Apogee Maestro Tutorial

Apogee Maestro 2 Explained®

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15 Videos | Length: 54min 58sec
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    Tutorial 1



    Walkthrough of the first steps after unboxing your Apogee hardware; including downloading and installing the necessary software, updating the hardware firmware, registering your product, and optionally assigning the hardware to be used by the Mac Operating system.

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    Tutorial 2

    Mac OS X Setup


    Explore the Mac OS X System sound preferences and see how to set your Apogee hardware up for use as either system audio input and/or output. Use the Audio MIDI Setup system utility to specify which outputs (on multi output hardware interfaces) are to be used for the Mac system audio. And learn about the assignments of each of the available input sources and output destinations on the Ensemble.

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    Tutorial 3

    Adjusting Input Settings


    Discover how to use Maestro 2 to set the input source and adjust the gain for each hardware input; as well as how to enable soft limiting, set up groups, enable insert send/returns, invert the polarity, engage phantom power and enable a high pass filter for each physical input.

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    Tutorial 4

    Input Settings on the Ensemble


    See how to use the Input select buttons and Input controller knob to select and adjust per channel settings including mic gain and other parameters.

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    Tutorial 5

    Controlling Output Volume


    Learn to set the nominal level for each physical output, as well as how to use the thru and “from software” modes on the dedicated Guitar outputs. See how to configure and manage multiple speaker sets as well how to mute, dim, and sum to mono the main, and headphone outputs.

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    Tutorial 6

    Software Monitoring in Your DAW


    See how to bypass the Maestro 2 software, and monitor the signal of your Apogee hardware through your DAW using core audio and software monitoring.

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    Tutorial 7

    Direct Monitoring


    Discover how to use Maestro 2 to simultaneously route both hardware inputs and software returns from your DAW directly to selected hardware outputs using the Output Routing and Mixer pages.

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    Tutorial 8

    DAW Setup & Direct Monitoring


    Explore a common recording setup that has Maestro 2 mirroring the main output mix to the headphones. With software monitoring disabled in the DAW, input can easily be monitored through your Apogee hardware while simultaneously monitoring tracks coming from your DAW.

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    Tutorial 9

    Software & Hardware Monitoring Combined


    Learn how to get the best of both worlds, low latency direct monitoring, while monitoring software effects processing simultaneously.

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    Tutorial 10

    Headphone Mixes & Direct Monitoring


    Explore a more sophisticated setup where two separate headphone mixes are created to record two separate performers, each direct monitoring their own input signal.

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    Tutorial 11

    More Me!


    Explore a couple of different strategies for balancing the level of software and/or hardware monitored signals when performers need to hear more of themselves.

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    Tutorial 12

    Stand Alone Mixer


    See how your Apogee hardware, in conjunction with Maestro 2 software, can be conceived of and used as not only a stand alone mixer, but as a mixer with up to four discreet subgroups.

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    Tutorial 13

    Talkback Mic & Assignable Buttons


    Learn how assign and route the Ensembles built in talkback mic, and how to set the four front panel assignable buttons for various tasks.

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    Tutorial 14

    Guitar Re-Amping


    Explore a few different workflows for recording and re-recording an electric guitar both processed and unprocessed using the Gtr 1 and Gtr 2 inputs and outputs on the front panel of the Ensemble.

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    Tutorial 15

    Other Maestro Settings


    Learn how to set digital connection, clocking, and termination functions; and see how to control Input routing as well as the Ensembles meter hold times from Maestro.

Maestro 2 is Apogee's flexible and powerful OS X Mixer software solution that's included with all Apogee interfaces. Studio master Eli Krantzberg shows you everything you need to know about Maestro 2, as well as how to get the best performance out of your Apogee interface and improve your workflow.

To begin, Eli walks you through the installation and setup of Maestro 2, including OS X setup. From there, Eli explores adjusting the Input Settings on Maestro 2, and how you can use hardware controls like those on the Apogee Ensemble to directly control Maestro as well.

With input covered, Eli moves to Controlling Output Volume. You'll learn about Software Monitoring through your DAW vs. Routing Your Signal through Maestro 2 for Direct Monitoring, as well as how to combine the two.

