repeat every bar, effectively representing 16th-notes. At a 1/2-note setting, the 16 steps repeat each half-bar, representing 32nd-note values.
• Beat Steps This grid lets you specify which steps in the cycle let signal pass through, and which gate the signal to silence. Click on a step to enable or disable gating for that step.
• Stereo Engaging this option creates a separate beat grid for each side of the stereo field. When engaged, you'll see two rows of beat steps, the top row specifying gate steps for the left channel, and the bottom row gating the right channel.
• Depth This control lets you blend between the gated and dry signals, allowing for rhythmic gating effects while retaining the continuity of the synth sound.

EQ

This is a graphic equalizer effect, perfect for quick tonal shaping. Set the EQ bands to emphasize or attenuate bands of frequencies to suit your needs. When a band is in the center of its range, it neither adds nor subtracts. When moved above the center, it emphasizes the chosen frequency. Moved below the center, it attenuates that frequency.

Choose between Lead mode, with frequencies chosen to suit aggressive, up-front sounds, or Bass mode, with wider-ranging frequencies that work better for basses and mellower chordal parts.

Distortion

This is a variable distortion effect, which adds grit and character to your sounds. Choose from a variety of distortion types, from fizzy transistor fuzzes to thick, warm tube overdrives. Set the amount of distortion with the Drive knob.

Pan

This is an auto-pan effect, which pans the synth signal left and right over time. Pan offers the following controls:

• Speed This control lets you set the speed at which the signal is panned left and right.
• Sync Enable this option to set pan speed to a rhythmic value (such as 1/4-note or 16th-note) relative to Song tempo. Disable this option to set pan speed along a continuous range.
• Depth This control lets you set the degree to which the signal is panned. Lower settings give a subtly panned effect, while higher settings pan the signal more radically, all the way to fully left and right in each cycle.

Virtual Keyboard

The virtual keyboard lets you easily click to play notes or manipulate the Pitch and Mod wheels, while auditioning or editing patches when you're away from a MIDI keyboard. The keyboard display also shows you which notes are currently being played, as well as the root note and pitch mapping span of the currently selected sample. You can show or hide the virtual keyboard at any time by pressing the [Keys] button.

Note that for a more playable keyboard experience when away from your MIDI controller, you can also use Studio One's QWERTY Keyboard Device to play notes using your computer's keyboard.

Next to the virtual keyboard is the Bend parameter, which lets you set the pitch bend range of the Pitch wheel, in semitones.

Working with .multisample and .soundx Files

Given that it's so easy to create new sample libraries in SampleOne XT, you may find that you want to exchange them with other people, or use them in different instruments, such as Presence XT. To export the current set of samples as a .multisample file, click the menu button and choose Export Multisample File.. To export the current patch as a .soundx file for other SampleOne XT users to try, click the menu button and choose Export Preset.. To import a multisample or soundx preset file into SampleOne XT, simply drag-and-drop it onto the plug-in window.

https://golze.netlify.app/bluetooth-keyboard-garageband-ipad.html. Tap the track view icon (left of stop) to see your recording. You can add new instruments to the piece by clicking the + sign (bottom left) and repeating steps 3 to 9. You can record up to 8 tracks. Use a Bluetooth MIDI device with GarageBand for iPad You can connect a compatible Bluetooth® MIDI device to your iPad, and use it to play and control Touch Instruments in GarageBand. Tap the Settings button in the control bar. Use the Audio Recorder in GarageBand for iPad. Using the Audio Recorder, you can record your voice, an instrument, or any other sound using the microphone on your iPad, and play it back in GarageBand. You can also record sounds using an external microphone connected to your iPad. Play the Keyboard in GarageBand for iPad. Using the Keyboard Touch Instrument, you can play different keyboards, including grand piano, electric piano, organ, clavinet, and synthesizer, by tapping the keys. You can choose a keyboard sound, move higher or lower on the keyboard, hold notes, and change the keyboard layout and size.

