We just launched no fewer than seven new loop packs for Studio One, all from LoopMasters! These cover a lot of sonic territory including Ambient, Drum and Bass, Techno, Trap, and more.
LoopMasters’.audioloops and .WAV files sound great, professionally produced at 24bit/44.1KHz, and are very reasonably priced. Get some inspiration for your next track for less than the cost of a lunch for two! Each of these packs contains 200 loops, (they are Loopmasters, after all) but you also get several drum kits and presets for Studio One’s Impact in every pack.
Musicbed is a team of passionate creatives who represent over 650 indie musicians and composers for sync licensing and custom scores. They also operate Musicbed Sessions, and have an incredible performance space outfitted with StudioLive loudspeakers and a StudioLive mixer.
Versatile, customizable, and easy to transport. Oh, and the sound? It will blow you away.
Notion 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.
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.
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.
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!
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!
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.
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.
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?
What’s included with all this jazz?
All of which were performed by top jazz musicians from all across the globe and include jazz articulations such as falls, shakes and scoops.
This bundle plays well with Notion 4 and later. You may have heard–Notion 6 was released last week! Click here to read all about it.
For a limited time, if you buy any pair of matching ULT Loudspeakers we’ll throw in a few useful extras. This offer runs until October 31, 2016.
It’s pretty simple, really. Here are your options:
That’s nearly everything you need for a mobile PA setup! Everything except for a van to haul it in, anyhow.
This offer is available worldwide.
Supercharge your Mai Tai sound library with this preset collection! Covering a wide range of styles from vintage to modern, Analog Model Machine is the perfect complement to Mai Tai’s factory sound library: a must-have for every Studio One user and analog synth lover!
Created by Ari Ahrendt (Denoisary), Quality Assurance Specialist at PreSonus Software and member of the original Mai Tai design team, this set of sounds spans three decades of electronic music. Inspired by artists such as Vangelis, Jean Michel Jarre, Kraftwerk and Alan Parsons, these sounds perfectly capture the sonic characteristics of legendary instruments such as Minimoog, Buchla, TB-303, Solina, DX, Alpha Juno and many others.
If you haven’t heard, we released Studio One 3.3 last week. Read more about it here!
Hot on the heels of the hit Studio 192 comes his scrappy little brother, the Studio 192 Mobile. If you’re a recordist or producer and need a grab-and-go solution for your tracking, the Studio 192 Mobile is equally at home set up on your desktop, packed in your messenger bag, or tracking in your bassist’s garage.
Hook it up to a laptop with the included Studio One DAW, and you’ll have remote software control of the preamp levels on the 192 Mobile, eliminating the need to constantly get up from your seat and tweak while establishing levels. You’ll be capturing those levels in sterling 192 kHz, by the way, and you’ve got 2 XLR jacks and 2 Line inputs to do the capturing. That’s enough for a small band or multi-channel drums, but it’s expandable via additional hardware like the Digimax DP88—so you’ve got some room to grow. Add to that advanced monitoring capabilities, word clock, and S/PDIF, and you’ve got a powerhouse in a tiny package.
Just think, you can get all that for a hundred bucks less than normal. Contact a local dealer or shop online for this no-hassle, no-paperwork instant rebate.
Oh, and hurry—this USA-only opportunity ends on Oct. 31, 2016 because missing out on this deal would be terrifying.
Get a StudioLive AI Loudspeaker of your choice delivered right to your door or place of business, including a form-fitting, fashionable dust cover that will keep them looking their best while locking in that new-speaker smell for some time.
Not sure why you should get a StudioLive AI over any other black box? Control and versatility, for starters. You can remotely EQ them to the venue via SL Room Control on your iPad. They’re equipped for wireless and wired communications over an Ethernet or Wi-Fi for control and tuning. You can also add the SL-Dante-SPK option card to create a Dante network and ditch your clunky, heavy analog snake in favor of lightweight CAT5e or CAT6 cables. Oh, and they’re loud. Imagine studio monitor quality (thanks in part to the coax drivers) at extraordinarily high volume.
But enough about us from us. Check out what Sound on Sound had to say about the StudioLive AI Loudspeakers:
“The StudioLive AI series of powered speakers represents something different from the norm for portable PA. The use of coaxial MF/HF drive units, abundant power output and serious helpings of onboard DSP make these interesting and appealing in their own right, but when teamed up with the Room Control application a whole new set of possibilities opens up, and brings ‘big rig’ functionality into the portable live-sound domain. I’ve been using them in isolation, but remember that they are part of an integrated product range, and the functionality can only increase in the future… There are systems that offer a similar level of remote DSP control, but they almost all reside in the high-end touring sector, rather than the compact PA market.”
Studio One 3.3 is available now!
Just click “Check for updates” from the Start page in Studio One. This is a free update for all owners of Studio One 3, Artist or Professional.
Features and updates include: