Notion has been updated to version 6.1! Check out the full changelog below. This is a free update to all Notion 6 owners. To get it, just launch Notion. It will check for updates and download automatically.
Notion 6.1 Changes:
[Ryan Louder is a multi-platinum music producer and songwriter. Having studied at the Royal College of Music as a composer, Ryan went on score films and produce music, working with a multitude of artists including Troye Sivan, Pixie Lott, Claudia Kane Katherine Jenkins, Alexandra Burke and Dido.]
• What PreSonus products have you used and which do you currently use?
I have two studios with identical setups: 2 Studio 192s and Studio One 3 in both. I also have a Studio 192 Mobile and laptop when out of the studio which works great.
Recording, songwriting, production, mixing—everything I need to write and produce high-end productions for high level artists is in Studio One. I’m blown away by Studio One, and it has served me well in very high-pressure situations.
Word of mouth. A lot of people in the industry are talking about studio one being the DAW of the future…
• Having used Studio One, what do you like most about it?
The usability and reliability! The people deciding what goes where know what they’re doing, where other DAWs seem to have no clue of a producer’s needs. For example, one DAW manufacturer keeps going on about “The Cloud,” which no one wants or needs… and they keep going on as if it’s something significant while there rubbish software crashes several times a day. Studio One is the polar opposite and the reliability is incredible.
I can drag and drop preset instruments—so quick!
My biggest tip is “Do not believe anything other than your ears.” Do blind tests on comparing quality—for example, I chose the Studio 192 converters clocked to my Black Lion audio clock over audio gear that cost five times as much. I chose the Studio 192 six times out eight of blind tests. Do blind tests on everything from plug-ins to hardware. You’ll save yourself money big time.
With 8 touch-sensitive, motorized, 100 mm faders and 57 buttons covering 78 different functions, you can quickly zoom in on audio files for editing, adjust your click-track tempo with a simple tap, modify plug-in parameters, manage aux mixes—and, of course, control track levels with the touch of a finger. With the FaderPort 8, you’ll enjoy the fastest, most efficient workflow you’ve ever experienced.
WHAT?! We’re seriously cutting the price of our coolest monitors in half for Black Friday? Cutting things in half is usually more of a Halloween thing. This offer is available for customers in the USA, and ends 11/28/16.
Eris MTM Monitors:
While MTM technically stands for “Midwoofer—Tweeter—Midwoofer,” you ought to know that they’re good from Mixing-To-Mastering. The MTM speaker configuration allows the MTM studio monitors to deliver the widest stereo field available in their class. You get a more consistent listening experience from varied listening perspectives. They’re also louder than they look, since the combined signal of the two relatively small drivers propagates forward like a single waveform. This mutual coupling provides a highly dynamic output in a compact footprint. And if footprint’s not an issue, mount them horizontally. We’ve designed them to sound just as good in either configuration.
PreSonus R-series R80 and R60 AMT Studio Monitors:
The R-series contrasts from the MTMs in a couple ways. While the singular woofer approach is a more traditional, the Air Motion Transformer (AMT) tweeter is the star of the show. At the core of AMT is the astonishingly thin (< 0.01 mm!) Kapton® membrane voice coil, which moves at the same instant as the current that drives it, with no dampening applied to negatively affect the tweeter’s transient response time.
As a result, the R-Series faithfully reproduce the highest frequencies that can be heard by the human ear—and the vast majority of human microphones. The sonic result is a greater sense of air, space, and imaging that is characteristic of audiophile recordings and off-the-charts transient response. Furthermore, the AMT’s design inherently offers 8 to 13 times the projection area of a typical dome tweeter. This widens the stereo image considerably, while keeping problematic vertical dispersion in check. Consequently, the R80s sound consistent regardless of what room you place them in; a versatile choice for audio recording studios and post-production.
Here’s Mike White on the R-series.
Finally, both the R-series and the MTMs offer all the Acoustic Space tuning and connectivity options you’d ever need, and include RCA, 1/4″, and XLR inputs.
It’s the discount you’ve been waiting for! Take 50% off of Studio One. This offer applies to all editions of Studio One 3: Artist, Professional and upgrades.
Some other details you ought to know:
This offer is available worldwide and ends 11/28/16.
This offer does not include crossgrades or EDU pricing. The good news: crossgrades actually have a different offer going on just now, click here for more info on that! If you’ve been thinking about adding Studio One to your existing workflow, this is the best possible time!
Enter parts and create guitar and bass tab, drum tab, lead sheets, and standard sheet music with ease. Add audio, apply effects, mix, and hear your composition played back with superb samples by famous artists. Compose on a computer and continue editing with Progression for iPad or vice versa. Progression’s ease of use and great sounds make composing more fun than ever!
