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.
[This just in from good friend and four-star general in the war against the machines, Brian Botkiller! He shares his latest track, “Morphogenic Residents,” and details some of the methods to its particular brand of oddball. When not repairing his Buddy Holly glasses with gaff tape or tracking down elusive rhymes for “morphogenic residents” and “triskelian,” Brian Botkiller is one of the main guys at OBEDIA, who have been slingin’ their brand of world-class recording technology training to the masses for nigh on ten years now. Strongly recommended.]
I usually record and mix/master in Studio One, but I don’t do a lot of virtual instrument work, so I wanted to do a track entirely in Studio One and explore it a bit more. MC Tahina is an old friend and part of one of my favorite bands of all time, The Gluey Brothers. He wanted to do a track together, so I had him come over to Botkiller studios. He showed up, and while walking him in I said, “I’ve got the drums set up, and you can plug your guitar into Studio One if you want.” He said, “I’ve only got lyrics,” which I thought was awesome. So, we needed a beat. I opened up NI Battery and Impact, and laid down a quick beat, then did some overdubbing with my DDRUM Dominion kit. I wanted to fool with the timing on the audio and MIDI, so I quantized it in some crazy ways and got a cool groove out of it without having to do more work, because Studio One does everything in the blink of an eye.
Next, Tahina did his vocals. I plugged straight into my PreSonus FireBox, my favorite audio interface of all time, and gave him a click and headphone mix, and he just went for it. We had vocals in minutes. I then opened up some previously saved channel strip presets (another favorite S1 feature,) and had a vocal mix in no time. We then laid down the bass, using Native Instruments Kontakt. Tahina did those, on the fly, on a MIDI keyboard straight into Studio One. I did some edits here and there, quantized fast, and boom, bass done. Here’s some video:
I wanted something else in the track, so I took out my turntable, dropped a plate on it, ran it into my FireBox’s SPDIF input, and did some scratches. I’m no Mix Master Mike, but I really liked how they added to the track. We then sat down and just mixed organically, with me laying down some light backing vocals and other little bits. He was really impressed with how fast Studio One allowed me to work. I got everything done fast, and then jumped into mastering in the Project pane, and my song was done.
This was great because the weeklybeats project (http://www.weeklybeats.com) requires me to write, produce, and record a song per week. It has to be turned in by Sunday at 6pm MST, and I really like the project. It’s not a competition or anything, but just a personal challenge—by the end of the year, I should have written 52 new songs! I wanted to do it to get myself into the practice of writing faster, and releasing fast, instead of agonizing over a track forever. It’s really opened my mind and made me work fast and be creative. This is why Studio One is always in my workflow; I can’t do fast production like this in any other DAW, hands down. It’s the fastest daw in the west, east, or anywhere else.
As always, thanks for what you do and for being awesome.
Hear the track below.