Pete “Boxsta” Martin with Boxsta Music is an award winning, multi-talented producer/songwriter and one of the most sought after mix engineer in the world. He has worked with a variety of top selling artists such as Arrow Benjamin, Jessie J, Sugababes, Alexandra Burke, and Missy Elliot. Here he discusses leaving Pro Tools for Studio One 3.2 and the ease of the transition.
“Studio One is an incredible platform because it’s the best of every DAW out there. It’s totally new and fresh; it encompasses everything you need.” – Pete Martin.
For more on Studio One 3.2, click HERE.
Looking to hit the ground running with the Studio 192? Look no further! Justin shows you all you need to do to get rolling with your new interface and take advantage of low-latency monitoring, Fat Channel processing, speaker switching, and more via UC Surface.
You’ll also learn how to use Studio 192’s integration with Studio One for remote preamp control, Fat Channel DSP, and Z-Mix outputs.
For more on the Studio 192, click HERE!
Grammy-winning music producer, engineer and songwriter Pete Stewart with Fourth Wall Music Production has over a decade of experience in the industry and a trophy case of awards. Here Pete shares about his frustrations with Pro Tools and why he chose to try Studio One for free for 30 days. After the trial he was hooked and his workflow has never been the same. Now with 3.2, it keeps getting better.
If you’ve been holding off on crossing over to the most quickly-growing DAW on the planet, there’s never been a better time than now! Save $50 to crossgrade until April 30! – See more HERE!
From August 1 through October 31, 2015, customers who buy any StudioLive AI console mixer will also get automatically upgraded to Studio One 3 Professional. If you’re looking for a professional studio solution (even in your very own home), this is the way to go.
StudioLive AI Mixers make a great choice for studio production work for 3 reasons: great sound, flexibility, and software integration.
Let’s Start with Great Sound
Flexibility For Every Studio Environment
Tight Software Integration
Benefits of the Studio One / StudioLive Connection
The StudioLive AI mixers and Studio One 3 play very nicely together. In fact, any settings you make in the StudioLive’s Fat Channel during recording are non-destructive—these settings can be imported into your Studio One session for additional tweaking during your mix process. Furthermore, StudioOne includes template configurations for all of our mixers and interfaces, so once you’ve connected the StudioLive to your computer and fired up Studio One, you’ve only got to make about two clicks before you’re recording. Smart stuff!
With all the additional effects, instruments, editing and Sound Design capabilities (like parallel processing FX chains) that come with the auto upgrade to Studio One 3 Professional. The StudioLive Production Suite is the ultimate solution for your recording studio (while still an incredible solution for live sound production and recording).
This offer is available worldwide. Just get yourself a StudioLive AI before October 31 2015, and you’ll receive a download link for Studio One 3 Professional in your my.presonus.com account when you register your mixer.
Ready to get started recording guitar? Well, for less than the cost of that ill-advised vintage true-analog quadra-flange pedal you bought a couple months ago, you can get an AudioBox iOne and Studio One 3 Artist. It’s everything you need to record guitar at home. (Everything except a computer or iPad, that is—that’s on you.)
That’s right, I said iPad—meaning after a quick install of Capture for iPad, you can record your guitar tracks the AudioBox iOne to your AppleSlab, and then beam the recordings over your wi-fi network to your main computer (where you’ve installed Studio One, RIGHT?!) to tweak, sculpt, and mix your tracks.
Oh, and here’s a great review of the iOne from Guitar Interactive Magazine:
Audio production doesn’t have to be complicated. That’s the notion behind both the AudioBox Studio package and this forthcoming webcast. Spend some quality one-on-one time with Justin Spence as he takes the mystery and frustration out of getting your first song recorded and mixed!
We’re hosting this show through a partnership with Guitar Center, so please note that you will need to click this link (or the image below) to register for this event, as it will not be broadcast from the typical PreSonus LIVE page.
Come one, come all, come learn!
June 27, 2013—1 p.m. CST / 2 p.m. EST / 11 a.m. PST / 18:00 GMT
John Mlynczak, Education Market Manager for PreSonus, shows us some of the basics of running live sound AND recording a school jazz band with the AudioBox 1818VSL. He shares his channel breakdown and monitoring setup.
With the AudioBox 1818VSL, you can track the entire band, and send students their own parts for study—or whatever submix you feel is best!
This just in From Jean-Jaque in Aalen, Germany! He runs Asskan Studios, where many PreSonus products have found a caring home. He sent some photos for me to put on our Facebook album of user studio photos, and I instead found them completely blogworthy. Jean-Jaque shares a few words:
Asskan started as a little home recording project. But perfectionism led to a complete little studio, with all the stuff I need. The studio was finished just about 6 months ago.
I searched for a recording solution with a analog-like usage that’s covering a wide range of requirements. I wanted to record mobile, for example in good sounding rooms, I wanted to record bands live, and most of the time, use it in my studio. The solution was the StudioLive 16.4.2. It gives me many channels of recording, great neutral preamps, and the opportunity of mixing my monitors, all in just one device. The HP60 was the perfect extension—now I can give all members of the band what they need in live recording situations.
I also use several pieces of outboard gear, and I’m a total microphone freak. The studio is equipped with a full drum set, guitar amps and many instruments. The combination especially of vintage gear and modern recording gear is what I like. I’m a singer and guitarist myself and so I understand the wish of recording a real 412 guitar-cabinet and not via VST…. although I’m using VST instruments as well. 🙂
With Studio One I’ve found a classic, but easy-to-use DAW with many time-saving features. And the FaderPort adds ease to my fader adjustments. I do not like to do fine adjustments via the mouse, but also I searched for a controller with just one single control.
What I’d like to have? The Studio Channel could be a good follower for my actual outboard preamps. Maybe the ADL600?!
Photos by Andy Nowakowski
PART 4: Reverb!
Now, the most difficult and most-discussed theme on orchestral composition forums is applying reverbs. This is the most important part of the orchestral mixing process as far as I’m concerned. I’ve watched and listened to loads of tutorials and lectures on reverbs for orchestra—which one is better? Why?. There is a lot of controversy on impulse response reverbs vs. algorythmic reverbs. Whatever you pick, the most important thing is that it sounds good to you. My main reverb is Altiverb and sometimes I use Lexicon PCM Native. Here’s how I apply them to my orchestra sections:
Every section has its own reverb that processes it. I like to use Altiverb’s IRs of stages like Todd-AO or FOX Scoring Stage. I like the fact that it has three different mic positions that were used to capture the impulse responses, so I can use them on individual close-miked sections of the orchestra. There are three IR patches of wide mic setups that I use. The closest one is for strings, the middle one is for brass and woodwinds, and the farthest one is for percussion and choir. I apply very little reverb on close mic sections just to give them air, and I apply more of it to stage mic sections to give them room.
Here’s an example of proper reverb settings using Lexicon PCM Native:
I use two instances of Lexicon. The first one is for close mic setup with a very small pre-delay and short reverb time. I use only 50% of the mix.
The second instance emulates stage and far-miked setups, which requires a sizeable pre-delay and long reverb time. Its mix is set to 100%.
If I have a solo vocalist in my session, I usually use any vocal plate preset for it.
This covers the reverb for the orchestra. Next up we’ll look at using the Studio One Video Player for scoring.
[Update! For your convenience, here’s the rest of the blogs in this series:
Las Vegas, NV, June 2012… Join PreSonus for a very special live webcast, direct from the InfoComm Show in Las Vegas.
Tune in for Connecting Your Customers with StudioLive, a 30-minute presentation that will cover the broad range of advanced control and connectivity between PreSonus StudioLiveTM consoles and laptop computers, iPads®, iPhones®, and iPod touches®.
From iPad-based wireless mixer control with StudioLive-Remote and iPhone/iPod touch monitor control via QMixTM, to multitrack recording and production with CaptureTM and Studio OneTM Artist, PreSonus is the only compact digital mixer that offers such a wide range of software integration – for free!
The presentation will also take a look into the ever-expanding integration between PreSonus products and Rational Acoustics’ acclaimed SmaartTM audio-analysis technologies. Optimizing system EQ has never been this fast and easy.
Four 30-minute presentations will be broadcast live from the PreSonus Demo Room (N105) at InfoComm on Thursday, June 14, at 9:00 AM, 11:00 AM, 1:00 PM, and 3:00 PM. (All times are Pacific Daylight Time) A live Q&A from attendees will follow each session.
A special bonus for those attending the show in person: PreSonus will give away a free seven-port USB hub and free 2GB USB drive to attendees at the end of each presentation.
So join us online at http://livestream.com/
To schedule an email reminder, visit us at http://presonus.com/community/