PreSonus Blog

Search Results for: prime


Friday Tip of the Week: Create Virtual Room Mics in Studio One

Create Virtual “Room Mics”

Room mics can add ambiance and enhance the stereo image, but with close-miking and direct injection recording, we lose that sense of space. The lack of room mics is particularly noticeable with an instrument recorded direct, when it’s mixed with miked acoustic or electric tracks; the direct track just won’t seem to mesh quite right with the other sounds.

Room mics add short, discrete echos. Splitting the audio into four Analog Delay processors as parallel inserts does a fine job of emulating room ambiance.

First, set up the Splitter for four splits, and choose Channel Split for the Split Mode.

Set the controls on the four delays identically except for the four time parameters; turn off Sync and choose 11, 13, 17, and 23 ms. These are prime numbers so they don’t create resonances with each other.

Now use the Channel Editor to create macro knobs for controlling the Mix, Feedback, and High Cut. Assign Knob 1 to the Mix controls on all four delays. Set this to go from minimum to maximum so that if you use this FX Chain as a bus effect, you can set Mix for maximum (no dry signal). Otherwise, when used as an Insert, you’ll likely keep the Mix at 50% or below.

The second knob controls Feedback level. I’ve limited the maximum amount to around 60% for each of the delays. Experiment with this knob depending on the audio source; more feedback gives more diffusion. With percussive instruments like drums, you’ll want more feedback than with sustained instruments.

The third knob controls the amount of High Cut for the delays. Set this so the High Cut doesn’t go much lower than 2.5 kHz.

To hear what this FX Chain can do, load a mono AudioLoop like Guitar > Pop > Dry > 01a Basement Jam E min. Set Mix and Feedback to around 40%, and High Cut to 7 kHz or so. You’ll hear the guitar playing in a room, with a lifelike stereo image.

And don’t forget to save the FX Chain—you’ll likely want to use it again!

 

 

New Studio One Add-ons from Loopmasters

Check out these new loop bundles over at shop.presonus.com—demo tracks are available to listen before you buy.

  • Compatible with Studio One 3.2 Prime, Artist, and Professional and higher
  • 24Bit 44.1kHz Files
  • Hundreds of loops, samples, and one-shots.
  • 100% Royalty FREE

Click here to visit shop.presonus.com

Culprate returns to Loopmasters for his second sample pack of a series which feature fully produced loops and sounds taken from previously released productions. This time out Culprate has chopped and mutated samples from the incredible 5 Star EP and includes all the best basses, tones, drums, FX and more from Ono, Tentacle, Finger and My Rock which can all be used in your productions 100% royalty Free.

5 Star Glitch Hop packs some serious weight, with a fine selection of loops, one-hits and multi samples. The loop content includes filthy basslines, epic digital synths and hard-hitting drums broken down into tops, percussion and full drums. Every musical loop is key-labeled for instant studio sound swapping and easy integration into your tracks.

The one-shot samples feature tough bass hits, hard kicks and snares, cinematic FX, synthetic synths and edgy vocals. You’ll find every one in the pre-formatted sampler patches. The collection is delivered with tempos ranging between 100-140BPM offering content for genres including glitch hop, downtempo, electronica, breaks, techno, dubstep and EDM.

 

Deep Trap from Loopmasters is a soulful collection of trap samples, with heavy bass, haunting musical elements, rich vocals, and incisive drums. Provided 100% royalty-free for your music, let Deep Trap take you on a wonky walk along the deep and chilled boundaries of Trap!

Deep Trap has over 300 loops including drums as full loops, kick/snare and hat variations to build upon. An abundance of musical loops feature organs, synths, plucked instruments, leads, and keys to enrich the mix—while solid bass, warped vocals, and filtered FX loops will fill out the sonic spectrum alongside 135 one-hit samples.

Deep Trap comes from the producers who brought you Chilled Trap and is heavily influenced by old school deep house and RnB tracks. We then extracted the essence from these two classic styles and blended them together with modern trap drums for an original take on Trap music.

