Justin Lassen and Naomi Mercer spoke at PreSonuSphere 2013, and shared some of their production secrets concerning recording and comping vocals in PreSonus Studio One. Comping the best possible performance elements from your take has never been easier!
For more on Studio One, click here: http://www.presonus.com/products/studio-one
The kind folks at Resoution Magazine recently put the Eris E8 studio Montiors through one of their signature, exhaustive bench tests. We’re pleased to report that Keith Holland from Resolution liked not only what he heard, but also what he measured. Here’s a snip.
“Overall the PreSonus Eris E8 is an excellent performer, especially at low frequencies. The designers have managed to combine a protected, extended low-frequency response and low distortion with an accurate low-frequency transient response. The other aspects of the performance do not disappoint either, with good time and frequency domain responses and controlled off-axis behaviour.”
You can read the entire bench test in Resolution’s October issue, available in digital form here.
Worship audio guru Doug Gould offers his perspectives on the StudioLive solution for houses of worship from PreSonuSphere 2013.
For more on StudioLive mixers, click here: http://www.presonus.com/products/StudioLive-AI-Series
PreSonus LIVE Airs Today! 2 p.m. CST / 3 p.m. EST / Noon PST / 19:00 UK / 20:00 EU
Cilck here to watch the show: http://www.presonus.com/videos/presonuslive
Heard great things about PreSonus Studio One? Tune in and check out these confessions of an ex-Pro Tools user.
Join Joe Gilder from Home Studio Corner for this LIVE webcast, where he’ll detail his reasons for making the switch to Studio One, and show you how to make the same transition.
Join us in the chat room and send Joe your questions.
Mark and Johnny are on the east coast of the US spreading the good PreSonus word. To find out when clinics and events are coming to your town, click here and view our events page!
We were incredibly lucky to have John Storyk from WSDG Design Group speak at PreSonuSphere 2013. John designed Jimi Hendrix’s Electric Ladyland Studios in New York, as well as the recording studio in our brand-new PreSonus HQ.
For more on John’s impressive career, click here:
John’s presentation slides from this show can be obtained from the WSDG website. Click here and scroll down: http://www.wsdg.com/dynamic.asp?id=events/past
I recorded Steve Heron’s song “I Swear Blind” after-hours at Red Dog Music, the instrument shop I work at in Edinburgh, Scotland. I was an early adopter of Studio One. In more than two years of using it to track bands and songwriters, I’ve never experienced a glitch, crash or artifact in the recorded audio. I’ve worked with Steve before on full-band productions (the usual four-piece plus backing vocals and a horn section) but for this B-side track, he wanted something a little more raw and natural. Everything on this session was tracked in one take, with minimal editing.
I’m a huge fan of the in-house effects built in to Studio One. Pro EQ is ludicrously useful for subtractive EQ and I apply it as an insert to every track on the mix; its interface makes finding the mud and taming it a doddle. The Compressor plug-in is also a mighty beast! The knee parameter is really useful for making the compression a little more transparent and subtle. The Room Reverb plug-in also used regularly; I send the vocal, guitar and Fender Bass VI all to a slightly tweaked version of the “medium studio” preset.
One element that has a bit more going on is the ghostly sounding guitar, played with an E-bow. The E-bow guitar was processed via an insert chain consisting of: Autofilter, Compressor, Pro EQ, Beat Delay, Analog Delay, and finally Binaural Pan. Even though it sounds pretty extreme when you solo it, it works well as a subtle element in the whole mix. The whole master buss is then running through the awesome RedLightDist valve-sim plug-in on a very gentle setting to knock-off a little of the clarity and to excite the mids. The only non-PreSonus plug-in on the mix is iZotope Ozone, to provide some subtle multi-band compression and a few dB of loudness.
I find working in Studio One is an absolute joy, but it has slightly ruined me for any other DAW software on the market. I frequently face-palm when I see people fumbling around with the clunky menus in Pro Tools… If they only knew they could make things so much easier for themselves!
Well done, PreSonus! You’ve made producing music as fun and intuitive as playing it.
[This just in from Jessica Ramsey of Moon Honey! She offered some insights on using the FireStudio Mobile for memory loss aversion. ]
I suffer from melody-idea-loss-aphobia: the common fear that a melody will be lost forever if not immediately recorded. That said, the FireStudio Mobile was an invaluable tool for writing vocals on my new record. In two snaps, I’d hook it up to my laptop and lay down vocal demos. Thanks to Studio One I was able to try out my ideas, mixing lead and back up vocals on top of rough instrumental tracks the boys had already recorded.
I wrote and recorded a four-part vocal harmony for “The Ship” on my own bed at 3 a.m. I exported each harmony individually, so that when it came time to officially record the seven-minute-long epic of a song, I could play them back individually and nail them in one take… almost. The tracks were also extremely helpful when it came time to perform; I had four choir singers on stage with me at our last Manship Theatre show, and they learned/practiced their parts with the demo harmonies!
Here’s “The Ship:”
We’ve got a new album in the works, if you like what you hear in “The Ship,” why not throw in a little bit over at Kickstarter? You can pre-order the dreamy rock & roll album, or even have me cook a vegan dinner for you!