Next, Eli explains how you can Combine Headphone Mixes with Direct Monitoring, and different strategies for Balancing the Level of Hardware and Software Signals for Different Performers. Then you'll learn how to use your Apogee hardware, in conjunction with Maestro 2, as a Standalone Mixer.

Moving on, Eli demonstrates how to use the Talkback Mic and the Assignable Buttons, along with how to Re-Amp Your Guitar through the Ensemble. Finally, Eli explores Advanced Maestro 2 Settings and Concepts like Digital Connections, Clocking, Termination, Meter Hold Times, and more.

If you own an Apogee interface and have never used the Maestro 2 mixer software before, or if youre an experienced user looking to get more out of it, don't miss "Apogee Maestro 2 Explained"!


- not reviewed

1. When did you start dabbling in music?

I started playing drums in high school at age fourteen. Like most kids my age around then, I was into progressive rock. Genesis, Emerson Lake and Palmer, and Yes. They rocked my world. A few short years later though, my musical life changed. While studying music in college I discovered Charlie Parker, Milt Jackson, Sonny Stitt, and John Coltrane. Milt Jackson spoke to me in such a profound way that it left me no choice but to take up vibraphone.

These great players, along with  drummers like Philly Joe Jones, Max Roach, Art Blakey, and Elvin Jones changed not only the way I thought about drumming, but also music - and by extension, life - as a whole. I realized life was meant to be a creative endeavor. The idea of improvising based on a loose set of guidelines and rules permeated into my psyche even when I wasn't holding a pair of drumsticks or mallets. But if I am going to be perfectly truthful, I have to hold Henry Miller and Woody Allen equally responsible for shaping the way I view and experience the world around me. 

2. What training have you had?

I am currently an Apple certified Logic Pro. Young and cocky, and armed with only a partial University degree, I dropped out of school and  began playing steady commercial hotel engagements and jazz gigs when I could. This went on for many years until I decided it was time to complete my degree - which I ultimately did with a major in Political Science and a minor in music. 

It was at this point that I formed my current band Nightshift. We are going in to our twenty third year now - playing commercial one nighters like weddings, corporate events, etc. Don't turn your nose up at it though - it has allowed me a wonderful quality of life. It gave me the freedom to go back to school and complete a post graduate degree in Communications Studies - all the while supporting myself by playing weddings.

3. When did you get into recording?

It was in this graduate program - in the early nineties - that I found myself drawn to the fledgling emerging universe of hard disc recording and midi sequencing. Based on nothing more than the recommendation of one of my band mates who had an old Atari, I jumped in head first and bought a Mac LC ll, along with a version 1.1 of what was then Notator Logic. I had no idea what I was getting myself into. But, in hindsight, it was a decision of epic importance in my life - shaping my future as much as the music of Milt Jackson and Charlie Parker did fifteen years prior. 

I opened up my own commercial home studio in 1998 and began doing a variety of projects, working on radio jingles, artist CD projects, and whatever came my way. A couple of years later a colleague called me up - desperate. He was working at a post production house and one of the editors had just quit. They were doing audio post for a weekly TV series and needed a Pro Tools editor - and fast! And so, once again, I jumped in head first into what would ultimately open up my world even more - the world of Pro Tools. 

4. People you have worked with/for?

Focusing on Logic, I built up a small but loyal client base and my phone kept ringing for Logic tech support and instruction. Film composers and studio owners all over the city were calling me. Even the music stores were giving out my phone number at this point! This kind of stuff becomes a self fulfilling prophecy. The more of it you do, the more calls you get to keep doing it. At least that's the way it should be!

As my Logic chops kept growing, I was hired by an old buddy of mine, Len Sasso, who was then an associate editor at Electronic Musician magazine, and began writing some columns for them. I had a blast doing them - and really learned to focus and express my thoughts in a concise and clear manner. This lead to a collaboration with LA based composer Terry Michael Huud on the 2006 film called Civic Duty - which was certainly one of the highlights of my professional life as a composer. 

5. Why are you so good at training people?

I wake up every day excited to boot up, and create. Whether it's instructional videos, creating music, working with a studio client, performing with my band, or teaching at the schools - my days are filled with what I love doing. Enriched by the stimulation and creative freedom this modern music making software brings to my life. I bring that excitement and passion to each and every training product I create. My years of experience both using and teaching these programs has taught me the best way to make the user comfortable with these complex programs.

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