UPDATE: We’ve got a killer new video on this very subject. The original blog post follows after this video:
As a Studio One user, you’re well aware that SoundCloud® has rapidly turned into the “YouTube of music discovery.” We’ve offered the capability to upload directly to SoundCloud from Studio One since version 1.1, and chances are, you probably already have music available for streaming from your SoundCloud account.
Streaming is nice, but did you also know that you can add a “buy” button to your SoundCloud player? All you need is music available for sale in your free Nimbit account, and you’re ready to sell to the millions of fans who listen music on SoundCloud every day.
Hmm…SoundCloud and Nimbit, what a coincidence… Starting with version 2.0.6, Studio One can now also upload your music to Nimbit.
Here’s how to add “Buy” buttons for your songs on SoundCloud that are available for sale on Nimbit:
1. Get the deep link for the track you want to sell from your Nimbit store by visiting your store, clicking the share button between the play button and track name, and copying the link that appears.
2. Now, go to your track on SoundCloud that you want to sell, and click the edit button. It looks like a Pencil.
4. Paste your Nimbit Link in the “Buy link” field
5. Your SoundCloud Player will now display a Buy Button, check it out below. I’ve embedded the actual player for the track I used in this demo so you can see for yourself. For the purpose of the demo, I set the price for this track to free, but you can set the price in Nimbit to whatever you want or to “Name Your Price” to let fans pay what they want.
Watch the video below to learn more about Nimbit.
Check out this killer video from mecprosound over on YouTube! He just uploaded this tutorial on setting up the Akai MPC Renaissance controller to control transport in Studio One like a boss.
[This just in from Bill Edstrom, Pro Audio Author and all-around gem of a man.]
I’ve done projects in just about every DAW on the market. To use most of these systems you need to be in a very technical frame of mind. About three years ago, I was looking for something simpler—something to get creative songwriting ideas out. That’s when I discovered Studio One. The workflow made sense to me and it helped me write.
As I got more interested in Studio One, I discovered anther great thing—a community of users that were amazingly helpful and enthusiastic. I started contributing to the PreSonus Forum with some free YouTube videos which lead to my work with Groove 3. I went on to create four volumes (24 hours worth!) of video training for Studio One.
When I started talking to Bill Gibson at Hal Leonard about some book concepts, I really wanted to do a Studio One book. I think they see the potential for this DAW because they have already published Larry the O’s book Power Tools for Studio One with a second volume on the way.
My book is designed as concise introduction to the core features of Studio One. I wrote it for the person that already has some experience with another DAW. The book content is really focused on getting up to speed with the software as quickly as possible. There are also 12 new videos included with the book covering some of the key concepts that would be tricky to explain in writing.
Why Studio One? Well, besides being great software, PreSonus has been amazing to work with. I have had the chance to meet Matthias and the PreSonus Software team at PreSonuSphere and NAMM and they have been very welcoming. The rest of the PreSonus team including Rick, Jonathan, Brad, and Jim have been friendly and great hosts in Baton Rouge. I also really enjoyed presenting to a group of Studio One enthusiasts as part of PreSonuSphere 2012 last year.
At first, I was recording with Studio One as a canvas for creativity. But I realized that I could produce music end to end without really needing to use other tools. Back in March 2010 I put together my first rather crude Studio One video called “Fun With PreSonus Studio One.” That video has 42,000+ views. I think the title sums up my experience with Studio One. It’s fun to use!
You can (and should) get Bill’s book from the following retailers:
[This just in from PreSonus Artist Olesya Star, who recently completed an unusual duet.]
As an independent artist, people always tell me that to survive you have to take 2 steps left whilst walking forward or you’ll go in circles, so I always keep an open mind to new ventures, avenues and pathways through this minefield called the music biz. One such diversion presented itself to me recently in the form of a country duet, originally meant for Dolly Parton, but sung by Tim Rose. Tim was an original American troubadour who was a founding Greenwich Village folk musician in the 1960s, and former band member with the likes of Mama Cass (Mamas and Papas), and later in life Andy Summers (The Police) and Mick Jones (Foreigner). Sadly, I never met Tim Rose before he died in 2002, but by pure chance I was asked by an old friend of Tim’s if I would supply “Dolly Parton-like vocals” and work the track, originally recorded in 1988.