Got someone on your list who wants to get started with recording and producing their own music? This package includes everything they will need to get started, including Studio One 3 Artist recording software, the AudioBox iTwo recording interface, HD7 headphones, the studio-quality M7 microphone, and all required cabling.
The AudioBox iTwo Studio is convenient, portable, bus-powered USB 2.0 and iPad® audio and MIDI interface that offers two combo mic and switchable line and instrument inputs, ideal for recording guitar and vocals simultaneously. You can record anywhere with a Mac®, PC, or iPad.
We’re knocking $50 off the price of the Eris 4.5 monitors for customers in the USA! The Eris speakers sound great, don’t take up a lot of space, and offer the most accurate reproduction possible at this price point.
Check out what reviewers have said about Eris and you’ll know you’re getting a lot of bang for your buck:
“Of course, there plenty of comparably priced speakers, but PreSonus has differentiated the Eris line in some key ways, principally the extensive tone control options (these can really make a different in rooms that don’t have ideal acoustics), analog power amplifiers instead of digital, and the easy accommodation of consumer as well as professional gear. PreSonus has a reputation of making great products “for the rest of us,” and the Eris speakers follow that philosophy.”
—Jon Chappell at Harmony Central.
“I found both of these monitor models very useful tools for the imperfect art of home-studio mixing… if you were to put them up in a very controlled environment, next to speakers you paid a bunch of money for, you would probably find things here and there about them you didn’t like – although you may be surprised. Setting them up in my humble (yet effective) home studio for a few months helped me hear things I wasn’t hearing previously and helped me to provide better mixes for my clients. At the end of the day, that matters much more than the price tag of the speaker or the label on the front. Job well done, PreSonus.”
—Eli Crews at Tape Op.
Jurij Ricotti is a Musician, Composer, Music Director, Sound Engineer, Sound Designer and Producer. He’s worked on multiplatinum albums alongside top artists and producers with Tony Renis and Humberto Gatica. He’s worked as a Musician and Sound Engineer in Europe, Asia, Middle East, USA, and Australia, and is a Studio One power user. He was happy to tell us why.
• What PreSonus products have you used and which do you currently use?
I Use Studio One Professional since version 3 because I was tired of crashes and old features in Cubase 7 and 8. My workflow is stressful for the DAW, and for the Mac too, with hundreds of MIDI tracks assigned to orchestral instruments, drums, audio guitars and percussion strictly focused on Cinematic purposes. As a composer and arranger, I love flexibility, speed and performance that does not distract my mind from the creativity process. And Studio One is the best DAW for this, in my humble opinion of course.
• For what applications are you using Studio One? (Example: for recording, composing, sound design, and so on; in a commercial studio, project studio, for live recording, etc.)
At the moment, SO3 is my main DAW at JGRSTUDIO. I’m finishing mastering on Barbara Todisco’s new album before starting Gianfranco Mauto’s next album. And all my collaborators are moved to Studio One and Notion. Recently I’ve finished some guitar tracks for three international movies in 2016. I’ve used Studio One for all Andrea Bocelli “Cinema” Radio edits and cuts, some edit for his TV video show in Italy with Rita Ora and many other great performers. I’ve also used Studio One for arranging the drums on Bocelli’s performance at the MTV Awards with Tory Kelly. The piano parts and mixing was performed by Pierpaolo Guerrini at PPGStudios. Another intensive use was during percussion programming on the Track “Maria” on Cinema Album. Vocal Recording was all done in PPGStudios (www.studiocentauro.it) by Humberto Gatica, Pierpaolo Guerrini for the English and Italian songs and with me in the Spanish version. The London Symphony Orchestra was recorded at Abbey Road. Final Mix was by Humberto Gatica at Lion Share Studios in LA. “Cinema” was a gigantic work with pro arrangers involved, four Sound Engineers, Abbey Road sessions, mixing in LA. Thanks to three of the best producers: Tony Renis, Humberto Gatica and David Foster. Studio One is a perfect platform for project studio and for pro studio, I didn’t use it for live yet, but I will cover this soon.
• What led you to choose Studio One? Was it the company’s reputation, audio quality, ease of use, specific features, price, other factors?
PreSonus have a great reputation in Europe, and the products are solid and used in a lot of home and project studios. As I mentioned before I was tired of other DAWs, I’ve used Cubase mainly for the last 10 years, I use Pro Tools because is a standard in the studio, and when 64-bit came around, the choice was only on Logic, Cubase 8, Bitwig, or Ableton. I’ve tried to work with those platforms, especially on Logic because of its score editor, and other features.
