But In this tutorial, we are going to show you a few tricks that will make GiO an even more powerful and invaluable tool to your recording work flow.

We will show you how to create and arm a new track, and then scroll hands free through tracks using only GiO.

Creating a new track

Click on Logic Pro > Preferences > Key Commands

In the search bar type “New Track”

Select  “New Track with duplicate setting”

click “Learn new Assignment”

Press button 4 on GiO

Now whenever you step on GiO button 4 you will create a new track with the same amp and effects you were using on the previous track.

Record Enable

With record enable you do pretty much the same thing.

Click on Logic Pro > Preferences > Key Commands

In the search bar type “Record Enable”

Select  “Record Enable Track”

click “Learn new Assignment”

Press button 5 on GiO

Now button 5 will allow you to toggle record enable on the track that is selected

Scrolling through tracks

Click on Logic Pro > Preferences > Key Commands

In the search bar type “Select previous track”

Select previous track

click “Learn new Assignment”

Press GiO’s “Previous” button

Now do the same for the next button

Click on Logic Pro > Preferences > Key Commands

In the search bar type “Select next track”

Select next track

click “Learn new Assignment”

Press GiO’s “Next” button

Now you can record multiple guitar tracks without ever having to touch your computer.

The way we assigned the buttons is just a suggestion, so feel free to assign the buttons however you like to make GiO an incredibly powerful tool for how you record guitar.

Visit Puscifer at http://www.myspace.com/censorshipisacancer

Video Transcript

Hi I’m Mat Mitchell, currently performing and producing the project Puscifer. In the past I’ve worked with The Perfect Circle, teching for Billy Howerdel. That’s where I met Maynard Keenan. [I've] since worked with Tool, and most recently with Trent Reznor and Nine Inch Nails. Working a bit in the studio and extensively live doing programming and live tech work.

On tour and in the studio, I’ve been using Apogee products for quite some time. On the Nine Inch Nails tour, we used Symphony Mobile and Rosetta for all the guitar and keyboard sounds through MainStage. For the latest Puscifer recordings, we’ve been using Duet quite a bit. We use Soundelux U95 plugged straight into a Duet, and then using the dynamics in Logic.

Recently I was introduced to a new Apogee product, GiO. It allows me to scroll through my amps; it allows me to control stomp box effects; it allows me to control my transport functions hands free. Another thing we discovered is that you can assign buttons to create a new track and arm that track. Since we are already using MainStage Live, the GiO is a great addition. It allows me to switch through my amps and all my pedals through MainStage. Both live and in the studio, the GiO is really a good addition.

Their above-featured song, “Pretty Far Gone,” was recorded entirely with Apogee’s ONE- including cello, guitar and vocals- captured solely by its internal condenser microphone, premium converters and mic preamp. With soothing cello, solid and rhythmic acoustic guitar and harmonizing vocals, a song about drinking Jagermeister has never been so intoxicating.

To learn more about Oak & Gorski, visit: http://www.oakandgorski.com/

Two-time Grammy nominee Tommy Emmanuel is one of Australia’s most respected musicians. Recently given the Guitar Legend Award by Guitar Player Magazine, Tommy has a professional career that spans almost five decades as an iconic performing artist. A household name in Australia, he has garnered hundreds of thousands of loyal fans worldwide with millions signing on to YouTube to study his unparalleled fingerpicking technique. With 300 shows a year over the past four years, Tommy is on the road more days than not. Paired with the free version of GarageBand on his MacBook Pro, his Apogee ONE proves to be the ideal traveling companion to make recording on the road feasible and hassle free. Currently on a jam-packed international tour, Tommy kindly spared a minute to delight and entertain the folks at Apogee with a live performance and recording of Australia’s unofficial national anthem, “Waltzing Matilda.” Recorded with ONE’s internal condenser microphone at Berkeley Street Studio, his performance will be sure to inspire and amaze.

About Tommy Emmanuel, the ‘Guitar Wizard of Oz’

Tommy’s unique style – one he calls simply “finger style” – is akin to playing guitar the way a pianist plays piano, using all ten fingers. Rather than using a whole band for melody, rhythm, bass, and drum parts, Tommy plays all that- and more -on one guitar. Guitar legend Chet Atkins was one of the first to inspire Tommy to try this “fingerpicker” style as a child. Decades later, Atkins himself became one of his biggest fans.

His popularity in the US has grown by leaps and bounds in the last few years, aided by a non-stop touring schedule and increasing exposure in the media. 2005 kicked off a stream of US honors and awards. Tommy was inducted into the National Thumbpickers’ Hall of Fame in Muhlenberg, KY (the only non-American ever to be selected) and was also awarded with Thumbpicker of the Year and Album of the Year. He played Carnegie Hall for Les Paul’s 90th birthday Tribute Concert and his The Mystery album earned a Grammy nomination in 2006 for Best Country Instrumental for “Gameshow Rag/Cannonball Rag.” In 2008, Guitar Player Magazine and Acoustic Guitar Magazine named him Best Acoustic Guitarist and Gold Medalist – Fingerstyle category- in the Readers’ Choice and Players’ Choice Awards, respectively. Most recently, in 2009, Tommy was honored by Guitar Player Magazine for the second time as “Thumbpicker of the Year” and was given, as mentioned earlier, the magazine’s Guitar Legend Award.

Tommy’s newest album and DVD Center Stage were produced in 2008 based on the popularity of his episode of a PBS series called “Sierra Center Stage” filmed live at the famous Sierra Nevada Brewery venue in Sierra Nevada, CA. Tommy’s Center Stage video has been featured on PBS stations around the country during 2009, drawing ever-larger sellout crowds to his live shows.

In all, Emmanuel’s catalogue includes 16 musical recordings running the gamut of solos, duets, ensembles, cover tunes, and originals, both electric and acoustic guitar. He has made several instructional DVDs and regularly teaches master classes on the road. At 54, performing live is more important to him than ever and he tours constantly. Guitar players of all levels come to his shows to watch the magic hands of the “Guitar Wizard of Oz,” but his appeal goes far beyond musicians. His live shows are known for their humor, passion, and infectious joy. The power of his charismatic showmanship will be foremost in his legacy.

To learn more about Tommy or to check out his upcoming tour dates, please visit: http://www.tommyemmanuel.com/

New York based music licensing company, Jingle Punks, recently completed music for the History Channel’s promo spot of “Madhouse,” using only Apogee’s ONE. Jingle Punks CEO, Jared Gutstadt, composed and produced the music from start to finish, recording each acoustic instrument in multiple locations around the US using only ONE’s internal condenser microphone.

Jingle Punks Website>
Apogee News Story: Jingle Punks>
History Channel’s “Madhouse”>
Apogee ONE>

Video Transcript

Video Transcript

I’m Val Garay. I’m a producer/engineer. I started many years ago at the Sound Factory in Hollywood, started as an engineer. The early projects that I did when I first started out were Seals and Croft. I did a record with them that had “Summer Breeze” and “Diamond Girl.” Then, I started doing Linda Ronstadt records. Started with her with “Heart Like a Wheel.” I did all the pop stuff with her until she started doing Nelson Riddle albums. I did five records with James Taylor starting with “JT,” I did “The Pretender” with Jackson Browne, and then I built my own studio in Sherman Oaks called Record One and I started working there. I really started doing more production that engineering although I always did all my own engineering. I produced Kim Carnes, Joan Armatrading, Carlos Santana, Neil Diamond, Dolly Parton, Kenny Rogers, The Motels- I did all their big hit records. It’s hard to remember them all.

