Obviously, Willem Rebergen, or better known as DJ Headhunterz, is an incredibly talented EDM artist. A part of his genius is a result of his detailed understanding of the functionality of Studio One 3.2.2 and the ease he’s reached working with the DAW. After our initial conversation with Rebergen a couple months ago, we realized that he is a wealth of knowledge that we would love to hear more from—and we knew you would, too!
Here’s part 2 of tips and tricks for Studio One users from DJ Headhunterz!
“I’m not over exaggerating when I say that Studio One brought back the fun of making music for me,” Rebergen states. “I finally experienced what it feels like to ride the creative wave without constantly falling off it. Studio One motivates me to keep perfecting my workflow and I keep discovering new ways to do so every week.”
Rebergen starts off with tips that will ensure an easy, creative flow with Studio One. “If I were to give a tip it would be to make full use of the browser features and the MusicLoop feature. 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.”
“On the other hand I spend whole days making new sounds, collecting new drum samples, tweaking them etc. So that when I start a song, I’m loaded with content where I can just pick from very quickly.” Rebergen goes on to say, “Another thing I do is I keep an app open on the side called sticky notes where 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. Key commands make everything so much quicker and Studio One allows for using them for almost anything.”
Rebergen goes on to share general production tips that have worked for him over the last decade.
- Another thing that I have learned over time, and often read but always somewhat ignored, is that it is absolutely crucial to work with the right sounds. So often, I have found myself trying to fit things in a mix that simply did not fit. It’s very useful to learn to be honest to yourself when making music. Even if you’ve spent hours on making something. Those couple of hours don’t mean anything when you listen to your song by the time it gets released months later. Try to be alert and not be afraid to throw stuff away. It can open up for new ideas when you clean up.
- Nowadays more and more I make sure I have my pallete of sounds ready when I start a song. So that I don’t stumble upon these issues so much. I make sure the sounds are right so that it really comes down to the idea of the song at this point.
- Some tips on making saw leads like I often do in my tracks. I love to use chords underneath but I also love using portamento. So to keep that intact, I just make 3 copies of my lead, nowadays mostly Spire or Serum and I play on each one a note of the chord. This way I can still play a chord while maintaining the glides that are a big part of how the melody is expressed.
- Set the portamento so that it’s only triggered when two notes overlap so that you have complete control over when and how much it glides. I find that using this function instead of pitch bend automation feels more natural because I assume it has a different curve to it.
- Also in the synth itself I often link an envelope to the pitch of the sound and give it a very short attack and set it to about 2 semitones down. So that each note has just a slight pitching up in the beginning. This also brings more expression into the lead sound and makes it less static.
- Find the sweet spot with detuning. LFOs can also help for nice detuning without making it sound too false.
One last reminder from Headhunterz before we wrap. “Keep a beginner’s mind and acknowledge that the learning process is endless. I still feel like a noob sometimes. But I’m very passionately curious, I always want to keep discovering new ways.”
Keep an eye out for more from Headhunterz with part 3 of this series coming soon.
It’s been a long road since Bryce Avary first started putting out music under the name The Rocket Summer 16 years ago. With roots in pop and alt-rock, Avary showcases his talent by writing, producing and playing instruments on all 6 of his albums. The Rocket Summer is currently on tour for their newest record Zoetic which was released in February. We recently caught up with him to see how the tour was going and how the RM32AI Mixer was working for them.
Avary’s assembled a killer live band to take his songs on the road! They’re using the RM32AI Mixer for their in ear monitoring system and mixing everything on their own. Hear more of Avary’s thoughts in the video below.
The RM32AI is obviously a perfect fit for The Rocket Summer and it may be just what you’re missing. All summer long (and then some) select dealers in the USA are offering discounts of Kozmic proportions on StudioLive mixers – See more HERE!
Pete “Boxsta” Martin with Boxsta Music is an award winning, multi-talented producer/songwriter and one of the most sought after mix engineer in the world. He has worked with a variety of top selling artists such as Arrow Benjamin, Jessie J, Sugababes, Alexandra Burke, and Missy Elliot. Here he discusses leaving Pro Tools for Studio One 3.2 and the ease of the transition.
“Studio One is an incredible platform because it’s the best of every DAW out there. It’s totally new and fresh; it encompasses everything you need.” – Pete Martin.
For more on Studio One 3.2, click HERE.
Paul Drew is the D of DWB Music Ltd/ DWB MIXING. The DWB Music team have sold in excess of 50 million records and have worked with a plethora of artists from around the globe. Here Paul discusses the ease of transition from Pro Tools to Studio One 3.2 and the speed of the workflow with the DAW.
Paul is also a member of the Studio One Expert team where he shares his tips and tricks with thousands of users. Paul states, “As a long term Pro Tools user I’m finding this DAW really inspiring to work on. With Studio One my workflow has been refined, I’m excited and inspired every morning I travel in to the studio.”
If you’ve been holding off on crossing over to the most quickly-growing DAW on the planet, there’s never been a better time than now! Save $50 to crossgrade until April 30! –See more here!
Grammy-winning music producer, engineer and songwriter Pete Stewart with Fourth Wall Music Production has over a decade of experience in the industry and a trophy case of awards. Here Pete shares about his frustrations with Pro Tools and why he chose to try Studio One for free for 30 days. After the trial he was hooked and his workflow has never been the same. Now with 3.2, it keeps getting better.
If you’ve been holding off on crossing over to the most quickly-growing DAW on the planet, there’s never been a better time than now! Save $50 to crossgrade until April 30! – See more HERE!
