PreSonus Blog

10 Not-Hitting-Drums ATOM Tips

It’s easy to assume ATOM is an MPC-type pad controller, and ignore it if that’s not of interest. But ATOM is tightly integrated with Studio One for navigation, editing, and more, and also works with third-party software—which even applies to third-party software (like virtual instruments) running inside Studio One.


1. The Auxiliary Keyswitch Keyboard

The problem: you have a 4-octave keyboard, but you’re using a program like SampleTank or Kontakt that uses lower-octave keys for keyswitching. The solution: Add ATOM as an auxiliary keyboard for triggering keyswitches (Fig. 1).

Figure 1: IK SampleTank’s lower keys trigger loops (as identified with arrows), while the upper keys play one-shots. You can set up ATOM to play the lower, keyswitched notes, and play the one-shots from your main keyboard.

1. Select the Instrument track and set it to All Inputs, so it receives notes from the main keyboard and from ATOM.

Figure 2: Use Pads 15 and 16 to cover the desired keyboard range for keyswitching.

 

2. Tap Pad 15 to transpose down an octave (Fig. 2). Each tap transposes down another octave. To keep track of how far down you’ve transposed, Pad 15 is orange at the default octave, tan = -1 octave, purple = -2 octaves, and red = -3 octaves.

3. Tap Pad 16 to transpose up an octave. Each tap transposes up another octave.

Considerate Bonus Feature: ATOM remembers the octave settings for different instrument tracks, even if they’re not instruments bundled with Studio One.


2. “Feel Factor” Changes

Leading or lagging rhythms by only a few milliseconds can make a major difference in the “feel,” the mix, and therefore, the music’s emotional impact (for more about the “feel factor,” please check out this article on my educational site, craiganderton.org). But how can you do that with Studio One, whose highest resolution goes to 64th notes? It’s easy with ATOM—and frankly, this feature alone justifies ATOM to me. The following works with both note and audio data.

1. In Studio One, turn off snap.

2. Select the notes (or audio Events) whose timing you want to shift.

Figure 3: You can lead or lag events in 1 millisecond increments with ATOM.

 

3. On ATOM, press and hold Nudge (Fig. 3).

4. Tap the Left button to move the selected notes or Events ahead (lead) by 1 ms, and the Right button to move the selected notes late (lag) by 1 ms (Fig. 4).

Figure 4: The timeline shows seconds. The note outlined in orange has been nudged 5 ms later.

This is huge. Try moving percussion a few milliseconds ahead of the beat to give a more “urgent” feel, or a snare a few milliseconds after the beat for a “bigger” sound.


3. Don’t Panic!

Stuck notes? No problem—see Fig. 5. (Note: the upper left Setup button needs to be off.)

Figure 5: It’s easy to nuke stuck notes with ATOM.

1. Press and hold the Quick Setup button, and select the track with the stuck notes.

2. Tap Pad 4 to send an All Notes Off command.


4. Tap Your Tempo

This is one of my favorite features for songwriting, because it’s a lot easier to tap a tempo (Fig. 6) than tweak it when you have a song idea.

Figure 6: It’s easy to capture a song’s “feel” when songwriting by using tap tempo.

1. Tap the Song Setup button in the upper left.

2. Tap Pad 2 at the desired song tempo; this sets the tempo in the control bar.

3. To fine-tune the tempo, turn Knob 2.


5. The Hands-On Instrument Browser

You can call up instruments and presets quickly with ATOM (Fig. 7).

Figure 7: ATOM plays well with the Browser.

1. Press Setup, and it glows orange.

2. Toggle the Browser show/hide by tapping Pad 13 (Browser).

3. When the Browser is open, use the Up  and Down buttons to go up and down through the list of instruments and presets. Use the Right button to open a preset list, and the Left button to close the list.

4. When you have the preset or instrument you want, press Select. This creates an Instrument track with the currently selected preset, or the instrument itself if no preset is selected.


