We’ve recently released a lot of loop content for Studio One. It’s all available exclusively at shop.presonus.com. We’ve got a little something for everybody—especially if you’re making hip-hop or electronic music of nearly any flavor, including Indian Dubstep, we’ve got a loop pack for you. Click on any of the titles below to learn about the packs, hear audio demos, and download! (You can also buy them directly from within Studio One 3.)
From EarthMoments, we’ve got the Desert Oud; an ancient Iraqi instrument, Dubstep India; a blend of wub-wub basses with acoustic Indian instrumentation; and the Pure India bundle, which is a bundle of three packs that include gigabytes of traditional instruments, percussion samples, and vocals.
SampleMagic has been very prolific of late, covering all the basses. The most notable bass, of course, is the TB-303 in their Acid House pack. Further packs include the tape-echo saturated Future Dub; the stomping UK Garage of Future House; and the bevy of classic vintage Roland and LinnDrum hardware samples in New Wave. Ibiza-worthy Melodic Deep House and Festival Anthems round out the set. The details of these packs are too numerous to list in the blog, here, but click through any of the titles to learn more about the packs themselves. SampleMagic had planned to release a Vaporwave sample pack, but then this happened, effectively beating them to the punch.
MVP has brought in five new packs bristling with pure hip-hop bombast—but that’s not all. The Trevor Lawrence Jr.-produced Sound Squad offers nearly 2 gigs of hip-hop, EDM, R&B, and pop elements. Mix and match them to make your own styles! Sound Gang offers loops, riffs, and one-shot samples for modern urban production. is another modern hip-hop kit full of big drums and grimy synths, as do Magnaa Carter: Reloaded and OVXO Vol 2. Hook City Platinum Edition rounds out the offerings with an R&B and Soul-tinged vibe, produced by first-call musicians, writers, and engineers.
While not technically a loop pack, we’d be remiss to overlook the Analog Model Machine for Mai Tai. 200 synth presets lovingly crafted in the mold of Vangelis, Jean Michel Jarre, and more, from our very own Ari Ahrendt, Quality Assurance Specialist at PreSonus Software. You can get your Klaus Schulze on without devoting a room of your house to expensive analog electronics.
Passion for music and the last name Jackson go hand in hand. For Taryll Jackson, this passion is fueled by surrounding himself with his loving family, trusting his creative instincts, and utilizing a tool that will not slow down his process. That tool, among many, is PreSonus Studio One 3 Professional.
We recently heard about Jackson’s use of Studio One via Twitter. Flattered, we found it fitting to allow him more than 140 characters to share his thoughts on Studio One.
“I use Studio One 3 for everything,” Jackson reports. “Recording, composing, sound design—I’m using it in my home studio and with my mobile rig. I also use two FaderPorts, an HP60, an ADL 700, a FireBox, and a Central Station.”
Jackson is not stranger to working with multiple DAWs, and when he gives his reasons for choosing Studio One, he’s speaking from experience. “I’ve used pretty much all the DAWs,” he says. “In my opinion, Studio One was built from the user’s point of view and not from a programmer’s. It works exactly how writers, producers, songwriters, engineers would want it to work. I noticed with each DAW it was like they specialized in either audio or MIDI, but not really both. I was looking for a one-stop shop, something that could handle both sides but was also stable. I didn’t want to switch between programs, and most importantly, I wanted to feel inspired to create and get my ideas down as quickly as possible without the software getting in the way.”
When asked what Studio One features he finds most useful, Jackson’s obvious choice is drag and drop. “I think that drag and drop alone saves me so much time. When I’m creating, I don’t want to stop and set up bus channels, auxiliaries and routing. I don’t want to have to search for a plug-in through nested folders and sub-folders; I want stay focused on what I’m trying to create! Being able to drag a Reverb or Delay to a Send and having Studio One do all the work for me keeps my mind where it needs to be—on the idea. What takes other DAWs five steps, Studio One does in two steps—and sometimes one!”
“I can write a song in any DAW and I can produce a song in any of them,” Jackson continues. “For me, it’s about the process, the ease of flow. Studio One is going to work with me and help me get to the finish line quickly. It’s going to be fun and easy. I’ve had sessions with 240 tracks and Studio One still runs flawlessly. With other DAWs, I can’t have that many audio tracks, or it struggles and gives me errors. Studio One is tough to beat.”
Clearly, efficiency and flow are the order of the day in Jackson’s studio—he notes an oft-overlooked feature of Studio One that makes it uniquely his; customizable key commands. “I’m really big on key commands. I set them up the way I like, so I can fly. I believe you have to make it yours. Do what works for you—there is no right or wrong way, there’s just your way. What I love about Studio One is there are so many different ways to get to where you want to go. I think it’s the easiest and most powerful DAW out there. It works with you and your creativity, and not against it.”
The ever-driven Jackson has no plans on slowing down anytime soon. He’s currently working on a solo project, collaborating with other artists, and he and his brothers’ group 3T finished their third album, Chapter III, which is available today! The whole album was recorded on Studio One. Check out their song Fire below.
You can watch it all come together on the docu-series The Jacksons: Next Generation on Lifetime which airs its season finale November 6th.
Jackson closes with some kind words for the PreSonus crew—and the extended forum family.
“Love the company. Love the software. Love the forums and users. I’m excited about the Studio 192 and the new speakers. Studio One is definitely heading in a promising direction.”
“Fire,” from Chapter III:
I like to think of The StudioLive 16.0.2 as the scrappy little brother of the StudioLive family. Well into the StudioLive AI era, this Classic model is still one of the best-selling digital mixers we offer.
Why? In short, the 16.0.2 punches with heavyweight power in a bantamweight frame. You get sixteen inputs and four Aux Outs, the same XMAX preamps and Fat Channels found in more expensive StudioLive mixers, and Smaart Measurement Technology via VSL. This all makes it ideal for both project studios and mobile PA/DJ rigs. Pound for pound, it’s arguably the most feature-rich mixer in the line. And don’t forget the 16.0.2’s secret weapon that no other StudioLive mixer in the line has: MIDI control! You can adjust mixer settings live, in-performance, with a standard MIDI controller.
While more wallop for your wallet has always been part of what makes the 16.0.2 what it is, we’ve made that end of the deal even better for a while. Until Dec. 31, we’ve dropped the price on the StudioLive 16.0.2 for customers in the USA down by a hundred bucks to a mere $899.
Take one home. With a little training, your productions will be punching well above your weight class. Just make sure to bring in this new gear before the New Year—this offer ends December 31.
Perfect for the aspiring home recordist, the Music Creation Suite includes everything a budding producer, musician, or mix engineer needs to get started, all in one shiny box that fits conveniently under a tree. Get rolling in music and audio production from the comfort of your own home—or classroom, school lab, or church. Oh, and for a limited time, we’ve knocked fifty bucks off the price, down to $249.
Here’s what ya get—all for about the cost of a single crappy entry-level guitar:
All told, this package would set you back about $450 bucks if purchased separately. The lucky owner will be able to record guitar, vocals, or whatever else they put in front of the mic. They can produce wonderful piano or orchestral parts using Studio One or Notion 5’s built-in sound libraries. They can even arrange dynamic, stirring rhythms that come without the inconvenient sonic warfare of listening to someone learning to play real drums. And once tracked, they will be able to go back and mix and edit their li’l masterpiece to their heart’s content. (Quietly, on the M7 headphones.)
This is a no-fuss, no-muss, temporary price drop for customers in the US of A. No proofs-of-purchase to cut out. No forms to fill out and then forget to mail-in. I mean come on—everybody hates those.
To find a dealer in the USA, click here.
PreSonus day is coming to Empire Pro Audio on Wednesday, November 18!
You’ll learn basic mixing techniques with UC Surface and the CS18AI control surface, EQ and dynamics, signal routing, and how to replace that clumsy analog snake with a digital AVB snake!
