It’s hard to believe we’re wrapping up another year of great music! To cap off 2015, here’s a Spotify playlist from a handful of PreSonus artists we worked with this year. MuteMath took us on their US tour and showed off Dante-enabled StudioLive RM32AI mixers and a StudioLive CS18AI, DJ Headhunterz gave us an inside look into his EDM universe and Nothing More joined us for a PreSonus Live performance—just to name a few.
We at PreSonus are grateful for all the artists who use our gear to create their music. More to come in 2016!
After starting his career more than twenty years ago, Paul Wright finds himself with a trophy case of accomplishments. A multi Grammy, Dove, and Stellar award winner and nominee, Wright has worked on over 200 records as a writer, producer and composer. He’s been fortunate enough to work with the Brooklyn Tabernacle Choir, Donnie McClurkin, Fred Hammond, Gary Chapman, AsOne, Disney and many more. His film and television projects include: Made In America, Preaching to the Choir, Full House, and Martin—where he co-penned the theme song. Through his career, he’s held titles at Benson Records, Verity/Zomba, Harborwood/Zomba/BMG, and Nuspring/EMI. He’s currently the CEO of 360MusicWorx/Capital Christian/Universal Music.
We recently asked him about his experience with PreSonus and Studio One. With his years of experience recording and producing music, Wright knows what tools work best for him.
“Studio One came to my life when I knew I wanted to switch DAWs,” Wright says. “I was a longtime Pro Tools HD user and at that time I had a commercial facility. One thing that bothered me with most DAWs I was using was that they were NOT composition friendly. There’s usually a learning curve that kills the creative process because of the number of steps it takes to do the simplest of tasks. I found myself wasting time figuring out how to make the DAW do what I wanted—I spent more time clicking buttons than actually being creative and making music!”
After making the switch to Studio One, things were different—almost overnight. “Everything instantly became more productive for me on many levels. Composing, production, recording–it was a life changer. I found myself turning out projects more quickly and easily.”
When it comes to why Studio One is the best for Wright, it all comes down to quality and speed. “First and foremost? Audio quality. I found myself getting my work to sound great in less time using less plugins and processing,” Wright asserts. “As a composer and producer that uses many virtual instruments, the ability to get my MIDI converted to audio quickly was huge for me! Now in Studio One, the expanded Arranger features are killer, as well as the Scratch Pad. I also noticed that the mastering features were exactly what I needed, and in several cases have mastered many projects right in Studio One.”
Wright’s attempt to create an ideal workflow by using multiple DAWs was not void of challenges. “I used Pro Tools, Nuendo, and Studio One all at the same time, utilizing each of them individually to get what I was after,” Wright recalls. Nuendo was my mix platform, Pro Tools was for converting sessions coming in from other musicians, and Studio One was for everything else.” After completing an A/B test regarding sound quality, Wright found Studio One and Nuendo on top.
Wright suggests that “the only downfall for Studio One versions 1 and 2 was the mix features and the inability to easily connect them to other controllers.” He goes on to say, “I found that working with the SSL Matrix as my main console and controller, it wasn’t working the way I had hoped. However, with the recent release of Studio One 3, it looks like my SSL is working better than ever and I am loving what I am seeing”
Wright closes with a challenge.
“Studio One has changed the game for me personally, and is worth checking out if you haven’t already. I would challenge anyone regardless of the DAW they currently use, give Studio One a shot and watch it change the way you make music!”
Give As One a listen here.
Jake Owen is in the enviable stage of his career where he can work with whatever gear he wants. As such, we’re flattered that he’s taking a complete PreSonus recording rig on his tour bus that includes Studio One, Sceptre Monitors, ADL preamps, and much more. Any musical idea that his band has during impromptu jams can be recorded right on the road, without needing to stop in a recording studio!
CNN recently reported that “Electronic Dance Music (EDM) is a $6.2 billion industry” and “the fastest-growing music genre out there.” Through cult-like followings on social media, hundreds of worldwide festivals, radio airplay, and collaborations with pop artists, EDM artists continue their foray into and beyond the mainstream.
One of these artists is Willem Rebergen, better known to his 172,000+ followers on Instagram as DJ Headhunterz. Rebergen kicked off his career in 2006 as a DJ and music producer, and quickly grew into one of the biggest names in the industry, recently performing at several major festivals, including Electric Daisy Carnival and Tomorrowland.
