PreSonus Blog

Category Archives: Studio One


Using the MPC Renaissance to Control PreSonus Studio One Transport

Check out this killer video from mecprosound over on YouTube! He just uploaded this tutorial on setting up the Akai MPC Renaissance controller to control transport in Studio One like a boss.

 

Bill Edstrom, and Why He Chose to Write a Book on Studio One.

Studio-One-book[This just in from Bill Edstrom, Pro Audio Author and all-around gem of a man.]

Hey PreSonus!

I’ve done projects in just about every DAW on the market. To use most of these systems you need to be in a very technical frame of mind. About three years ago, I was looking for something simpler—something to get creative songwriting ideas out. That’s when I discovered Studio One. The workflow made sense to me and it helped me write.

As I got more interested in Studio One, I discovered anther great thing—a community of users that were amazingly helpful and enthusiastic. I started contributing to the PreSonus Forum with some free YouTube videos which lead to my work with Groove 3. I went on to create four volumes (24 hours worth!) of video training for Studio One.

When I started talking to Bill Gibson at Hal Leonard about some book concepts, I really wanted to do a Studio One book. I think they see the potential for this DAW because they have already published Larry the O’s book Power Tools for Studio One with a second volume on the way.

My book is designed as concise introduction to the core features of Studio One. I wrote it for the person that already has some experience with another DAW. The book content is really focused on getting up to speed with the software as quickly as possible. There are also 12 new videos included with the book covering some of the key concepts that would be tricky to explain in writing.

Why Studio One? Well, besides being great software, PreSonus has been amazing to work with. I have had the chance to meet Matthias and the PreSonus Software team at PreSonuSphere and NAMM and they have been very welcoming. The rest of the PreSonus team including Rick, Jonathan, Brad, and Jim have been friendly and great hosts in Baton Rouge. I also really enjoyed presenting to a group of Studio One enthusiasts as part of PreSonuSphere 2012 last year.

At first, I was recording with Studio One as a canvas for creativity. But I realized that I could produce music end to end without really needing to use other tools. Back in March 2010 I put together my first rather crude Studio One video called “Fun With PreSonus Studio One.” That video has 42,000+ views. I think the title sums up my experience with Studio One. It’s fun to use!

Regards,
Bill Edstrom

You can (and should) get Bill’s book from the following retailers:

Powell’s
Barnes and Noble
Amazon

 

Olesya Star’s Unusual Duet

olesya_star_christmas2012[This just in from PreSonus Artist Olesya Star, who recently completed an unusual duet.]

As an independent artist, people always tell me that to survive you have to take 2 steps left whilst walking forward or you’ll go in circles, so I always keep an open mind to new ventures, avenues and pathways through this minefield called the music biz. One such diversion presented itself to me recently in the form of a country duet, originally meant for Dolly Parton, but sung by Tim Rose. Tim was an original American troubadour who was a founding Greenwich Village folk musician in the 1960s, and former band member with the likes of Mama Cass (Mamas and Papas), and later in life Andy Summers (The Police) and Mick Jones (Foreigner). Sadly, I never met Tim Rose before he died in 2002, but by pure chance I was asked by an old friend of Tim’s  if I would supply “Dolly Parton-like vocals” and work the track, originally recorded in 1988.

The tracks were originally recorded on 2″ tape, so the tape needed to be baked and digitized prior to landing on my studio desk. I had 24 tracks to play with that had been encoded at 24bit/96khz, which I brought immediately into PreSonus Studio One Professional v2.  The job of identifying the microphones that were used in the original recording was completely irrelevant with Studio One, as it was far simpler just to make the recording sound how it should by using the simplest included Studio One features: Channel Strip, CompressorPro EQOpenAIR reverb and, my favorite by far, the Mulitiband Dynamics effect on the Master channel which glues the track together—sometimes much better than using summing mixers that cost in the thousands.

I recorded my vocals through the PreSonus AudioBox 1818VSL, dropped the majority of unnecessary channels/recordings, and sculpted a rough mix before handing the final session over to my producer/mastering guru, Adam Mills. Adam  added some heart-poundingly heavy kick drum and a sprinkle of the missing magic by adding just 2-3% OpenAir in the Mastering/Project section of Studio One, as an insert, with a tight room preset— and no more pre-delay than 15-20ms. There you go, now I’m even handing out secrets!