6. Wicked Fast Exclusive Solo

There are many times—especially when proofing tracks before mixing–that I want to be able to select tracks quickly, and go into exclusive solo mode (i.e., only that track will be soloed—even other tracks that are soloed will be muted). It’s super fast if the Arrange View or Console has the focus (Fig. 8).

Figure 8: Step through tracks quickly, and “exclusive solo” them, with ATOM.

1. Tap Setup, and it glows orange.

2. Use the Up button or Left button to step up through tracks, and the Down or Right button to step down through tracks. (That’s kinda cool that either one Up/Down or Left/Right works, because it’s natural to use Up/Down in the Arrange view, and Left/Right on the Console).

3. Tap Pad 3 to mute the selected track.

4. Tap Pad 4 to solo the selected track, or Alt+Pad 4 for exclusive solo.


7. Control FX Chain Macro Knobs

Figure 9: Want hands-on control over the various FX Chains I’ve presented in these Friday Tips? ATOM can do it.

This is an easy one. Call up an FX Chain. Move the ATOM knob you want to assign to a Macro control. Right click on the Macro control. Assign it to the ATOM knob (Fig. 9).


8. Faking Studio One as a Third-Party Application

ATOM is happiest when playing with Studio One, because of the tight integration. But I still use Cakewalk’s Rapture Pro in a lot of tracks; I sampled a ton of Gibson basses, and made what I think are some really cool instruments with them. Unfortunately, in theory you can’t use ATOM’s aftertouch or knobs as a generic control surface when running in Studio One…but hey, we laugh at theory around here! You can, by faking Studio One into not recognizing ATOM as ATOM.

1. Go to Studio One > Options > External Devices, and remove ATOM.

Figure 10: How to fool ATOM into thinking Studio One is a third-party application.

2. Click Add, and choose New Keyboard (I named it Faux ATOM; see Fig. 10). You don’t need to Send To anything. ATOM’s status light at the top will glow green to indicate ATOM isn’t under Studio One’s control.

3. If your instrument has MIDI learn, assign the four controls or aftertouch however you want, and record as you would any automation from a control surface (Fig. 11).

Figure 11: The screen shot shows the results of recording ATOM’s Macro Knob 3 as a control source for a third-party synthesizer.

 

Don’t worry, you haven’t lost ATOM. Go Studio One > Options > External Devices, and remove Faux ATOM. Click on Reconnect; Studio One finds ATOM, and lists it as an external device. Another option is to close and re-open Studio One (ATOM gets added automatically).


9. Cool Event Editor Stuff

The documentation seems to imply that you can do cool event editor things only with the Instrument track, but that’s not quite true—you can do plenty with audio tracks as well.

1. Press the Editor button (in the left side, under Event). It doesn’t matter if Song Setup is on, because if it is, hitting Editor turns it off. The Edit view appears.

2. To hide the Edit view, hold Shift and tap Editor.

While in the Editor (or with audio tracks, the Arrange view):

The Left/Right buttons step through either MIDI notes or audio events.
Pad 9 Duplicate and Pad 10 Delete work as expected with notes or audio events.
If you opened Edit view from an Instrument track, then Pad 11 Velocity- and Pad 12 Velocity+ change the selected note’s velocity; Up/Down move the selected note up or down in semitones.
If you opened the Edit view from an audio track, then the Up/Down buttons step up or down through the tracks to select the track of your choice.

10. The More Ways to Undo, the Better

Figure 12: No one will ever know you made that horrible mistake if you undo.

Hold Shift and tap Undo (Fig. 12) to undo your last mistake…because there are never enough ways to undo!

Celebrating 10 Years of Studio One with 10 Days of Giveaways

 

 

 

If you haven’t heard, we’re celebrating 10 years of Studio One this month! Starting September 16, we’re hosting a giveaway on our social media channels.

Prizes include daily copies of Studio One 4 Professional, and a single GRAND prize including a FaderPort 16 and a pair of R-Series studio monitors will be awarded to one lucky individual on September 27! 

