[This just in from Graham Cochrane, Grand Mixologist and WhizAdult over at The Recording Revolution. He put Studio One 2.5 Professional’s mastering features into an opinion toaster, and a few minutes later this tasty, crispy review video popped out. Dig in, but bacon is extra.]
Hope you are well. Just a heads up that I posted a video review of mastering in Studio One with the Project Page. Enjoy! Really enjoying working with S1 for mastering. You all have done an excellent job with this! Hope to see some of you at NAMM.
[This just in from Marcus Marshall, production wünderkind with a heart of gold.]
I wanted to tell you about this video we’re proud of. This year a partner and I produced a song for Grammy-nominated artist Carolyn Malachi. The song is titled “Free Your Mind,” and it’s fully produced and recorded in Studio One.
The track is gaining momentum! It’s currently available on Google play, and will hit iTunes and Amazon in a couple of weeks.
[This just in from Paul Fattahi, Executive Director, International Music Software Trade Association. ]
Dear IMSTA Members and Friends,
As you may know, every year IMSTA conducts the “Let’s Talk Piracy” Survey in order to obtain a better understanding of the motivators behind software piracy. We then analyze the data and provide our findings, along with any observed trends to our members. It would be much appreciated if you could send this to your marketing, web, and social media teams and to ask them to promote the survey as much as possible. With your help, we could receive plenty of responses and have the results analyzed and prepared for our meeting at NAMM.
As software is of incalculable importance not just to PreSonus, but also our entire industry, Please click here to take the survey. It won’t take but a minute.
Also, feel welcome and encouraged to share your thoughts on software piracy in the comments section below. That will take as little or as much time as you like.
Rick Naqvi is anything but lazy. I mean, why go pay $90 for a half-dead tree sold by the local Cub Scout pack when you can venture into the great outdoors and get a tree yourself?
I’m not sure how he found an evergreen in Baton Rouge. And we almost NEVER see this much snow, but whatever.
Joe Crabtree, Live Sound Engineer for Wishbone Ash, picked up a StudioLive 24.4.2 for Wishbone Ash’s most recent tour. He’s running front-of-house from his StudioLive, and—like many StudioLive owners before him—was able to offload a rack full of old compressors, reverbs, gates… the usual suspects.
Furthermore, he’s really using the board to its fullest. He records every show to Capture, and his band is taking advantage of the remote in-ear monitor control features available via QMix.
Enough chit-chat, just watch his vid. Joe, thanks so much for this!
Hey PreSonus, I finally got my multi-pin panel built and installed. The rack panel sits in a road case that serves as a stand for the StudioLive 24.4.2 mixer. The road case also has a power conditioner, a couple of drawers, wireless in-ear transmitter, etc, and the stage snakes are stored in the bottom of the case during transport.
The big cable on the left in the photo below feeds a fan-out to the mixer. The two smaller multi-pin cables feed 12×4 stage boxes. The XLRs are main outs, sub outs, and Auxes 9 and 10. (Auxes 1-8 are fed to the stage boxes. The mixer sits in a Gator case with the doghouse. Setup is a snap. The large multi-pin cable is stored in the doghouse for transport, so I never have to mess with plugging things in to the back of the mixer!
I play guitar in a band made up of weekend warriors like myself. We play small venues, mostly bar gigs and winery gigs, with an occasional barn party thrown in for good measure. In addition to my guitar playing duties, I’ve also fallen into the role of ‘sound guy’, audio engineer, roadie, booking agent, transportation coordinator, finance manager, and marriage counselor. 😉
When we roll in to a gig, we merely open the doghouse of the mixer case where the fan out snake is stored and always stays connected to the StudioLive. We plug in the big multi-pin to the rack panel, and then roll out the two 35′ sub-snakes and stage boxes that are stored in the bottom of the road case for transport.
Kimberly Thompson is a world-class musician, producer, engineer, composer, and educator whose work has included gigs with Kenny Barron, Jay-Z, Kanye West, George Michael, Alicia Keys, and Beyonce. She’s recently moved from another well-known DAW to Studio One, and says she’ll never go back.
“Everything with Studio One is crystal clear,” says Thompson. “I’m able to hear all those ghost notes, those staccato notes, all that stuff that often gets lost in the mix. It’s an amazing program—it picks up the nuances of the sticks, the depth of the snare, and the classiness of the traditional brush strokes in jazz. It nurtures my sound while I’m recording live. I don’t feel the temptation to over-use EQ anymore—in many cases I don’t use it at all.”
Studio One’s intuitive workflow also scores high marks. “It’s a really easy program to work with, whether you’re approaching it as a producer, an engineer, a musician, or all of the above,” she observes. “Studio One enables me to keep working and be more productive.”
Join veteran live sound guru John Mills on a journey to discover precious Smaart Wizard technologies…now available for FREE in the StudioLive 16.4.2 and StudioLive 24.4.2 digital mixers. He will be taking your questions LIVE! Click here to go to the Livestream page or receive an e-mail reminder before the show.
[This just in from Dr. Snipe Young, decorated PreSonus Artist/producer/songwriter/engineer/bad-ass. He just wrapped his most recent track, “Shock Your Body,” in Studio One, linked below for you to hear. The good doctor was kind enough to share a bit about the anatomy of the track, and what makes it tick.]
So here goes… I played the main groove live on my Open labs Miko, which has a FireBox 4×4 installed in it. From there I tracked it through a very old, yet warm vintage 24-channel mixer. I then sampled this recording, chopped a nice feeling groove and placed it on the Studio One timeline.
The groove is the backbone of the record, so I built around that with kicks and snares I created to give it a subtle punch and snatch. I then used the groove quantize to lock my bass from Trilian and the drums—It’s still a remarkable feature to me!
My next addition would be to play some guitar licks which were brought alive by the TriComp and Pro EQ. I also added an instance of Beat Delay and set it to echo on the 8th notes, which gives it a small stadium feeling and allows it to lay inside the mix better. Lastly, I just sprinkled on a few chords from a Komplete 8 Ultimate Vintage Rhodes organ, and Philharmonik strings and the pieces to the puzzle all tie together in the end to make a vintage-sounding montage.
We had fun creating this with Studio One Pro 2.5—a tool that a Pro uses!