PreSonus Blog

Get Notion for iOS for nearly half price—limited time!

Click here to visit the App Store: http://apple.co/2oFiZoV

All this for nearly half price won’t last, so get it before May 12!

Compose on the go and transfer your work to Notion 6. New handwriting support for iPad. Works with notation, tablature, or both. Huge wealth of sounds available from the London Symphony Orchestra recorded at Abbey Road Studios.

 

Notion discount

Introducing PreSonus Quantum—Our Fastest Interface Yet.

Every design decision during Quantum’s engineering was made with one goal in mind: speed. PreSonus Quantum sports high-speed Thunderbolt connectivity and a no-frills, direct-to-daw architecture, with no DSP. The result is our leanest, fastest, lowest-latency interface to date.

Click here for the full story.

 

Audiophile-grade digital converters, low-jitter clocking, and recallable preamps add up to a superior recording and listening experience. The Quantum operates at up to 192 kHz for ultra-high-definition mixing and recording. High-quality converters on every input and output provide 120 dB of dynamic range to capture complex musical harmonics smoothly and naturally with no audible distortion. And our recallable XMAX Class A analog microphone preamps deliver incredibly high headroom, deep lows, smooth highs, and a rich overall sound so you’ll hear every breath, transient, and detail in your recordings.

Cutting-edge 24-bit, 192 kHz converters with 120 dB of dynamic range and a surprising amount of expandability and software control options round out the package.

PreSonus LIVE: Welcome to the Family! Airs Thursday 4/20

WelcometoTheFamily2_600x600We’re excited to introduce you to the PreSonus StudioLive Series III FAMILY!

We’re going LIVE on Facebook and YouTube tomorrow at 2 pm CST to discuss everything there is to know about the 32, 24 and 16 mixers! Get your questions ready for us! VP of Sales, Rick Naqvi and Papa Beard and Sr. Project Manager, Ray Tantzen will be hosting and taking your questions.

Yes, there will be prizes. RAD PRIZES. Don’t miss out.

Follow us on Facebook and YouTube and turn on your notifications so you won’t miss the show!

Like our Facebook Page here!

Watch on YouTube here!

 

Five New Sample Packs from Sample Tekk Now Available for Studio One

Click here to browse and shop!

We’ve got five new amazing sample sets from Sample Tekk that we’ve just added to shop.presonus.com. These packs are compatible with Studio One Prime, Artist, and Professional (version 3.3.4 and higher).

The White Grand

Sample Tekk recorded The White Grand with the finest equipment available, using a specially-designed digital recording technique to give you unequaled performance and sound. Prepare to explore a tactile and expressive feast, not heard in many sampled pianos today.


INIL Choir

Get the crazy ethereal choir sounds of “I’m Not In Love” by 10CC with INIL Choir! These choirs are unique—the combination of voices and the way they were produced have given them a sound that’s truly one of a kind. Now, SampleTekk, in cooperation with Eric Stewart of 10CC are very proud to release of The INIL Choir, thus taking one of the most famous analog samples into the digital era.


Tubed Keys

Great-sounding Rhodes for Studio One, recorded through a Fender Twin as the Rhodes was intended to be heard. Sample Tekk didn’t go for 80s sheen and gloss with lots of tines and overtones. The Tubed Rhodes is more representative the 70’s: a gritty, hard-core rythm’n’blues kind of sound.


The Rain Piano

Somber sounds of a piano that has been left out in the rain and elements. Musical, but with extra overtones and character. The Rain Piano has become a kind of a synonym for character pianos. It has been used and is still used on countless productions where you want something that adds a different flavor rather than using a normal piano.


Singularis

Old School piano recorded with vintage mics, tape, and preamps. In glorious MONO!

Click here to browse and shop!

Revoice Pro 3.3 Now Available for Studio One

Get Revoice Pro 3.3 – Vocal Tuning, Time Correction and ADR With Advanced Studio One Integration.
“Super-Natural Vocal Production” With Advanced Studio One Integration

Click here to buy!

 

If you need to improve the pitch or tightness of your vocal or instrument tracks in Studio One, Revoice Pro will save you heaps of time. Revoice Pro is the ONLY software that offers manual and automatic pitch and time modification with unbeatable, natural quality. Its unique tools include alignment, double track creation, and simple, artifact-free manual warping.