Here’s what you need to do to enter:

  1. You must follow PreSonus on Instagram and Facebook
  2. Post a 10-second video of yourself answering the question, “What do you love about making music?”
  3. Post the video to your account and include the hashtag #StudioOneGiveaway in the caption

START SUBMITTING ENTRIES TODAY!

All the winners will be chosen at random from the hashtag. One winner DAILY! One entry per day max, please. Private accounts will not qualify, so set your profiles to public if you want to win!

This is a global giveaway and will run September 16 through September 27. Winners will be contacted directly by PreSonus.

Join the Studio One Fam today!

Ten FX Chain Splitter Tips

Hey—September is Studio One’s 10th birthday!! It’s past the “terrible twos,” getting really good grades in school, becoming smarter with each update, and has become highly proficient at riding a bicycle. It’s a good kid.

For those who weren’t aware of its birth a decade ago, half the music industry thought the idea of PreSonus coming out with a baby DAW was ridiculous. The other half felt differently; instead, they simply thought it was stupid. There was plenty of hearty laughter around the NAMM show, as people placed their bets on how many months Studio One would last before it went away. After all, how could an upstart that didn’t even do surround compete with well-established DAWs?

Never mind.

Anyway, here we are ten years later, so I thought—why not make each Friday Tip of the Week for this month ten tips? We’ll start with one of my favorite Studio One features, the Splitter.

  1. It’s great that you can specify the number of splits. The Channel Split mode makes sense with two splits—one is left, one is right. With 4 splits, the two on the left are the left channel, the two on the right, the right channel. But what about 3 and 5 splits? With 3, the middle is the right channel, and the other two are the left channel. With 5 splits, the left-most, right-most, and center splits are the left channel; the remaining two are the right channel (Fig. 1).

Figure 1: Meatloaf says “two out of three ain’t bad.” Studio One says “two into five can be cool.”

  1. The Mute Output buttons for each split make it easy to audition individual splits (Fig. 2, outlined in red). If a split is muted, then an almost invisible little switch opens up in the split. I think this switch should be brighter, so thanks to the miracle of public-domain Paint programs, I’ve made it a lighter shade of gray in the screen shot…hopefully the developers over in Hamburg, Germany will see this and think “hey, that’s a great idea!” (or more likely, “das ist eine großartige idee!”).

Figure 2: The Mute Output buttons circled in red are a stupendous (and I don’t use that word lightly) feature for when you want to isolate what a particular split is doing to your audio.

 

3. The bad news: none of the split parameters are automatable. I’ve been told Studio One needs to be old enough to get its driver license before this will be possible.

4. The good news: the effects you bring into the splitter are automatable. So if you want to automate a split’s level, then bring in a Mixtool, and rock out.

5. Because you can rename the effects you bring into an FX Chain, this makes life sooooo much easier when you have a really complex setup involving multiple splits, and need to be able to identify at a glance those effects you want to edit.

6. The level controls in the splits themselves don’t respond to mouse wheel scroll, but the ones in the left panel do – you don’t even have to click on one, just hover over it and scroll your mouse (Fig. 3). This is also true with the frequency sliders in the Frequency Split mode. Bonus tip! Ctrl+click on a slider to return it to 0 dB.

 

Figure 3: The level controls outlined in yellow respond to the mouse scroll wheel.

7. The Frequency Split mode is ultra-cool, because now you can have up to a five-band crossover. This is the kind of gadget Q would have made for James Bond, if Q had been a Studio One programmer. It makes multiband processing so incredibly easy—those who aren’t taking advantage of this aren’t taking full advantage of Studio One.

8. When used as a Frequency Split crossover, there will always be a minimum of a 100 Hz frequency difference among bands so you can’t do something dumb (like have two frequency band split points be at the same frequency.)

9. The FX Chain window is resizeable—you can extend the right and bottom borders. This is helpful when you’ve gone crazy with a split-based FX Chain (see next).

10. Splitters can go to splitters, which can go to splitters, which can go to splitters, [cut and paste]…so not only can an FX chain have series, parallel, and parallel/series effects, it can have parallel/series+parallel+series/parallel effects. The mind boggles (Fig. 4).