Export to Impact XT

Once you've created some samples you love, you can always import them to Impact XT using drag-and-drop. To do this, click and drag your chosen sample from the sample list in SampleOne XT, and hover your cursor over an Impact XT tab at the top of the Instruments window. Impact XT is then shown, and you can drop your sample onto any pad. You can also select multiple samples in SampleOne XT, then click and drag the group into Impact XT as described above.

By default, when multiple samples are dropped onto a pad, they are all assigned to that pad and are played interchangably, according to the current Layer Mode. To distribute multiple samples across multiple pads, press and hold [Shift] before dropping them. The first sample is assigned to the selected pad, and each subsequent sample is assigned to subsequent pads in ascending note order.

Color Themes

Looking for a little personalization? Try clicking the PreSonus logo at the top right corner of the SampleOne XT window for a selection of new color themes.

Screen 1: Impact XT has tremendous capability to build up large sound sets.

New features in Studio One 4 make it even easier to add interest to sequenced patterns.

Studio One 4 is here, and there is plenty to explore. This month, I take a brief look at the fun to be had combining two new additions. Patterns is a step sequencer, more or less in the style of old hardware drum-machine sequencing, and Impact XT is an improved version of the existing Impact drum instrument. In this workshop we’ll only cover a narrow subset of what these features can do — for instance, I won’t even mention the melodic mode for patterns — but that should be enough to convey how far you can go with them.

Some audio examples making use of probability, as well as the other techniques described here, can be found by viewing the online version of this article.

Rhythmic Itches

I get bored of things that repeat in exactly the same way every time, so this column will look at how Patterns and Impact XT can create entire rhythmic worlds quickly and without too much effort. I’ll explain some of the techniques I use with these tools to go from a simple step sequence to a surging, changing world of rhythm.

First, load up on sounds. Impact XT has eight banks of 16 pads, each of which can stack up to four samples. This is a lot of sounds that can be stored and played, especially given that the samples don’t have to be only short drum sounds — they can be loops or long sounds. Load a kit you like, and then drag and drop sounds from the Finder or Windows Explorer onto pads in other banks to build a big, fat sound set. In Impact XT, to stack a sample onto a pad’s existing samples, you no longer Shift-drag the sample to the pad: instead, click the plus-sign button below the lower-left corner of the waveform display. You can still drop up to four samples onto a pad at once to stack them. (See Screen 1.) Once you’ve put the work into creating a kit, save it for posterity.

Second, create some Patterns. Studio One 4’s Patterns takes a basic grid approach to sequencing, but throws in some fun twists. The first is variations. As the name indicates, variations can be modified versions of an original sequence, but a variation also can be an entirely different pattern.

Insert a new pattern by locating to the track and time where you want it and pressing Shift+Ctrl+P. On the left of the familiar drum machine-style grid is a sample list; this might get a tad long if you load lots of samples, but it helpfully shows the sample names. Sequences currently can only be programmed by mouse-click or using step record, but hopefully, programming from a MIDI pad controller control will be added soon. Make a pattern you like, and you are at the starting line. Time to make some variations!

The buttons at the top of the list duplicate or add a new variation. I use them roughly equally. Duplicate a pattern and move some notes into an interesting new version of the sounds and rhythms in the original. Once you’ve created several variations, loop a single iteration of the pattern in the track, hit the space bar to play, and click different variations (in their left columns) to play them. Jam out.

Stepping Out

Variations don’t have to have the same number of steps as each other, or the original pattern. I kept things relatively simple in Screen 2, setting one variation to 12 steps, while all the rest had 16, but this was still sufficient to introduce a clear polyrhythm. Even with only variations double and half the original length, you can get some stuff happening.

Screen 2: The Pattern editor. The buttons immediately below the ‘Variations’ legend create new or duplicate variations.

Patterns can be inserted on any instrument track, and each copy of the pattern in a track can be set to play a different variation. You can stack patterns on a track and they will play merged, making it a snap to build polyrhythms or create transition overlaps. You could also use multiple tracks of variations playing separate instruments in the same Impact XT kit to gain closer control of the sounds and rhythms.