Expect to hear extended jazzy sounding chord loops, classic FM bass sounds mixed with 808 bass sounds plus catchy lead melodies inspired by classic RnB tracks from the past. Also included is a special collection of chopped vocal loops to add depth to your mix. The drum loops section features multiple rhythm and sound variations plus tasty organic percussion loops to nicely fill out the space between kicks and snares. Add you also get one-shot drum samples to embellish your beats and create long, moving arrangements. Just experiment and have fun!

The collection has was designed with Trap in mind, but with wide-ranging applications for house, ambient and minimal genres. Deep Trap ensures every musical element is key-labeled.

Loopmasters present Future Bass Generation: a full-throttle collection of sounds for a fresh Future Bass sound, featuring tough synth lines, sharp beats and booming bass. Provided for you 100% royalty-free by Dan Larson, this collection of storming sounds will deliver that sleek Future Bass sound direct to your DAW!

Future Bass Generation Is a heavy pack with tons of loops, hits, sampler patches, and MIDI files. Over 300 loops are included with drum loops sharper than a razor’s edge–provided in full drums, tops, percussion, builds, fills, kicks, snares, and tom variations to make the beat kick! A load of fat synth loops including pads, keys, plucks, arps and xylophones feature, played in chordal and monophonic combinations, which perfectly compliment the earth-shattering bass loops. Build and drop FX are included, as well as chopped vocal loops for added chaos and atmosphere!

Over 150 hits come complete with urban synths, big kicks, tight snares and sparkling percussion to sequence in Studio One. 55 patches are ready for deployment in your favorite software sampler. A bonus collection of 150 MIDI files allow you to use the existing content in your sequencer, then flip, reverse and transpose it to fit your music.

For fans of Slushii, Flume, San Holo, Marshmello, The Chainsmokers, Illenium and more, this is the definitive Future Bass sample pack. At tempos between 160-175 BPM, this pack is ideal for up-tempo Genres including future bass, hardcore, drum & bass, and jungle.

Immersion is an electronic landscape of sound from Loopmasters – featuring rich instrumentation, lush vocals, lo-fi drums and dreamy synths. This pack is 100% royalty-free, and comes with loops, hits, MIDI and sampler patches for your musical productions– so bring your scuba gear and dive deep into Immersion!

This pack features over 256 loops, including fat bass, sharp drums [kicks, snare, hat, percussion, clicks, snaps, and claps], atmospheric FX, pitched vocals and diverse musical elements: synths, arps, piano, pads, and strings. The 294 one-hit samples included feature bass hits, drums, FX, and synths—with an awesome selection of multi-sampled instruments to play over a number of octaves, as originally intended.

60 sampler patches are formatted for Studio One, as are over 40 MIDI Loops which give you the freedom to edit, transpose and reverse existing sequences for more melodic experiments. Immersion comes at 140BPM, making it ideal for trap, chillout, electronica and downtempo genres. All musical content is key-labeled.

 

Five New Sample Packs from Sample Tekk Now Available for Studio One

Click here to browse and shop!

We’ve got five new amazing sample sets from Sample Tekk that we’ve just added to shop.presonus.com. These packs are compatible with Studio One Prime, Artist, and Professional (version 3.3.4 and higher).

The White Grand

Sample Tekk recorded The White Grand with the finest equipment available, using a specially-designed digital recording technique to give you unequaled performance and sound. Prepare to explore a tactile and expressive feast, not heard in many sampled pianos today.


INIL Choir

Get the crazy ethereal choir sounds of “I’m Not In Love” by 10CC with INIL Choir! These choirs are unique—the combination of voices and the way they were produced have given them a sound that’s truly one of a kind. Now, SampleTekk, in cooperation with Eric Stewart of 10CC are very proud to release of The INIL Choir, thus taking one of the most famous analog samples into the digital era.


Tubed Keys

Great-sounding Rhodes for Studio One, recorded through a Fender Twin as the Rhodes was intended to be heard. Sample Tekk didn’t go for 80s sheen and gloss with lots of tines and overtones. The Tubed Rhodes is more representative the 70’s: a gritty, hard-core rythm’n’blues kind of sound.


