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.
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.
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.
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.
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.
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.
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.
Old School piano recorded with vintage mics, tape, and preamps. In glorious MONO!
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
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.
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 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)
Got 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.
Guitar Solos Need Delay
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
2. Biscuits and Extra Gravy
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.
Three Sound Sets contain PresenceXT instruments, Studio One Musicloops and audio demos.
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.
[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.]
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.
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.
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.”
“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 never looked back.”