PreSonus Blog

Category Archives: User Stories


Guy Perchard Swears by Studio One in “I Swear Blind”

[This just in from producer Guy Perchard! He recently contacted us about his experience with Studio One, and we just had to share. ]

Hi PreSonus!

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.

Paz Fest III Raises Funds for the Ruth Paz Hospital in Honduras

On October 5 2013, The Ruth Paz Foundation hosted Paz Fest III: A New Orleans Tribute to Joni Mitchell. The lengthy bill featured none other than PreSonus Artist Roland Guerin! Paz Fest is all about great music helping a great cause; the all-star show donated proceeds to help the Ruth Paz Hospital for Burns and Pediatric Surgery in Honduras.

“While the negative and overwhelming media attention of Tropical Storm Karen prevented us from having a great turn out for the event, we still managed an amazing show with over four hours of Joni Mitchell songs performed by some great artists,” says Micheal Paz, President of the The Ruth Paz Foundation.  “We also were blessed to have many of the people in attendance and many people across the USA write personal checks to the foundation that helped the night be a great success!

“I am in the process of going through a total of 16 hours of music that I have recorded over the past three PazFest events, and will be producing a “best-of” compilation collection. I will also be producing a one-hour radio special to be broadcast on Meg Griffin’s show on The Loft on Sirius/XM Radio that will be broadcast sometime this winter.”

Paz Fest I occurred back in May of 2000, when the Ruth Paz Foundation hosted an event to build a burn hospital in Honduras. It was the first of many fundraisers toward this effort, and in 2004 construction began on a 20 bed burn and pediatric surgery hospital at a cost of $1.5 million.

In August of 2010, the organization opened The Ruth Paz Hospital for Burns and Pediatric Surgery, in San Pedro Sula, Honduras, offering crucial services to poor children of Honduras. The grand opening was celebrated with Paz Fest II!

With this history, The Ruth Paz Foundation is certain to continue their honorable work in the spirit of helping those in need. Thanks very much to Michael and his team for their incredibly selfless work, so far Paz Fest III has raised over $6,000! Photos from the fest are below.

#TeamPreSonus Spotlight: Paul Peters!

[We decided it best to give some recognition to our more vocal advocates—and what better way than via a blog series?]

Who are you, where are you, and what do you do? 

Paul Peters, FOH/IEM (in-ear monitor) engineer, producer, songwriter, and performer. I’m also a PreSonus artist.
How were you introduced to PreSonus?
My experience with PreSonus started in 2008, when a church in Merritt Island, FL wanted to get a small compact console for their satellite campus.  I did research and loved the PreSonus StudioLive 16.4.2. I ordered the console, installed it, and began a love affair with PreSonus that is still strong. On multiple tours over the past five years, I was contacted by the band A Day To Remember in 2009, because the IEM system they were using failed.  I suggested the PreSonus 24.4.2.  They purchased the console and flew me to Ocala, FL to tweak it out for them.  They loved it, and I was soon hired to be their FOH/IEM engineer for two tours. After tens of thousands of miles, and countless shows, the mixer is still running strong.  Because of the quality and reliability, the PreSonus StudioLive family has been the first suggestion I make to touring bands, clubs, or houses of worship.  I have also been on tour with Sick Puppies, We Came as Romans, Otherwise, and Papa Roach.
What PreSonus software/hardware do you use and for what purpose?
Personally, I own a StudioLive 16.4.2.  I use it when I play clubs or when I mix other bands.  I purchased the mixer in 2010 and have yet to have anything go wrong with it.  I have also installed PreSonus StudioLive consoles in over 10 different venues including clubs, concert halls and houses of worship.
What’s so great about PreSonus, anyhow?
The functionality of the StudioLive consoles is where it truly shines. Great sound quality, comprehensive layout and portability makes the StudioLives great for any application.  The virtual sound check is an incredible tool. The WAV files from Capture rival most pro DAWs.  My favorite feature is Universal Control’s remote iPad mixing.  It has eliminated the need to pull an audio snake for a FOH position in just about every application.  Tweaking monitors and house is completely portable, and easy.  My iPad, router and StudioLive mixer are my best friends.
What are you working on now—or next?
Recent PreSonus adventures have been the A Day To Remember IEM mix, the Heritage FOH mix, and the Ridiculous Youth Conference in Panama City Beach.  I’m sure my next gig is right around the corner.
Where can our readers learn more about you online?

#TeamPreSonus Spotlight: Graham Cochrane of The Recording Revolution!