After eight years making hardstyle music, Rebergen was ready to tackle a new challenge. “Right now I’m translating my signature sound to something a bit different from what I used to do but I don’t necessarily want to settle in a single genre anymore,” he states. “I want to feel free to go where my heart wants to go. Everything changes—and so does my personal taste, so listening to that is the only way for me to keep tapping into my full creative potential. Who knows what I might make tomorrow?”
We recently chatted with Rebergen about where he wants to take his music, his creative process, and working with Studio One. “I have been using Studio One for about two and a half years now and I am currently on version 3,” Rebergen states. “I make EDM, so I would say I use Studio One for composing and sound designing. I basically use it for anything necessary to produce a song.”
A longtime Logic user, Rebergen was turned on to Studio One by a recommendation of a very wise friend. He was immediately hooked. “I had been on Logic for years, but became unsatisfied with the lack of development of the software since Apple bought it. I felt it got behind compared to other more forward-thinking companies making DAWs,” he asserts. “I tried Ableton but that wasn’t exactly what I was looking for either. I was excited to give Studio One a go—I’m always eager to test new software, I’ve always been kind of a nerd, honestly. Looking for the next thing that improves workflow or sound quality. Studio One immediately felt natural to me, it really didn’t take me long to get used to, and I think especially for people coming from either Logic or Cubase it will feel very intuitive right away.”
“When I started using Studio One, I was very happy to feel back in control of my audio editing. The cutting tool felt very “direct,” and I loved the slip editing tool which I didn’t have before. Automation was as tight as it could get, and very quick and convenient—which was also one of the reasons for my switch. That is how automation should be! When you make electronic music I often want to be very surgical with drawing in automation, and Studio One simply allows for this at all times, even under the pressure of latency-inducing plugins. Latency compensation is always on point!”
Another feature that made me fall in love with Studio One was Track Transform. It’s so much more flexible than in any other DAW that I know of, and opens up a whole new spectrum of working with content that otherwise would be literally frozen and untouchable.
“Furthermore, I have been working more quickly in Studio One than ever before. The browser changed my way of working completely, and motivated me to create a perfect personal library where all my hard work is stored and ready to put back into action. When I create a sound in a soft synth, I create a Musicloop by dragging it into my browser. This saves not only the synth preset, but also the MIDI sequence and effect Plug-ins. It even lets me play a preview when I select it in my browser, so I know exactly what I’m about to drag into my project. I could not think of a more convenient way to browse through my self-made sounds.”
“All of these functions have made it possible for me to feel much more creative while being in the actual creative process, and not being pulled out of it by having to search endlessly for that particular sound I’m looking for, or having to work around functions that are not doing what I want.”
“I also create a lot of macros to improve my workflow, I’m totally in love with the new arranger and scratchpad function which allows for me to be much quicker and intuitive when arranging my songs without making a mess.”
As a full-time producer, Rebergen’s working knowledge of Studio One runs deep. When pressed for workflow details, he’s much more open than many of his peers. “I recommend that Studio One users make full use of the Browser and the Musicloops,” he opines. “When I finish a song, I completely undress it and save all sounds I made in the form of channel presets, Musicloops, and audio files. With every song I make, my library expands—and whenever I’m in the creative process I can recall any sound I am looking for without having to get into sound designing or endlessly searching through sample libraries. I make sure that every sound I save in MY library is on point, so they rarely need a lot of tweaking to fit into a song and I can just get on with concentrating on the creative part.”
He’s also taken advantage of using other, prehaps modest applications in conjunction with Studio One to accellerate his already blazing workflow. “I keep an app open alongside Studio One called Sticky Notes. I type down all my newly-made key commands—yes, I constantly make new ones! I then force myself to use them all the time so they become a natural part of my workflow. Customizable key commands make everything so much quicker, and Studio One allows for using them for almost anything.”