 

Figure 4: This FX Chain doesn’t actually do anything…or maybe it does…who knows? But it shows how the Splitter can help you can go really nuts with insane combinations of effects, if you’re so inclined.

 

 

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Buy a FaderPort 16, Get a FREE ATOM!

Starting now through the end of October 2019, whenever you buy a FaderPort 16, score a FREE ATOM with a mail-in rebate. To get your free ATOM, you must have purchased a Faderport 16 between September 1, 2019 and October 31, 2019. That’s $150 USD for FREE! The entry form attached below must be received at PreSonus by December 1, 2019.

Everyone is talking about the ATOM! Check what some of our favorites are saying…

The ATOM is a powerhouse of a pad-oriented control!” —Sound on Sound

Highly recommended the ATOM for the singer-songwriter that needs to make quality demos!” —American Songwriter Magazine

PreSonus ATOM is not only a lightweight and portable drum pad controller but the perfect complement for beat production with Studio One 4.” —Tobias Homburger, Bonedo.de, December 2018

WOW… You can experience the ATOM for yourself when you buy a FaderPort 16!

This is a global offer and available NOW!

 

CLICK HERE FOR THE REBATE FORM IF YOU’RE IN EUROPE! 

CLICK HERE FOR THE REBATE FORM IF ANYWHERE ELSE IN THE WORLD! 

 

 

Craig Anderton Books

Sometimes a product comes along that’s a certified hit—and Craig Anderton’s downloadable eBooks certainly qualify.

How to Record and Mix Great Vocals, released in January, has helped thousands of Studio One owners record world-class vocals. In June, More than Compressors – the Complete Guide to Dynamics in Studio One appeared, and de-mystified the sometimes complex applications of Studio One’s sophisticated dynamics control processors. The book impressed Studio One developer Arnd Kaiser so much he said “This is could easily become the de-facto reference for Studio One users on all things ‘dynamics.’ Very cool—and highly recommended.” We couldn’t agree more! Both eBooks are currently in the PreSonus shop for the low price of $9.99 each, and will expand your knowledge of Studio One exponentially.

Widen Your Mono Guitar—Sans Problems

Your guitar is most likely mono. But sometimes you want a wide, full, stereo image. I can relate.

One technique is to send the guitar track to an FX channel, insert a delay set for a relatively short delay (like 25 ms), and then pan the original track and FX channel oppositely. But if you sum the signals to mono, then there’s the possibility of cancellation. In fact, I saw a guy in an internet video who said this was a terrible idea, and you should just overdub the part again and pan that oppositely if you want stereo.

Well, overdubbing is an option, assuming you can play tightly enough that the parts don’t sound sloppy. But don’t forget Studio One has that wonderful Channel Mode button on the Main output, so you can test stereo tracks in mono—simply adjust the delay time for minimum cancellation. You won’t be able to avoid cancellation entirely, but tweaking the time may keep it from being objectionable (especially once the delay time gets above 25 ms or so, because that’s more into doubling range). To make any phase issues even less noticeable, lower the delayed sound’s level a little bit to weight the sound more toward the dry guitar.

But I wouldn’t be writing this tip if I didn’t have a better option—so here it is.

  1. Pan your main guitar track to center.
  2. Send it to two FX Channels.
  3. Insert an Analog Delay in each channel, with Mix set for 100% delay, Factor to 1.00, Mod to 0.00, and Width fully counterclockwise. Pan them oppositely. Set the damping as desired. The screenshot shows a good starting point for your settings.

  1. Set different delay times, preferably somewhat far apart, for the two delays. I prefer prime number delays (3, 5, 7, 11, 13, 17, 19, 23, 29, 31, 37, 41 ms) so the delay timings don’t interfere with each other. For example, set one delay to 11 ms, and the other to 29 ms.
  2. Bring up the levels of the two delayed channel to create a pleasing stereo spread. It won’t be as dramatic a spread as using one dry and one delayed sound panned oppositely…but frankly, that “super stereo” effect sounds gimmicky compared to a full, robust stereo image. However, if you do want a more dramatic stereo separation, drop the center channel guitar by 6 dB in relation to the FX Channels that are panned right and left—you’ll still get most of the benefits of this approach. (You may need to group all three channels, and raise their levels a bit to compensate for the drop from lowering the center channel level.)

Now, here’s where the magic happens. Set the Main output mode to mono, and you’ll hear virtually no difference between that and the “faux stereo” signal, other than the stereo imaging. The reason why is that now, we have a guitar in the center channel—so choosing mono creates a center channel buildup. This raises the main guitar’s level above the delayed sounds, so there’s virtually no chance of audible cancellation, and it balances the level better between the stereo and mono modes.

Now you have a wide guitar that sounds equally loud, and is phase-issue free, in mono or stereo—happy Friday!

The Bigness of Huge Drum Sound

So…you want some huge drum sounds? Here you go. This is super well-suited to hip-hop and EDM, but can also give a monster drum sound for rock. The star of this show is the Softube Saturation Knob and FX Chain Splitter.

Drums lend themselves well to a little crunch, but there are limitations. If you apply a bitcrusher or distortion effect, the sound will become indistinct—which may be what you want, but I prefer a monster low end and a more defined high end. This usually requires a couple tracks with a crossover (or a track/bus combo with filtering), but the Splitter module makes it easy to do this in a single FX Chain.

Here’s the overall view of the FX Chain.

 

The first effect is a limiter, which is optional—but it can add a nice bit of squashing. The signal then proceeds to a Splitter set for a Frequency Split, with a crossover point around 220 Hz. The low-frequency split (to the left) goes to the Saturation Knob. You have some choices here; the Keep Low setting gives a boomier bass (hip-hop fans take note), while the Neutral and Keep High settings give a tighter sound—good for rock and dance, where you’ll often want the kick to make room for the bass part.

Meanwhile, the high frequencies split off to a Pro EQ and Mixverb. The Pro EQ helps compensate for the low-frequency split’s hugeness by boosting the highs with a broad peak. The Mixverb is a cheap ’n’ cheerful reverb that’s happy to provide a bit of room ambiance.

Finally, the Mixtool at the end provides a Trim control so you can match the enabled level to the bypassed one.

The Channel Editor brings out the crucial controls and is pretty self-explanatory. There are controls for the Saturation Knob’s two parameters, Frequency/Q/Gain controls for the high-frequency EQ stage, a Squash control to push the limiter, Room level, and Trim to adjust the final output.

So is it worth the effort to construct this FX Chain? Yes! But you don’t have to…

Download the FX Chain here!

 And you probably want to hear what it sounds like, so check out the audio example. The first half is a straight acoustic drum loop from Studio One’s library, while the second half has been converted into a Bigness of Huge drum loop. They’ve been normalized to the same peak level for a fair comparison.

 

Filling the Pipeline

Plug-ins have changed my life, and probably yours. Yet some hardware effects have no software equivalent—like boutique guitar effects, or tube-based equalizers. And there are even unique digital effects, too, like Roger Linn’s AdrenaLinn.

I wanted to use these with Studio One’s Pipeline XT plug-in and the Studio 192 interface, but never got the combo working properly. There were feedback problems, leakage into other channels, and various issues. After hours of trying different mixer settings, and searching the net, I couldn’t find an answer.

Then it dawned on me: PreSonus support! They had the answer, so hopefully this tip will not only inspire people to take a look at Pipeline XT, but help those who haven’t quite figured out how to use it in the PreSonus mixer ecosystem.

PREPPING THE STUDIO 192

Universal Control allows using Studio 192 (with a computer and enough I/O) as a digital mixer, but that’s not necessarily what we want with Studio One. To optimize the Studio 192 for Pipeline XT:

  1. Open Universal Control, and choose the Scenes screen (Fig. 1)

    Figure 1: How to reset Studio 192 to its default settings.