[We decided it best to give some recognition to our more vocal advocates—and what better way than via a blog series?]

Who are you, where are you, and what do you do?

My name is Graham Cochrane. I am a producer, engineer, songwriter, and worship leader based in Tampa, FL. I’m also the founder of The Recording Revolution, a popular audio training resource.

How were you introduced to PreSonus?

Word of mouth, years ago.

What PreSonus software/hardware do you use and for what purpose?

I currently have a Eureka and ADL 700 in my rack. Both are excellent preamps and channel strips that make recording easy and fun. I’m using the Central Station Plus for monitoring. I also do all of my mastering in Studio One Professional. Love that project page!

What’s so great about PreSonus, anyhow?

You guys make great products, and make them available at real-world prices, and you have an obvious passion for making music. What more could you want?

What’s the last big project that you worked on using PreSonus gear?

I tracked my band’s most recent EP using just about nothing but the Eureka on the front end. Everything I’ve mastered this year has been exclusively in Studio One.

What are you working on now—or next?

Mixing for a few bands this summer. Also writing a new solo album. I’m always making content for The Recording Revolution including a recent video series called Mastering With Stock Plug-ins that was done all in Studio One. It’s free, you should check it out!

Where can our readers learn more about you online? 

www.TheRecordingRevolution.com

www.GrahamCochrane.com

www.Twitter.com/recordingrev

www.Facebook.com/recordingrevolution

#TeamPreSonus Collaboration: @BSWorship and @RayManuelMuzik

[I noticed a jovial exchange between two of our most vocal advocates on Twitter, @BSWorship and @RayManuelMuzik. Both are diehard Studio One junkies, and in discussing our software via Tweet, the two decided to collaborate on a remix of Brandon Scott’s “Do You Love Me?” The original track and remix are both available here for your listening pleasure, and the two artists were kind enough to spare a couple paragraphs about their experience.]

Brandon Scott:

“So, what happened was Ray heard my song “Do You Love Me” thought he could do a killer remix on the song that I could add as a bonus track to the EP coming out July 4th. We met on twitter through PreSonus releasing my new endorsed artist article. I listened to what Ray was doing himself in Studio One and thought, “I don’t listen to much Latin music, but his stuff is really good and sounds great! If he wants to have a go at making a remix of one of my songs, then I’d be honored to have him be a part of it!” So, we started talking more and more via Twitter (I never have met him in my life, FYI) and just hit it off. I stemmed out the mixes of each instrument for my song, dropped it in DropBox and he was good to go. Studio One makes online collaborating so easy it’s sick! I love how simple it is to send files to others around the world to collaborate on amazing music!  Music is what we feel, it moves us, and Studio One is the software that will move you into making amazing music with others around the world. It really is the game changer to music as we know it.”

Here’s Brandon’s original song:

 

RayManuel Perez:

“Brandon is pretty much in the ball park! We became friends because of how much we love Studio One and became good Twitter friends— its all about #TeamPreSonus! We decided to collaborate and make something crazy happen since sharing session and stems with Studio One is so easy. Studio One is the best DAW because we can do everything in one place;  producing,  recording,  mixing, mastering, and beyond—even uploading the music to the Internet! I actually got rid of all my other DAWs. Brandon and I just became PreSonus buddies and we are happy to share our music, our talents and our culture, using Studio One as our platform to make it happen! Like Brandon says, Studio One is a game changer. It definitely changed my approach—and speed—to making music.”

 

Here’s RayManuel’s remix:

#TeamPreSonus Spotlight: Rhett Mouton!

 

[We decided it best to give some recognition to our more vocal advocates—and what better way than via a blog series?]

Who are you, where are you, and what do you do? 

Rhett Mouton: Producer, engineer, writer/composer.

How were you introduced to PreSonus?

Years ago I was asked by a young band to go to their rehearsal studio to help them record a song. That rehearsal studio turned out to be in Jim Odom’s back yard.

What PreSonus software/hardware do you use and for what purpose?

I use the Central Station for monitoring, ADL 600 for obvious reasons, StudioLive 24.4.2 for live sound and multitracking, Studio One 2 Professional for writing, composing, producing, mixing and mastering.

What’s so great about PreSonus, anyhow?

They always seem to be thinking a step ahead of the curve when developing new products.

What’s the last big project that you worked on using PreSonus gear?

I produced, mixed, and mastered a band called Meriwether’s debut album titled, “Make Your Move” which resulted in a distribution deal and record deal with Suretone/Interscope records.

