“The way I found out about Studio One and PreSonus: I had lunch with Bob Moses (president of the Audio Engineering Society at one time)… and I asked him some questions about what he would recommend: what company was reliable, had integrity and specifically he said ‘you should look at PreSonus’ so that’s what I came away with”Kevin Paez, Musician/Audio Engineer @bunnytonemusic (2022)
Under the musical direction of Conductor, Thomas Leslie and the production team of Wendell Yuponce, executive producer, David Garcia, recording engineer and mixer and Kevin Paez, assistant recording engineer; the award winning University of Nevada at Las Vegas (UNLV) Symphonic Wind Ensemble recently worked with special guest artists: John Patitucci (Chick Corea, Part Metheny, Herbie Hancock, numerous others), Eric Marienthal (Chick Corea, Elton John, Billy Joel, numerous others), Mitchell Forman (Phil Woods, Carla Bley, Wayne Shorter, numerous others) and Bernie Dresel (Count Basie, Maynard Ferguson, Woody Herman, numerous others) and have recently completed initial tracking of a new recording project with a slate of all new wind orchestra works.
PreSonus Studio One DAW and Quantum 2626 audio interface captured the creative musical magic that flowed out over the span of nine days as the musicians tracked live onstage at the Artemus W. Ham Concert Hall on the UNLV campus.
This musical collection was commissioned to highlight the groundbreaking curriculum at the UNLV Wind Studies Department, which has an extensive history in expanding the repertoire of wind orchestra compositions and allowing students within the program the unique opportunity to interact with living composers of note while adding to the overall evolution of musical expression within the field of wind orchestra.
Lillian: Isabel and I met in high school back in 2016 and became friends through our shared love of music. I can remember one day getting a ukulele and showing Isabel. We would always mess around, but one day we were like, “let’s write a song.” I can remember Isabel’s dad was picking her up and we had not finished the song. He arrived at my house and we were so excited to share it. We played it for him and he loved it. From there we knew that we could write. We began going to open mics at a local coffee shop and played our songs there. After we wrote a few songs, our friends started hearing them. We grew a following and support from our friends and family. We competed in our school’s talent show with an original and got so many positive reviews.
Being in high school, it was hard to get a gig. Our town is small and there are not many opportunities for kids like us. After we had gone to the open mic multiple times, the coffee shop owner reached out to us and wanted to book us to play our music there for two hours. This was the opportunity of a lifetime for us. When the show came, we packed the place out. Our friends and family came to support us and we had the best time ever. It was such an awesome moment to play our songs and have people sing them with us.
This was something Isabel came up with and it stuck. The phrase “Happy to be here” is something that we are whenever we go to play shows. We are so grateful for the opportunities we are given, so the name is fitting. The only difference between the phrase and our name is that the word to is spelled “two” because there are two of us!
To date, we have written about six or seven songs in total, and we plan to write many more in the future! We both have a passionate obsession with music and songwriting, so it’s always easy for us to collaborate.
The spring of 2020 was like no other. Isabel and I had been at different schools by this time, but wanted to release a song. I remember Isabel posted something on Instagram and I heard a groove with it. I sent her a demo and we got to writing. We would send voice memos back and forth because of the lockdown. In the end we created a song and music video all from home. The song, “Stay,” and its music video can be found on our individual Instagram accounts (Isabel) and (Lillian).
I have been living in Nashville for about two years now and love it. I am a student at Belmont University and have been truly blessed by PreSonus and what they have done. While it might seem small, their help has made me a better musician and opened many doors. Creating this project with PreSonus stuff helped be gain more knowledge with recording software. I was able to use what I learned in my own experiences and from audio engineering classes to start a job as a touring musician. The Quantum 2626 has traveled with me around the States! I have been able to drum at multiple music festivals with headliners like Miranda Lambert and Luke Bryan, using PreSonus’ gear for all of my needs during my set. Without their help, I could have easily been passed up for the gig. I am so grateful for their support!
Isabel: Working with PreSonus was such an amazing opportunity for us. Due to the pandemic and the fact that we attend different colleges, we’ve struggled with continuing our songwriting and performing as a band. PreSonus decided to assist by providing us with audio tools (Revelator USB Mic, HD9 Headphones, Quantum 2626, DM-7 Drum Mics and Studio One recording software, via PreSonus Sphere memberships) to begin creating our music via online collaboration. We wrote “Never Met,” which was something we never finished in 2019 — and it will be available for the general public on Spotify, Apple Music, YouTube, and more soon!
Discovering new sonic universes to explore is what being a musical artist is all about!
Let’s dive into RMB Justize’s discussion about his worlds of sound, and how he does it all with PreSonus Sphere:
“Versatility and persistence are a deadly combination of characteristics. They are much-needed weapons to have in an artist’s arsenal.”
Based in Chicago, IL with ties to the DMV area… Taylor Gang’s in-house producer Ryan “RMB Justize” Baker grew up in a musical household, his mother being a classical violinist for the Chicago Sinfonietta, exposing RMB’s ears as early as six years old.
“I caught the music bug from Mom, for sure. I remember turning 11 or 12 and having nothing but a voice recorder and a Yamaha DJX keyboard. Skateboarding was the thing back then, with influences ranging from Sum 41 to Incubus to The Neptunes and Noreaga. A couple of years later I finally dove into making music with computers, using every piece of software I could get my hands on until now. But… then came PreSonus Studio One, which changed it all for me.
“The interest came from an artist I worked with at the time—he wouldn’t stop mentioning it! After spending countless months into years on ProTools, FL Studio and Reason, I wanted a program that could do it all. I’m a religious template maker, as most are, so the workflow determines the imagination most if not all of the time and Studio One takes care of the madness with ease. Let’s just focus on the music and pushing envelopes more than finding where to click certain stuff. PreSonus did it right, ranging from AudioBox interfaces I’ve owned in the past, all the way to the new Quantum which gives me more than enough power to control the room.”
Since the premiere of Studio One version 5 in July of 2020, RMB has become a power user… eventually convincing a few fellow producers and artists to try it, if not make a full switch.
“There have been times where I’ve walked into big label studio sessions and people look confused because they’ve never seen Studio One in person! Once I show my way of doing certain things, using certain plug-ins in certain ways, they’re overly surprised. It’s hands-down the fastest program, which lets me flex my mind-work and turn my rough thoughts (even voice notes) into full records. I’ve had people come to my studio for sessions and look surprised when they ask why I use it. You have to try for yourself to find your workflow.”
Honorably noted, PreSonus Sphere has made his processes for online collaboration, recording, mixing, and mastering an album-quality one-stop-shop, helping the migration become a breeze. Especially during times of a pandemic where people can’t communicate like they normally would, it’s a necessity.
“I think all DAWs should have an ecosystem such as PreSonus Sphere, whether you’re just getting started or an A-list musician. The tools available make it seamless to share files and keep up to date on things like deadlines and most recent notes/mixes, rather than scrambling through emails and hard drives (which we can all relate to, I’m sure). Having that system in one spot, one site, one page, actually kept me in line when finishing a label record and staying up to date without confusion.” (Chevy Woods—Since Birth)
Recently focusing more on production and audio engineering as well, the AAF import feature has been a godsend.
“I still find myself walking people through how to convert sessions to AAF rather than tracking out. There is no other program that will line the session up identically with automation and fades, to say the least, which saves more time than I expected. That’s just a small piece of my realization, of how capable this DAW is. Cheers, PreSonus!”
Since the start of the COVID-19 pandemic, RMB’s main focus is to create cutting-edge music, knowing he has the perfect DAW to do so, with no issues.
This is a fun one going on with our friends at Splice. Mix “Nobody’s Gonna Love You” into a radio-ready track to win hardware and software from us, the Mixing University course from Recording Revolution, an Eyeball microphone cover, and a call with Briana Tyson.
Longtime friend and PreSonus advocate Brian Lorelle of OBEDIA and PC Audio Labs recently interconnected four Quantums and four DigiMax DP88s for a series of test runs in his laboratory in Nashville, taking a close look at CPU usage and latency under varying conditions including different sample rates, plug-in counts, buffer sizes, etc. If you’ve been looking for a Windows recording solution that takes advantage of the speed and power of Thunderbolt, with tons of I/O, this is a must-watch!
What’s your favorite thing about your job? Why did you choose to work here?
Everyone has a side gig, what’s yours?
Playing, producing and writing music.
Why did you choose this as your favorite?
Simply put, this product inspires me to be creative, makes me want to make music and sounds amazing—recording an alto saxophone can be difficult as there are a lot of high frequencies that are difficult to reproduce/capture unless you have high quality mic pres and converters, the Quantum and Quantum 2 capture my sound perfectly and makes me sound great. I practically like the Quantum 2 because of the size and portability and I don’t need more than 4 mic pres.
Got any tips for working with the Quantum 2?
Plug it into your Thunderbolt port, open Studio One or your favorite app and hit record, then watch what happens!
Every design decision during Quantum’s engineering was made with one goal in mind: speed. PreSonus Quantum sports high-speed Thunderbolt connectivity and a no-frills, direct-to-daw architecture, with no DSP. The result is our leanest, fastest, lowest-latency interface to date.
Audiophile-grade digital converters, low-jitter clocking, and recallable preamps add up to a superior recording and listening experience. The Quantum operates at up to 192 kHz for ultra-high-definition mixing and recording. High-quality converters on every input and output provide 120 dB of dynamic range to capture complex musical harmonics smoothly and naturally with no audible distortion. And our recallable XMAX Class A analog microphone preamps deliver incredibly high headroom, deep lows, smooth highs, and a rich overall sound so you’ll hear every breath, transient, and detail in your recordings.
Cutting-edge 24-bit, 192 kHz converters with 120 dB of dynamic range and a surprising amount of expandability and software control options round out the package.