“Studio One invites us to have the best workflow we have ever had,” Rebergen continues. “I can’t believe I had been able to keep up with making new songs in the total mess I was working in when I used Logic. With every update, PreSonus puts out come fantastic new features which shows that the team is eager to keep pushing forward. They actually listen to what users want, and notice what users have been missing out on while working with other software. Coming from Logic, Studio One it gave me much better audio editing, better automation, more overview, a better overall workflow. I could keep going…”
And going he is. Rebergen has his hands in a lot of different projects apart from his own. “Currently, I have a collaboration out with R3hab called “Won’t Stop Rocking” on Spinnin Records. Other songs I have released this year are: “Live Your Life” with Crystal Lake and “The Power Of Now” with Steve Aoki. And, of course, some solo tracks, as well.”
Rebergen closes with a shout-out to the PreSonus krewe. “Team PreSonus has the perfect mindset to create the perfect DAW. In my opinion it already is the best DAW out there, and it’s going to get even more awesome, I’m sure. I’m beyond grateful to have Studio One in my life!”
Passion for music and the last name Jackson go hand in hand. For Taryll Jackson, this passion is fueled by surrounding himself with his loving family, trusting his creative instincts, and utilizing a tool that will not slow down his process. That tool, among many, is PreSonus Studio One 3 Professional.
We recently heard about Jackson’s use of Studio One via Twitter. Flattered, we found it fitting to allow him more than 140 characters to share his thoughts on Studio One.
“I use Studio One 3 for everything,” Jackson reports. “Recording, composing, sound design—I’m using it in my home studio and with my mobile rig. I also use two FaderPorts, an HP60, an ADL 700, a FireBox, and a Central Station.”
Jackson is not stranger to working with multiple DAWs, and when he gives his reasons for choosing Studio One, he’s speaking from experience. “I’ve used pretty much all the DAWs,” he says. “In my opinion, Studio One was built from the user’s point of view and not from a programmer’s. It works exactly how writers, producers, songwriters, engineers would want it to work. I noticed with each DAW it was like they specialized in either audio or MIDI, but not really both. I was looking for a one-stop shop, something that could handle both sides but was also stable. I didn’t want to switch between programs, and most importantly, I wanted to feel inspired to create and get my ideas down as quickly as possible without the software getting in the way.”
When asked what Studio One features he finds most useful, Jackson’s obvious choice is drag and drop. “I think that drag and drop alone saves me so much time. When I’m creating, I don’t want to stop and set up bus channels, auxiliaries and routing. I don’t want to have to search for a plug-in through nested folders and sub-folders; I want stay focused on what I’m trying to create! Being able to drag a Reverb or Delay to a Send and having Studio One do all the work for me keeps my mind where it needs to be—on the idea. What takes other DAWs five steps, Studio One does in two steps—and sometimes one!”
“I can write a song in any DAW and I can produce a song in any of them,” Jackson continues. “For me, it’s about the process, the ease of flow. Studio One is going to work with me and help me get to the finish line quickly. It’s going to be fun and easy. I’ve had sessions with 240 tracks and Studio One still runs flawlessly. With other DAWs, I can’t have that many audio tracks, or it struggles and gives me errors. Studio One is tough to beat.”
Clearly, efficiency and flow are the order of the day in Jackson’s studio—he notes an oft-overlooked feature of Studio One that makes it uniquely his; customizable key commands. “I’m really big on key commands. I set them up the way I like, so I can fly. I believe you have to make it yours. Do what works for you—there is no right or wrong way, there’s just your way. What I love about Studio One is there are so many different ways to get to where you want to go. I think it’s the easiest and most powerful DAW out there. It works with you and your creativity, and not against it.”
The ever-driven Jackson has no plans on slowing down anytime soon. He’s currently working on a solo project, collaborating with other artists, and he and his brothers’ group 3T finished their third album, Chapter III, which is available today! The whole album was recorded on Studio One. Check out their song Fire below.
You can watch it all come together on the docu-series The Jacksons: Next Generation on Lifetime which airs its season finale November 6th.
Jackson closes with some kind words for the PreSonus crew—and the extended forum family.
“Love the company. Love the software. Love the forums and users. I’m excited about the Studio 192 and the new speakers. Studio One is definitely heading in a promising direction.”
“Fire,” from Chapter III:
MuteMath is a Grammy-nominated American alternative rock band from New Orleans that formed in 2002. Their dynamic sound combines moments of stillness with dance, hip-hop and pop beats. Paul Meany’s vocals make it a point to invade your personal space—his lyrics that continue to resonate with listeners for days after a listen.
