Hey PreSonus! Wanted to let you know I’ll be speaking and answering questions at the ASCAP Expo in Hollywood, April 18 – April 20. You don’t have to be an ASCAP member to attend. Other speakers there will be Katy Perry, Steven Tyler, Akon, RJD2, Jill Scott, Lionel Ritchie, and Josef Gordon-Levitt!
Also, the next Music Success Workshops are being planned for Charlotte, NC in June, and Los Angeles in July. Exact dates and locations will be announced soon. People can sign up here to get the details once they are in place.
I also have some new Music Success Nuggets with great information on career advancement for FREE—people can sign up at JoeSolo.com.
Do you like your music a little bit electronic? And a lot experimental? If so, this may be an event for you, and in case you can’t make it to MIT, you can check out the steam on April 13 at 8pm EST.
Ramon Castillo, who leads the event, says:
“We’re using the StudioLive 16.0.2 as a super flexible interface. We’ve got a chain of moogerfoogers, piano, violin, iPad, Dave Smith Tetra, Mbira and more all hooked into the mixer. Some processing is done using a Mac running Ableton Live, and the rest is done with the MoogerFoogers and the iPad.”
“The routing varies greatly between each piece do we take heavy advantage of scene programming. Sound checks couldn’t be done without SL remote on the iPad.”
“I may try to get some good video of our setup on our concert on the 20th. I haven’t begun to promote that show yet, but the 1602 will be used in much the same way.”
Bleep Blop Electroacoustic Ensemble led by Ramon Castillo presents music by Ramon Castillo, PoChun Wang, Deepak Gopinath and Ryan Meyer
April 13th, 2013 at 8PM EST
The concert will feature works for electronically manipulated piano, analog synthesis, the Kronos Quartet Drum Machine, dynamically looped mbira, live video and more. Our performances successfully merge the art of acoustic music with the mystique of audio technology.
This event on April 13 promises to deliver the same mix of ambitious musical forces.
Selection of works to include:
We have a LOT of promos going on this month. Even we’re having a hard time keeping track of them all. That’s all Rick’s fault, really. But it’s because he likes you all so much! Here’s the gist of it:
We’ve dropped the prices on two of our StudioLive mixers! Get the 16.4.2 for $1,799 and the 24.4.2 for $2,999. No rebates, no buy-two-get-one-free, just a lower price. Wow!
Studio One Professional 2.5, $100 off through April! Get with the best for a low low price! This is an instant rebate that will be available through your local PreSonus dealer or StudioOne.PreSonus.Com.
Save a whopping $50 on the PreSonus Studio Channel. This is another easy instant rebate available at your local PreSonus dealer.
Last, but certainly not least, if you upgrade from any other version of Studio One to Studio One Professional 2.5, you are entitled to the Simon Phillips Session Tracks drum loop library for FREE! Click here for the rebate form so you can grab your copy—ASAP!
Hey there! I got something for ya. Here’s a pile of 30-second tracks from the sessions we did recently with Briana Tyson. Every signal on this recording was recorded direct via an ADL 700 or ADL 600 preamp. Because we could.
No other processors were used in these recordings. The guitars were recorded with Shure SM57s and Royer R-121s, and the bass was ran direct into an ADL 700. The stereo sources—keys, drum overheads, and two room mics were ran through the ADL 600s.
Here’s the mic list for this session:
Kick (Shure Beta 52)
Snare (Shure SM57)
Hi Tom (Sennheiser 421)
Low Tom (Sennheiser 421)
Stereo Overheads (Neumann K184’s)
Stereo Room Mics (AudioTechica 4080)
Bass Guitar (Direct)
Electric Guitar (SM 57)
Electric Guitar (Royer 121)
Female Vocal (Brauner VM1)
Keyboard (Yamaha P100 direct)
These tracks are available via SoundCloud for download. Help yourself to them and do with them what you will. Mix ’em up! Or down.
We hope you think they sound as amazing as we do.
Here’s the tracks:
Here’s video of this session:
John Mlynczak, PreSonus Education Market Manager, has been appointed to the Board of Directors as Chairman of the Marketing and Communications Committee for the Technology Institute for Music Educators (TI-ME).
