Most of us who work here at PreSonus are musicians 🎤🎹🎸🎺🎷🎻🥁or audio engineers 🎧.
And some of us are also gamers 🎮in addition to that.
For those of you who can relate, check out this interesting and fun video that PreSonus Artist/Endorser Nik Jeremić just created and shared with us recently. He’s using an Xbox One game controller to trigger samples in Studio One:
For those of you who are not familiar with Nikola (Nik) Jeremić’s work on the previous iteration of the Starpoint Gemini videogame soundtrack, you can find out about that here.
This will be a “deep dive” into how Nik used Studio One Professional along with the ATOM and our Studio 1824c interface to route audio and MIDI data to and from external hardware synths… his own words!
The most important thing about ATOM in this production is that it is used both as a playable instrument, as well as editing and mixing controller.
The layout was very simple in terms that it already integrates itself perfectly with Studio One, and I didn’t have to do much with tweaking it.
So far it completely replaced my old Classic FaderPort (which I still own and use it from time to time) in regards to transport commands, writing automation for track levels, panning, and the amount of signal being sent to FX tracks. I will surely upgrade myself with the current FaderPort pretty soon because I have worn out the buttons on the old one from years of usage.
After the transport tab buttons, the ones I used the most are Song Setup, Editor and instrument Show/Hide. It really speeds up my workflow, and it was especially helpful on this game. Since 80% of the game’s soundtrack was done in the box, browsing through instruments and editing their MIDI data was really easy and fast.
One of the things that really amazed me regarding ATOM was the fact that every pad is labeled with the corresponding default control in Studio One Editor. I rarely touched my computer keyboard for editing.
Whenever I wanted to make a quick edit of my parameters in Impact, or any other instrument that matter, I just hit that Show/Hide instrument button, and… voila! Everything is right there at my fingertips! I will talk more about ATOM and Impact XT later.
Studio 1824c Interface
I used FireStudio Project for over eight years, and it has been a solid workhorse of an interface for me throughout my career. It worked flawlessly until I had a power surge at my home, which fried some of my gear, including the interface, so THAT was the only reason I had to replace it.
It actually happened in the middle of my work on Starpoint Gemini 3, so I researched a little and decided to go with Studio 1824c as an upgrade. To be honest, it’s as if I never replaced my old interface, because PreSonus hardware is really great when it comes to communication with Studio One, so the only thing I had to do was to plug it in my PC and install the latest drivers, and that was it. My production of this soundtrack hasn’t stopped at all, because everything was so compatible, so I just had to re-connect a few audio cables. It took me only minutes and I was back on track.
Since 20% of the soundtrack to Starpoint Gemini 3 is done on hardware synths and instruments, Studio 1824C is a Godsend for connecting all four of my hardware synths:
My Yamaha DX7 was connected via splitter cable as a stereo unit to my inputs 5 and 6.
I also used my three analogue KORG synths: (Volca Bass, Volca Keys, Volca Kick) in stereo via another splitter cable which was connected to inputs 1 and 2, because these Volcas were used the most for this soundtrack.
All of the synths received their MIDI data via MIDI In/Out from Studio 1824c, and I am really happy I didn’t have to buy an external MIDI interface for this. The only thing I had to do was to plug and unplug the midi cables from one synth to another, depending which one I was using at that time, but it’s not a mood killer.
My inputs 3 and 4 were set up as mono. Input 3 has an external 1073 clone mic preamp attached to it, and Input 4 has an external DI for recording and re-amping guitars and bass.
Inputs 7&8 together with Outputs 7&8 were used as stereo FX loop send/return for my FX pedal chain with Pipeline Stereo plugin:
I also used sticky tags to label my front panel of Studio 1824C, and I mapped out my ins and outs inside song setup window, so I could save it as a default setting for all of my tracks for this game.
Regarding my FX chain loop, I used delay, chorus and shimmer reverb pedals in series, and I set them up to be used with Pipeline XT stereo plugin (which comes bundled with Studio One Pro) on an FX track. The reason I opted for this approach instead of connecting my synth output directly to pedals, is because I wanted to have an overall control of the amount of synth signal I am sending to any FX chain. Sometimes I wanted to automate the amount of signal being sent, and that is where those mapped knobs from ATOM came in handy.
I am pretty amazed by the build quality of Studio 1824c, having in mind the price of the unit. I absolutely love the front panel metering and big level knob for main out. Having two headphone outputs is really handy when I invite a session musician to record, because I don’t have a booth, then we both use headphones in the same room. Studio 1824c is a workhorse of an interface and it has improved my workflow ten times better than before.