The Rain Piano

Somber sounds of a piano that has been left out in the rain and elements. Musical, but with extra overtones and character. The Rain Piano has become a kind of a synonym for character pianos. It has been used and is still used on countless productions where you want something that adds a different flavor rather than using a normal piano.


Singularis

Old School piano recorded with vintage mics, tape, and preamps. In glorious MONO!

Click here to browse and shop!

PreSonus Symphonic Orchestra Available Now!

PSOSMALL

PreSonus Symphonic Orchestra is more than just another sample library. It combines a complete symphonic orchestra instrument library with ready-to-use Studio One Musicloops for lightning-fast arranging and production in an attractively-priced bundle. The instruments not only comprise a full symphony orchestra, but also a contemporary strings library that has a different ambient character to choose from. More than 1,200 Musicloops allow for creating full arrangements on the fly while retaining complete control over tempo, key, chords and sound character. Tight integration with Studio One makes production work fun again. PreSonus Symphonic Orchestra is compatible with Studio One Prime, Artist and Professional (version 3.3.4 or higher), making it an ideal combination for aspiring composers and arrangers, as well as anyone learning or teaching music theory.

With more than 1,200 royalty-free loops from 29 unique Construction Kits, PreSonus Symphonic Orchestra is a powerful composition and arranging tool even for someone who doesn’t have classical training or doesn’t play a keyboard instrument. Produced by professional orchestral composers, these Construction Kits cover a wide range of styles and instrument arrangements: Classical, Soundtrack, Jazz, Pop, Hip-Hop, House, Disco, and more.

Click here to check it out at shop.presonus.com! 

Highlights:

  • More than 14 GB of samples with over 300 instrument presets
  • Includes more than 1,200 royalty-free Musicloops for quick and easy arranging
  • Multiple key-switch articulations per instrument
  • Expression control and custom legato scripting
  • Deep integration with Studio One: key-switch articulation names in Music Editor; searchable preset database in Instrument Browser, new Construction Kit category in Loop Browser.

Three Sound Sets contain PresenceXT instruments, Studio One Musicloops and audio demos. 

  • PSO Classic Orchestra (6 GB)
  • PSO Contemporary Strings (6.44 GB)
  • PSO Musicloops (1.9 GB)

Classic Orchestra Instruments: Cello, Cello Section, Double Bass Section, Harp, Viola, Viola Section, Violin, Violin Section, French Horn, French Horn Section, Orchestral Tuba, Piccolo Trumpet, Tenor Trombone, Trombone Section, Trumpet, Trumpet Section, Alto Flute, Bass Clarinet, Bass Flute, Bassoon, Clarinet, Clarinet Section, Contrabassoon, English Horn, Flute, Flute Section, Oboe, Piccolo, Classic Choir (multiple articulations and fx), Marimba, Vibraphone, Xylophone, Bamboo-Chimes, Cowbell, Crotales, Glockenspiel, Shellchimes, Triangle, Tubular Bells, Windchimes, Cymbals (Set), Japanese Bowls, Orchestral Gongs, Thai Gongs, Castanets, Claves, Tambourine, Temple Blocks, Gran Cassa, Snare, Timpani, Orchestral Effects (multiple instruments)

Contemporary Strings Instruments: Violin Section, Viola Section, Cello Section, Bass Section, Big String Section ((all: KS and single articulation Presets)

Articulations (availability and mapping varies across instruments)

Strings: Sustained Notes f & p, Con Sordino, Short detaché 2x, Pizzicato 2x, Col Legno 2x, Tremolo f, Tremolo pp, Crescendo, Cresc. Tremolo, Trill, Glissando, Grace Notes, Short chords, Arpeggios.

Brass: Sustained Notes f & p, Staccato 2x, Half & Whole Tone Trill, Crescendo, Runs.

Woodwinds: Sustained Notes f & p, Staccato 2x, Grace Notes.

Percussion: Single Strokes, Tremolo, long/medium/short Cresc., Glissando.

Harp: Glissandi – long, medium, short / major, minor.

Chocolate Audio Pianos for Studio One

chocolateaudiopianostriplepackshot

Looking for some of the best-sounding pianos you can get for Studio One? Look no further than this Piano Collection from Chocolate Audio. Three different pianos are available, each recorded with high-quality mics and expensive preamps. They also take advantage of Presence XT’s advanced scripting functionality to simulate the behavior of these beloved instruments as accurately as digitally possible.