The result is “You Can Hurry Darling (And I’ll Walk Slow)” which now sounds like I was in the room with Tim Rose at the same time, All thanks to Studio One and PreSonus. Here’s a sample, the full single drops Feb. 14!

Sweet Project Studio Mastering Master Masters Project in-Studio, in Studio One’s Mastering Project Suite

[This just in from Graham Cochrane, Grand Mixologist and WhizAdult over at The Recording Revolution. He put Studio One 2.5 Professional’s mastering features into an opinion toaster, and a few minutes later this tasty, crispy review video popped out. Dig in, but bacon is extra.]

Hey PreSonus…

Hope you are well. Just a heads up that I posted a video review of mastering in Studio One with the Project Page. Enjoy! Really enjoying working with S1 for mastering. You all have done an excellent job with this! Hope to see some of you at NAMM.

Merry Christmas,

 

A Great Video for a Great Cause: Free Your Mind

[This just in from Marcus Marshall, production wünderkind with a heart of gold.]

Hey PreSonus!

I wanted to tell you about this video we’re proud of.  This year a partner and I produced a song for Grammy-nominated artist Carolyn Malachi. The song is titled “Free Your Mind,” and it’s fully produced and recorded in Studio One.

FYM 1400

The track is gaining momentum! It’s currently available on Google play, and will hit iTunes and Amazon in a couple of weeks.

We have been getting a lot of attention from the song because of what it is doing for other people. Carolyn just debuted the Music video for it at the US Chamber of Commerce BCLC’s 2012 Corporate Citizenship Awards here in Washington, DC. Companies such as Google, NFL, DOW, IBM, and many others were in attendance. Link here about the awards here.
The video is important because Carolyn has teamed up with a Company called the Theschoolfund.org for the #IAM campaign. With the video we plan to raise money for children in East Africa to attend school. The campaign runs for six months and we plan on raise 10,000 school hours per month. We have been able to secure corporate sponsors that have committed to our support our efforts. For every click of the music video our corporate sponsors will donate 19 cents, which equals one hour of school for a child. 10,000 hours costs $1900.

 

Here is an article about it in the Huffington Post.
Below are some links to other works produced with PreSonus Gear and software.
Miguel—Kaleidoscope Dreams Listening event and interview. Event using StudioLive 24.4.2, recorded in Capture, mixed in Studio One.
Brandy—Diary. Audio restoration and mixed in Studio One.
Brandy— Love Life Interviewed. Event using StudioLive 24.4.2, recorded in Capture, mixed in Studio One.
Kendrick Lemar—Interview and Freestyle. Event using StudioLive 24.4.2, recorded in Capture, mixed in Studio One.

Enjoy!

IAM-Cover-Photo2

Let’s Talk Piracy—Make Your Opinion Known!

[This just in from Paul Fattahi,  Executive Director, International Music Software Trade Association. ]

Dear IMSTA Members and Friends,

As you may know, every year IMSTA conducts the “Let’s Talk Piracy” Survey in order to obtain a better understanding of the motivators behind software piracy. We then analyze the data and provide our findings, along with any observed trends to our members. It would be much appreciated if you could send this to your marketing, web, and social media teams and to ask them to promote the survey as much as possible. With your help, we could receive plenty of responses and have the results analyzed and prepared for our meeting at NAMM.

Happy Holidays,
Paul

As software is of incalculable importance not just to PreSonus, but also our entire industry, Please click here to take the survey. It won’t take but a minute.

Also, feel welcome and encouraged to share your thoughts on software piracy in the comments section below. That will take as little or as much time as you like.

 

