[This just in from KATFYR, who just released “Voltage“—produced entirely in Studio One! You can (and should) buy Voltage on BeatPort by clicking here. You can also listen to the track below, and check out the video interview to learn a few more details about his production tricks.]
My latest release, Voltage, was produced with Studio One 3 from start to finish. I got to take advantage of many of its newest features.
The new Arranger Track expedited the process of building the entire song structure. It enabled me to easily duplicate whole sections of the arrangement and move them around. The Scratch Pad enabled me to test how different sections interact with each other in order to find the best flow for the track.
I’ve also made good use of the new Effect Splitter feature, particularly in the bus channels for bass and synth sounds, where I was able to pinpoint certain frequencies and apply effects directly to those areas. It would nearly impossible to get the sounds I did using anything else!
Grammy-nominated producer Luke Mornay has been advocating Studio One ever since he made the switch from Cubase a few years ago. Naturally, he got in at the ground floor with Studio One 3. Here’s his thoughts on all things Studio One 3, including Mai Tai, Note FX, and Presence XT. To close it out, he shares a cool trick he calls “Creative Comping.”
[This just in from Ilias Gogakis, rock and metal producer/mix and mastering engineer at Master Sound Studio and longtime PreSonus user. He recently created some Studio One 3 videos in Greek—the playlist is linked below!]
My name is Ilias Gogakis, and I have worked as a mix and mastering engineer for the past five years. I am currently based in High Wycombe, Buckinghamshire, in the United Kingdom. I am coming from a ten year career in IT, as a network engineer, but I decided to change careers and follow my big passion: music. I have also studied electric guitar and I have the RGT certificate from London College of Music. I was very lucky so far to have two very talented music tutors by my side, Kyriakos Kouvelas and Theodore Ziras. They both helped me to achieve my personal goals, open new horizons and overcome my limits as a guitarist. Today I am enrolled in a the Bucks New University, based in High Wycombe, in a module for Sound Design for Film and TV, as I want to expand my knowledge regarding sound design, surround effects and digital audio technology.
I remember myself as a hardcore Cubase user. But always looking for something better, as I had a feeling that something was missing from the software. My first contact with PreSonus Studio One was back in summer 2011, when I was searching the internet for demos and reviews about modern DAWs. I remember myself reading reviews from SoundOnSound magazine, Gearslutz.com, and all the major webzines, along with videos on YouTube.
I was very interested in testing it as, at that time, I was looking to change my DAW to something more modern. I have to admit that 2011 was the “DAW testing” year for me. I was downloading demos from every company’s website and testing them in order to try them out and look if there is that little something that would make me say “Yes, this is it. Now let’s start make some music—easy, fast, reliable.” I must say that after my friend told me to take a better look at Studio One, there was no turning back.
I remember I downloaded the demo for version 2 back in the day, installed in, and that was the beginning. Since I was a Cubase user, the key commands where similar, and the workflow was about 40% faster. I have to admit that I opened the manual only three times, just to change some options and see some new features, and fine-tune some advanced setting regarding my interface. Since that day, I use Studio One every day in my mixes. One of the great features that I really like is the integrated Project Page for mastering. It is a very helpful project page that helps me go back and forth in the mix and make instant changes to my master files. In my mixes I use OpenAir reverb and the Analog Delay on every song, and all the modulation effects such us chorus, flanger and the Redlight Distortion often find their place in my mixes. Also, the stock PreSonus ProEQ is a very good parametric EQ to make tonality changes to any instrument during my mixing sessions, and can be very helpful for mastering. Some other tools that I use every day in my mixes are the Slate Digital and Eiosis tools. These analog emulation tools they just sound amazing, and they work flawlessly with Studio One.
In conclusion, PreSonus Studio One in version 2 was an amazing production system—and version 3 is more mature, with many improvements. It’s more stable, more virtual instruments, and more new functions, which really helps you in your daily workflow, no matter how you use the software, recording, mixing or mastering.
Find out more about my work at the following links:
Greek Studio One videos:
Heya! Check out the deeply personal and incredible new video from Nothing More for “Jenny.” But more importantly, check out the cause. First, here’s the video:
Next, here’s the cause: Nothing More is looking to raise awareness of mental health challenges through partnerships with PledgeMusic, BringChange2Mind, The Jed Foundation, To Write Love On Her Arms, YoungMinds, and the International Bipolar Foundation.
You can support these charity partners and pick up some cool exclusive merch at the #IKnowJenny page on PledgeMusic. Click the image below to
Daniel “Freebo” Friedberg is a decorated singer/songwriter with an impressive session/sideman history, including a ten-year stint playing bass and touring with Bonnie Raitt. Other collaborators include John Mayall & The Bluesbreakers, CSN, Maria Muldaur, Ringo Starr, Michelle Shocked, Neil Young, Loudon Wainwright III, and Dr. John. He’s also a formidable tuba player.
The last few years have seen Freebo launching into a successful solo career, having released four solo albums since 1999. There’s no quick-and-easy way to pin down a singular “Freebo sound,” as his diverse solo material is suitably colored by his work with all of the above A-list names. As such, his work boasts a seasoned blend of blues, rock and folk—but closer listening reveals undertones of dixieland, reggae, and Broadway musicals.
His Nimbit store offerings include a multitude of sponsorship opportunities (you can even buy “Executive Producer” credit on his next record!) two singles, and four full-lengths, including the canine tribute album, Dog People.
