Sometimes when you get inspired, you don’t have time to wait before laying down some tracks. But then you want a compressor, and maybe a bit of dirt for an amp sound, some EQ, and a little doubling for flavor…maybe a touch of funk…and by the time you’ve inserted and tweaked everything, you’ve forgotten what you were going to play. No more! The Bass QuickStrip FX Chain is here to help you dial up a sound in seconds.
Rather than go through all the backstory on how it’s done, just download the FX Chain, and reverse-engineer it to your heart’s content. Here are the highlights, along with crucial controls you can customize to make the chain your own.
Dirt Control: This is the Mix control for the RedLightDist processor, whose settings have been optimized for bass. For more highs, turn up the processor’s High Freq control, or turn down for a bassier growl. This stage has an associated enable/bypass button.
Funk Cutoff, Funk Res, and Funk Mix: These are the essential Autofilter controls for when you want to lay some funk on your bass. Cutoff covers the general range to match your playing, Res is the filter resonance, and because envelope filters are best for bass when placed in the parallel, Mix controls the dry/filter balance. It has an associated enable/bypass switch.
Note that the RedLightDist and Autofilter are fed off a split, so they do parallel processing. This is in addition to the parallel processing done within the processors themselves.
Bass, Mid, and Treble: This “tone stack” for the Bass QuickStrip controls parameters in the Pro EQ. They don’t cover the full boost/cut range, but if you want to get more extreme, be my guest.
Compressor: The compression is optimized for bass, so the single control is a dry/compressed mix, paired with an enable/bypass switch. Any customization would be to taste—for example, a lower Threshold, or higher Ratio, for a more compressed sound. But if you want more variation and the ability to change the compression from light to heavy, another option is to use the settings for the EZ Squeez one-knob compressor, which was the subject of the Friday tip for August 24, 2018.
Doubler: This switch brings in a doubling effect, courtesy of the Analog Delay. It also bumps up the gain a bit using the Mixtool, so that the doubled and dry sounds have the same apparent level.
So download away—and lay down the low.
1. How long have you worked for PreSonus?
Almost 7 years now. I started in July of 2012.
2. What’s your official job title?
“Hello… my name is Perry Tee, Artist Relations Manager at PreSonus Audio Electronics, Inc.”
3. What’s your favorite thing about your job? Why did you choose to work here?
Being able to pull from all my skillsets and talents on a daily basis to succeed at my day job.
From my training and experiences as a musician performing live onstage (starting with the cello at age 8) or in recording sessions… to my inner-nerd working in software environments (I started coding in Python around the time I got serious about the guitar, which was years before I used my first DAW Emagic Logic 4.5)… to sales/supply chain logistics (was a purchaser for major multimedia company back in the day, when we still bought DVD’s and CD’s as a society). I am also a polyglot (English, Mandarin, Portuguese, French and some Japanese) so that comes in handy in terms of communicating effectively with people from all different walks of life around the globe.
So, I moved out to Louisiana from California back in 2012 to get away; a “perspective change/sabbatical” if you will. Being the “birthplace of Jazz” New Orleans (NO) still has a vibrant live music scene compared to other cities these days, so I had enough $$$ saved up to live for at least 6 months. PreSonus is based an hour northwest of NO and they were hiring, so I applied on a whim, got hired and moved to Baton Rouge. Even though I no longer live in the 225, I’m still very lucky to be working daily with such amazing people… no other company is quite like PreSonus in terms of camaraderie and dedication to making things happen, IMO.
4. Choose a movie title for the story of your life.
“Interstellar”. I travel between many different ‘worlds’ and can access experiences from all points in the timeline of my life’s stored memory banks to find viable solutions and resolving issues effectively. Never journeyed through a wormhole, though.
5. What was the first 8-track, cassette, CD or digital download you purchased?
DEVO “Freedom Of Choice.”
6. Who’s your go-to band or artist(s) when you can’t decide on something to listen to?
Snarky Puppy, Thundercat, Bibi Bourelly, Ryan Adams & The Cardinals or just about any slide guitar solo performed by Derek Trucks.
7. What’s your go-to Karaoke song?
“Regulate Ft. Nate Dogg” by Warren G.
8. Everyone has a side gig, what’s yours? OR when you’re not at PreSonus, what are you up to?
Playing guitar/guitar synth with Eric Levy (keyboardist with Night Ranger/Garaj Mahal), Jon Cornell (bassist with Jackie Greene/SNL Band) and Jakubu Griffin (drummer with Cirque Du Soleil Zarkana/NYC jazz heavies/Vega$ show ensembles).
Check out our very first YouTube video performance (we collaborated remotely using PreSonus Studio One 4 Pro DAW) of “Pax Humana” here:
But when I’m not PreSonus’ing (which is pretty much every day!), I’m in full-on #DadMode and LOVING every moment.