And then about 6 years ago, I met Henry Marx and we started a record label and a studio here in Topanga, and I started developing artists. So i have a new artist named Bonnie Piesse whose record is about to come out. She’s Australian, wonderful singer/songwriter. I’m working with another girl right now named Katrina who is a great pop voice, kind of along the lines of Celine Dion. Then I have another girl singer named Erica Jane who came out of the Hip-Hop dance world.

The apogee gear that I have in my studio now is I have the AD/DA-16X converters and the Big Ben Clock, and the Rosetta 200 and the Apogee ONE, which I am absolutely in love with.

What I’m using the ONE for is, well, when I first got my hands on it, I didn’t quite understand what it was capable of. But the more I played around with it and watched a couple of how-to videos on the Apogee website, which were very good. It’s great because if you’re working with writers which I do all the time, and I write  myself, it’s such a great tool with GarageBand. It’s unbelievable because you can do things in GarageBand you could never do before, i.e. record guitars right into GarageBand with your own guitar, plug it in. Do vocals, plug it in, and they sound great. Because a lot of people use GarageBand and they use the mic in the Mac computer and it’s okay but it doesn’t sound anything like this one. The mic in the ONE is unbelievable. Being able to play back from iTunes through the ONE with the converters that are in it, also unbelievable. Be able to record with it, and use the mic in it. The mic… we were sitting in a hotel room in Miami about a week ago and everybody was just  unbelievably amazed listening on earphones with the mic open in the room… you could hear everything. But it’s an amazing tool, you can actually record a record with it if you wanted to. I suppose, i mean theoretically, that microphone sounds pretty amazing and you can plug anything into it you want and run it right into a laptop or regular computer. And, it’s not expensive which really amazed me.

The song you just heard in the video is “Soak It Up” by Bonnie Piesse.
Visit 321 Records here.

Visit The Script’s Website

Video Transcript

Danny: We are The Script from Dublin, Ireland, and we are here to talk about the Apogee ONE. We are very familiar with the Duet, this little piece of kit here. We have used that now for probably about seven or eight months, for all the capabilities for us being on the road. We are all producers at the end of the day. Being able to throw down ideas in the fastest amount of time is paramount for us. The Duet was amazing. We were thinking wouldn’t it be great if you were able to have a microphone in there, instead of lumbering around a microphone, jack and the whole shebang? And then they came out with it! The new ONE. They have a small little microphone, right there, which is perfect for those hotel rooms.

Mark: It’s USB, is it?

Danny: Yeah, It’s USB. It’s not actually going through Firewire at all.

Glen: It’s actually half the size of that one (pointing to Duet).

Mark: The big thing for anyone out there is that, as we know from traveling, that carrying microphones can be doggy on your microphone. With microphone climate changes that can mess up your microphone, and plus trying to carry it around is such a pain. But this actually has one of the best microphones I’ve ever heard in a machine. Especially when it’s not actually a microphone that’s just got a microphone in it. It’s got such good processors that, actually, you recorded a vocal on it the other night, didn’t you?

Danny: Yeah, I did. It sounded amazing. Even Bob Clearmountain himself heard it and said, basically, I can mix that. But you know, for people who have computers, even Logic, especially on this mac here, when I hit record, now this has a mic in it, and you’re able to throw down little ideas but there is a lot of latency on it. I mean, when you are trying to throw things down. For those of you who don’t know what latency is, it’s like a 3 or 4 second delay almost to when you sing to when you hear it. It’s very off-putting, especially if you want to just throw down ideas. The ONE has a piece of software called the Maestro. It also has all the volume knobs and all the buttons and stuff, but it’s got a latency control. And I have to say, as Mark was saying, it’s got the best quality mic I’ve ever heard on such a small piece of kit. Just to show you how cool it is, this is my mobile phone. Look at the size of it. It’s the same size as my mobile phone. So rather than you lumping around a whole lot of gear, whole lot of everything, microphones, the whole shebang, to be honest, this is where it is.

This is it. The ONE.

The song you just heard in this video is “Before The Worst.”