Today is “909 DAY” – celebrating the 33rd birthday of the legendary Roland TR-909 drum machine. We’re joining the chorus with a FREE Sound Set for Studio One made exclusively by our friends at #F9Audio (www.f9-audio.com). This Sound Set includes 12 essential 909 audio loops, two Impact kits, two presets for Presence XT and 30 one-shots.
For this bundle, a Classic original 909 was sampled via API 512 and Neve1081 Pre amps and carefully post processed for Modern club production. For the SP1200 kit, the 909 was resampled via an original EMU SP1200 for added 12-bit soul…
909 Day Studio One Kits is now available for FREE, only through PreSonus Exchange. Studio One users can find the Sound Set in their Studio One Browser (Cloud > Exchange > Sound Sets > F9 Audio).
Celebrate 909 DAY together with us and have fun!
We just launched no fewer than seven new loop packs for Studio One, all from LoopMasters! These cover a lot of sonic territory including Ambient, Drum and Bass, Techno, Trap, and more.
LoopMasters’.audioloops and .WAV files sound great, professionally produced at 24bit/44.1KHz, and are very reasonably priced. Get some inspiration for your next track for less than the cost of a lunch for two! Each of these packs contains 200 loops, (they are Loopmasters, after all) but you also get several drum kits and presets for Studio One’s Impact in every pack.
Supercharge your Mai Tai sound library with this preset collection! Covering a wide range of styles from vintage to modern, Analog Model Machine is the perfect complement to Mai Tai’s factory sound library: a must-have for every Studio One user and analog synth lover!
Created by Ari Ahrendt (Denoisary), Quality Assurance Specialist at PreSonus Software and member of the original Mai Tai design team, this set of sounds spans three decades of electronic music. Inspired by artists such as Vangelis, Jean Michel Jarre, Kraftwerk and Alan Parsons, these sounds perfectly capture the sonic characteristics of legendary instruments such as Minimoog, Buchla, TB-303, Solina, DX, Alpha Juno and many others.
If you haven’t heard, we released Studio One 3.3 last week. Read more about it here!
Studio One 3.3 is available now!
Just click “Check for updates” from the Start page in Studio One. This is a free update for all owners of Studio One 3, Artist or Professional.
Features and updates include:
We’re proud to introduce this triple-pack of incredible vintage reverbs from Convology. These Add-ons, available at shop.presonus.com, have been meticulously modeled from many hard-to-find plate reverbs, spring reverbs, and digital reverb processors from across the globe. We can’t really overstate what an undertaking this was. The Convology Vintage Reverbs are available in a bundle pack, as well as individually.
These impulse responses work with Studio One 3 Professional’s Open AIR convolution reverb. Just download and install, and you’ll have all of the benefits of real-deal vintage ‘verb vibe… with none of the disadvantages:
This powerful collection of impulse responses brings back the sound of the early 80s reverb units. While many of today’s digital reverbs are renowned for their realistic quality, there’s an undeniable sonic mojo to some of the early digital efforts.
Full Listing of sampled reverb units
Digital Reverb 245 – (10 files) New York and Switzerland
Digital Reverb 246 – (20 files) Austria and Switzerland
Digital Reverb 248 – (16 files) Nashville, TN, and Denver, CO
Digital Reverb 250 – (26 files) Nashville, TN
Digital Reverb 245
The 245 was the 244 with the addition of pre-delay and a reflections settings. While the other German units incorporated some of these same reflection settings in algorithms, the 245 gave you the flexibility to really dial in those settings. When you look at these files, under the microscope, it’s interesting to see the early reflections (spikes) in the audio files. There was a great deal of audio engineering science that went into the reflections, how far or close together they would be, to emulate different rooms, halls, etc. The 245’s longest reverb time is around 5 seconds.
Digital Reverb 246
uses the algorithms from the 250 as does the 248, with a great deal of user control and flexibility. It also encompasses a slot for expanded memory similar to the 248. It has 6 program modes with a programmable low pass filter, reflections, and decay.
Digital Reverb 248
The 248 was the last unit made in this series and is treasured by many as being solid and quite nice sounding. The 248 was loaded with all kinds of presets and adjustable algorithms including, Baroque Church, Cathedral, Romanesque Church with numerous size rooms, halls and even stairwells, bathrooms and a preset called “Tiny Room.” The 248 is a very able processor and is used even today, like so many of these vintage units, by major recording artists around the world. One of our units was used by leading country artists such as Reba, Carrie Underwood, and Luke Bryan.
Digital Reverb 250
The first true DSP manufactured. The 250 uses 12-bit, 24k converters, low passed around 11Khz. This unit has large levers on top, weighs around 100 lbs and looks like it is from outer space – nicknamed the “R2D2.” No doubt, this is one of the finest DSPs from the era, with the few who own one of these remaining pieces of vintage outboard gear, still using them frequently and unabashedly. There is a 251 and 252 unit that are offshoots of this model. There were only around 250 of the original units made and then were adapted to the newer 251 interface and 252 upgrades with the 252 being a rack mounted version.