What are you working on now—or next?

I am currently mixing and mastering projects for clients. I am also composing/writing original music with the intention of licensing for placement in film, television and video games.

Where can our readers learn more about you online?

rmmaudio.com

Facebook.com/rmmaudio

Facebook.com/rhettmouton

#TeamPreSonus Spotlight: Spud Too Tight of The Producer’s Corner!

[We decided it best to give some recognition to our more vocal advocates—and what better way than via a blog series?]

Who are you, where are you, and what do you do?

My name is Spud Too Tight based out of Minneapolis, MN, I’m a producer/keyboardist and host of The Producer’s Corner with Spud Too Tight—A celebrity-driven music production & tech talk show since 2009. It’s the new hot spot where Billboard chart-topping, award-winning, Grammy-award winning & platinum-selling icons sit down and discuss their craft. I’ve interviewed some of the biggest names in the business such as George Duke, Jeff Lorber, Larry Graham, Brian Culbertson, Gerald Albright, Fourplay, Marion Meadows, Gloria Loring, Mindi Abair, Joyce Cooling, DJ BattleCat, The Justice League, Cool & Dre, and a long list of others.

I am also the Inventor of V.S.C. (Virtual Studio Configuration) A new studio wiring configuration that allows musicians to stream audio directly from any DAW (PC or MAC) or analog setup over the Web in stereo without any feedback or audio looping issues. I use WebRTC chat services that provide real-time communication. As musicians, we can run into obstacles preventing us from making rehearsal or recording sessions that may require us to fly out of town. The traditional days of playing music over the Internet would consist of either using your internal microphone on your laptop or desktop, or using a USB microphone. It’s an instant turn-off to collaborate online effectively without good audio clarity. As musicians, we need to be able to hear what’s going on in the song. If we are going to collaborate online, we need to be able to hear the low end of the bass, some nice punch from the midrange and brightness from the high end of the mix. When your studio is configured with V.S.C., you will be able to stream and monitor music online directly through your studio. I also use various screen sharing and remote desktop control programs to give me more of an interactive experience working as a virtual musician.

 

How were you introduced to PreSonus?

I had the pleasure of chopping it up 1×1 with legendary music producer Teddy Riley. He introduced me to PreSonus and Studio One. Teddy Riley is my biggest influence as a keyboardist, producer and tech expert, so I was all ears when he started sharing with me what PreSonus had to offer! Our conversation got really HEAVY on production and engineering—and at that time, I was using another DAW for all of my work but I wasn’t truly happy or inspired to create. After my conversations with Teddy, I was eager to make a big change including switching from Mac to PC as well, which was a hard sell. So I purchased Studio One Pro and Teddy advised me for starters to first create some generic test tracks, tracking with my hardware and software MIDI instruments. He recommended to quantize them and listen to the timing of tracks on playback and compare it with my other DAW. The difference was night and day and worlds apart. I was immediately sold!

What PreSonus software/hardware do you use and for what purpose?

I use Studio One Professional for all of my tracking, recording, editing, and sound design projects. It is my main platform for all of my musical ideas. Studio One has changed the way I create as a composer. I feel more inspired as a musician than ever before. I have over 100+ plug-ins so the drag-and-drop functionality and the search bar in the browser for my VST’s and samples really helps me narrow the search down. The automatic time stretching feature and Melodyne integrated right in the DAW: priceless! I also use the PreSonus FaderPort to assist with my editing and recording tasks. I love having the layout and the feel of the FaderPort, excellent build quality, quick access to my Mix, Edit, and Browser windows, and adding a motorized fader was the icing on the cake! I also converted A.Rapheal, (film and music producer as well as my beta tester for V.S.C.)  from another DAW over to Studio One and he hasn’t looked back since.

What’s so great about PreSonus, anyhow?

I see nothing but passion behind the extraordinary PreSonus products. From interfaces, mic preamps and headphone distribution amplifiers, and now the new Eris & Sceptre studio monitors, finally we have the perfect tools for musicians and recording engineers created and built by some of the most prolific tech experts, musicians, and recording engineers. It’s always exciting to see new product releases and it’s so easy to recommend PreSonus to other musicians… a true one-stop shop. I look forward to their new lines in the future!

Where can our readers learn more about you online?

http://www.spudtootight.com   

https://twitter.com/spudtootight   

http://www.linkedin.com/in/spudtootight

#TeamPreSonus Spotlight: Brian Busch!