Stubbornly refusing boredom or stagnation, MuteMath consistently lives on the cutting-edge of their craft, thanks to a creative work ethic—it’s safe to say that all of their work is their best work. After a short hiatus since their last studio album in 2011, MuteMath is excited to debut their fourth album Vitals, releasing November 13.
PreSonus recently partnered with MuteMath to take two newly Dante-enabled StudioLive RM32AI mixers and a StudioLive CS18AI on the road for their entire US Tour. In true MuteMath tradition—this was something of a rock’n’roll first.
Check out the video below to see what Paul had to say about taking an all-PreSonus mix solution on the road.
Click the image to the right to see how they’ve got everything hooked up. Dante makes it easy—imagine the difference between setting this up with a lightweight CAT5 cable as opposed to traditional, heavy, analog cables!
[This just in from Lucy Willar, Co-Founder of iCanStudioLive. She took the time to answer a Q&A from Laz Harris, our very own Asia-Pacific Sales Manager, to tell us a bit about what makes iCanStudioLive lead the A/V production industry in Jakarta—and how PreSonus is a part of it!]
Lucy: iCanStudioLive is the leading audio/video live recording producer in Indonesia. We produce quality content every day, and provide a one-stop solution from creative design to pre- and post-production and digital distribution. Our production team works very closely with quality talent to create unique programs to attract the global netizen. We’re located in Jakarta. Please feel free to visit our fully-equipped studio!
The inspiration for the name came from our ability to do everything at one place—integrated and digital. Once you enter our studio, you will immediately think, “I can do this! I can do that! I can do everything I want!” Also, coincidentally, our other founder, Irsan Wallad’s nickname is “Ican.” So it was a perfect match with his vision on live recording, too. Then we named our studio “iCanStudioLive”—all one word, please!
Lucy: We specialize in live recording, and help with concept and creative design for both audio and video. We are the first, and now leading the industry in live recording. We cater to skillful musicians, younger musicians, and prodigies. Case study: Joey Alexander, who is now becoming very popular in the USA.
Lucy: We have full team: A General Manager who takes care of all studio activities, a Program Manager who take care of all programs—existing and future ideas. We’ve also have a Creative Manager who takes care of production, and a Post-Production Manager who takes care of post-production audio/video. Last but not least we have a two-person editor team, five production assistants for audio and video, general affairs, security, etc. All told, we are 16 people.
Lucy: It’s Ican’s vision. He started this dream 15 years ago while doing his own business in multimedia.
Lucy: PreSonus offers a single integrated control system for both live performance and recording.
Lucy: Capture 2.0 makes for easy multi-tracking and routing channels from the StudioLive to the DAW. For live use, we make heavy use of the Fat Channel in the StudioLive console mixer—it allows us to control Gate, EQ, and Compression when used for front-of-house. Furthermore, we can color the live sound with the StudioLive’s built-in FX. On the other hand, for studio recording—we need everything kept FLAT at the source, and the StudioLive’s clean preamps provide excellent clarity with no audible coloration. It’s great for both applications.
Lucy: Ican fell in love with music when he was nine years old, and got started with multimedia when he was 13. His parents worked at a multinational company (Mobil Oil) as a joint venture between Japan, Indonesia and US. After getting a degree in architecture, he started doing live recording in 2007, and was eventually invited to record the local Symphony Orchestra in 2011. He built iCanStudioLive in the same year. Now he’s recording almost every day!
Thank you Laz! It’s great to be one big family and we are looking forward to work closer for years to come.
[This just in from PreSonus artist and good friend Brian Botkiller. His latest record was produced on a StudioLive and in Studio One!]
For my new record, In Case of Revolution, I tracked all my vocals and did all of my mixing in Studio One, as well as instrumental tracking. I began the record in the Studio One 2 era, but I finished the record in Studio One 3. I also mastered 52 songs in Studio One last year bfor a project I was part of called “Weekly Beats,” which challenged participants to write and release one song per week in 2014. I managed to finish the project, and Studio One was integral to that. It was so easy to take stems into Studio One, mix them, then go into the Project section to begin the mastering process. I built a template which I was able to start from, which made the whole process much easier.