If you’re not sure which piano is right for you and your music, check out the descriptions below. And if you’re still not sure after reading, get the combo pack of all three. The Chocolate Audio Piano Collection for Studio One is available only at shop.presonus.com.

 

concert-grand-pianoThe Concert Grand:

A recreation of a world-class concert grand piano sound as found in a Steinway D274 grand coda. This piano is gorgeous and rich in sound with a very well-balanced tone, very well fit for classical but equally at home with jazz and any scenario where a full piano sound is called for.

Great attention was paid to recreate this huge concert’s signature full and balanced sound through sampling. The sample set features 11 dynamic layers and a sustain pedal resonances layer, 12 release sample layers and pedal and key release noise effects tuned to perfection using Presence custom scripting. Studio One Professional users can load the multi-instrument preset which combines the two microphone sets for an even fuller control on its sound.

The Concert Grand offers two different phase-coherent recording setups: a player’s perspective recorded with Schoeps CMC6 microphones and a listener’s perspective recorded right at the edge of the lid with Neumann KM microphones, all matched-pairs going through Millennia preamps.

 

 

Electric Grand:electric-grand-piano 

A top-notch rendition of a famous Japanese electric grand piano. At that time it was dubbed as “compact,” which it actually was when compared to the weight and size of an acoustic piano. Its mid-rangey character is due to the presence of a piezo pickup under the saddle of each string. Full restoration was carried out and proper tuning applied on the piano before sampling. A classic sound heard on countless hit records in the 70s-80s is now reborn inside Studio One.

Achieving a quality level on par with our goals from this piano was tough. The onboard electronics are noisy and the piano picks up a lot of ambient noise even if it’s electric (imagine a guitar with 88 strings!). Through attention and care, we managed to capture what we believe is the best rendition of this classic electric grand piano. The sample set features 12 dynamic layers, a sustain pedal resonance layer, nine release sample layers, and pedal and key release noise effects tuned to perfection using Presence custom scripting.

The Electric Grand was sampled direct from the output to the preamp and converter. All of the behavioral details of the piano have been re-created through the use of Presence XT’s custom advanced scripting.

 

Steinbach Upright:steinbach-upright-piano

A high quality Italian-made upright piano sampled in full detail. The recording techniques used make this piano fit for many different uses, from classical to pop, country, rock and beyond.

This is a world-class piano recorded in a state-of-the-art studio with choice microphones and audiophile preamps and converters. Great attention was paid to recreate Steinbach’s signature full, organic, sound through sampling. The sample set features eight dynamic layers and a sustain pedal resonances layer, four release sample layers and pedal and key release noise effects, tuned to perfection using Presence custom scripting.

The Steinback Upright was recorded with two different phase-coherent setups: Blumlein stereo and Spaced stereo, recorded with Royer R121 matched-pair ribbon mics through Millennia preamps. Studio One Professional users can load the multi-instrument preset which combines the two microphone-sets for an even fuller control on its sound.

 

Last but not least:

The Chocolate Audio Pianos are compatible with Studio One 3.2 or later: Prime, Artist, and Professional editions.

All of the pianos in this family have the following onboard script controls:

  • Tuning: 440/442 Hz
  • Level control for Sustain Resonances, Pedal Noise and Release samples
  • Velocity Curve control
  • Hold, Decay, Release envelope controls
  • Touch Response* control: sets the amount of pre-attack key noise heard, sets the attack time at higher settings.

 

Michael Josephs Scores Big with Notion

Michael JosephsNotion user Michael Josephs is an award-winning American film and television score composer. He has written and conducted musical scores for many notable films and television programs including Wild Kingdom, National Geographic, and many PBS specials. Recent projects include scores for HBO, BBC, PBS, NBC, CBS, ABC, The History Channel, and many others. Michael received a National Primetime Emmy Award nomination for Outstanding Main Title Theme Music for his score for the series Thoroughbred. He has received numerous other awards. He received a National Primetime Emmy Award nomination for Outstanding Main Title Theme Music in 2001. He has received numerous other awards.