Los Angeles based producer and songwriter Aris Archontis switched to Studio One 3.2 a year ago after finding himself unsatisfied with the DAWs he was using. Here Aris shares a quick demo highlighting the ease and flow of Studio One and some of his favorite features.
If you’ve been holding off on crossing over to the most quickly-growing DAW on the planet, there’s never been a better time than now! Save $50 to crossgrade until April 30! See more HERE!
Follow Aris on Instagram!
Grammy nominated, London based Mixing and Sound Engineer Jonas Westling has worked with artists like Lady Gaga and Paul McCartney. Even with his success, his DAW was missing something. Westling has found everything he was looking for and more with Studio One 3.2. Here he chats about some of his favorite features including the Smart Tool, the Trim Automation Tool, the Console Shaper and overall quality Studio One offers.
If you’re ready for a change like Jonas was crossgrade to Studio One 3 Professional before April 30 and save $50! Learn more about the promo HERE!
Justin Bryant of Big Picture Music has worked with the BBC, Audi, Fiat, the Discovery Channel and lots of other commercial music projects. Bryant shares about his switch from Pro Tools to Studio One 3 and some of his favorite features about the DAW.
For more on Studio One 3.2, click here: http://studioone.presonus.com
[This just in from Scigor of SFGames. He has been using Studio One Prime in the development of a forthcoming game, and is doing some fascinating things with it!]
And I’m the (crazy) mastermind behind SFGames, an indie games development team made of creative waywards.
SFGames is a team of artists and professionals joined together to work on various projects, starting on our first game with the working title of “Operation Cerulean Dew”—an action survival/horror game with sci-fi elements. We are lucky enough to be part of OSVR (Open Source Virtual Reality) partnership, so in addition to our main game, we have the chance to make new projects exclusively for Virtual Reality. We grabbed a great opportunity to develop an educational project for the Centenary of the Great War. And we have another cinematic VR project in the pipeline, a fantastic journey about human imagination and the spark of creativeness.
Illustration and character design are my main activity but I’m also a 3D enthusiast, passionate about video games and animation, and interested in many others artistic fields like music and cinema; a kind of “factotum” artist. But I’m not a pro musician; my approach is very self-taught and by ear. So why do I take care of sound design by myself?
Because I’m fascinated by how any forms of art are inextricably linked—creative ways to express emotions and ideas. For any idea that I write, every illustration that I paint, or melody that I record, I cannot think of these as separated things. If you’re creative, you can develop anything with the right methods and skills—but you will also need the right tools!
All this led me to a new approach to sound design and scoring, since these projects represent VR experiences addressed to a much more cinematic style in a “real” 3D space. While Francesco (our musician) has been working with Pro Tools and Logic, I’ve always tried to get by with free software as GarageBand, Ardour, and Audacity—but non of them offered enough. A couple of years ago I came across Studio One, which I found amazing from the beginning, mostly due to its great sound engine, so I was immediately convinced to use it in my work. It’s one of the very few programs that I was able to use right away without reading the manual!
I must say that are many artists like me with the need for a friendly and intuitive interface like Studio One, and while some state that the user interface doesn’t matter when you make music, I believe otherwise. Complex and hard-to-use interfaces become boring over time, and we are forced to waste too much time to learn how to use it, rather than create.
I’m working in a Windows multi-monitor environment, with a Wacom Cintiq tablet with touch screen as second monitor, and because this setup makes it hard use a standard keyboard (my tablet is huge), I mapped the most used key commands to a programmable Logitech G13 gameboard. Studio One works perfectly with my tablet, and it’s so responsive that I can “paint” music!
Even if Francesco is the one that works on the main soundtrack, I also have ideas that sometime I want use in our games. My workflow starts with a simple idea or direction to follow, a main theme using my simple template for scoring. So I basically rough out what the theme should sound like: add some instruments (a free orchestral library), some textures and colors, just to blend and fill the sound. And Studio One helps hugely on “sketching” quick ideas. Once I’ve reached my technical limitations, I send everything to Francesco who provides a professional rework of my ideas.
When it comes to sound recording and editing, I start with recording foley and sound effects on my own, if I have the right gear available. When I cannot do this by myself, I send some samples (sometimes made with my own voice on a webcam, as a guide) to Francesco: I give him a sound assets list and he records all needed sounds with extra variations. I remix everything in Studio One, and once I’ve finalized the sounds, I export the stems as sound cues for Unreal Engine.
I like that Studio One Prime is almost a complete DAW per se, very important in the Indie world! I find it very user friendly and works smoothly on any platform; I can still use it on my five years old MacBook Pro, and I don’t notice a difference in performance.
Also, I cannot work without the visual workflow and tool palette that Studio One provides me. Intuitive, simple, direct. What I need and in the right place. And scratch pads! I never get tired to say how useful they are for someone like me who doesn’t have knowledge of reading or writing musical notation, but has a lot of ideas to remember! And last but not least, I have never had a crash.
There are still many things I want to explore and experiment with Studio One, like the powerful macro system and the Mix Engine FX , very useful to give emphasis and personality to a set of sound effects all at once. As I said at the beginning, I’m not a professional musician, but Studio One fits my workflow naturally, and makes me feel as I’ve always use it. It simply sounds better!
I recommend Studio One 3 to indie developers and artists on a budget who want to start with a free yet powerful DAW, and later can move to more powerful versions for cheap.
We are still getting off the ground, so follow us on! It would help a lot if you can spread the word!