TI-ME was founded in 1995 to establish standards for music technology education, create a certification program for educators teaching music with technology, and form an organization to train and support teachers in music technology. The mission of TI:ME is to assist music educators in applying technology to improve teaching and learning in music. PreSonus whole-heartedly supports this mission and is committed to supporting music education with technology. Having our education manager serve on the board of TI-ME is a great honor for the company, and validates our mission of providing support to all music educators and students in order to promote learning reflective of current and evolving practices in the fields of music education and the music industry.
This position provides John the opportunity to champion the message of both TI-ME and PreSonus to further support educators in teaching with technology.
So, here’s how to sell your music via Nimbit on Facebook. Also, learn why as an artist you need to be using a fan page for your music, not your personal Facebook profile. Install the Nimbit store shown in the video on your Facebook fan page by clicking here.
Can you think of a way for Nimbit to get more awesome? Because I can’t.
Justin Spence is back again in Capture 2!
Join Justin Spence as he swings through a whirlwind tour of our just-released software, Capture 2!
Capture 2.0 includes several workflow enhancements including Prerecord, user-definable Auto-Save intervals, and tons more!
We’ll be giving away highly fashionable PreSonus T-shirts, and we’ll be sure to save one for Justin while we’re at it.
[Olesya Star is a 26-year-old UK singer, songwriter and record producer. In 2010, she co-founded the independent record label Graffiti Records, purely to release her own material. All work on Olesya Star has been done through Graffiti Records to date – including all self-produced videos, recordings, production, photography, artwork, social media and general music management.]
Perhaps it’s a lack of interest in the subject. To be perfectly honest, I got into all this “record and produce myself” affair because I couldn’t afford to pay good studios for all those hours, and pay their producers for every song I wrote. Besides, I wanted unlimited access to recording any crazy idea I got in the middle of the night, be it a song or a beat. I wanted to experiment with my sonic identity. But it is only now that I’m into record production, that I get excited discussing the benefits of a particular piece of gear. Speaking of gear… I must say, I still think that men get more irrationally excited about all the hardware, all the knobs and faders, and the look of a console with its industrial design and funky lights… I, personally get more excited about what it does to my vocals! I care more about the end result than all the reasons and logic behind third level harmonics that tape produces.
It also seems to me that most girls lack confidence, probably because of men, because of all the jokes that men make about women… Could that be one of the reasons why there are not more females in audio engineering? I read somewhere that many female scientists submit their works under a male pseudonym. Food for thought? Are they afraid of prejudice and being judged?
It could be a cultural thing too, as traditionally it’s a male-dominated field. And many girls think, “Oh god, I’m not going into all this technical wizardry…. boys ‘n their toys, etc.” Our society, unfortunately, still has many gender stereotypes, and it’s very slow to change. How many women are there as fighter pilots? Or train engineers?
Girls are highly capable of understanding sound engineering. They’re quite often better at math than guys. Us girls have a knack for multi-tasking. But then again, maybe, the male ability to concentrate on one thing solely, like the harsh frequencies around 2 kHz is a good thing. The smallest gain changes, harmonics and sub-bass frequencies that I hear often differ from the sounds a guy will hear, and vice versa, so I think that you need both sexes to make a truly awesome mix. Like most girls, I tune in to the top end easily—guys will always opt for more bass, often way too much in the mids, and then struggle to find ‘air’ in the mix. This is where you need the female ear!
I think, however, it’d be a good thing if more girls got into record production. Nice, clear mixes that aren’t over-compressed, lifeless and flat—that’s the goal! And girls really get that. I think educating people on the differences between being a producer and a sound engineer would help. Sometimes you don’t need to be the latter to be able to accomplish the former.
Capture 2 is now available for download for all registered StudioLive users! You’ll find the download links on the “My Hardware” page.
Capture 2.0 includes several workflow enhancements. Clicking the Record Now button on Capture’s Start page creates a new session and immediately starts recording. A new Prerecord feature captures audio on all tracks, starting up to a minute before you press Record. Even saving a session can be automated, with user-definable Auto-Save intervals. Capture also stores the active session automatically whenever the transport is stopped and the session is changed.
For more on Capture 2, check out this press release: