Recording a guitarist with as signature a technique as Steve Dodds introduces some unusual recording quandaries. Fortunately for 5aint, his PreSonus AL 700, ADL 600, StudioLive digital mixer, and Studio One DAW provided everything he needed for the task at hand.
Dodds’ signature “guitabla” stylings are in high demand, as he has been a prolific session player and frequent collaborator with the likes of Steven Stills, Sarah McLachlan, Karen Eden, and more, having worked on projects with notable producers like David Kershenbaum, Jill Joes, Alan Moulder, and Martin Page. His more recent focus has been on his dynamic, genre-blending solo material.
[This just in from PreSonus Artist Patrik Mata of KOMMUNITY FK!]
I wanted to share this recent interview and the debut of one of the new tracks from my band’s upcoming new LP, Thee Image & Thee Myth. The track is entitled “Thee New Tribe.”
I also mention my association as an endorsed Artist with Presonus & how your company saved my career as a composer & multi-instrumentalist. Every track on the new LP was created in Studio One v2.6, as all of my work has been since the software’s original inception.
You can hear a full interview from DJ Cruel Britannia’s Fadeout podcast below. Interview starts at 36:18.
May you have a warm wonderful happy holiday,
Patrik Mata/Presonus Artist
Whether you’re comping a vocal track, restoring an old recording, working with dialogue or sound effects for film, or imposing your own vision with mash-ups or remixes, audio editing is a key skill to successful sound production. Digital Audio Editing gives you the techniques, from the simplest corrective editing like cutting, copying, and pasting to more complex creative editing, such as beat mapping and time-stretching.
You’ll be able to avoid unnatural-sounding pitch correction and understand the potential pitfalls you face when restoring classic tracks. Author Simon Langford invites you to see editing with his wide-angle view, putting this skill into a broad context that will inform your choices even as you more skillfully manipulate sound. Focusing on techniques applicable to any digital audio workstation, it includes break-outs giving specific keystrokes and instruction in several popular DAWs, including Studio One. The companion websites include tutorials in all four software packages to help you immediately apply the broad skills from the book.
John DeNosky spoke at PreSonuSphere 2013, sharing his insights on one of the most powerful features integrated into Studio One Professional: Celemony Melodyne. Melodyne allows for subtle-to-extreme pitch correction… but that’s not all! Learn some advanced Melodyne trickery in this great talk.
Justin Lassen and Naomi Mercer spoke at PreSonuSphere 2013, and shared some of their production secrets concerning recording and comping vocals in PreSonus Studio One. Comping the best possible performance elements from your take has never been easier!
For more on Studio One, click here: http://www.presonus.com/products/studio-one
PreSonus LIVE Airs Today! 2 p.m. CST / 3 p.m. EST / Noon PST / 19:00 UK / 20:00 EU
Cilck here to watch the show: http://www.presonus.com/videos/presonuslive
Heard great things about PreSonus Studio One? Tune in and check out these confessions of an ex-Pro Tools user.
Join Joe Gilder from Home Studio Corner for this LIVE webcast, where he’ll detail his reasons for making the switch to Studio One, and show you how to make the same transition.
Join us in the chat room and send Joe your questions.
I recorded Steve Heron’s song “I Swear Blind” after-hours at Red Dog Music, the instrument shop I work at in Edinburgh, Scotland. I was an early adopter of Studio One. In more than two years of using it to track bands and songwriters, I’ve never experienced a glitch, crash or artifact in the recorded audio. I’ve worked with Steve before on full-band productions (the usual four-piece plus backing vocals and a horn section) but for this B-side track, he wanted something a little more raw and natural. Everything on this session was tracked in one take, with minimal editing.
I’m a huge fan of the in-house effects built in to Studio One. Pro EQ is ludicrously useful for subtractive EQ and I apply it as an insert to every track on the mix; its interface makes finding the mud and taming it a doddle. The Compressor plug-in is also a mighty beast! The knee parameter is really useful for making the compression a little more transparent and subtle. The Room Reverb plug-in also used regularly; I send the vocal, guitar and Fender Bass VI all to a slightly tweaked version of the “medium studio” preset.
One element that has a bit more going on is the ghostly sounding guitar, played with an E-bow. The E-bow guitar was processed via an insert chain consisting of: Autofilter, Compressor, Pro EQ, Beat Delay, Analog Delay, and finally Binaural Pan. Even though it sounds pretty extreme when you solo it, it works well as a subtle element in the whole mix. The whole master buss is then running through the awesome RedLightDist valve-sim plug-in on a very gentle setting to knock-off a little of the clarity and to excite the mids. The only non-PreSonus plug-in on the mix is iZotope Ozone, to provide some subtle multi-band compression and a few dB of loudness.
I find working in Studio One is an absolute joy, but it has slightly ruined me for any other DAW software on the market. I frequently face-palm when I see people fumbling around with the clunky menus in Pro Tools… If they only knew they could make things so much easier for themselves!
Well done, PreSonus! You’ve made producing music as fun and intuitive as playing it.
Hello PreSonus! Anna Capone Papas is a Spinto Soprano vocalist with many years of studies in classic music, piano and opera. She wrote melodies for the song “A Glimpse of Heaven,” with her friend S.Rhodes. In the beginning, the song was a ballad with only piano and vocals.
I work on rock and metal music, and have worked with Anna Capone Papas before. Once I listened her demo, the first thing that hit my mind was to transform the song to a pop metal opera, without changing her original ideas. So, I added some heavy modern metal riffs and my friendly drummer wrote some groovy drum parts.
Because the Eurovision Song Contest needs a catchy song, we made a pop/symphonic metal song, which is catchy to all listeners in central and Northern Europe, where both styles of music are very popular.
We had a very little time to compose, mix and master the song in order to enter the Switzerland Song Contest for Eurovision. The whole song was ready in five days. We were working 13 hours every day for all five days at my studio, Master Sound Studio, located in Athens, Greece. It was a great experience!
With the song structure finalized, we tracks guitars, drums, vocals, and pianos. This was followed by adding full orchestra parts using PreSonus sound libraries and some other libraries.
Drums were recorded using Slate Digital SSD 4 and CLA Expansion Kit via a Roland TD 20 KX V-DRUM. The were all recorded by me using Schecter Guitars though the Blackstar Amp Series One 6L6. All recordings, mixing and mastering sessions were made in Studio One 2 Professional.
You can hear “Glimpse of Heaven” below.
The link to vote for the song is www.eurovisionplattform.sf.tv/videos#A
[This just in from Julian Reaves, AKA Giuliani, of Architect Media Group!]
Hey PreSonus! I’m Julian. I run Architect Media, an independent entertainment company located in California. We have an in-house digital studio where we use PreSonus Studio One Professional as our main DAW. We feel that Studio One gives us unlimited flexibility from producing and recording to mastering—all in one application! We used Studio One on Irban Jeter’s album “I.R.B Hit The Spot,”released on Architect Media Group/ Interscope Digital Distribution, as well as on Ryan Goree’s single “Chocolate Teddy Bear,” that was released on Architect Media Group/ Def Jam Digital Distribution.
Architect Media Group is not just a music company. We are venturing into soundtracks, film, television, and video games, and we’re confident that Studio One Professional is going to play big part in recording, mastering and sound design.
As anyone who uses it knows, with Studio One the hits don’t stop. We just discovered this incredibly flattering, video-peppered review from Ruprect at Recording Review. In it, they state: (among other things)
“I literally stopped using Logic after spending maybe 2 hours with Studio One. Granted, I was excited about learning something new but the switch was surprisingly painless. Fast forward a few months and I’m faster with Studio One than I ever was with Logic. The main reason is that simple tasks I perform numerous times in every mix are streamlined a little.”
Big thanks are due to the Recording Review crew. Their website is chock-full of many other reviews that you should read as well, and they also offer a number of great articles on all elements of the audio recording process. Check ’em out.
Click here to read the review in full and watch a batch of highly informative Studio One videos!