It only took a few listens to Buffalo, New York’s The Reign Of Kindo to make me realize I was a jazz-rock fan. It’s important to distinguish them from what a lot of folks call fusion, which seems to err a little more heavily on the jazz side of things—and often the smoooooth jazz side of things.
Not these guys. The Reign of Kindo’s potent formula begins with a distinctly jazz-fueled approach to arrangement, rhythm and chord structure, delivered with urgency and song structures typically associated with rock. As such, they are a must-listen for both rock and jazz fans looking for a refreshing groove that isn’t too far off the beaten path.
Fleet, often busy drumming drives the bulk of the Kindo repertoire—frequently mixed right up in your face, where it belongs. Lead singer Joe Secchiaroli commands a voice that is simultaneously assertive and approachable, and the bulk of their recordings are bathed in wall-to-wall piano. While the bulk of the sonic structure here is vocals, bass, drums, and piano, guest instrumentation livens things up via sax, cello, and… hey, was that a singing saw? Cool.
And they give us a lot to choose from. Musically speaking, The Reign of Kindo’s Nimbit Store offers a couple of full-lengths includingThis is What Happens and Live YouTube Sessions, a couple yuletide EPs and a single. There’s also a ton of apparel options available, and it’s nice to see them breaking out of the “band name on a T-shirt” mold with hoodies, kids’ shirts, and even a classic mesh trucker cap—call it a utility/fashion fusion.
Boston’s Livingston Taylor began his career as a performing songsmith nearly straight out of high school, having first picked up the guitar at a spry 13 years of age. His songwriting (seemingly seasoned straight out of the gate) and personable, relatable stage presence garnered notice from live music fans and critics alike. 1970 saw him land his first record deal, releasing his eponymous debut on the esteemed Capricorn Records. Last year—that’s 44 years later—he released Blue Sky, his 18th.
Having performed around 80 shows per year in that timespan, he’s really played any type of gig you can imagine, from coffee shops to large festivals to opera houses, landing a couple of Billboard charting-hits along the way: “I Will Be in Love with You,” and “First Time Love.” And it’s that breadth of experience (well, okay, and also his songs) that landed him the coolest gig he’s ever had: that of Professor at Berklee College of Music—a post he’s held since 1989.
His discography, most of which is available via his Nimbit store, is peppered with a couple best-of collections, a covers record, and also a sort of self-cover record. Good Friends finds Livingston taking some of his more familiar tunes into decidedly jazzier territory—great for established fans that enjoy a new spin on the familiar. Furthermore—and we don’t see this too often at Nimbit—he has distilled his Berklee teachings down into a good ol’-fashioned book, “Stage Performance,” which is also available for sale.
Here’s a great video that came to us from L.A. producer/songwriter/engineer AG! She’s made the jump over to Studio One from Pro Tools and Logic—and she’s also using a couple Sceptre monitors and the ADL 700 preamp.
AG has worked with Natalie Imbruglia, and done music production for TV shows including Gossip Girl and Grey’s Anatomy. Check it out!
PreSonus Artist and good friend Vigilante (AKA Big Brother 84) recently launched the worldwide We Are One tour, And as if that’s not enough to keep him busy, he also just announced this remix contest, which (so far) is offering prizes from PreSonus, Keith McMillen Instruments, Waldorf, MeldaProduction, and many more!
Complete, official rules are linked below, but here’s the short, unofficial rules:
You know—for kids!
Steve Roslonek of SteveSongs has been writing and performing his award-winning music for kids and families for fifteen years, as both a touring and recording balladeer and children’s TV host. In that time, Steve has won numerous prestigious awards including two Parents’ Choice Gold Awards, a NAPPA Honor, two iParenting Media Awards, and a Kidscreen nomination for Best Children’s TV Host. He’s also released a ton of kids-first recordings that are silly and educational in equal parts.
Like much kid-targeted media, there’s a heavy leaning toward funny animal themes here—lots of bugs, rabbits, ducks, dogs, and even a rock’n’roll werewolf—all trumpeting 101-level life lessons on the merits of vegetables and tooth-brushing. For a music-purchasing grown-up who normally might feel like they are merely enduring a children’s record, there are occasional nods to popular songs that in-the-know adults will enjoy a knowing laugh from. A smart move on Steve’s part, and it’s what establishes him as a purveyor of family entertainment as opposed to children’s entertainment. Add to that his sincerely inspired wordplay, (rhyming “Canteloupe” with “can of soap,” never would have occurred to me) and there really is something for everyone.
A broad majority of Steve’s SteveSongs songs feature Steve on lead vocals and guitar, surrounded not only by a bang-up world-class band, but also a shout-along gaggle of enthusiastic rugrats. Mostly folky-acoustic and always squeaky clean, there’s a diverse array of instrumentation and musical themes here that dally with rock territory while never getting any heavier than, say, Paul Simon’s Graceland.
Steve’s Nimbit profile offers no fewer than eight full-length albums available in both MP3 and CD, as well as softcover and hardcover editions of Shape Song Swingalong, a DVD, and t-shirts available in various flavors of small. Steve’s pretty good about keeping his tour schedule up-to-date as well. Check it out so you and the cubs can contribute to The Shape Song in person sometime, and maybe hitch a ride home in Dan’s Orangutan Van.
Except that hitchhiking is never safe, kids, so don’t.