You can adjust the tuning, timing, and sibilants of a lead vocal, tighten or create backing vocals, rap or instrument doubles, and high-quality harmonies. What’s more, Revoice Pro 3.3 now supports advanced Studio One 3.3.4 integration and includes a Quick APT, Doubler and Warp workflow.

Time-saving vocal tuning, time correction, and ADR.

Revoice Pro is used worldwide by top audio professionals for the fastest, easiest and best-sounding adjustment and alignment of vocals, instruments, and ADR as well as double track generation. Revoice Pro 3 adds a powerful set of easy to use tools and workflow enhancements for Studio One. Major new features include a simple yet powerful toolset for manually adjusting audio timing and pitch. What’s more, users say that Revoice Pro 3 provides the most natural and transparent-sounding processing available.

At the heart of Revoice Pro is the unique Audio Performance Transfer (APT) process, that can gives the user the ability to take the timing, pitch, vibrato and level features of one audio track and use it on another, giving you the chance to match or correct timing and tuning, plus our highly-praised realistic Doubler process sounds great and is easy to use.

You can choose to work fast with automatic workflows or use the unique manual Warp process for pitch and timing. Now you have a one-stop, time-saving, high-quality solution for creative and corrective audio manipulation tasks.

 

ReVoice

What the Pros are Saying

“Revoice Pro let me tune a wildly out demo lead vocal (with a great vibe) and then match an equally out of tune double to this fixed lead instantly. It then was very simple to repeat and adapt this process with more background vocals AND also generate additional doubles! UNREAL!!! Worked great!!”

Emre Ramazanoglu – Producer, Engineer and Mixer (Shakira, Afrika Bambaata, Prodigy, Sia, Mark Ronson, Pulp, Jack Savoretti and Warpaint)

 

“We use Revoice Pro to align all the doubles and background vocals to a lead vocal which we’ve already spent quite a bit of time comping and tuning. But not only does Revoice Pro align doubles to a guide track, it also matches the pitch.”

John Hill – Producer, Songwriter, Remixer and Musician: Eminem, Florence and The Machine, Rhianna, SIA, Banks, Tune-Yards, MIA and Charli XCX

“Revoice Pro 3 saves an obscene amount of time. I find it an incredibly musical plug-in because it allows me to make stuff tight and in tune with the guide audio, but still have variance. So I end up with backing and lead vocals that I can really push forward in a mix. Killer to my ears.”

Francesco Cameli – Engineer: Queen, Genesis, Eric Clapton, Mariah Carey, Muse and Adele

 

“I like the speed of use with the APT AudioSuite feature. It allows me to quickly tune and time vocal stacks so that I can focus more on the music and mix instead of getting caught up with tedious tuning and timing processes. Revoice Pro 3 has become an essential tool in my digital toolbox. I highly recommend it!”

Ryan Nasci– Producer/Engineer: Tony Maserati, Jon Castelli, Isa “Machine” Summers (Florence And The Machine, Judith Hill and LP) and Tyler Johnson (Taylor Swift, Ed Sheeran, Mikky Ekko and Cam)

 

“Revoice Pro will save you high levels of frustration and even more man-hours when working on a project. Its workflow is much faster, and more accurate than anything before, allowing you to choose precisely how tight you align audio with very impressive sonic results. It has saved countless sessions since I’ve started using it.” 

Dylan “3-D” Dresdow – Mix engineer (Black Eyed Peas, Michael Jackson, Usher)

Microphone Preamp Sale!

preamp_sale_600x600_01_neeGot some mics that you are looking to add a little bit of life to? Don’t we all? For a limited time the BlueTube DPV2, TubePre V2, and Studio Channel.

For a limited time the BlueTube DPV2, TubePre V2, and Studio Channel are all 15% off. Get more out of your mic locker for less! Regardless of if you’re just starting out recording or are a platinum producer, we’ve got a solution for the old mic blues that fits within your budget.

The TubePre V2 gives you a lot of control over gain and saturation in a tiny footprint. Great for mobile producers and engineers, and even suitable for live use in a small venue.

The BlueTube DPv2: See the above and multiply by two. It’s two TubePres in one! Great for stereo input sources or those “one guitar, one vocal” recording scenarios.

The Studio Channel: A full-featured, rack-mountable channel strip that boasts a mighty fine preamp, compressor, and a parametric EQ. When it’s time to get surgical with your tone-sculpting, this is the right tool for the job.

