Why I use the Listen Bus in PreSonus Studio One

[@PaulCylo]

Thanks Marcus 👍

[@LambertDriveStudios]

Amazing tutorial Marcus ! I am an studio one user for last 8 years and I don't not notice this

[@ElRobboz]

This was great as I've been using this workflow as well, however you may want to re-edit this so that your PiP voiceover video isn't covering the Listen Bus and the Master Bus when talking about them. ;o)

[@keithdunwoody1302]

Thanks Marcus. I never used this bus, but I will try it out.

[@1VERZHN]

This was great. I dont have sound id but i have VSX. You always have great turorials.

[@philipjbenjamin]

Thank you Marcus. Your content is always excellent. However in this case your content is a life saver. I have hearing loss in my left ear - you've laid out the exact path I can follow (the product you recommend has an app I can use to do hearing tests - resulting in a personal audio profile - the information from which updates all headphone and monitor profiles to be adjusted to work for me) enabling me to still operate in some way. Thank you.

[@zipperhead101]

Thank you once again! I'll be watching this one a few times.

[@arthurzatarain8062]

I also use listen bus with Sound-ID, the setup works well for me.....except while tracking. I've spent a lot of time chasing down latency problems that caused recorded tracks to be early on time timeline. Today I think I found the problem to be the latency of plugins on the listen bus are included in the total latency of all plugins, but aren't included in the automatic latency compensation of Studio One. As an extreme example, Sound-ID in Linear Phase mode has latency of about 48ms. This is reflected in the total latency shown on the S1 taskbar. The listen bus on my setup is same as main output (on a Studio 192). I then recorded a test tone that is looped from main out back into a line input. The resulting recording from the main out should align with the original tone track if automatic latency compensation is correct. However, the recorded tone is stored ahead on the timeline by 45.8ms, which is the amount of latency for Sound-ID. Putting Sound-ID in bypass doesn't eliminate the problem. However, turning off Sound-ID does fix the problem. So I don't think the listen bus (with long latency plugins) can be used as a monitor mix for recording into Studio One.

[@IslamMostafaQuran]

I have a problem with studio one 6 artist that listen bus track is not appearing how to show enable listen bus track in studio one artist?

[@brettmarlar4154]

I usually pit my phase meter on the Listen Bus as an insert, as I find it gives me more accurate results. I also use it to have my click track as to not potentially clip the actual recordings on the mains, as sometimes I need it quite loud to be heard over certain things. Also, since I don't have monitors I use the the CLA-NX room simulator plug-in on the post fader to give me a more accurate depiction of how it would sound in a properly treated room with monitors. It even has a boom box setting to give it a small speaker reference. It has also improved how my mixes translate.

[@dimafg1]

Fine. But what if I need several connections and switch instantly, how does it work, say, in Cubase with Control room? Is it possible to connect multiple Listen Buses?

[@chaddonal4331]

Why isn’t the Listen Bus discreet from the Main mix in Studio One? Here is what I mean. If I assign the Main Bus to Out 1-2 and Listen Bus to Out 3-4. But the LB still receives from the Main Bus, I.e Serially, rather than in Parallel. To confirm this, simply pull down the Mains fader or mute it and notice the impact on the LB. Can anyone explain why this is so? Or offer a configuration to where the Listen Bus can actually be run discreetly?

[@strakhovmixing]

Thank you!) But my Presonus Studio 24c doesn't have separate headphones output...

[@ELLIOT8209]

Is there a way to listen to KZbin videos in mono? Is the mono feature available in the Audio Interface (Audient) software?

[@KozmykJ]

Defo on the Listen Bus 👍 I have built one into my Bitwig Template too. Haven't yet applied one to Reaper yet, but I use Reaper for testing things mainly. I Will have a go though just to have some continuity of logic when swapping DAWs.

[@ronmacnutt]

Reaper has a built in "Listen Bus" called "Monitor FX" that may work for you. It is found at the top right hand corner of Reaper window. kzbin.info/www/bejne/o3ybgHWFf5prqsk

[@KozmykJ]

@@ronmacnutt Thanks. I know it's just a matter of Terminology and design layout. I'll get around to making a Me friendly template eventually ...

[@Newmusicreview]

Yeah,,,nice vid placement dude...

[@Barncore]

Love the Listen Bus purely for my metering plugins

[@G_handle]

PLEASE follow up on this video! Maybe start a brand new session, and put the monitoring and calibration in place from the beginning. 1) How would you setup Main Mix + Engineer Mix + Artist Mix(s) + Producer Mix? Producer in the control room listening to the mains, Engineer with open-backs, Artists in the studio/booth with closed-backs. Then the producer wants to track in the control room. Closed backs and different mixes for everybody. In live mixers, you can assign multiple Aux-Outs certain channels, then setup iPad app for each artist to adjust their own personal mix if you have enough I/O. Studio/Live boards have this, is there a way to do the same in Studio One. Then, in the control room, everybody basically has their own artist mix including the producer. And obviously the engineer can adjust any mix for them as usual. 2) You mentioned your iLouds. How about ARC 3? Many years ago I tested ARK vs Sonarworks vs REW vs DBX Driverack and found them A) all to be different, and B) each to have Pros and Cons, no clear winners. The one thing they're all best at, nobody ever talks about. Measuring your room is C) how you find the best position within your room for your monitor placement and listening position, as well as D) figure out what Acoustic Treatment you need to combat and target whatever problems your particular room has. EQing your monitors in order to Not excite certain frequencies within your room, has always been a thing (graphic equalizers were inline with power amps feeding mains, likely causing more phase problems than they were helping) , and it's also always been controversial. The idea that your going to take those perfectly-flat insanely expensive monitors and deliberately impose a frequency response curve before they get a chance to do what they were made to do is some form of audio blasphemy. However, it's always been done. The difference is that it used to be a LAST RESORT after you did everything else you were supposed to do to Actually Tune the Room itself. It was a cheat to get at those couple of problem frequencies you just couldn't get under control. Now it's marketed as Plan A. Anyhow, the iLoud MTMs and ARC 3 is what my boy swears by as he goes on tour and mixes in different hotel rooms regularly. Any thoughts, or comparison videos. 3) Your mug was blocking the actual Listen Bus the whole time!!! Not sure if you can re-edit and move the PIP, but I found it hilarious. I picture a new kid like "what the hell is he talking about?"

[@gariminter5606]

So he built the automatic curve and tuned everything to his specifics, knowing he enjoys a Lil extra than what's required... Cool shit! Now he doesn't have to do as much mixing. Nice shortcut tailoring that, but it must come with years of mixing

[@davidcamarda8723]

Something missing, listening to mixes in different envs. Add to TODO

[@FlatTire]

Why I dont like sonarworks?

[@ELLIOT8209]

I use Audient

[@holygeneration7]

Why is the mixer faders "throw" so short yuck. I have both version 3 and now 6 which is NOT more intuitive but less intuitive. The short throw is one thing, but also putting the mute, solo, record/monitor buttons on top of the fader instead of the side of it takes up to much reality and could very well be the reason of the short throw faders !!

[@philweight3480]

You know you can stretch them much taller, right?

[@zipperhead101]

FIRST!

[@oinkooink]

Content creators. Geez come on man.