Hello Michael – please tell us a little bit about the kind of work you do?

I compose and conduct music, mainly for long-form documentaries and TV series, and the occasional independent feature film. My first scoring job was doing a brand-new series called America’s Most Wanted for Fox Television. I did that full-time for a few years right at the start of my composing career, which was a great education because it was on the air around 50 episodes per year, so I was always writing and recording. Most shows only run maybe 8-10 episodes a year, so for Fox I was constantly writing and recording every week, which was a great learning experience, especially because I tried to treat every week like a completely unique score instead of just generic “crime music.”

From there I branched out and started to work for other directors and networks and do other shows like “Wild Kingdom”, “National Geographic”, HBO, a lot of PBS stuff, etc.

 

Briefly, what’s your workflow/process, from the first time seeing the cue, to conducting and recording it?

I rarely have the luxury of seeing something before it’s handed to me to start writing. I do try to take a day or two at the beginning and just work on thematic material at the piano, some of which, and sometimes none of which, will end up in the film, but it gives me a moment at least to close my eyes and think about what kind of score it will be. The deadlines are always very tight so it’s nice to have a little space to imagine before diving into the mechanics of writing.

From there, I put the film up and start writing from the first frame. I tend to write sequentially, so I go cue by cue straight through the film, rather than jumping back and forth to different scenes. Sometimes themes develop as you work, so I’ll jump back some times and incorporate things or hints of where things may lead.

I started my career before computers, recording live directly to 2” tape for many years, so the computer and digital-video still seem like an incredible luxury to me! Some of the sequenced parts stay in, and I write and copy charts for everything that will be played live.

If it’s a smaller score, I do most everything at my own place, including a lot of overdubs, and then I’ll mix here. I’m set up for 5.1 mixing, and it’s very comfortable working in my own space. If it’s a larger ensemble I’ll do some tracking and mixing at a commercial studio because room is just too tight here. I also conduct the sessions too.

When I track somewhere else I’ve started a new thing lately, which is to just use their physical space and microphones and cue-system, but record right into my own portable rig and rack, which saves time and confusion transferring files back and forth.

What’s the relationship with the director/producer/music supervisor – how can it affect what you write?

Most of the time, at least with documentaries, there are no temp scores or preconceived notions. Directors want me to come up with the concept, direction, vibe, really everything. It’s the opposite of people loving a temp-track…there is no guidance at all, so I really try to give each film something completely different and unique.

As far as directors and producers, it really doesn’t matter how much or how little they know about music, but rather what kind of creative spirit and vision they have. I work with people who know absolutely nothing about music and are wonderful and creative to work with, and others who know a lot about music but have bad instincts with it. It’s really all over the place! I don’t feel it’s their job to know a ton about music. If they could compose music, they probably would!

 

What was it about Notion that attracted you?

Notion is AMAZING! I love it. I own both Finale and Sibelius, but they have to be the most difficult, not-intuitive programs I’ve ever encountered. Just doing some little tweak requires me to pull out the manual, and even then I still can’t figure it out!

 

Michael's Studio

How have you found Notion now you are using it day in, day out?

From the day I tried Notion, I was hooked. It is completely intuitive, and I have never looked at the manual. When you want to do something, it is always very obvious how to do it quickly. It can go pretty deep if you need it to, but the basics are right there and not hidden fifteen deep in some hidden sub-menu. For day to day trying to get work done, it is unparalleled. With the budgets I have, I need to do my own orchestration and copying, and the last thing I would want to do is take three days off of precious writing time to do charts. Film music usually has a ton of key, meter and tempo changes, so this further complicates that process.

 

Any user tips or tricks based on your experience with Notion?

Sure. I do a quick clean-up of the music before I export a midi file from my DAW. I then import that file into Notion. I also open my empty “template” file in Notion that is set up the way I like, add the relevant instruments to the staff, then do a mass copy / paste of the imported midi file into the template. This is great because Notion reads all of the key and meter changes beautifully. From there I quickly add articulations, dynamics, clean stuff up, and extract the parts. It all goes very fluidly with Notion.