 

BIAS Delay Giveaway @PositiveGrid

Guitar Solos Need Delay17361536_1466666576685001_8087181706221710234_n

Join Positive Grid and PreSonus to celebrate BIAS Delay pedal launch. Just comment what’s your favorite guitar solo following the link below and you get a chance to win the best gear for your studio! The giveaway runs from March 21 to April 10. Positive Grid will announce the winners on April 11.
  • 1st Prize: 1 Studio One Professional Edition – 1 BIAS FX Pro – 1 BIAS Pedal Delay for Mac/PC
  • 2nd Prize: 1 BIAS FX Pro – 1 BIAS Pedal Delay for Mac/PC
  • 3rd Prize: 1 BIAS Pedal Delay for Mac/PC

Biscuits and Gravy Drum Loops now Available for Studio One, Extra Gravy also Available

Check out the latest Add-ons for Studio One: Music City Drums’ Biscuits and Gravy!

Click here to check them out at shop.presonus.com

Biscuits and Gravy gives you raw and essential rhythms that can be applied in virtually any genre.  The loops feature five drum setups consisting of both vintage and modern equipment, from Yahama to Rogers to obscure one-of-a-kind drums that you’ll only find in a true drum connoisseur’s collection. One setup features a lo-fi channel that is a mono sum of the kit sent out to a eurorack modular effect system to add some grit and character.

Biscuits-and-Gravy-Duo

Biscuits and Gravy was given its own unique sonic identity by utilizing varied configurations of myriad outboard gear, as well as by manipulating the drums themselves. Drums were paired with various methods of dampening, tunings, different heads, and in some cases even removing resonant heads to achieve the right sound for each kit.

 

Recording Equipment featured:
API 3124
Chandler LTD1
Distressor
DBX 160
Ampex 602
TubeTech CM1A
Warm Audio 1176
Neve 1272
Neve 1073
Manley preamp
UA 6176
UA 4710d
Shadow Hills mastering compressor

 

Meticulously recorded, delicately produced, and packed full of flavor in Nashville, Tennessee, these audio loops were specifically recorded with both character and attitude set to inspire and move you without the limitation of genres. Inside you’ll find a variety of grooves with that punch and feel you’ve been looking for.

Music City Drums Vol. 1 “Biscuits and Gravy” is available in 2 forms:

1. Biscuits and Gravy

  • 24/441 stereo audioloops
  • over 450 production ready audio loops
  • tempo variations from 70 BPM to 130 BPM
  • 5 different kits recorded

2. Biscuits and Extra Gravy

  • 24/441 stereo and multitrack audioloops
  • over 3,600 production ready audio loops
  • tempo variations from 70 BPM to 130 BPM
  • 5 different kits recorded

PreSonus Symphonic Orchestra Available Now!

PSOSMALL

PreSonus Symphonic Orchestra is more than just another sample library. It combines a complete symphonic orchestra instrument library with ready-to-use Studio One Musicloops for lightning-fast arranging and production in an attractively-priced bundle. The instruments not only comprise a full symphony orchestra, but also a contemporary strings library that has a different ambient character to choose from. More than 1,200 Musicloops allow for creating full arrangements on the fly while retaining complete control over tempo, key, chords and sound character. Tight integration with Studio One makes production work fun again. PreSonus Symphonic Orchestra is compatible with Studio One Prime, Artist and Professional (version 3.3.4 or higher), making it an ideal combination for aspiring composers and arrangers, as well as anyone learning or teaching music theory.

With more than 1,200 royalty-free loops from 29 unique Construction Kits, PreSonus Symphonic Orchestra is a powerful composition and arranging tool even for someone who doesn’t have classical training or doesn’t play a keyboard instrument. Produced by professional orchestral composers, these Construction Kits cover a wide range of styles and instrument arrangements: Classical, Soundtrack, Jazz, Pop, Hip-Hop, House, Disco, and more.

Click here to check it out at shop.presonus.com! 

Highlights:

  • More than 14 GB of samples with over 300 instrument presets
  • Includes more than 1,200 royalty-free Musicloops for quick and easy arranging
  • Multiple key-switch articulations per instrument
  • Expression control and custom legato scripting
  • Deep integration with Studio One: key-switch articulation names in Music Editor; searchable preset database in Instrument Browser, new Construction Kit category in Loop Browser.

Three Sound Sets contain PresenceXT instruments, Studio One Musicloops and audio demos. 