Damon Humphrey, Up All Night on Studio One Professional 2.5

[This just in from Damon Humphrey, who was kind enough to offer insightful As to our run-of-the-mill Qs regarding his company, After Midnight Productions—that’s AMP, to you.]
Hey PreSonus! Thank you for giving me the opportunity to share my experiences! If you need anything, please let me know. Thanks again.
  • How and when did you get involved in music? How long has AMP been running?
 I got involved in music by accident actually, my friend—and now business partner—Sean Fields was always involved with music. He asked me how I would feel about starting up a music production company. Without any hesitation, I said yes! We came up with a plan, put together a demo, and earned enough money to go official in 2003.  I first started out doing the marketing and promotion, which led us to our first client. That’s when I got into producing!
  • What PreSonus stuff do you use?
Right now I use Studio One Professional 2.5, and I am using the PreSonus FaderPort.
  • What were you using before PreSonus, and why did you switch?
I was using FL Studio, which I still do now, ReWired, or I may track out and mix in Studio One, which I do a lot of. I’ve used Reason, Sonar and Logic as well. But feel that it is much easier to do what I want to do in Studio One without struggling to do it. To get where I want to go, there are simply fewer steps. Studio One speeds up the process.
  • What are some of your favorite features?
My favorite features? Hmm, there are too many to mention, LOL! But, I really like the drag-and-drop feature, without multiple shortcut keys. I also like being able to move around in the DAW without thinking too hard, by not having to go through several menus and sub-menus. For example, I never bothered with bussing in FL Studio, because it was too complicated. I would end up loading up plug-ins on each channel. In Studio One, setting up the bus is simple. It’s just a right click, and select Add Bus for Selected Tracks.  I can then add a single instance of the Compressor to the whole bus.  That is a definite time saver, and also works with sends. Thanks to Studio One, I now have a better understanding of the way effects chains work.
  • Any tips’n’tricks or production secrets you can share?
Well, this can be implemented in all DAWS, but, for those who have had issues with their drums not sounding punchy, and full: stacking is the key. Also, knowing how to compress and EQ with minimal settings. In other words, less is more when it comes to those type of things. Taking your time to learn the DAW without rushing is the key to getting great sound out of the software. Know that when your drums start clipping, back off a little, that will make a huge difference. ALSO—and this is a big tip I am starting to do it myself—listen to a reference mix of your favorite artist and try and get your beat or song to sound just as clear and loud as that, with out over-doing it… Keeping in mind what I mentioned before: less is more.

 

 

Kimberly Thompson Chooses PreSonus


Kimberly Thompson
 is a world-class musician, producer, engineer, composer, and educator whose work has included gigs with Kenny Barron, Jay-Z, Kanye West, George Michael, Alicia Keys, and Beyonce. She’s recently moved from another well-known DAW to Studio One, and says she’ll never go back.

“Everything with Studio One is crystal clear,” says Thompson. “I’m able to hear all those ghost notes, those staccato notes, all that stuff that often gets lost in the mix. It’s an amazing program—it picks up the nuances of the sticks, the depth of the snare, and the classiness of the traditional brush strokes in jazz. It nurtures my sound while I’m recording live. I don’t feel the temptation to over-use EQ anymore—in many cases I don’t use it at all.”

Studio One’s intuitive workflow also scores high marks. “It’s a really easy program to work with, whether you’re approaching it as a producer, an engineer, a musician, or all of the above,” she observes. “Studio One enables me to keep working and be more productive.”

 

 

 

Snipe Young on Building “Shock Your Body”

[This just in from Dr. Snipe Young, decorated PreSonus Artist/producer/songwriter/engineer/bad-ass. He just wrapped his most recent track, “Shock Your Body,” in Studio One, linked below for you to hear.  The good doctor was kind enough to share a bit about the anatomy of the track, and what makes it tick.]

Hey PreSonus—Let’s dig in shall we?!?! On this particular record I was going for a funk/retro/groovy groove—if that is a sound.

So here goes… I played the main groove live on my Open labs Miko, which has a FireBox 4×4 installed in it. From there I tracked it through a very old, yet warm vintage 24-channel mixer. I then sampled this recording, chopped a nice feeling groove and placed it on the Studio One timeline.

The groove is the backbone of the record, so I built around that with kicks and snares I created to give it a subtle punch and snatch. I then used the groove quantize to lock my bass from Trilian and the drums—It’s still a remarkable feature to me!

My next addition would be to play some guitar licks which were brought alive by the TriComp and Pro EQ. I also added an instance of Beat Delay and set it to echo on the 8th notes, which gives it a small stadium feeling and allows it to lay inside the mix better. Lastly, I just sprinkled on a few chords from a Komplete 8 Ultimate Vintage Rhodes organ, and Philharmonik strings and the pieces to the puzzle all tie together in the end to make a vintage-sounding montage.

We had fun creating this with Studio One Pro 2.5—a tool that a Pro uses!

 

Using Maschine in PreSonus Studio One 2.5

We had a few questions the other day during our live Studio One 2.5 webinar regarding use of Maschine in Studio One 2.5.

Wish we had known at the time that maschinetutorials over at YouTube had made this killer video on that very topic. Check it out!