But there was always something missing. As any user knows, changing your DAW after 10 years is not easy for anyone. I downloaed the Studio One demo and started to feel confident immediately thanks to the option to use Cubase Key Commands. But I was completely blown away with the Melodyne Integration and parallel processing with the Splitter. At this point curiosity brought me on to the Studio One Expert website where I’ve studied all the other features. After the first month, I was faster than before doing vocal comps and converting MIDI to audio. With Melodyne studio I can also bring the orchestral click on the arrangement. I love the mixer: it’s innovative, full of controls and perfectly fits with my controllers and iPad.
• Having used Studio One, what do you like most about it?
Well, strange but not strange. Studio One is super solid—I get no crashes with my intensive sessions. Great compatibility with any controllers, Melodyne and now VocAlign integration, parallel processing, and great performance on my Mac Pro. There are also other features I love: no dongle, affordable price, mastering in the Project Page, and last but not least an amazing dithering process from 192khz or 96khz to 44khz—better then all the other DAWs.
• What Studio One features have proven particularly useful and why?
In modern music arrangement and mixing, the parallel processing and external audio hardware integration is a standard. Especially with external outboards like compressors, effects, or preamps. I’m using Studio One with an RME Fireface UFX and a lot of outboard gear. Many composers and sound engineers are now tracking in home studios, or project studios without physical mixers, they prefer to use Summing Mixers with outboards and different kinds of preamps. Even if you are involved in rap, pop, rock or classical. This reduces space, studio costs, and time. The most interesting feature for me is the automation. With Studio One you can automate everything, simply amazing.
• How does Studio One compare to other DAWs you have used? What’s better, what’s not as good, what does it give you that other DAWs don’t?
A comparison is obvious for a professional user, someone like me comes from intensive works on Pro Tools or Cubase or Logic. Studio One is new, and all the new features are impressive. The mixer has better performance and the audio dithering is better. The score editor with Notion 6 is great. Pro Tools does not have score editor at all. The real strength of Studio One is the continued relationship with their Forum users, they pay attentions what users ask and suggest, this never happened before with other DAWs. The compatibility with AU and VST let the users choose do not change the plugs, this is important for small budget studios.
Arranging and mixing is faster, plug-ins copy and paste, customizable colors, Melodyne works better than other DAWs, and native plug-inslike the Pro EQ, and Reverbs are pro-quality. Macros are genius, and users can share them through PreSonus Exchange. The loops management is functional and logical, the resident instruments are good. All DAWs have many shared features like VCAs, Analog emulations, etc.. but Studio One is on another level.
• Any user tips or tricks or interesting stories based on your experience with Studio One?
I’ve created my YouTube channel JGRStudios, where I show how to use Studio One professionally in Italian for our audience. The best tips are related to speed up all the production process. I’ve suggested Studio One to my other collaborators, showed how to translate audio to MIDI, use of Melodyne, programming the orchestra and how to use parallel mixing. Now we all use Studio One. I think the best way to understand the real potential is simply to try it! Download the demo and use it, you will be impressed.
• Please give me some basic background info on your career and current projects, credits, and so on. (You can point me to Web sites and/or email me information.)
My music career was started in 1990 as a guitar player in a death metal band called Desecration. My idea of music was always based on “create, not emulate.” In these years my music was released for Warner, Sony and Universal. A big change was in the middle of 90s with Yngwie Malmsteen’s Italian Tour. Thanks to him I started to work with other guitar heroes and guitar magazines until a I began session work in early 2000. I’ve traveled a lot, and worked with Kevin Costner, Kacey Musgraves, MIMS, Malmsteen, Steve Vai, Desecration, Corona, Fernando Osorio, Tony Macalpine, Ana Belen, Armando Manzanero, Queen, Britney Spears, Bireli Lagrane, Richard Galliano, Marcello Giordani, Andrea Bocelli, IL VOLO, Ennio Morricone, Vinnie Colaiuta, Nathan East, Michael Thompson, Michael Landau, Nguyen Le, John McLauglin, David Silvian, Steven Mercurio, and many more.
Aas a Sound Designer my job was awarded with Effie 2016, Dubai Lynx 2015, and nominee for Golden Lions at Cannes for Chrysler Commercial “The Performer” with Qsai and Publicist Middle East.
I’ve worked for 5 years with IL VOLO as arranger, Music Director, Guitarist and Sound Engineer thanks toTony Renis and Humberto Gatica on their first three albums and a PBS special. After this experience I was aired to be a Music Direcor for Pope Francesco events with Hope Music in Vatican and Brazil Youth Day, the absolutely most incredible experience of my life.
Actually I’m still working with Tony Renis (A. Bocelli’s Producer) always together with Humberto Gatica. With Pierpaolo Guerrini we started a very good collaboration in his wonderful studio PPG in Tuscany.
• Any final comments about PreSonus and Studio One?
I think Studio One is the DAW of the future. Great potential, great team, smart approaches to user needs.