  • PSO Classic Orchestra (6 GB)
  • PSO Contemporary Strings (6.44 GB)
  • PSO Musicloops (1.9 GB)

Classic Orchestra Instruments: Cello, Cello Section, Double Bass Section, Harp, Viola, Viola Section, Violin, Violin Section, French Horn, French Horn Section, Orchestral Tuba, Piccolo Trumpet, Tenor Trombone, Trombone Section, Trumpet, Trumpet Section, Alto Flute, Bass Clarinet, Bass Flute, Bassoon, Clarinet, Clarinet Section, Contrabassoon, English Horn, Flute, Flute Section, Oboe, Piccolo, Classic Choir (multiple articulations and fx), Marimba, Vibraphone, Xylophone, Bamboo-Chimes, Cowbell, Crotales, Glockenspiel, Shellchimes, Triangle, Tubular Bells, Windchimes, Cymbals (Set), Japanese Bowls, Orchestral Gongs, Thai Gongs, Castanets, Claves, Tambourine, Temple Blocks, Gran Cassa, Snare, Timpani, Orchestral Effects (multiple instruments)

Contemporary Strings Instruments: Violin Section, Viola Section, Cello Section, Bass Section, Big String Section ((all: KS and single articulation Presets)

Articulations (availability and mapping varies across instruments)

Strings: Sustained Notes f & p, Con Sordino, Short detaché 2x, Pizzicato 2x, Col Legno 2x, Tremolo f, Tremolo pp, Crescendo, Cresc. Tremolo, Trill, Glissando, Grace Notes, Short chords, Arpeggios.

Brass: Sustained Notes f & p, Staccato 2x, Half & Whole Tone Trill, Crescendo, Runs.

Woodwinds: Sustained Notes f & p, Staccato 2x, Grace Notes.

Percussion: Single Strokes, Tremolo, long/medium/short Cresc., Glissando.

Harp: Glissandi – long, medium, short / major, minor.

A Cubase User, a Logic User, and a Digital Performer user Find Common Ground in Studio One

[We recently came across a great story—three different producers, all of whom use different DAWs, needed to collaborate on a single project. They decided that Studio One offered them the best of all three worlds, and chose it for their collaborative effort. Details below courtesy of Roger Hooper, Robert Holmes, and George Napier.]

GNapier Studio-5

George Napier’s Studio

George Napier kicks things off by describing the task at hand, as well as the backgrounds of the collaborators.

“Robert, Roger, and I took a group of 11 executives from a 75-person tech startup into Studio A of Omega Studios for two days of team building. We needed to prepare backing tracks and beds for them to play against. Roger is a film composer, former Logic guy and current Mac-based Cubase user. Robert is a musician and games music composer and a 20 year die hard Digital Performer user who switched to Windows on DP and was not liking the experience,” says George. “I’m a composer/sound designer and a bit of a serial monogamist when it comes to DAWs. I’ve used Studio One since version 1, left it for Logic/Cubase at 2.6, and came back to try it out with the release of 3 (all on Mac). FYI: We all work together on projects for each other’s companies. This particular project was done under Robert’s company ResonantClarity.

“The deadline was tight, and we needed a single DAW we could all use to develop the pre-work backing tracks and the final post studio mixes,” continues Napier. “and of course it had to work on Mac and PC. When I showed Robert Studio One he liked it, and by the end of the project it became and is now his primary DAW. Since Robert and I were using Studio One, when we brought Roger into the project, he downloaded the 30-day trial to work with us. Once Roger was on board with Studio One, we were 100% compatible across platforms and worked seamlessly together to finish the project on that really tight deadline. Roger end up liking Studio One so much in fact, he added it to his permanent arsenal.”
Napier has been with Studio One from the get-go.
“I think I had been using Digital Performer for a while when I tried out a demo of Studio One in early 2010. I fell in love with the drag and drop workflow and I couldn’t believe how efficient of a VI host it was and that I could use AUs and VSTs! I used it quite exclusively over the first few years but later switched to Cubase and Logic around version 2.6. But when Studio One 3 was announced, I was blown away.  I remember watching the announcement live on the web and repeatedly picking my jaw up from my desk. I immediately bought it and started working with it again, and have ever since.
Napier is quick to describe why he came home to Studio One.
“The GUI changes are pretty much what I hoped for, the new Mai Tai, extended FX chains, and multi instrument are great, the scratchpad is really innovative,” he asserts. “I do a lot of stuff in the box, so my DAW has to be an efficient VI host, with an efficient production workflow. In my experience, Studio One is one of the best ones out there. It’s also a more focused creative experience. There’s not a lot of menus, submenus, dialogue boxes, etc. getting in the way. The stuff you need is pretty much right in front of you or just a right-click away. I love it when the software gets out of the way.”

