For those of you in the USA wondering what Musikmesse is, think NAMM—but in Germany.
“Musikmesse in Frankfurt is the international trade fair for instruments, sheet music, production, and marketing.” It all starts this Thursday, April 7 and runs to Sunday, April 10.
At our booth, participants are invited to check out the gear, connect with us on social media, and enter to win one of five copies of Studio One Pro we’ll be giving away every day of Messe! To enter, participants must:
Heya! Check out the deeply personal and incredible new video from Nothing More for “Jenny.” But more importantly, check out the cause. First, here’s the video:
Next, here’s the cause: Nothing More is looking to raise awareness of mental health challenges through partnerships with PledgeMusic, BringChange2Mind, The Jed Foundation, To Write Love On Her Arms, YoungMinds, and the International Bipolar Foundation.
You can support these charity partners and pick up some cool exclusive merch at the #IKnowJenny page on PledgeMusic. Click the image below to
As you may or may not know, we recently had a big hook-writing contest called #GetYourHooksIn, which put up the offer of an incredible recording package in exchange for a good hook. Diego entered said contest and placed third.
That said, Diego—more than any of the 300+ entrants—deserves an honorable mention. He chose to not only write and record his hook to enter the contest, but also to document every step of his process, and make the whole thing available on YouTube, for free, for the betterment of producers the world over. He covers several important topics that stand apart from the run-of-the-mill YouTube world of mixing, EQing, compression, etc. Instead, Diego focuses on topics like lyric writing picking the right singer for the song, and the importance of the first listen.
Check out the playlist below, as there’s clearly been a lot of time put into this and there are some wonderful tips in here. English speakers can turn on subtitles by clicking the CC button near the bottom right of the video player.
Here’s is Diego’s final entry:
If you’d like to hear the winning entries of #GetYourHooksIn, click the following links:
On April 30, 2015, we formally christened our new headquarters in Baton Rouge, Louisiana with one heck of shindig.
This video, screened at said shindig, contains a selection of interviews with some of the luminaries who had a hand in the creation of our new home, including Mayor Kip Holden, architect Scott Ritter, and more—along with some of the regular cast of PreSonus characters. There were a few architectural challenges inherent in peppering a few office spaces around a world-class recording studio core, but the team really pulled it off.
Thanks to everyone who made this possible. This is a great home.
[This just in from Shane Simpson of Express AV / Steele Creek Studios! These guys are using just about every product we make. I, for one, am impressed!]
In my opinion, PreSonus is the most forward-thinking company in the industry! They care not only about functionality, but also about workflow, ease of use, and cost! If you run a live production company or a recording studio, PreSonus offers many cost-effective solutions to our every-day needs. When it comes to signal flow, pre-amps, user-friendly layout, EQs, versatility, and price, the StudioLive mixers are some of the best desks on the planet.
The StudioLive package stands out for me for many reasons:
We received a pair of PreSonus Sceptre studio monitors a few weeks ago—Wow! I never thought a co-axial monitor would even work, let-alone be some of the best sounding I have ever heard! They sound like monitors several times their cost, clean and powerful! That is not to discount the Eris series monitors, as they are awesome as well. Our local PreSonus rep demoed a set of Eris for us, and although we wound up with the Sceptres, the Eris blew us away for sounding so good at that price.
We have also been using the PreSonus Monitor Station; man is this thing cool! It makes switching between adjustable audio sources and monitor sets a breeze—we have our subs on one of the outputs, so we can bring them in or out with the touch of a button. The built-in talk-back mic is awesome, and the adjustable Dim feature is really cool as well.
Using the Presonus HP60 headphone amp has been very helpful to us as well. We were using a diffferent brand before we got the HP60, and we were not very happy with it. The HP60 is very clean with lots of headroom.