 

Can you tell us what might be coming up for you, or out soon?

I did a really good film recently called Dateline Saigon, which both has a score and also arrangements of period music. I dove right in with Notion on that, and it was fabulous. I compose 99% of the time, so doing arrangements was a little different for me, and Notion made it possible to do the charts and also change them up and re-print them really quickly when there were re-edits of the film.

I also did another terrific IMax film right after that, but it won’t be released until next year… so watch this space!

 

Where can we find more about you and your music?

http://www.michaeljosephs.com

 

 

 

 

 

 

e-Bass Collection 30% off at shop.presonus.com in June 2016

ebass5Only in June 2016—we’re offering 30% off of any item in the entire line of eBass Add-ons for Studio One 3. These recordings of a real-deal 1970s P-bass have been recorded in immaculate detail. Make no mistake—this isn’t a one-sound-per-MIDI note sample pack like that SoundFont from 1998 that you found on some “Free samples” website. There is a LOT for you to work with here—the packs include many different right-hand dynamics, left hand positions, hammer-ons, slides, dead notes and harmonics. There’s also a bevy of scripting at hand here, including valuable presets for you keyboardists out there who want to emulate bass playing via MIDI. Last but not least, each pack includes Musicloops in a variety of styles, including MIDI note data and effects chains per Musicloop.

There are four packs in the e-Bass collection: Vintage Finger, Vintage Pick, Classic Finger, and Classic Pick. They’re also available in an all-in-one combo pack.

For more details on the incredible depth of the eBass collection, click here—but here’s a taste:
“We used a Millenia TD-1 tube channel for the Vintage Bass instruments, and an Avalon DI preamp for the Classic Bass. We also recorded the bass via an Ampeg SVT top with 112 speaker, just as a sound reference. However, we ended up using only the DI signals for our eBass instruments. The DI signal provides great flexibility for additional processing with amp simulators and EQ, so the reference amp recording was a tremendous help when we designed the Instrument+FX presets—we could always compare them to the real thing. Strings were medium 045-105 round-wound for the classic and the same gauge flat-wound strings for the vintage. The pickup set was the original from 1975.”

The eBass collection is available for all editions of Studio One 3: Artist, Professional, and Prime, and can be purchased on shop.presonus.com or directly from inside Studio One.

Introducing the eBass Add-ons for Studio One 3

01d439be-0fa0-4022-b4f8-4cb96d209cc4[This just in from Thomas Koritke of e-instruments, who shared some valuable insights on the creation of our new eBass Add-ons for Studio One 3! These sample packs include VERY meticulously sampled recordings of a 1975 P-Bass in various styles. They’re available for all editions of Studio One 3: Artist, Professional, and Prime, and can be purchased on shop.presonus.com website or directly from inside Studio One.] 

We are really happy to see our eBass released! I hope the following gives you some valuable information on our instruments.

We recorded a 1975 Precision Bass in a studio here in Hamburg—actually the same studio that we used to record our Session Strings, Session Horns and Session Keys instruments. It is one of the few facilities left with a large and great sounding room.
We used a Millenia TD-1 tube channel for the Vintage Bass instruments, and an Avalon DI preamp for the Classic Bass. We also recorded the bass via an Ampeg SVT top with 112 speaker, just as a sound reference. However, we ended up using only the DI signals for our eBass instruments. The DI signal provides great flexibility for additional processing with amp simulators and EQ, so the reference amp recording was a tremendous help when we designed the Instrument+FX presets—we could always compare them to the real thing. Strings were medium 045-105 round-wound for the classic and the same gauge flat-wound strings for the vintage. The pickup set was the original from 1975.

The bass was performed by a completely unknown, but extremely patient bassist here from Hamburg. Sampling requires a very special skill set and what we ask a musician can be quite hard or boring for a famous virtuoso. The player has to be able to have great control over dynamics and sound as well as keeping a certain dynamic throughout the entire tonal range. He has to be very patient and controlled, should not produce any noise, should not move, and has to repeat notes several hundred times… it’s a painful process, but it’s worth it: with both flatwound and roundwound  strings and two playing styles—pick and finger—for each string type, eBass provides THE classic Precision Bass sounds.

