Betcha didn’t know we made monitor pads. SURPRISE! And what better way to introduce these squishy li’l buddies than to give them away? From now until June 30, 2016, you’ll get a free pair of the ISPD-4 Monitor Isolation Pads when you buy a pair of R65, R80, Eris E44, or Eris E66 monitors.
I know what you’re thinking. “OK, great, PreSonus makes monitor pads. But why the heck would I need a pair of those? It’s not like my monitors complain about being uncomfortable.”
In a word: decoupling. Speakers transmit their vibrations to any surface they are resting on. That includes your desk, and once it gets moving, it’s likely to have a resonant frequency or two—turning your desk into something of a speaker in its own right. This will most certainly lead to louder bass in your studio—which may sound cool to you, at first. But fact is that this resonance results in an inaccurate portrayal of your mixing work in the worst of all possible places—your studio. A recording that might sound great in your studio sans isolation pads will render thin and without much bottom-end when played on other audio systems.
All you need to do is provide this rebate form signed with proof of purchase. Get a set of ISPD-4s with our newest monitors, and start making mixes that you can trust. The monitors may not thank you, but your clients will.
We’ve decided that we’re going to be doing monthly add-on deals over at shop.presonus.com. And the very first monthly deal is on our Acoustic Drum Loops.
These high-quality drum loops are suitable for both rhythmic inspiration for that new song you’re writing as well as for use in a finished work. They were recorded live with world-class microphones in Nashville, Tennesee’s Downtown Batterie by acclaimed session drummer Tony Morra.
Styles included in all Acoustic Drum Loop packages include:
Each style is an entire library of matching loops that can be arranged to fit any song form, just as a real drummer would play them, and includes individual loops for intros, verses, bridges, choruses, fills, endings, and alternate grooves. All loops were recorded at 24-bit / 44kHz and support time stretch.
Here’s a breakdown on the three packages:
Note: All of these loops require PreSonus Studio One version 2.6.4 or higher. Prime, Artist, Producer, or Professional.
Setting up a new PA system in your venue? Get ahead of the curve by going Dante. With the SL-Dante-SPK option card, you can eliminate audio cabling and transfer uncompressed, low-latency digital audio and control data to and from StudioLive AI loudspeakers over relatively long distances and to multiple locations, using a standard Ethernet network. You’ll also be able to connect your loudspeakers to StudioLive AI console mixers and RM Rackmount mixers via Dante for unparalleled control and flexibility—and as your needs grow in the future, Dante will be ready for you.
Until June 30, 2016, you’ll get four (4!) SL-Dante-SPK option cards when you buy four StudioLive AI loudspeakers, including the 18sAI, 312AI, 328AI, and/or 315AI. That’s eight hundred dollars worth of option cards.
Do you already have a network in your venue? Does the idea of using lightweight CAT5 cable to connect your PA appeal to you? Do you hear where I’m going with this?
We’ve been hearing a lot of nice things from folks who have made the switch from their old DAW to Studio One 3. I could talk more about that, but I’ll let this YouTube video do the talking instead.
Interested? If you’ve been holding off on crossing over to the most quickly-growing DAW on the planet, there’s never been a better time than now! If you own a DAW from the qualifying list below, you’re entitled to the 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 email@example.com.
Upon approval, you will be issued a coupon code, which you can then use to purchase Studio One Professional for the limited-time Crossgrade price of $249 USD—down $50 from the typical $299 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:
Of course, I can’t forget this bonus: for those of you considering making the switch from Pro Tools, here’s a set of ELEVEN videos from Russ Hughes at Studio One Expert covering the best ways to make the transition from Pro Tools to Studio One.
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!