No two plate reverbs sound exactly alike. Even when made by the same company! Years of use, storage, re-conditioning, re-tuning, driver condition, pickups, and upgrades made to a plate unit each impart a sonic consequence. There’s a reason that some studios still reserve the space for a massive, heavy, expensive plate reverb—they tend to age like fine wines.
Full Listing of sampled reverb units
Plate Reverb Eco II (8 files) – Appleton, WI
Plate Reverb Eco III (13 files) – Sweden
Plate Reverb 140 Tube (16 files) – Nashville, TN
Plate Reverb 140 (19 files) – Finland
Plate Reverb 240 (15 files) – Los Angeles, CA
Plate Reverb Lawson (13 files) – Nashville, TN
Plate Reverb 140
For many, the 140s are viewed as king of the hill for a number of reasons. They were the first and came to market in the late 1950s. They tend to be a little warmer, tend to replicate, as they were originally designed, the sound of a concert hall and with limited EQing can for the most part, more readily replicate a dark, bright or a warm sounding room, etc. There are beautiful sounding files in every 140 model sampled—try them all along with very cool hybrid impulses that really are a solid addition to anyone’s convolution library!
Plate Reverb ECO
Tend to be brighter and a little more metallic sounding. Useful to bringing certain production elements out in the mix when you need it to cut through. These units were a little smaller than the Plate Reverb 140.
Plate Reverb 240
The 240 is darker sounding. Weighing 148 lbs, with dimensions of 1’ X 2’ X 2’. Some say better on shorter settings and for sound sources like drums. Originally designed as a way to make the original 140 (4’ X 8’) in a smaller and lighter box. It really was a technological feat for its time. They use a gold foil plate and are a hybrid between the original large 140 plate and early analog to digital rack mount and smaller floor units, although the 240 is totally analog.
Tends to be brighter, iwth a bump in the lower mids tends to warm them up. This unit was designed and built by Gene Lawson who continues to make microphones today at his shop in Nashville, TN. His microphones are well regarded and his tenure in the business is remarkable.
This impressive collection of impulse responses brings back the famous sound of no fewer than 26 spring reverb units, sampled in 6 different countries including Britain, Canada, Netherlands, New Zealand, Scotland, and the USA.
Many pieces of gear included in this Add-on have been used by major recording artists, like tube springs that have been used by The Rascals, Van Morrison, and in James Brown’s famous “It’s a Man’s Man’s Man’s World.” (K-100 Spring)
For many who grew up in the era of plates and springs, most were drawn to plates for very good reasons. After careful consideration and reaching out to studios around the globe for the most interesting vintage springs that could be found and acoustically captured, some of these springs are just absolutely gorgeous with the spring and electronics of the units, really creating some fantastic sounding reverbs–the 3D audio quality that many engineers aim to find.
If you’ve always fancied yourself a plate reverb individual, this library will definitely change your mind. There are springs of all kinds, and yes, there are some boingy ones—gotta have a few for that vintage guitar, lead vocal, and organ sound, right? There’s also mono and stereo versions, along with a variety of lush and warm-sounding springs that nearly sound like a plate—they deliver the “reflections from nearby walls” as only a spring can—when light tremor and flutter of the spring occurs.
This spring reverb collection is complete with a wide range of springs, useful for a variety of applications. There are a good number of impulse response files in this library that you wouldn’t hesitate to apply to the lead vocal–they’re that good, and would absolutely compete with some of your favorite – digital or plate reverb presets. A number of leading engineers and producers use springs on a regular basis and some as their main “go-to” for reverb in general.
Chennai, South India’s Earth Moments continues to produce exceptionally high-quality sample collections of instruments from across the globe. They’re also quite prolific—at the time of this writing, there are no fewer than nine different Earth Moments products available in our online shop. Many of their recordings are recorded in the field using warm Neve and SSL preamps and Neumann vintage tube mics—and all are recorded to a click track, so syncing them to your projects won’t be an issue. Furthermore, all samples are royalty-free, so you can use them in whatever you like, including commercial endeavors.
Are you getting a little burned out on bass, guitar, and drums? Need some special flavor for that short film score you’re working on? It could be that a little bit of Celtic Harp or Arabic Percussion is exactly what you need. And if your EDM mixes are starting to sound a little stale, Dubstep India is sure to make your tracks stand out from your competition. The full roster of Earth Moments Add-ons available at this discounted price includes:
The last 3 mentioned above are also available in the Pure India bundle—you can save a little more if you buy all three together.
Well, her name is Linzy Rae. Linzy and her band, The Anchor, are the masterminds behind the viral video YouTube series “Metal Kitchen.” With over 1.3 million views on their first video, and 35K followers on Facebook, they caught our eye–and ear.
