[This just in from Mark Edward Lewis, a film composer and post-production supervisor with a lifetime of pro audio experience.]
I got to tell you, I went out into the shop to test that Temblor 10 this afternoon.
We have a 50,000 square foot shop, and I was testing it to see if the build’s hardware would rattle with some significant low-end pink noise in our various positions around the exhibit. Fortunately, it didn’t, but I had about 30 men stop their work and get nervous. Many came over to find the source of that low-frequency rumble that was literally smashing the shop into fear of a literal earthquake. It’s pretty impressive—a single T10 in that space—and it’s all we could hope for in this application. It performed flawlessly, venting its heat without trouble. It did a great job of rumbling the floor in the briefing room when we put the port in the cable space. It’s amazing, and it certainly outperforms my JBL 15 with 2700 watts of power.
I know. Doesn’t seem right. But that’s what it does.
Looking to step up your game? Interested in cashing some of those pitch-perfect checks that Melodyne writes? Are you ready to heed the call of 3rd-party VST compatibility? Perhaps you’re ready to start mastering your own work using Studio One Professional’s Project page.
Well, there’s never been a better time than right ol’ now, because we’re offering 25% off of upgrades to Studio One Producer and Studio One Professional. For a complete look at which upgrade might be right for you, click here to view a feature-for-feature breakdown.
Let’s set aside prosaic marketing puffery for a moment and take a good, hard look at some nice, clean numbers.
If you were among the wise who picked up Studio One Artist for $5 during the Cinco de Mayo sale we had a while back (I think it was in early May), and you get the upgrade to Professional for the discounted price of $225, you’ve spent $230 for what would have cost you nearly $400 if had you bought Studio One Professional as a standalone purchase at a time when we were feeling less charitable. That’s a total savings of $170, which is better than a poke in the eye with a sharp stick.
This deal is available for digital downloads at the shiny new online PreSonus shop. But, if you’re feeling analog, we won’t get in the way. If a boxed copy is more your speed, then our ever-lovin’ dealers are participating in our little discount-a-thon as well.
[This just in from Donyea via YouTube. He’s put together a great video on mixing drums in Studio One that I really thought was worth a look and listen. Have at it! He says he’s got more videos like these brewing, so why not take a second to head over to his channel and subscribe. ]
It’s been a while since you’ve heard about what I’ve been doing. I’ve been doing lots of records, and a good bit of film scoring. All with Studio One of course—Amazing! I’ve posted a video walkthrough of me mixing some live urban funk drums with of Studio One as well—I thought your community might enjoy it.
Join Justin Spence as he takes you on a tour of our John Storyk-designed recording studio at the new PreSonus headquarters in Baton Rouge! We’ve got the ADL 700 Rack of Doom, triple-paned iso booths, and a stunning live room. We’ve had special guests come by lately, including Reba’s band and George Straight’s production crew. We’ll show in-studio performances and interviews from them, and who knows what else? Tune in!
Compression is an oft-misunderstood and sometimes over-used effect that enjoys (?) a wealth of online forum punditry. Sonic Sense has done an exemplary job here in plainly illustrating the rudiments of compression while cutting the crap. This video begins by demonstrating exactly what the basic compressor controls do, and then follows up with audible examples of the compressor being applied during tacking AND in a full mix, so you can very clearly hear the effect applied in the context of a full song. Demos include vocals, snare, and bass.
Thanks to Sonic Sense for not only clearing up some of the mysteries of compression, but also for choosing the ADL 700 as the right tool for the job.
Esa is highly decorated as a conductor and composer, including the UNESCO Rostrum Prize in 1992, and the Siena Prize in 1993—he was the first conductor ever to receive it. Other merits include the Royal Philharmonic Society’s Opera and Conductor’s Awards, the Litteris et Artibus medal, and in 1998 the French government awarded him the rank of Officier de l’ordre des Arts et des Lettres—and that’s just to name a few. Furthermore, Salonen has received seven honorary doctorates in four different countries.
Currently, Esa is the Principal Conductor and Artistic Advisor for London’s Philharmonia Orchestra and the Conductor Laureate for the Los Angeles Philharmonic, where he was Music Director from 1992 until 2009.