The default velocity value for inserted notes is of 60 percent, but it’s easy to alter this. Select a row (instrument) in the grid and click Velocity in the row of parameters below the grid. The bar display shows the velocity of each note in the selected line: drag the bars to edit them (Screen 3). Velocity editing can create nice phrasing and note-to-note sound differences, and can bring out a sub-rhythm, while lower-velocity notes can simultaneously suggest yet a third, ‘ghost’ rhythm.

Screen 3: Velocity editing in the pattern editor. Note how the last four notes use velocity to sculpt a quick little crescendo.

Studio One 4 Impact Xt Samples

On many instruments, note velocity also produces tonal change, yielding greater diversity of sound. Impact XT’s velocity control of pitch can go to yet another level of phrasing. The ‘secret sauce’ is in tuning the velocity amount to cover the right pitch range. Applying positive velocity modulation may mean you need to move the tuning or transposition down if you want the sound centred around the original pitch, or, conversely, pitch it up for negative modulation values.

Screen 4: Small amounts of pitch and filter velocity modulation, but full-on level modulation for this sound. Note that even with positive modulation, the pitch is transposed up a little, not down. This sound will always play back at least a little higher than the original. The filter is a low-pass in this case, which gets just a touch of velocity mod.Finally, velocity can be put to use controlling filtering per pad for still more tonal alteration. The most obvious tactic — and still a great one — is applying velocity to the cutoff frequency of a low-pass filter, such that softer notes are darker and louder notes brighter. That emulates the sonics of many acoustic instruments and works effectively in most circumstances (see Screen 4).

But another filter mod technique I like is applying a band-pass filter with velocity control of the cutoff frequency. Impact XT offers two band-pass filter types (‘ladder’ and ‘state’) for pads. Choose a filter type and the intensity of the effect will be determined by the modulation amount and the filter resonance.

Infinite Probabilities

Variations and velocity are quite enough to make engaging step sequences, but my new hands-down favourite feature for creating variety in a pattern is the Probability parameter. Here’s a few tricks to getting the result you want from this powerful feature.

First, select a sound and choose the Probability parameter below the grid. A bar graph appears showing the probability that each sound will play on any given pass through the sequence. At the default 100 percent, a note sounds every time; at 50 percent, it will play only half the times through (Screen 5).

But how many times through are we talking about? A history looking only at four passes through the sequence gets pretty predictable once the first pass is done. If the history looks at the last 20 times through the sequence, it gets more complicated. A note set to 50 percent might sound six times in a row, followed by two silences, two more notes, eight silences.. nothing that feels close to ‘every other time’, but still, statistically, 50 percent.

Screen 5: This is a pretty dense pattern, so none of the note probabilities on this instrument are even set as high as 60 percent. The result will still be quite active, but will not feel cluttered.In practice, probabilities of perhaps 75 percent or more feel to me like the note plays every time, even though it is noticeable when it is absent. That feel of continuity makes high percentages good for bass drums or other time-keeping elements, which you want pretty steady, though with a little give and take here and there. At the other end of the spectrum, values below 10 percent are useful when triggering long samples or loops, to reduce the chances of multiple copies of the sample playing on top of each other. At percentages that low, you lose all sense of that note as part of a rhythm.

In between these extremes, I’ve been setting many notes between 15 and 30 percent, to keep down clutter in patterns with busy rhythms and lots of sounds, while for general instrument riffing, 35-65 percent retains the basic feel but sounds more like groove than repetition. As you raise a note’s probability, it tends to become fundamental to the rhythm.

Variety Show

Studio One 4 Impact Xt 2

The ’80s were tragically tainted by four-bar drum loops that repeated identically for minutes at a time. Studio One 4’s Patterns and Impact XT make that trap easy to avoid. With the ability to have a very large number of sounds on tap and a number of different tools for shaking up the sequence, entire pieces can be composed using just these tools. We will tackle more new Studio One 4 features, but this one can hold you for a while.

Audio Examples

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