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!
We’ve decided that we’re going to be doing monthly add-on deals over at shop.presonus.com. And the very first monthly deal is on our Acoustic Drum Loops.
These high-quality drum loops are suitable for both rhythmic inspiration for that new song you’re writing as well as for use in a finished work. They were recorded live with world-class microphones in Nashville, Tennesee’s Downtown Batterie by acclaimed session drummer Tony Morra.
Styles included in all Acoustic Drum Loop packages include:
Each style is an entire library of matching loops that can be arranged to fit any song form, just as a real drummer would play them, and includes individual loops for intros, verses, bridges, choruses, fills, endings, and alternate grooves. All loops were recorded at 24-bit / 44kHz and support time stretch.
Here’s a breakdown on the three packages:
Note: All of these loops require PreSonus Studio One version 2.6.4 or higher. Prime, Artist, Producer, or Professional.
We’ve been hearing a lot of nice things from folks who have made the switch from their old DAW to Studio One 3. I could talk more about that, but I’ll let this YouTube video do the talking instead.
Interested? 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! If you own a DAW from the qualifying list below, you’re entitled to the discount. All you need to do is provide a copy of the UPC code or original purchase receipt for the “other DAW” in an email to email@example.com.
Upon approval, you will be issued a coupon code, which you can then use to purchase Studio One Professional for the limited-time Crossgrade price of $249 USD—down $50 from the typical $299 price. Kindly allow up to 24 hours for the coupon code to be issued Monday through Friday. If requested on a weekend, the request will be handled the following Monday.
Qualifying DAWs include:
Of course, I can’t forget this bonus: for those of you considering making the switch from Pro Tools, here’s a set of ELEVEN videos from Russ Hughes at Studio One Expert covering the best ways to make the transition from Pro Tools to Studio One.
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!
Yuki Hayashi is a score composer for TV, anime, and film who relies on Studio One to create his best work. Here, he shares his impressions of Studio One’s sound quality and ease of use.
Quick note to Studio One users: The kind folks over at OBEDIA are offering 75% off of Studio One cross-training! This subscription service lets you learn directly from the OBEDIA crew via phone and/or a remote desktop connection.
Subscription benefits include:
We recently collected the opinions of some engineers and producers who recently switched to Studio One, including Paul Drew, Jonas Westling, Justin Bryant, and Pete “Boxsta’ Martin. Did you know that if you’re using a qualifying DAW, you’re entitled to a discount when you Crossgrade to Studio One? It’s true!
Check out this series of videos from Marcus Huyskens of Studio One Expert. He covers a bunch of the new stuff in Studio One 3.2 including Workflow Enhancements, Editing Automation, VCAs, the Console Shaper, and new Comping options. Awesome stuff!