[We decided it best to give some recognition to our more vocal advocates—and what better way than via a blog series?]

Who are you, where are you, and what do you do?

I’m Brian Busch—Owner and Lead Engineer for Diamond Entertainment.

How were you introduced to PreSonus?

I started reading reviews and keeping an eye on PreSonus after the release of the StudioLive 16.4.2. It was pointed out to me by Roger Blevins, the lead singer for Mingo Fishtrap. He has long been a fan of PreSonus preamps, which he uses in his studio. With his recommendation and after some research of my own, once the StudioLive 24.4.2 was released I snapped one up and have been using it ever since.

What PreSonus software/hardware do you use and for what purpose?

I own a StudioLive 24.4.2 mixing console attached to a Mac Mini that has Capture and Studio One. We record our shows. Mingo Fishtrap is about to go on tour, and we will be using Capture to record the tour for a live album later to be produced later in the year. I also use an iPad to remotely mix most of my shows with StudioLive Remote. Even when I am not mixing with the iPad, it is an awesome tool for EQing monitors. The Smaart Measurement Technology is great for finding crazy frequencies that show up in the middle of a show.

What’s so great about PreSonus, anyhow?

In a word – flexibility. In my business, being able to adapt to whatever situation is thrown at you is paramount. I constantly have to set my mixer up on the stage, or side stage, for instance, because the show we are playing is for a wedding, I can remotely mix without ruining any the pictures of the bride’s special day.

When on tour, we will mix the show through the StudioLive 24.4.2 and just send a left/right to the front of house. This helps us out because we never know what situation we are showing up to. It could be a club with an old 16-channel board (we need 22, minimum) or a festival with some unfamiliar digital console. However, using this board and my iPad, I can stand right out in the sweet spot of the audience and mix the show from there. Festival stages love this because we only tie up two channels on their snake.

I also like the solid punchy sound of the preamps. No other mixer I use delivers more. This is true especially for drums. I can make just about any drum kit sound like a million bucks with those preamps.

Where can our readers learn more about you online?

Right here:

https://www.facebook.com/DiamondEntertainmentAustin

www.diamondaustin.com

#TeamPreSonus Spotlight: Steve Savanyu! Hedgehogs, Presidents, and Popes… Oh, my.

[We decided it best to give some recognition to our more vocal advocates—and what better way than via a blog series.]

Who are you, where are you, and what do you do?

Steve Savanyu. Hudson Ohio,  I am the educational services director at Audio-Technica and teach at Kent State University. I teach microphone and wireless workshops at universities around the country and have taught at all of the PreSounSphere events… In my spare time I operate Buford T. Hedgehog Productions, a local production company that does live sound, studio recording , live remote recording, video production and lights just for giggles. I also participate in really big events such as Presidential Debates, Papal visits, and Inaugurations….

How were you introduced to PreSonus?

Through a friendship with Rick Naqvi, at a church sound seminar where I was teaching a microphone class. I assisted with a live recording at the event where we used 3 FirePods aggregated together on my Mac laptop. It was a fun experience and we learned a lot. Ask Rick about hot patching into a non-transformer isolated 48-channel stage snake splitter. It made a big noise on a really expensive NEXO line array…. Oops.

What PreSonus software/hardware do you use and for what purpose?

Where shall I begin? I currently own 5 StudioLive 16.4.2’s, one StudioLive 24.4.2, and 1 StudioLive 16.0.2 which I use primarily for live gigs. I also have been known to carry the 16.0.2 out as the front end for remote tracking sessions using Capture. (I have recorded the orchestral score for two Kent State Student films this way). My original location rig is a FireStudio with 2 Digimax Pres to give me 24 inputs. (I multitracked a basketball game with it for an Audio Technica project. We were showing how different mics and positions affected game sound for broadcast.) In the studio I have a Central Station with remote for speaker management, and a FaderPort  which I use as a controller for the audio part of my video edit rig. I picked up an AudioBox 44VSL for location video work (tied into a MacBook Pro laptop). I run a legacy Pro Tools rig in the studio with a DIGI-003 interface (back when ProTools required Digi hardware) with DigiMax D8 mic pre. The band I work with uses two of the 16.4.2s and performs about four nights a week on average (in different locations). The ease of operation on the StudioLive console and the ability to save scenes makes it a snap for the band to use.

On the software side, I use Capture to record almost every live event we do. The low overhead of capture allows me to use some pretty basic computers to record up to 32 tracks via two linked StudioLive 16.4.2s. In the studio, I have been using Studio One Professional 2.5 as my main edit software. I like it, as it’s intuitive and has low computer processing overhead so it runs great on a laptop. As an experiment, I mixed a seven-song EP of a band I work with on a flight from LA to New York! I was burning out the CD as the flight attendant was saying power down your electronic devices for landing. Of course my Audio-Technica ATH-M50 headphones made accurate monitoring possible in the plane’s less-than-fancy mixdown environment.

I have dabbled with iPad control on my larger rig, but not implemented it completely due to the expense of buying seven iPads, computers and routers. I am looking forward to the StudioLive 32.4.2AI with its built-in networking. I can beta test… 🙂

 

What’s so great about PreSonus, anyhow?

First and foremost is the people! I have called Justin and Rick on weekends and evenings with questions and they always get back to me promptly. I have participated in both PreSonuSphere events and like the camaraderie of the entire PreSonus Family.

Second, is the products just work and sound good. They are intuitive to learn making it easy for me to train a band’s engineer on using a digital board. We like the fact the processing is built-in to the StudioLive consoles. The presets sound great, and make it easy to get a mix up even if you have never done sound for the band before. True story: Early on we did a gig for a band who was unfamiliar with the power of a digital console. It was an outdoor event so I had the 16.4.2 out front with the snake and a power cable for FOH stuff.  Their diva lead singer, who knew everything about sound and told me so, was being a pain in the butt.  He walked out to FOH, looked at the “smallish” console and said “dude where is your effects/EQ rack?” I hesitated for a moment and looked him in the eye and said: “Dang, I knew we forgot something…” The look on his face was priceless…

And third of course,  is the jambalaya…

Where can our readers learn more about you online? 

First and foremost, check out the Audio-Technica.com website. A-T makes great studio and live mics that pair up well with PreSonus hardware. Our new AT5040 with its revolutionary capsule design and “pure, simple signal path” would pair up well with the ADL 700 Channel Strip (hint hint, I have the mic…) Our Artist Series and Artist Elite live sound mics are second to none.

As for me, check out my website www.bufordthedgehog.com and visit me on Facebook. I try to post a FOH picture of every gig I do either on my page or the PreSonus user group page. I am on LinkedIn but don’t do the Twitter thing.

You can see some of my video work on the A-T YouTube channel as well as other audio companies’ YouTube channels. I have several published articles about doing audio for video and I am the audio expert on the FilmSkills online training series produced by Jason Tomuric.

I attend all of the major trade shows: NAMM, INFOCOMM, NAB, etc. and do microphone and sound workshops at universities, church conferences (with my good friend Doug Gould) and trade shows. You can’t miss my distinctive look…. just ask for the blonde guy!

 

Hermes Music Knocks it out of the Park at Product Training

[This just in from Edgar at Hermes Music, our distributor in Mexico. Their crew just went through a product training session with Mark Williams, and it was a smashing success! Thanks to everyone at Hermes who took part in this session—support for customers in Mexico is getting better by the day!]

Hello PreSonus team! We recently had a visit from Mark Williams, (PreSonus Director of International Sales and
Business Development) who gave us a product overview and discussed PreSonus products and their functions.  Hermes Digital planned two different training sessions; one with the stores sales personnel and the other with the Hermes Music Pro Audio team, service department, sales department and digital audio personnel. People were excited about the products and had many questions about software and hardware.

Mark showed and explained every single PreSonus product in detail, showcasing the features and qualities that make PreSonus products unique in their class. Hermes Digital are constantly working for PreSonus, spreading information about the products and working on clinics and training in order to get PreSonus products into the users’ hands—with all important information in Spanish! Clinics and special events like these are critical to our market.

At the end of the training, the Hermes Digital team took some time to tour Mark around our stores. Some of our strongest points of sales are through the main musical stores located  in the capital of Mexico. The historic center of Mexico City, AKA the “Centro” or “Centro Histórico,” expands in all directions for a number of blocks. The Zocalo is the largest plaza in Latin America and the second largest in the world! It can hold up to nearly 100,000 people. Bolivar street, placed in the historic center of Mexico City, is the most important location for selling instruments and audio equipment in Mexico City.

Mark was amazed by the branding, marketing and business strategies Hermes Digital has put into action in such a short time. He also saw lots of people in the streets and inside stores buying and constantly asking for digital audio products. It’s been an honor to have Mark visit us in Mexico!

Edgar García Franco
Hermes Music