MuteMath is a Grammy-nominated American alternative rock band from New Orleans that formed in 2002. Their dynamic sound combines moments of stillness with dance, hip-hop and pop beats. Paul Meany’s vocals make it a point to invade your personal space—his lyrics that continue to resonate with listeners for days after a listen.
Stubbornly refusing boredom or stagnation, MuteMath consistently lives on the cutting-edge of their craft, thanks to a creative work ethic—it’s safe to say that all of their work is their best work. After a short hiatus since their last studio album in 2011, MuteMath is excited to debut their fourth album Vitals, releasing November 13.
PreSonus recently partnered with MuteMath to take two newly Dante-enabled StudioLive RM32AI mixers and a StudioLive CS18AI on the road for their entire US Tour. In true MuteMath tradition—this was something of a rock’n’roll first.
Check out the video below to see what Paul had to say about taking an all-PreSonus mix solution on the road.
Click the image to the right to see how they’ve got everything hooked up. Dante makes it easy—imagine the difference between setting this up with a lightweight CAT5 cable as opposed to traditional, heavy, analog cables!
[This just in from Lucy Willar, Co-Founder of iCanStudioLive. She took the time to answer a Q&A from Laz Harris, our very own Asia-Pacific Sales Manager, to tell us a bit about what makes iCanStudioLive lead the A/V production industry in Jakarta—and how PreSonus is a part of it!]
Lucy: iCanStudioLive is the leading audio/video live recording producer in Indonesia. We produce quality content every day, and provide a one-stop solution from creative design to pre- and post-production and digital distribution. Our production team works very closely with quality talent to create unique programs to attract the global netizen. We’re located in Jakarta. Please feel free to visit our fully-equipped studio!
The inspiration for the name came from our ability to do everything at one place—integrated and digital. Once you enter our studio, you will immediately think, “I can do this! I can do that! I can do everything I want!” Also, coincidentally, our other founder, Irsan Wallad’s nickname is “Ican.” So it was a perfect match with his vision on live recording, too. Then we named our studio “iCanStudioLive”—all one word, please!
Lucy: We specialize in live recording, and help with concept and creative design for both audio and video. We are the first, and now leading the industry in live recording. We cater to skillful musicians, younger musicians, and prodigies. Case study: Joey Alexander, who is now becoming very popular in the USA.
Lucy: We have full team: A General Manager who takes care of all studio activities, a Program Manager who take care of all programs—existing and future ideas. We’ve also have a Creative Manager who takes care of production, and a Post-Production Manager who takes care of post-production audio/video. Last but not least we have a two-person editor team, five production assistants for audio and video, general affairs, security, etc. All told, we are 16 people.
Lucy: It’s Ican’s vision. He started this dream 15 years ago while doing his own business in multimedia.
Lucy: PreSonus offers a single integrated control system for both live performance and recording.
Lucy: Capture 2.0 makes for easy multi-tracking and routing channels from the StudioLive to the DAW. For live use, we make heavy use of the Fat Channel in the StudioLive console mixer—it allows us to control Gate, EQ, and Compression when used for front-of-house. Furthermore, we can color the live sound with the StudioLive’s built-in FX. On the other hand, for studio recording—we need everything kept FLAT at the source, and the StudioLive’s clean preamps provide excellent clarity with no audible coloration. It’s great for both applications.
Lucy: Ican fell in love with music when he was nine years old, and got started with multimedia when he was 13. His parents worked at a multinational company (Mobil Oil) as a joint venture between Japan, Indonesia and US. After getting a degree in architecture, he started doing live recording in 2007, and was eventually invited to record the local Symphony Orchestra in 2011. He built iCanStudioLive in the same year. Now he’s recording almost every day!
Thank you Laz! It’s great to be one big family and we are looking forward to work closer for years to come.
The Studio 192 is now arriving in the hands of customers!
Here’s a great overview Rick did with the kind folks at Sweetwater.