Check out her first video “The Ghost Inside makes Shepherd’s Pie” from December 2015.
“The Ghost Inside makes Shepherd’s Pie” from December 2015.
Linzey is the lead vocalist for The Anchor, a Melodic Metalcore band based in Denver, CO. They’re also big fans of PreSonus so we figured we could trade them an interview for some Cajun recipes. They agreed and everyone wins!
The band started out with an Audiobox USB 2X2 with a free version of Studio One 2 Artist. We eventually upgraded to the producer version because we loved it so much. Now we have Studio One 3 Producer.
We have used Studio One Pro for our first two EPs in my band, The Anchor. We have used Studio one for our entire YouTube channel as well. It has worked great in our home studio.
We originally used it because we needed a USB interface. We were told the Presonus Audiobox 2X2 would be a great start! It came with Studio one Artist and we loved it because of its user friendliness. Also the all the tutorials have been extremely helpful.
We love it’s user friendliness, compatibility with vst’s and plugins. It also comes with great mixing tools as well as the Project Page is such help with some post mixing/mastering things.
The project page is particularly helpful in putting final touches on songs.
Go watch the tutorials and Studio One Experts! It is so helpful!
Studio One 3 is a great expansion to the already awesome Studio One 2 we had previously. We will never switch, and can’t wait to see what the future holds for PreSonus.
I started uploading some covers to YouTube about a year ago. Now we consistently upload covers on a weekly or biweekly basis. We have videos such as Metal Kitchen, Scream It Like A Girl, and Pop Goes Metal.
We were in the studio and someone was going to order Chinese food for dinner. While I was in the recording booth, they asked me what I wanted to eat and I screamed “crab cheese wantons,” which created a running joke. Afterwards, our friend made a joke saying that I could write a recipe into one of our songs and people wouldn’t know the difference (Since the common opinion of metal music is that you can’t understand what the vocalist is saying). Then the idea sort of grew from there.
The video completely caught us off guard it was amazing and also scary at the same time. We have never had so much attention on us all at once!
We just released a Metal Kitchen about making Black Bean Burgers featuring Miss May I’s song, IHE. For the next metal kitchen we are thinking about making Tacos to an All That Remains songs. Metal Kitchens format probably won’t change that much but we have a lot of other cool ideas that we can’t wait to try out!
Try out Studio One for free like these guys did HERE! Who knows, you may be the next YouTube sensation! Stranger things have happened…
Been considering Studio One? We’re up to version 3.2.2, and now’s a great time to get on board, as we’ve added some features since 3.0, including the very popular Console Shaper and a ton of workflow improvements. This is an instant price drop with no rebate forms.
Some other details you ought to know:
If you own a DAW from the qualifying list below, you’re entitled to the 25% off 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 firstname.lastname@example.org.
Upon approval, you will be issued a coupon code, which you can then use to purchase Studio One for the limited-time discounted 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:
This deal is available for digital downloads at the online PreSonus shop. But, if you’re feeling analog, we won’t get in the way. If a boxed copy is more your speed, then our ever-lovin’ dealers are participating as well.
Only in June 2016—we’re offering 30% off of any item in the entire line of eBass Add-ons for Studio One 3. These recordings of a real-deal 1970s P-bass have been recorded in immaculate detail. Make no mistake—this isn’t a one-sound-per-MIDI note sample pack like that SoundFont from 1998 that you found on some “Free samples” website. There is a LOT for you to work with here—the packs include many different right-hand dynamics, left hand positions, hammer-ons, slides, dead notes and harmonics. There’s also a bevy of scripting at hand here, including valuable presets for you keyboardists out there who want to emulate bass playing via MIDI. Last but not least, each pack includes Musicloops in a variety of styles, including MIDI note data and effects chains per Musicloop.
There are four packs in the e-Bass collection: Vintage Finger, Vintage Pick, Classic Finger, and Classic Pick. They’re also available in an all-in-one combo pack.
For more details on the incredible depth of the eBass collection, click here—but here’s a taste:
“We used a Millenia TD-1 tube channel for the Vintage Bass instruments, and an Avalon DI preamp for the Classic Bass. We also recorded the bass via an Ampeg SVT top with 112 speaker, just as a sound reference. However, we ended up using only the DI signals for our eBass instruments. The DI signal provides great flexibility for additional processing with amp simulators and EQ, so the reference amp recording was a tremendous help when we designed the Instrument+FX presets—we could always compare them to the real thing. Strings were medium 045-105 round-wound for the classic and the same gauge flat-wound strings for the vintage. The pickup set was the original from 1975.”
The eBass collection is available for all editions of Studio One 3: Artist, Professional, and Prime, and can be purchased on shop.presonus.com or directly from inside Studio One.
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.