 

  1. Click on Studio 192 Default.
  2. Click on Recall. Now the Studio 192 has its default settings.
  3. Go to Universal Control’s System window, and choose Mixer Bypass (Fig. 2). Now, all the I/O is under Studio One’s control.

Figure 2: Universal Control’s mixer is now bypassed, so all the I/O is controlled from within Studio One instead of the mixer.

  1. When you open a project, remember to go into Song Setup and restore anything that’s not the default. For example, if the output usually goes to Headphones 1 for tracking instead of the Main out, make that assignment. Also consider saving this setup as the default.

PREPPING SONG SETUP FOR EXTERNAL HARDWARE

We’ll use the AdrenaLinn as the example. It’s a mono in/stereo out device, but you can choose a mono or stereo output to feed it (I chose stereo because AdrenaLinn isn’t the only hardware device I use with Pipeline XT).

  1. Assign outputs for the hardware. Go to Song Setup, Audio I/O Setup tab, choose Add Stereo, and then click on the desired outputs in the matrix (Fig. 3). I have patch cords connected semi-permanently to these output jacks so they’re available for any hardware I want to use.

 

Figure 3: Interface outputs Line Out 5 and Line Out 6 are dedicated to external hardware devices.

 

  1. Now assign the inputs that will receive the outputs from the hardware (Fig. 4). I use inputs 1 and 2 because they’re on the front panel, so they’re easy to access—I don’t have to reach behind the rack.

 

Figure 4: Studio 192 inputs for Mic/Inst 1 and 2 accept the outputs from the external hardware.

Note that you can name these inputs and outputs you just added. Save this Song Setup by clicking on Make Default if you plan to interface Studio One with this same setup hardware in the future. Otherwise, you’ll need to go through the assignment process again. If the setup is saved as a default, when you want to use a hardware effect, Studio One will know where to find it.

TIME FOR PIPELINE XT

This part’s pretty easy. Insert Pipeline Stereo as if it was a regular plug-in. Pipeline XT compensates automatically for the latency that accumulates from sending audio through the outputs, through an effect, then back into Studio One’s interface inputs. What’s more, it’s easy to assign the inputs and outputs in Pipeline XT, because you named them in Song Setup (Fig. 5). Pipeline XT will now divert the channel output to your hardware, and bring the hardware output back again into your channel.

 

 

Figure 5: Pipeline XT is ready to go—its in and out have been assigned to the AdrenaLinn I/O, and the signal path has been compensated for latency.

 

In my experience, Pipeline XT compensates for latency without having to anything further. However, you can click on the wrench and have Pipeline XT compensate automatically, or do so manually. You can also tune out delays by ear. For example, load a drum loop, and copy it to the track with Pipeline XT. Listen to both tracks together, and adjust the Pipeline Offset parameter until the two tracks sound synched. (Note that if you try automatic compensation, it’s best to bypass the effect. With time-based effects, Pipeline XT won’t know which is the “real” signal for which it should compensate.)

 

Once Pipeline XT has been configured for a particular piece of hardware, you can store the setting as a preset for later recall—just like any effects preset. For me, 90% of the time I’m using external hardware for guitar effects. They operate similarly to AdrenaLinn, so I can just recall that preset.

 

There are a few other considerations unique to using external hardware.

 

  • Most guitar effects are designed for low input levels. You’ll need to bring Pipeline’s Send control way down to avoid overloading the effect.
  • Similarly, you may need to raise the Pipeline’s Return control to bring up the effect’s low-level output.
  • You have to use real-time bounces when using external effects, because the audio is being processed in real time through the hardware.
  • We’re spoiled by being able to use multiple instances of a single plug-in, but hardware doesn’t work that way—one piece of hardware works with one track. That said, you can insert multiple instances of the same effect in different channels using Pipeline XT, but I don’t recommend it because the channels sum together.
  • You can take a picture of the external hardware’s front panel control settings, and include that image in a Pipeline plug-in preset. With AdrenaLinn that feature isn’t really relevant. But for boutique effects with knobs, this is a very useful feature.