 

Roger Hooper is a longtime Cubase and Logic user who was new to Studio One for this collaboration. His impressions and description of the collaborative workflow follow.

RHooper Studio 3

Roger Hooper’s Studio

“I’ve been a Cubase user for many years; used Logic Pro for 18 years prior to that,” opens Hooper. “When I entered into this project with George and Robert, I composed a series of beds with Cubase. When we went into the editing phase, I created stems and put them in Studio One. After taking the beds into Omega Recording Studios to add live players, I edited some of the resulting files in Studio One. The three of us passed files back and forth to do various edits, as well as adding additional parts.”
Hooper found himself impressed with Studio One’s flexibility, particularly in regards to the easy mobility between Studio One’s Song and Project pages.
“I especially like the Start/Song/Project interface. When I’m working on cues for a client, I need to do a quick mastering version before submitting them for approval. I can do this in any program, but being able to go between the song page and the mastering page and back again to make changes is really slick. I sell my music on download only at this time, so being able to line up the mastered files in a timeline isn’t necessary for me, but its definitely a big plus for many artists who might otherwise use a competitor’s program for mastering their CD. The audio transpose and time stretch was very easy to learn, and very high quality. I had to change many of the live recorded parts to fit timing and harmonic sections of the music; Studio One did well in these tasks, and was easy to figure out. It also seems to be lighter on the CPU than other programs I’ve used.”
When prompted for user tips and tricks for Studio One, Hooper acknowledges that he’s new to the software, but found the most valuable resource to be Studio One’s robust online community.
“No user tips, but availing yourself of sites like Studio One expert, the YouTube channel from PreSonus, and various Studio One users is a great thing. Manuals aren’t always easy to digest, although PreSonus’ is very good. I used to work in music retail, and if I suggested ‘read the manual’ during a customer service call, well… that response was no good! The web has a wealth of knowledge on this program, and finding others’ perspective on how to operate it has been illuminating. Studio One seems very solid and I’m looking forward to getting to know it much better.”

 

Robert Holmes is a long-time Digital Performer user who made the switch to Studio One after a 20-year commitment to DP. He’s a self-proclaimed “old pop/rock studio guy from LA who ended up doing game scores in the golden age of adventure games.”

RHolmesStudio-0

Robert Holmes’ Studio

Asking Robert what he likes about Studio One begets a long response.
“I enjoy the lightness and flexibility, the direct simplicity yet high quality of the features is great. I love the drag and drop stuff, the different pages, and the small but meaningful touches like the Console Shaper, or the easy copying and input for inserts is really helpful. The importing and exporting processes are well thought out and really painless. They are all subtle things, but they add up to such an effortless dynamic that makes it easy to just sit down and get to making music quickly, which is a big priority for me. It’s just more nimble, more fluid, more no-nonsense, but the sound and the results are top tier. I’m still learning in every session, so the ability to have rollover reminders on functions and features is great! I tend to be very lazy in how I use effects, inserts, VST’s etc… I’m not always doing them in the most efficient way… but Studio One seems much more capable of bearing that load and keeping me working without locking up.”
Holmes even had a happy accident concerning Studio One’s Console Shaper.

“I had one interesting experience where I was mixing, and I was getting lots of crosstalk,” recalls Holmes. “And it was actually very cool from a sonic point of view, but it was making mixing a challenge. That’s when I discovered the Console Shaper had accidentally been activated  on the master track somehow and was in Crosstalk mode. So YES, the crosstalk really works if you want that Gold Star Studio Wall of Sound.”Despite a lengthy relationship with Digital Performer, Holmes has taken the plunge and made the switch to Studio One as a result of his experiences in this project.

“I had been a longtime Digital Performer guy, basically for the last 20 years. My pal George sent me the Studio One demo and suggested I give it a spin. As I’m a self-confessed immediacy freak with gear, the ease of entry and short learning ramp was very helpful when I had to make a quick jump from DP in the midst of a project. The similarities in workflow were helpful, yet it all was so much more fluid and responsive.

“I never looked back.”