9. What instruments do you play?
Guitar, guitar synthesizer, cello, bass, piano, drums, the PreSonus ATOM and PreSonus Studio One 4 Pro… which are to both be considered as creative musical instruments, IMO!
10. What do you love about the guitar?
The art of drawing out *tone* using my bare fingers on metal strings… vibrating from nut to bridge saddles, captured by the magnetic pickup and passed through a hand-wired tube amplifier which gets translated into the final sound output at the speaker cone. Just being able to make a sound and sing through this “interfacing” is a reward in an of itself. Hopefully I can keep playing guitar to the end of my journey .
What I love most about playing guitar it is that I get to engage in real-time musical conversations with other willing musicians and express myself freely without being bound by the spoken or written language construct. When those moments of true musical chemistry and magic happen, you know it’s because the people involved are actively listening to one another, putting their heart and soul into the collective effort and channeling it as a group “sonic painting” event that rarely happens exactly the same way twice.
Speaking of musical magic, did y’all see Kodi Lee’s recent audition video on “America’s Got Talent”? I was moved to especially when his Dad lifts him up onstage near the end. Maaaaan!
12. Tell us about a successful event you worked with PreSonus products. InfoComm, NAMM, or an Install somewhere.
I’ve worked so many NAMM Shows over the past decade+ demoing gear and fielding questions, it’s become an annual reference marker for me like family birthdays. I always look forward to the group dinners after a long, grueling day at Booth #18701.
13. Got any tips for working with Studio One?
Yes!!! Watch my Studio One “1-Minute” Tip videos on my Instagram feed here: https://instagram.com/da.real.
14. What are you currently working on at PreSonus? What’s next for you?
Finding more relevant product/use case resonant relationships for the company… we’re really interested in YouTubers and IG Influencers/Reviewers in addition to existing Artists, Producers, Touring Bands, Live FOH Engineers, Studio Mix Engineers, and Mastering Engineers.
15. What’s the strangest talent you have?
I used to be able to perform the Doctor Who theme (lead synth melody line) using a cello bow on the edge of a standard hand saw; all while having gulped an entire packet of grape-flavored Pop Rocks and not letting the chaos inside my mouth affect my musical performance. That talent came to an end when all the bow hair frayed out… GAME OVER.
16. Anything else you want to share?
“No amount of money ever bought a second of time” (Howard Stark, The Avengers Endgame) resonates and I hope that we all can take that quote to heart, as we make decisions that will inevitably shape the reality of what future generations will inherit from us.
Basically, choose wisely what you do with every moment of your lifetime and don’t take anything for granted!
17. What’s your social media handles and is it OK to tag you?
Of course. Follow me on Instagram @da.real.agentp and hit me up via DM anytime.
[Announcement: the follow-up book to “How to Record and Mix Great Vocals in Studio One” is now available—hop on over to the PreSonus Shop to check out “More than Compressors: The Complete Guide to Dynamics in Studio One.” Thank you! We now return to our regularly scheduled programming.]
Pop quiz: How many EQ plug-ins ship with Studio One Pro?
If you answered seven, congratulations! Then you know about the Pro EQ, the three different Fat Channel EQs, Ampire’s Graphic Equalizer, the Channel Strip, and using the Multiband Dynamics as a really hip graphic EQ. But actually, the correct answer is eight.
If you turn off the “auto” aspects of the Autofilter, you can take advantage of two filters, each with multiple filter topologies: three “rhymes-with-vogue”-style lowpass Ladder filters (sorry, if I mention the actual synthesizer name, I get hassled), two analog state-variable filters (yes, the same topology as the infamous Project #17, the “Super Tone Control,” in my book Electronic Projects for Musicians), one digital state-variable filter, a comb filter, and a zero-delay, 24/dB octave low-pass filter. Furthermore, you can route the two filters in series, or in parallel, as well as offset their cutoff frequencies from each other by up to 2 octaves.
The state-variable filters are particularly interesting because you can alter the response continuously from lowpass, to bandpass, to highpass, all with variable cutoff and resonance. This gives responses that are difficult, if not impossible, to obtain any other way.
So who cares about different filter types, anyway—other than guitar players who want to get totally rad wah effects? Well, these are invaluable for sound design, FX and breaks for DJs, synthesizer sweeps, and to add spice to tracks that sound just too darn normal. Don’t think of these filters necessarily as standard EQ, but more like EQ-based special effects. These parameters are automatable too, which opens up even more possibilities.
Using the testing procedure described in the Testing, Testing tip from May 16, let’s look at some of the spectral responses this exceptionally versatile pair of filters can produce.
But First, Turn Off Everything that Says Auto
To use the Autofilter as a filter, we need to turn off the automated aspects. Ctrl+click on both pairs of Env and LFO sliders to zero them out. Now we’re left with only the filters, not the modulators trying to control them. Also turn off the gain’s Auto function, because in some of the unusual ways we’ll be using the filter, overloading and nasty distortion can result from Auto gain.
Fig. 1 shows the response for the 24 dB/octave ladder filter, with resonance turned up. Note that the Pro EQ high cut (lowpass) and low cut (highpass) filters can’t create this kind of curve, because they don’t have resonance controls. This is very much like the response of the classic rhymes-with-“vogue” filter, and you can automate the filter cutoff for grandiose filter sweeps.
But wait! There’s more—because there are two different filter sections, you can offset the resonant frequencies to create double peaks. In Fig. 2, the frequencies are offset by two octaves, and the filters are in parallel (see the section outlined in orange). So now we have a double-peak ladder filter…cool.
We can also do the “twin peaks” type of filter effect with the state-variable filters set to bandpass mode (Fig. 3). Here the filters are in parallel, and as with the above curve, they’re offset two octaves apart.
If you chain the two state-variable filters in series, set them to bandpass mode, don’t offset them, and boost the resonance, the filter curve makes a wonderful wah pedal (Fig. 4). The peak is sharp, with a steep rolloff on either side.
This also produces a strong sense of pitch with white or pink noise. One cool trick is using this setting to add a “tuned” aspect to snare drums, and other percussion instruments. Edit Studio One’s Tone Generator plug-in to generate pink noise, feed that into the above filter configuration, turn up the resonance, tune the cutoff to the desired pitch, then gate the noise with a snare hit. Mix in the desired amount of noise to give the drum a sense of pitch.
The highpass setting is useful as well, because you can obtain what’s popularly called the “voice of the Gods” effect for announcing and narration. Using a highpass filter gets rid of the super-low-frequency p-pops, but the resonance adds a boost in the bass range above the nasty stuff, so the voice still sounds full and big (Fig. 5).
It’s also possible to create responses that are just plain unusual, like this notch + double peak outside of the notch (Fig. 6). For some sound-design type wind sounds, drop the resonance to around 30%, and sweep the cutoff between 2 kHz and 6 kHz. Modulating randomly around a relatively low cutoff frequency can also give good rain and downpour sounds. Besides, who doesn’t like a curve that looks like Batman.
Combining two different filter topologies can also give interesting results. Fig. 7 shows a ladder filter in parallel with a state variable filter, along with considerable amounts of resonance. If you really want to scope out this configuration’s flexibility, vary the Filter 2 slider to alter the topology, and/or vary the Filter Spread to change the offset between the two filter types. Of course, changing resonance alters the sound even further.
And finally…this is going to sound ridiculous, but bear with me. I often augment sampled female choir presets; octave lower sine waves mixed in subtly can give the illusion of a male choir combined with a female choir. But that’s not all—noise can be a powerful enhancer for choirs, and it’s possible to set the Autofilter to impart vocal-like qualities to pink noise.
For this application, the Zero Delay LP 24 dB is the filter of choice to insert after the Tone Generator’s pink noise output, because the filtering has a smooth kind of quality, even with high resonance. To concentrate the spectrum on voice, a Pro EQ follows the Autofilter to take off the highs and lows outside of the vocal range (Fig. 8).
Okay, now for the bummer: You can’t control the Autofilter cutoff, and therefore the pitch, with notes—only controllers. That’s not a problem if you just need a kind of pedal point choir addition; tune the cutoff to the desired pitch, and use volume automation to bring it in and out.
One workaround is to sample the resulting choir-like noise at different pitches, and load them into Sample One XT (or Impact XT) so you can create envelopes that match the envelope of whatever choir sound you’re using, and play the notes from a keyboard. The result is uncanny—in some ways, it makes a sampled choir sound more like a real choir than if it consisted only of samples. And finally, for sound design, don’t forget that filtered white noise can also augment crowd sounds.
Autofilter? Okay, yeah, well…I guess. But there’s a lot more to the story than just wah pedals and funk bass.
The Eris E44 and E66 deliver an expanded and highly accurate frequency response and the widest stereo field available in their class. The nested Midwoofer-Tweeter-Midwoofer (MTM, also known as “D’Appolito”) configuration offers improved off-axis response and spatial resolution. The result is a more consistent listening experience, smoother frequency response, and an ultra-wide, detailed stereo soundstage.
“There is plenty of sonic depth while maintaining clarity, regardless of the audio source.”
—Chris Devine, Performer Magazine
Pricing will vary a little bit regionally, but in the USA, the E44 is now $199, and the E66 is now $299.
For a limited time—if you get Studio One Professional (either a new copy or an upgrade), we’ll throw in the CTC-1 Pro Console shaper for FREE—that’s a $79.99 USD value! All you have to do is buy Studio One and CTC-1 Pro Console Shaper will appear in your my.presonus.com account.
The CTC-1 Pro Console Shaper brings analog console modeling to Studio One with three great-sounding console models and several major enhancements to the Mix Engine FX environment. It’s the second plug-in developed for the Mix Engine FX interface in Studio One and the next evolution of plug-ins from the included Console Shaper.
Utilizing state-of-the-art State Space Modeling technology, CTC-1 captures the character and personality of legendary analog consoles that are otherwise out of reach for most musicians, producers and engineers. Going far beyond virtual channel strips and mastering plug-ins, CTC-1 is capable of changing the way how people mix inside a DAW.
Mix Engine FX are capable of processing every channel of the mixer separately with just a single plug-in instance. When added to a bus channel or the main output channel, every signal routed into that channel is processed independently at the source, allowing the plug-in to transform the sound of an entire mix while still maintaining the nuances and dynamics of every individual channel. Although being suited for many different applications, Mix Engine FX are tailored for analog console emulation. The original Console Shaper and the new CTC-1 both belong in this category.
For a limited time, purchasers of a Quantum or Quantum 4848 interface will get a FREE FaderPort! All you need to do is make your purchase and fill out the rebate form linked below.
Sound on Sound called The Quantum “The Fastest Interface on the Planet,” which ranks among the highest praise we’ve ever received. Following up the Quantum is the incredible Quantum 4848, which serves as an exceptional bridge for bringing your boutique analog processing gear into a digital workflow.
“They’ve achieved low-latency performance that, with the exception of PCIe cards, is currently unrivaled by any interface I know of. “
-Sam Inglis, Sound on Sound
And the FaderPort… what more can be said? The FaderPort Classic was one of our most enduring products, and enjoyed nearly a ten-year manufacturing run. And its new younger brother is even better. With the compact, easy-to-use FaderPort, you’ll enjoy the fastest, most efficient workflow and the most session control you’ve ever experienced.
Quantum 4848 Overview:
Only for the month of June 2019, we’re offering 30% off the Fingerstyle Acoustic Guitar for Notion directly from the PreSonus Shop!
If you’re looking to add some acoustic instruments to your mix, this add-on has you covered... It includes sample variations for open strings, hammer-ons, pull-offs, slides, and left-hand and right-hand fingering control. And techniques including Plucked, Hammer-on, Pull-off, Palm Muted, Left Hand Mute, Natural Harmonics.
This bundle plays nice with Notion 5.1 or later.
PreSonus Symphonic Orchestra is more than just another sample library. It combines a complete symphonic orchestra instrument library with ready-to-use Studio One Musicloops for lightning-fast arranging and production in an attractively-priced bundle. The instruments not only comprise a full symphony orchestra, but also a contemporary strings library that has a different ambient character to choose from. More than 1,200 Musicloops allow for creating full arrangements on the fly while retaining complete control over tempo, key, chords and sound character. Tight integration with Studio One makes production work fun again. PreSonus Symphonic Orchestra is compatible with Studio One Prime, Artist and Professional (version 3.3.4 or higher), making it an ideal combination for aspiring composers and arrangers, as well as anyone learning or teaching music theory.
With more than 1,200 royalty-free loops from 29 unique Construction Kits, PreSonus Symphonic Orchestra is a powerful composition and arranging tool even for someone who doesn’t have classical training or doesn’t play a keyboard instrument. Produced by professional orchestral composers, these Construction Kits cover a wide range of styles and instrument arrangements: Classical, Soundtrack, Jazz, Pop, Hip-Hop, House, Disco, and more.
Don’t miss this deal. Ends June 30, 2019, and is available worldwide right out of the PreSonus Shop!
Chennai, South India’s Earth Moments continues to produce exceptionally high-quality sample collections of instruments from across the globe. They’re also quite prolific—at the time of this writing, there are no fewer than TWENTY-SEVEN different Earth Moments products available in our online shop. Many of their recordings are recorded in the field using warm Neve and SSL preamps and Neumann vintage tube mics—and all are recorded to a click track, so syncing them to your projects won’t be an issue. Furthermore, all samples are royalty-free, so you can use them in whatever you like, including commercial endeavors.
Are you getting a little burned out on bass, guitar, and drums? Need some special flavor for that short film score you’re working on? It could be that a little bit of Celtic Harp or Arabic Percussion is exactly what you need. And if your EDM mixes are starting to sound a little stale, Dubstep India is sure to make your tracks stand out from your competition. Here’s a short list of some of the Earth Moments Add-ons available at this discounted price: