When Studio One was released almost a dozen years ago, it instantly became one of the fastest-growing DAWs around. With each dot release and major update, Studio One has grown into a comprehensive powerhouse, offering features and innovative workflows not available anywhere else. We could make dozens of 10 Ten Lists of our favorite Studio One features, but here are the top 10 reasons we love Studio One today.
Studio One lets you build a sound as unique as you by letting you stack multiple instruments on a single Instrument Track. Multi-instruments can be built as layers, key splits, or both, and you can record, edit, and play them like a single Instrument. A fully customizable Macro Panel gives you control over any parameter on any stacked Instrument or over multiple parameters on multiple Instruments at the same time.
Each Multi Instrument has its own Mixer channel, while each individual output of the combined Instruments receive full-featured sub-channels. You can process these outputs with plug-ins and sends, and then save everything into a single Multi Preset. There’s no limit to the creative possibilities for creative production and sound design.
Edit fast with audio and MIDI! We’ve combined the Arrow and Range Tools to boost your audio editing efficiency through the roof. Select, move, split, or duplicate Events; trim start- and end-points of Events; adjust fades; and change the overall Event level in one seamless action—all with the same tool! Simply mouse over the upper or lower half of an Event to edit with the Arrow or Range Tools, respectively. Studio One’s smart tools change dynamically to stay in the moment with you!
MIDI Note events can be selected, moved, and resized. Plus, you can change note velocity, mute or unmute events, split events and parts, even glue adjacent notes—all with the same useful tool.
Only Studio One lets you add busses and groups on the fly right from the console. Need to add an FX Bus? Just drag and drop the plug-in you want to load to the send of any channel to instantly create the bus and the return and begin adjusting the send level immediately! Creating a drum bus is as easy as selecting all your drum channels, right-clicking, and selecting “Add Bus Channel.” Channels can be grouped and ungrouped on the fly the same way, simply select, right-click and group. Easy peasy.
Studio One pioneered the drag and drop workflow that quickly made it a fan favorite from version 1.0. More than the ability to drag-and-drop an object to a new location on the timeline, Studio One lets you use drag-and-drop to do just about anything:
No other DAW lets you work so quickly and efficiently.
Studio One comes loaded with a Native Effects plug-in suite that provides just about any tool you need for mixing, mastering, performing, and producing. These aren’t average stock DAW plug-ins, these plug-ins are so good we sell them separately for use in other DAWs. You get State-Space modeled guitar amps and stompboxes with Ampire and Pedalboard; the complete Analog Effects Collection featuring State-Spaced modeled input stages on select plug-ins; Fat Channel XT with two State-Space modeled Compressor and EQ models; a suite of analysis tools to help you fix your mix; plus inspiring effects like Autofilter, Groove Delay, Room Reverb and more!
But we didn’t stop with channel effects. Studio One Professional features the unique Console Shaper plug-in. Console Shaper uses our proprietary Mix Engine FX processing technology that affects your music across all channels on a bus, rather than just processing the bus output, as with a traditional plug-in. This allows for vintage-inspired artifacts like console crosstalk, surface noise, and drive. Mix Engine FX apply processing at a much deeper level, across any number of channels—and even in between.
Studio One is a modern composer’s dream come true, and it all starts with Studio One’s Sound Variations—the next level in articulation support—so you get the most out of the complex virtual instruments and orchestral libraries. An extended mapping editor provides tools for managing complex articulation maps, and you can drag and drop Sound Variations into any order, or place them into custom folders for lightning-fast navigation. Sound Variations can be triggered by key switches, hardware controllers, keyboard shortcuts, custom macros, or highly customizable custom layouts for Studio One Remote. It’s never been easier to use orchestral libraries to their fullest potential.
But we didn’t stop there. Modern composers need tools that let them incorporate electronic elements with traditional scoring. The Score View brings the best features of PreSonus’ award-winning notation software, Notion, into Studio One. In addition to traditional notation, you get tablature and drum notation. View multiple staves at once to work on voicing, or view just one track at a time. Scores can be printed directly from Studio One. Staff Presets make it quick and easy to create lead sheets by automatically setting up the track name, cleff, staff type, and appropriate transposition for each instrument. And of course, scores created in Studio One can be sent to Notion and vice versa.
Studio One’s Arranger Track is a simple, intuitive way to reorder, duplicate, and remove Song sections like verses and choruses. Try out different arrangements, swap sections, lengthen or shorten solos, and structure a Song exactly the way you want with a simple drag-and-drop.
Try out new arrangements on the fly using the Arranger Track Inspector. Double-click any Arranger section to jump to it without missing a beat. Drag Arranger Track parts to a Scratch Pad to experiment with new mixes, parts, and more. If you like what you’ve created, you can drag the part back in to replace the old one or put it in a new section of your song.
Studio One Professional is the only DAW that links songs and stems with finished, mastered Projects. Transfer mixes or mixed stems to the Project page for mastering—but if you hear anything you need to change, simply jump back into the Song and make your tweaks; the revised version updates with a single click, so you can continue mastering without losing any previous work.
Use Studio One Native Effects and your favorite third-party plug-ins to provide the final EQ, dynamics, and imaging control you need to create a professional sound. You’ll also find analysis tools, like spectrum analysis, M/S-processing, K-System and EBU loudness metering, phase meter, expandable level meter, and oscilloscope to provide visual confirmation to what you hear, as well as help with conformance to existing broadcast and duplication standards.
And when your masterpiece is ready, you’ll find DDP export, CD burning, and direct upload to Soundcloud and PreSonus Sphere options to share your mastered recordings with your clients and collaborators—or release your albums to the world.
Studio One 5 takes you from the studio to the stage or stream with the Show Page. Create a Setlist using songs you’re already created in Studio One, incorporating a mix of live instruments, pre-recorded tracks, and virtual instruments. Each song in the Setlist can have its own unique instrumentation, and thanks to Studio One’s incredible amp modeling and virtual synth instruments, you may never need to bring a heavy amp to a show ever again.
Songs in your Setlist can be rearranged on the fly using drag-and-drop. Use the Arranger Track to alter your performance in real-time: loop sections on the fly, jump to a different part, and automatically change patches—all without missing a beat.
When it’s showtime, turn on the clean Performance view with Setlist navigation and use the customizable, real-time controls over the parameters you want to adjust on stage: levels, parameters, patches… even launch and loop entire Song sections. Every performer on stage can use Studio One Remote v1.6 to control their performance from their favorite mobile device. Your studio sound is larger than life—now your stage persona can be, too.
Studio One is designed to grow with you. To that end, PreSonus offers a complete suite of Studio One add-ons that add new features, sounds, and functions when you need them. Add three new State-Space modeled Mix Engine FX consoles with CTC-1 Pro Console Shaper. Expand Fat Channel XT with up to eight vintage compressor models and seven classic EQs. Add otherworldly synths, pads, and more to Presence XT with Deep Flight One. Or create complete orchestrations with PreSonus Symphony Orchestra and PreSonus Studio Grand. Need even more sound control? Unlock the Presence XT’s powerful Edit Page with the Presence XT Editor and turn Presence XT into the perfect host for any custom sampler sound library.
Every Studio One Add-on is available separately, so you can buy what you want when you need it. Or, join PreSonus Sphere and get it all: Studio One Professional, Notion, every PreSonus Add-on for Studio One, exclusive Studio One features, access to curated Studio One presets and effects chains from PreSonus artists; and so much more. All in PreSonus Sphere.
The PreSonus family was heartbroken to hear about the passing of our dear friend, collaborator, and long-time partnering artist, Justin Lassen. During his career, Justin worked with such artists as Madonna, Garbage, The Killers, Lady Gaga, Lenny Kravitz, Robert Miles, Nine Inch Nails, Linkin Park, Evanescence, Apocalyptica, and more. A talented presenter and spokesperson for the democratization of audio production, Justin also worked with many high-profile technology firms, including Intel, Sony, and Konami.
It’s the word that immediately comes to mind when thinking of Justin. His love of it. The sounds around us. The noise of the world that becomes music to those willing to listen. Justin had a unique gift for hearing and capturing that music.
As a composer and sound designer, Justin was passionate about discovering unique sounds for his creations. After the release of his landmark sample library of horror sounds, White Rabbit Asylum, which has been used in such films as Underworld: Awakening and I, Frankenstein, Justin went on the adventure of several lifetimes, traveling to more than 22 countries over the course of ten years to create his masterful ambient industrial sound library, Black Fox Society. Using binaural and ambisonic microphones and field recording equipment, he ventured into caves, castles, jungles, shrines, cathedrals, bone-filled secret passages, waded down rivers, trekked over mountains, and even dove underwater on his relentless quest to collect his sounds.
PreSonus was honored to include his piece, Vulpes Obsidian Sanctum, as a flagship demo in Studio One 5. It provides a glimpse into the way Justin heard the world. Justin was a composer, producer, multi-instrumentalist, and remix artist who worked in film, sound design, and gaming—but most of all he was a friend and inspiring human being who will be deeply missed by all those who knew him.
Listen to Vulpes Obsidian Sanctum.
More than one wise grandmother has said, “When life gives you lemons, make lemonade.” In this new time of social distancing and sheltering in place, why not squeeze in (see what we did there) a little professional development into your busy schedule of Netflix, walk the dog, make a snack, Hulu, think about exercising, make another snack.
Learning about AVB doesn’t have to involve stacks of IT manuals. PreSonus has put together all the resources you need to discover what this exciting audio networking technology can do for you.
Here are Ray “The Beard” Tantzen and Mike “The Brainiac” Cole to tell you a little more about a little thing called AVB:
Ready to learn more? Awesome!
Before taking a deep dive down the AVB rabbit hole, take a quick refresher on what audio networking is and some of the fundamentals. As its name implies, audio networking allows you to transport large amounts of data over a single cable. This means that audio can be moved quickly over long distances without signal degradation or the expense of conventional analog cabling.
From distributed audio to network foundations and addressing, this article will get you started:
AVB (Audio Video Bridging) is an extension to the Ethernet standard designed to guarantee that audio samples will reach their destinations on time. AVB allows you to create a single network for audio, video, and other data like control information, using an AVB-compatible switch. It’s also the networking technology that all PreSonus StudioLive Ecosystem products use.
AVB networking offers several features that make it ideal for audio applications, find out more here:
P2P? Star? Daisy-chain? Whether you’re connecting a mixer straight to a stagebox using AVB or configuring a large system for broadcast, figuring out the best way to create your network is critical to ease of use and system performance. Check out this article to learn which configuration or combination of configurations will work best for you:
Okay, not that kind of hop, but it’s still pretty hip (Dad joke Level 16: unlocked). A hop on an AVB network is counted by the connections between AVB switches in a series. Luckily, you can make up to six hops before your network stability is effected, but it is something to consider when configuring your network. Find out why here:
Like all digital audio systems, all the audio traffic on an AVB network is synchronized using a global clock so that audio can be played and recorded while remaining in time from multiple sources. Obviously, the more audio traffic on a network, the more critical this becomes. For users familiar with traditional digital audio devices (ADAT, S/PDIF, etc.) the idea of a global clocking device will not seem unfamiliar. PreSonus AVB devices have two clocks: one wordclock and one PTP clock. Get out your pocket protector, we’re about to get geeky:
OMG. Stop. Go for a walk or something, you’re about to read a technical article on Ethernet cables!
You asked for it…
AVB networks rely on a set of standards for cabling to ensure that network performance is both reliable and consistent. These standards include specifications for the cable construction itself, as well as specifications for the termination of cabling and physical connections to devices. Deviations from these specifications can result in reduced performance and even data loss, so it’s important to use the right cable for the job, and to use good quality cable that meets the necessary specifications. Find out why here:
With concerns about COVID-19 canceling gatherings of all sizes, from SXSW to the Pearl Jam tour, musicians might be finding their own gigs also canceled or suddenly playing to an empty house. In this new and temporary era of social distance, live streaming your band’s performances might be the solution.
Live streaming is a great way to gain new fans, continue to entertain your loyal fanbase, and sell more content when you can’t play at the local summer festival or proceed with your tour as planned—but getting started can be a little daunting. Whether you’re an established band with a devoted following or an emerging artist looking to building your fanbase; live streaming is perhaps the best way to share your talent and music with a limitless audience.
PreSonus has put together this guide to help provide some tips and tricks to get started live streaming and keep the music going.
If you’re like most musicians, the quality of your performance improves when you’re in front of an audience that is participating in your performance, applauding and cheering you on. This is perhaps the biggest challenge when beginning live streaming: you must find a way to bring that same energy to a camera in an otherwise empty room.
One way to get started is to create brief excerpts of a rehearsal to use as a story in your band’s Facebook or Instagram feed. This takes off some of the pressure because the video can’t be very long. Another method is to bring the audience to you. If you’re self-isolating with your family or roommates, put them to use and use them as your audience. This lets you merge your physical and virtual audiences, giving you some comfort with the medium before the camera becomes the only member of the crowd.
When you’re first beginning to create live streams for your band, controlling the cost to your band’s budget is critical. And while there are paid services that will allow you to create a private live stream that is ad-free and customizable, until you have an established audience, the cost for these services may not be justifiable. Services like YouTube Live, Facebook Live, and You Now will let you broadcast your performances for free and are designed to help you create a relatively stress-free live stream. Some free services will even let you preview your live stream before it goes live so you can make sure the quality is exactly what you want to broadcast. The trade-off is that these free services will interrupt your broadcast with ads, but this is a relatively small price to pay. Additionally, these free services already have millions of users who may stumble on your live stream, providing greater access for more impressions.
Making your live stream look and sound as professional as possible is the best way to attract attention. After all, nobody likes to watch a video that looks bad and sounds worse. To live stream your band’s performances, you’ll need some basic video production equipment to represent yourself well. There are several options based on your budget, but here are the essentials:
The way you record the audio for your live stream is the difference between standing out and turning off your audience. If the sound quality on your live stream is professional, your band will be presented at its best. After all, your music is what will attract your audience!
The easiest way to record your band for a live stream is to use a mixer with stereo recording capability. This will allow you to create a live mix (much in the same way you create a mix for a live performance). If your band is already gigging and rehearsing, chances are you’re already looking for a good mixer. The great news is that many modern mixers offer some level of audio recording ability. Whether analog or digital, a mixer with onboard recording can provide a cost-effective solution to create an amazing live stream sound. Let’s take a look at both approaches:
At their core, most analog mixers share many of the same features and functions. The biggest advantage of analog mixers is that they’re generally less complicated and less expensive than digital mixers of the same frame size. The disadvantage is that analog mixers usually have fewer onboard features than digital mixers, and their sound quality depends entirely on the quality of the analog circuitry.
Some analog mixers, use great-sounding analog circuitry, provide EQ on every channel, offer monitor mixing options, and include an onboard effects processor for reverb and delay effects with an integrated audio interface. Depending on the mixer model, this audio interface might be a simple stereo output so you can record the main mix or provide you with a full 24-bit, 96 kHz multitrack recording interface that lets you capture every input channel, plus the main mix. These hybrid analog mixer/audio interfaces are give you all the tools you need to create your live streams and high-quality studio tracks.
Digital mixers include the basic functions provided by their analog cousins and add many tools that save you money by eliminating the need for expensive outboard equalizers, compressors, noise gates, multi-effects processors, and the like. While you don’t need these processors just to mix audio, they are essential for producing better-sounding, more polished mixes. All these tools are done courtesy of an onboard digital signal processor (DSP). This processor is responsible for routing, level control, and so on. Full-featured digital mixers provide plenty of graphic and parametric EQ, dynamics processing, and more.
Some digital mixers combine the simplicity of an analog mixer with the processing power of a digital mixer and include an onboard audio interface. Because the parametric EQ, compression, noise gate, and limiter are available on every input and output, you save the cost of outboard gear and mountains of cables, as well as the hassle of connecting it all so your live stream will sound great.
Digital mixers also provide simple ways to manage a large mix, making it even easier to manage high channel count mixes in a live recording situation by providing DCA groups. Each group is given a master level control so you can control the overall level of the group while maintaining each channel’s relative balance in the mix. In this way, for example, you can create a single fader to control every mic on the drum kit, making it easier to control the overall level in the main mix.
Many digital mixers also provide an onboard audio interface, so all you need to do is connect your gear and your computer and you’re ready to record.
If you have a studio production background and are comfortable mixing in a DAW, a traditional audio interface may be an excellent solution for you. When using an audio interface, you must route the main output from your DAW to a set of inputs on your audio interface. These inputs will be the stereo audio source for your live stream.
At this point, you will need to create a loopback for your live stream. An easy way to do this is to use the S/PDIF input and output that many interfaces. S/PDIF is a stereo digital audio standard that is ideally suited for this workaround; this is what we will be using for the loopback in this example:
When using an audio interface for live streaming, you will want to select one that also allows you to monitor your performance. Some audio interfaces offer an onboard DSP that provides low-latency monitor mixes. Other audio interfaces provide a fast enough transport speed that you can monitor your performance through the plugins and mix engine in your DAW.
Audio and video production require a powerful CPU to ensure the best performance. The computer you use can be a Mac® or Windows® PC, so you can continue to use whichever operating system with which you’re most comfortable. The first thing you’ll need to check is the system requirements for the streaming application you’d like to use. Keep in mind that the “minimum system requirements” published by any accessory hardware or software manufacturer are just that: The bare minimum computer specs that you need to get the bare minimum level of performance.
The better your computer specs are, the more smoothly your live streaming will go.
After some practice runs and careful preparation, it’s time to launch your live stream. Unlike a live performance at a local venue, the audience will be as close to you as your camera. When filming the band together, being camera-conscious means that band members should select coordinating outfits that will not distract or detract from your musical performance. It’s always a good idea to simply film a few performances and critique your camera presence before launching your live stream. Great visuals to go with your polished music production will go a long way to attract new followers and grow your audience.
One of the biggest challenges when creating your live stream might be the fear that your audio will not sound its best. Now is a great time to team up with a local live sound engineer in your area. With so many gigs being canceled, many audio engineers have lost their steady source of income. So, why not reach out and hire an audio engineer to run your live stream show for you? Even better, get a few mixing lessons so you can continue to live stream when life returns to normal. And it will go back to normal.
From your friends at PreSonus—be safe, be inspired, and keep creating.
Last autumn, PreSonus released V2 updates of our popular TubePre and BlueTube DP microphone/instrument preamps. With preamps so beloved, our intention wasn’t to completely re-create either of these products, but rather to refresh them and bring them more in-line with our current offerings.
By now, most of our loyal customers are very familiar with our popular XMAX preamp design. This circuit is employed on nearly every current interface product and, of course, our award-winning StudioLive-series of digital mixers. A little known fact is that both the TubePre and BlueTube DP preamps use early versions of what would eventually become the XMAX microphone preamp. Over time, this circuit has been tweaked and perfected into the XMAX mic pre our customers know and love. The biggest change to both V2 models was to update their preamp circuits to the current XMAX design.
Because of the updated preamp design, both V2 models feature new extended Gain Ranges: -15dB to 85dB (Mic) / -30dB to 50dB (Inst) as compared to 0dB to 60dB on the older models. Another consequence of changing to the current XMAX preamp design is increased headroom.
The original TubePre featured a -20dB pad; however the XMAX design we use today offers so much headroom that attenuation pads are simply not necessary. With the TubePre V2, the pad was removed and an input select switch was added. This allows the user to leave both their microphone and instrument connected at the same time, making it an even more convenient tool for home recording enthusiast and professionals alike.
It should be mentioned that the version of the circuit in the BlueTube DP is closer to the current XMAX design in this regard. This is why the BlueTube DP had no attenuation pad to remove.
Other changes in the V2 models are as follows:
We hope you all enjoy employing these products as much as we enjoyed engineering them! Please feel welcome and encouraged to share your recordings featuring these products on our Facebook wall.