We also use the AudioBox 22vsl, which has been a great portable interface. We look forward to acquiring an ADL-series preamp (or two), some new A.I. series mixers, a set of Eris near-field monitors, a Temblor T10 Subwoofer, PreSonus StudioLive speaker cabs for our live production, and all the other goodies PreSonus has to offer. PreSonus is a great company that cares about its customers. Our PreSonus rep came to our shop and spent two days with us educating us on PreSonus products and getting to know our needs and our business so he could better serve us and help us grow. He offered invaluable information and insight and showed us how PreSonus products can help us succeed as a business.
Thanks, PreSonus. We appreciate a company that cares enough to spend time with a small company like us—keep on doing what you are doing: Providing us with useful, innovative products, and the help and know-how to implement them.
Senior Audio Engineer
Steele Creek Studios / Express AV
Christopher “AudioCzar” Smith is no joke. The man’s been cranking out track after track for a long time, now, and in the last year he’s settled on Studio One Professional for all of his sonic endeavors. Fortunately for us (and you) I was able to get him to answer some questions about his production habits, and why he’s chosen PreSonus.
When he’s not producing music, he’s also producing excellent videos full of Studio One tips; at the time of this writing he’s up to 20 and counting. Click here to see all of the Czar’s vids.
Who are you, where are you, and what do you do?
I’m Christopher “Czar” Smith, originally from Memphis, but I live in Nashville, TN. I am an audio engineer specializing in recording and mixing.
How were you introduced to PreSonus?
I bought Studio One Artist during a NAMM sale few years ago, for about $20. It was an impulse buy I’m glad I made. Actually, I remember my first recording setup back in 2000—I had a PreSonus TubePRE for vocals.
What PreSonus software/
Every mix I’ve done since 2013 has been done in Studio One Professional, and every song or album I’ve mastered since upgrading to Professional was also done in Studio One. When I work out of Groove Box studios here in Nashville I use the DigiMax FS for tracking drum or hardware inserts for my analog gear I bring with me. I also have a FaderPort that I use when mixing.
What’s so great about PreSonus, anyhow?
PreSonus is great because unlike a lot of other companies, you can tell they are really passionate about their products, and they listen to the consumer. They also have excellent customer interaction. If you tweet them, they will tweet back. Everyone I’ve met from the PreSonus staff at NAMM or Gearfest have all been friendly and helpful. And all the products are well thought-out and designed. PreSonus is one of the few companies I look forward to seeing new products from every year.
What’s the last big project that you worked on using PreSonus gear?
The last big project I did was a mix for Diane Betts, a very talented singer/songwriter here in Nashville. Her song was mixed and mastered using Studio One Profefssional.
What are you working on now—or next?
Right now I’m finishing up mixing and mastering The Equalizers debut album, “After Hours.” Next up, I’ll be mixing an album for a rap group from Nashville, and I’m doing some production for a rap artist from Nebraska. I also just got hired to do some mixing and mastering for an artist in France. It’s the first time I doing work for someone overseas, so I’m excited about it!
Where can folks find out more information about you and your work online?
PreSonus was proud to be a part of the 2013 ASCAP Songwriters Retreat, held September 25th to October 4th at the 14th-century Château Marouatte in the Dordogne region of France—an inspiring place for the lyrically inclined.
And that’s the point. ASCAP has designed this retreat to bring out the best in talented writers. This year’s 30+ participants were divided into different groups, every day, to write and record, keeping collaborative spirits fresh and healthy. At the end of the session, attendees return home with renewed artistic vigor, their hearts and hard drives full of song.
In fact, a dozen of the songs written at the camp this year are already on hold for major label artists, including The Temper Trap, Kelly Clarkson, Melanie Fiona, Nylo, Jessie Malakouti, and Jon Bellion.
PreSonus was happy to provide a metric heap of equipment to foster the creative process, including:
Photos from the event follow, as well as a kind thank-you video from the songwriters themselves. You’re welcome, folks, and we hope you wrote enough hits to fill a 14th-century dining hall. Read more about it here.
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.