The tracks were originally recorded on 2″ tape, so the tape needed to be baked and digitized prior to landing on my studio desk. I had 24 tracks to play with that had been encoded at 24bit/96khz, which I brought immediately into PreSonus Studio One Professional v2. The job of identifying the microphones that were used in the original recording was completely irrelevant with Studio One, as it was far simpler just to make the recording sound how it should by using the simplest included Studio One features: Channel Strip, Compressor, Pro EQ, OpenAIR reverb and, my favorite by far, the Mulitiband Dynamics effect on the Master channel which glues the track together—sometimes much better than using summing mixers that cost in the thousands.
I recorded my vocals through the PreSonus AudioBox 1818VSL, dropped the majority of unnecessary channels/recordings, and sculpted a rough mix before handing the final session over to my producer/mastering guru, Adam Mills. Adam added some heart-poundingly heavy kick drum and a sprinkle of the missing magic by adding just 2-3% OpenAir in the Mastering/Project section of Studio One, as an insert, with a tight room preset— and no more pre-delay than 15-20ms. There you go, now I’m even handing out secrets!
The result is “You Can Hurry Darling (And I’ll Walk Slow)” which now sounds like I was in the room with Tim Rose at the same time, All thanks to Studio One and PreSonus. Here’s a sample, the full single drops Feb. 14!
[This just in from Marcus Marshall, production wünderkind with a heart of gold.]
I wanted to tell you about this video we’re proud of. This year a partner and I produced a song for Grammy-nominated artist Carolyn Malachi. The song is titled “Free Your Mind,” and it’s fully produced and recorded in Studio One.
The track is gaining momentum! It’s currently available on Google play, and will hit iTunes and Amazon in a couple of weeks.
[This just in from Paul Fattahi, Executive Director, International Music Software Trade Association. ]
Dear IMSTA Members and Friends,
As you may know, every year IMSTA conducts the “Let’s Talk Piracy” Survey in order to obtain a better understanding of the motivators behind software piracy. We then analyze the data and provide our findings, along with any observed trends to our members. It would be much appreciated if you could send this to your marketing, web, and social media teams and to ask them to promote the survey as much as possible. With your help, we could receive plenty of responses and have the results analyzed and prepared for our meeting at NAMM.
As software is of incalculable importance not just to PreSonus, but also our entire industry, Please click here to take the survey. It won’t take but a minute.
Also, feel welcome and encouraged to share your thoughts on software piracy in the comments section below. That will take as little or as much time as you like.
Kimberly Thompson is a world-class musician, producer, engineer, composer, and educator whose work has included gigs with Kenny Barron, Jay-Z, Kanye West, George Michael, Alicia Keys, and Beyonce. She’s recently moved from another well-known DAW to Studio One, and says she’ll never go back.
“Everything with Studio One is crystal clear,” says Thompson. “I’m able to hear all those ghost notes, those staccato notes, all that stuff that often gets lost in the mix. It’s an amazing program—it picks up the nuances of the sticks, the depth of the snare, and the classiness of the traditional brush strokes in jazz. It nurtures my sound while I’m recording live. I don’t feel the temptation to over-use EQ anymore—in many cases I don’t use it at all.”
Studio One’s intuitive workflow also scores high marks. “It’s a really easy program to work with, whether you’re approaching it as a producer, an engineer, a musician, or all of the above,” she observes. “Studio One enables me to keep working and be more productive.”
[This just in from MI7, our distributors in Japan!]
We exhibited at Inter BEE 2012. Recognized as a professional show for audio, video and communications, Inter BEE has established itself as an international exhibition showcasing top-level domestic and overseas broadcast, video, audio and lighting equipment as well as peripheral applications and solutions all under one roof.
We displayed two sections for music production solutions: medium-format live solution and small-format live solution. StudioLive and Studio One was most popular! The visitors enjoyed the sound and hands-on experience. We obtained approximately 700 leads! I attached some photo for your reference. Thank you for your support.
The boys at Winksound do great, great work, and we’re fortunate to have partnered with them. Here’s some of their latest, including Studio One feature breakdowns as well as some tremendous interview footage from PreSonuSphere 2012. Thanks, guys!
PreSonus Studio One 2.5 New Updates:
PreSonus Studio One 2: How To Use Event Effects:
PreSonus Studio One 2: How To Customize And Export Key Commands