Grammy nominated sound engineer Ben Findlay has worked alongside artists such as Sting, Lionel Richie, Paul McCartney and with Peter Gabriel’s Real World Studio. Ben is currently on tour with Robert Plant. He recently got a hold of the ADL 700–and here’s what he had to say about it.
Tune in to PreSonus LIVE on March 31 at 2pm CST to learn all about PreSonus hardware and software integration: remote preamp control of the Studio 192 and StudioLive RM mixers from Studio One, remote Fat Channel control, and using the StudioLive CS18AI to control up to 64 channels in a StudioLive Mix System.
This show will also feature a ton of special guest interviews (see right) as well as a live performance from critically lauded Baton Rouge post-sludgecore doomsters THOU.
Need to know the showtime in your time zone? Click here.
Need a reminder? Just pop your e-mail address into the form below to receive a reminder e-mail on the day of the show! Hooray, no more Eventbrite!
The brand-new ULT Loudspeakers are currently on the shelves of select dealers in the USA! American Musical Supply, Full Compass, ZZounds, and Sweetwater have received portions of the initial shipment. If you want to be among the first to own a set of ULTs, click the links below to get a hold of them!
ULT means Ultra-Long Throw—these loudspeakers boast a tremendously focused vertical dispertion that projects your sound to the back of the hall for maximum intelligibility throughout. Designed with our partners from WorxAudio, the ULTs feature the Pivot X110 horn, a rotatable driver that allows you to get the best out of the ULTs in both horizontal and vertical configurations. The ULTs strike a balance that champions versatility; they’re sturdy but not unreasonably heavy, so they’re ideal for either permenent installations or mobile rigs. Generous I/O and convenient DSP presets round out the offering.
Justin Bryant of Big Picture Music has worked with the BBC, Audi, Fiat, the Discovery Channel and lots of other commercial music projects. Bryant shares about his switch from Pro Tools to Studio One 3 and some of his favorite features about the DAW.
For more on Studio One 3.2, click here: http://studioone.presonus.com
[This just in from Scigor of SFGames. He has been using Studio One Prime in the development of a forthcoming game, and is doing some fascinating things with it!]
And I’m the (crazy) mastermind behind SFGames, an indie games development team made of creative waywards.
SFGames is a team of artists and professionals joined together to work on various projects, starting on our first game with the working title of “Operation Cerulean Dew”—an action survival/horror game with sci-fi elements. We are lucky enough to be part of OSVR (Open Source Virtual Reality) partnership, so in addition to our main game, we have the chance to make new projects exclusively for Virtual Reality. We grabbed a great opportunity to develop an educational project for the Centenary of the Great War. And we have another cinematic VR project in the pipeline, a fantastic journey about human imagination and the spark of creativeness.
Illustration and character design are my main activity but I’m also a 3D enthusiast, passionate about video games and animation, and interested in many others artistic fields like music and cinema; a kind of “factotum” artist. But I’m not a pro musician; my approach is very self-taught and by ear. So why do I take care of sound design by myself?
Because I’m fascinated by how any forms of art are inextricably linked—creative ways to express emotions and ideas. For any idea that I write, every illustration that I paint, or melody that I record, I cannot think of these as separated things. If you’re creative, you can develop anything with the right methods and skills—but you will also need the right tools!
All this led me to a new approach to sound design and scoring, since these projects represent VR experiences addressed to a much more cinematic style in a “real” 3D space. While Francesco (our musician) has been working with Pro Tools and Logic, I’ve always tried to get by with free software as GarageBand, Ardour, and Audacity—but non of them offered enough. A couple of years ago I came across Studio One, which I found amazing from the beginning, mostly due to its great sound engine, so I was immediately convinced to use it in my work. It’s one of the very few programs that I was able to use right away without reading the manual!
I must say that are many artists like me with the need for a friendly and intuitive interface like Studio One, and while some state that the user interface doesn’t matter when you make music, I believe otherwise. Complex and hard-to-use interfaces become boring over time, and we are forced to waste too much time to learn how to use it, rather than create.