Despite the previously mentioned attention to details, I think the most interesting part of the product is in its scripting, sound design, and music loops. Our goal is to provide very flexible and easy to use great sounding bass sounds. As such, we designed these Add-ons with presets for different use cases. Some people love to perform a bass line on a keyboard. The performance presets are designed specifically for that. They include an intuitive legato function (legato on the same string–within a fourth interval), velocity switching for dead notes or harmonics, pitch bend control to trigger slides and hammer-on/pull-offs and even control over the left hand position on the neck via mod wheel. All articulations are instantly available.

Other producers are used to selecting different articulations via key switches. We have created the production presets for them. Here, all articulations are accessible via dedicated keyswitches. The production presets also feature left hand position control via mod wheel. Both preset types are available as “dry” Presence XT presets, or as Instrument+FX presets including a chain of Ampire, EQ and Compressor.

Finally, some musicians may just need some inspiration or use an existing bass line and modify it. Each eBass includes Musicloops in different styles, genres and complexity levels – from fairly basic to quite busy. They all come with a dedicated effects chain setting to match that specific style or genre.

All the best,
Thomas Koritke
e-instruments

PreSonus Studio Grand Add-on Now Available

Studio-Grand-Banner-FINAL-1
We just released the PreSonus Studio Grand, which you can get from shop.presonus.com by clicking here. This aggressively over-sampled piano features ten distinct velocity layers and eight round-robin samples for each of the piano’s 88 keys. The result is one of the most natural and human-sounding virtual pianos available to date, containing well over 7,000 samples. We’ve also included samples of the little details that make a true piano sound different than the “piano” setting on a store-bought consumer keyboard, including note-off key release samples, pedal action, and sustain pedal resonance. These are activated during performance via the complex scripting made possible by Presence XT. The samples were recorded to some of the finest analog equipment available, and converted to digital in sterling 24-bit quality.
We’ve also included two different miking configurations. Arnd Kaiser, General Manager of PreSonus Software, states: “The main difference between PreSonus Studio Grand and other pianos is the fact that we include two independent sample sets representing two different microphone configurations. These include a matched pair of German condenser mics in the player’s perspective and a pair of fine ribbon mics placed in the listener’s perspective. This way, the user can choose or combine mic sets just like recording a real piano in a studio.” We’ve also included 21 Instrument and FX presets to get you started.
The PreSonus Studio Grand is compatible with all versions of Studio One 3 (Prime, Artist and Professional). To be clear, this is the full-featured bigger brother to the piano instrument included in the Presence XT Core library for Studio One 3 Professional and the Presence XT – Keyboards Add-on—but at ten times the depth and size! Due to incredible attention to detail, it clocks in at 5.5GB—but in the digital age, disk space is the price we pay for quality. Incidentally, competing software pianos can run you nearly triple the cost of PreSonus Studio Grand.
The Presonus Studio Grand acoustic piano is a sampler instrument for Presence XT, and compatible with all versions of Studio One 3 (Prime, Artist and Professional).

Studio One 3.0.1 available now!

Studio-One-301-update

The 3.0.1 update to Studio One released today, adding Italian localization, an updated reference manual, enhanced multi-touch performance, support for the StudioLive CS18AI, and much more, including bug fixes.

All you need to do to update is launch Studio One 3. If your computer is connected to the Internet, Studio One’s start page will prompt you to install the update.
New features and improvements:

• Italian localization added
• Updated reference manual with improved layout and navigation
• New teaser Sound Set “Prime Selection Loops and Sounds” for all versions
• USB installation support for optional USB thumb drive
• Multi-touch support for 3rd party plug-ins
• Multi-touch support for context menus
• Multi-touch vertical zooming improvements
• Improved multi-touch performance
• Change: TUIO support now disabled by default
• Improved visibility of selected events
• Improved toolbar button alignment (optimized for smaller screens)
• Improved automation curve handling
• Support for Studio One Remote and PreSonus CS18AI moving fader controller (UCNET remote)

This update also fixes many bugs. Click here for the full list of fixes.