Heartcast Media in Washington, DC and the StudioLive 16

Heartcast Media is a dedicated full-service studio in Washington, D.C. that works with clients to create high quality, authentic podcast content that inspires, educates and connects. Molly Ruland and her team specialize in working with entrepreneurs, visionaries, and businesses of all sizes who have an impactful point-of-view.

Woman-owned Heartcast Media is the vision of Molly Ruland who is dedicated to helping individuals and organizations bring their authentic, original content to life through podcasts. A sister-company to One Love Massive, Heartcast Media clients range from go-go bands to conservative political commentators.

They’re also PreSonus users—and have recorded 85 bands and 150 podcasts in the past 11 months alone!

We think Molly’s business idea is genius, and of course we’re glad that they’ve chosen the StudioLive 16 for their time-sensitive workflow. From the Heartcast website:

We have fully embraced technology and have figured out how to eliminate post production with real time video editing and audio mastering. We deliver all files within 48 hours of recording, typically within 3-4.

We’re proud to be a part of their process, so we wanted to hear more about how this whole operation works. Read all about Molly and Heartcast Media….

Tell us about your background. How long have you been in the audio industry? 

I have owned and operated a multimedia company for the last 20 years. I was primarily focused on artist bookings and events. Creating an aesthetic has always been my passion. 

How has the audio industry changed since your early days?

Everything is so streamlined now, and the gatekeepers have been removed. I love the idea of accessibility and practicality. Information is readily available which has opened doors for people who weren’t always welcome at the table, and I think that’s great. 

How did Heartcast Media come about? 

After recording 85 bands and 150 podcasts in 11 months, I realized that my passion and vision align perfectly through podcast production. I love amplifying voices, I always have. I saw a need in the market for high-quality turnkey podcast production, so I created the business to solve that problem. We do things differently—we embrace technology, and by doing so we are able to eliminate the need for a lot of post-production. This saves people time and money and our clients love that. 

What’s your favorite podcast right now? Are you allowed to have a favorite? 

Tom Bilyeu’s Impact Theory. No question, hands down. Game changer for me. 

Tell us about your podcast. Where did the idea for your podcast come from? How does your first podcast compare to your most recent? 

I have just launched The Lower Third Podcast because I know so many amazing people whom I garner so much inspiration from, and I wanted to interview and talk to them about mindset and passion. It’s a work in progress. I am looking forward to producing more episodes. However, my passion is producing other people’s podcast and helping them be successful. 

There are so many podcasts these days. How do you stand out? 

Having a plan for your podcast is imperative. Every podcaster should examine how and if their podcast is providing value. If there isn’t a clear answer, you don’t have a podcast yet. 

What challenges do you face recording a podcast?  

I am positive that most people don’t understand how much work goes into creating and producing a podcast. It’s a lot of work. It’s not cheap either, and anyone who tells you can start a podcast for $100 is delusional. If you are going to start a podcast you have to have a lot of resilience and a strong sense of self, because it will be a heavy rock to push uphill until you get momentum. It will not happen overnight. 

What advice do you have for someone who wants to start a podcast? 

Have a plan, understand the workload, and always be open to being wrong. 

How did you first hear of PreSonus?

I learned about PreSonus through Adam Levin at Chuck Levin’s Music Center in Wheaton, Maryland. It’s legendary. 

What PreSonus products do you use?

I have the StudioLive 16 in my studio, and we love it. It’s a little more than we need for podcasts, but we also produce live music events so it’s great to have a board that can do both. It’s a solid piece of equipment with really great features that fit our needs. It’s a beautiful board, what’s not to love?

Recent projects? What’s next for you?

My goal is to produce the best podcasts coming out of the East Coast by elevating and amplifying voices in my community that will make the world a better place, one conversation at a time. Every city should have a Heartcast Media. 

Stay connected with Heartcast Media on Instagram! 

Learn more about the StudioLive family here!