I’m working in a Windows multi-monitor environment, with a Wacom Cintiq tablet with touch screen as second monitor, and because this setup makes it hard use a standard keyboard (my tablet is huge), I mapped the most used key commands to a programmable Logitech G13 gameboard. Studio One works perfectly with my tablet, and it’s so responsive that I can “paint” music!
Even if Francesco is the one that works on the main soundtrack, I also have ideas that sometime I want use in our games. My workflow starts with a simple idea or direction to follow, a main theme using my simple template for scoring. So I basically rough out what the theme should sound like: add some instruments (a free orchestral library), some textures and colors, just to blend and fill the sound. And Studio One helps hugely on “sketching” quick ideas. Once I’ve reached my technical limitations, I send everything to Francesco who provides a professional rework of my ideas.
When it comes to sound recording and editing, I start with recording foley and sound effects on my own, if I have the right gear available. When I cannot do this by myself, I send some samples (sometimes made with my own voice on a webcam, as a guide) to Francesco: I give him a sound assets list and he records all needed sounds with extra variations. I remix everything in Studio One, and once I’ve finalized the sounds, I export the stems as sound cues for Unreal Engine.
I like that Studio One Prime is almost a complete DAW per se, very important in the Indie world! I find it very user friendly and works smoothly on any platform; I can still use it on my five years old MacBook Pro, and I don’t notice a difference in performance.
Also, I cannot work without the visual workflow and tool palette that Studio One provides me. Intuitive, simple, direct. What I need and in the right place. And scratch pads! I never get tired to say how useful they are for someone like me who doesn’t have knowledge of reading or writing musical notation, but has a lot of ideas to remember! And last but not least, I have never had a crash.
There are still many things I want to explore and experiment with Studio One, like the powerful macro system and the Mix Engine FX , very useful to give emphasis and personality to a set of sound effects all at once. As I said at the beginning, I’m not a professional musician, but Studio One fits my workflow naturally, and makes me feel as I’ve always use it. It simply sounds better!
I recommend Studio One 3 to indie developers and artists on a budget who want to start with a free yet powerful DAW, and later can move to more powerful versions for cheap.
We are still getting off the ground, so follow us on! It would help a lot if you can spread the word!
Jessie Kol and Perry Sorensen recently had a great experience tracking their newest single on the Studio 192, and they sent us this great video about it!
Sounds great, you two—and that studio is gorgeous, BTW!
FOCUS… is a California-based record producer signed to Dr. Dre’s Aftermath Entertainment who has produced tracks for Dr. Dre, Eminem, Snoop Dogg, Kendrick Lamar, Lil Wayne, Jadakiss, Christina Aguilera, Jennifer Lopez, Beyoncé Knowles, 50 Cent, Busta Rhymes, and more. He recently got a pair of Sceptres—and here’s what he has to say about them.
Follow FOCUS… on Twitter.
Yuki Hayashi is a score composer for TV, anime, and film who relies on Studio One to create his best work. Here, he shares his impressions of Studio One’s sound quality and ease of use.
Quick note to Studio One users: The kind folks over at OBEDIA are offering 75% off of Studio One cross-training! This subscription service lets you learn directly from the OBEDIA crew via phone and/or a remote desktop connection.
Subscription benefits include:
In this video we’ll explain some of the basics you’ll need to know about networking for the StudioLive AI Console and StudioLive RM Rackmount mixing systems. You’ll hear about switches and routers while learning what a DHCP server does. We’ll also explain what an IP Address mode is and the differences between the modes supported by the StudioLive AI and RM mixers.
In this video we’ll explain some of the basics you’ll need to know about networking for the StudioLive AI and RM mixing systems. You’ll hear about switches and routers while learning what a DHCP server does. We’ll also explain what an IP Address mode is and the differences between the modes supported by the StudioLive AI and RM mixers.