I amhave yet to build my own Eurorack modular synth, so I can send CV signals via Studio 1824c outs to my synth. That is an AMAZING feature, and I am really looking forward to using it in the future.
Impact XT was an essential part of my beats and percussive materials for both action and exploration tracks, and the way ATOM integrates with Impact XT has been really helpful to my workflow throughout the course of this entire soundtrack.
One was for triggering 80s synth drums and transition fills that you can hear in synthwave all the time. The first bank (BLUE) was for elements of the drum kit, and the second bank (GREEN) was for triggering drum fills for transitions between parts.
I love the fact I can trigger loops and audio clips inside Impact XT and sync them to the BPM of my track. All you have to do is to quantize each trigger pad to Follow Tempo and Beats, and no matter what tempo you’re in, it will work flawlessly.
One more thing I like about Impact XT and ATOM is that all the pads can be color-coded the way you like for each bank, because it really helps during the performance to know which pad corresponds to which sound or loop. The bank button on the ATOM itself responds to the bank color of Impact XT, which is really cool.
My second instance of Impact XT was for deep ambient hits and various atonal noises and synth FX for background. I mean, you can’t have a space exploration soundtrack without some weird alien sounds in the background, right?😊
I love the option of multiple stereo and mono outputs in Impact, so that was really helpful for me to have different FX chains for various drum sounds.
SampleOne XT is featuring my main piano sounds for the entire Starpoint Gemini 3 soundtrack. I haven’t recorded actual piano samples, instead I re-sampled a piano VST I am using most of the time for my work. The thing is that this sampled piano uses up a lot of RAM and CPU, so I couldn’t use it in real-time with my other instruments inside my template, because the piano was processed with a lot of plugins, and then it was introducing latency after I had to increase the buffer size.
In order to use the sounds that I wanted, I re-sampled this piano in two octaves note by note with the processing included. It was more convenient for me, and it saved me a lot of loading time of the template itself.
SampleOne XT proved to be a great choice because it’s really user-friendly and convenient.
First, I had to edit and cut all of the individual notes and label them. That is the only tedious work I had to do here.
Basically what I did was to place all of the samples on the grid, select the audio input inside Sample One XT, choose the starting note and Play, Stop, and Record buttons in order to tell the engine to separate notes. After that, I only renamed the files, and that was it.
After that was done, I was able to play my piano instantly. I saved the patch as a preset, so I could recall it any time.
It doesn’t get any simpler than that, and this is the reason I love Studio One.
As I said, ATOM and Impact XT are all over my percussive tracks and beats on this soundtrack, but I also used another drum VST plug-in here in order to make things sound a little bit organic, and I used my 80s synth drum kit as a layer on top of those organic drum parts. Call it some sort of a kick and snare drum sample trigger like you have in metal production.
The option that really inspired me and got my creative juices flowing is the pattern editor in Studio One 4.6.
The way I sequenced my drums and percussion was to play them in at first, and get the most humanization out of them based on velocity, sample offset etc… But then I took those performances and improved them inside Pattern Editor, changed a hit here and there, modify the rhythm, etc…
Basically, I had a drum performance on a midi piano roll with all the notes labeled properly, and then I right-clicked on the midi clip to select the option to convert it to drum pattern for editing.
I could easily replace notes, create new performances, shift the beats and add some swing to them in order to make them sound more natural. The option for half-lane resolution is a really cool feature to add triplets and some odd hits, but it allows me to follow the pattern with precision. This is just one example of a pre-chorus pattern inside the action track, and you can clearly see the name of all the notes properly, and I love the way it integrates properly with third party drum VSTs.
It really is a beatmaking workhorse for electronic music. I have yet to test in on cinematic percussion with big drums and more elements.
MIDI FX in Studio One (the arpeggiator especially) can come in handy if you don’t like the fuss of setting up some complex sequences.
I used arpeggiator mostly on action cues where I wanted to create running sequences in order to have that sense of tension going on during combat. It was mostly set up in 8th or 16th notes, and then I played wide chords on percussive synths in order to get them running and the results were stunning! The arpeggiator is really easy to use, and it was my go-to MIDI effect on this soundtrack.
Repeater is a whole different beast, and this one is for people who actually like working with complex sequences of scales and melodies. I used Repeater also mostly on action cues for the same reason as the Arpeggiator, but I programmed it to play some aggressive melodies that would counter the chords of the Arpeggiator. I actually have a hardware analogue sequencer, but this was easier and faster to use.
The real fun starts when you place a Chorder in front of Repeater!
What I did with Chorder was to make it play intervals like fifths or octaves, and then sequence those with either Repeater or Arpeggiator.
The results I got were some really complex action sequences which made the game developers smile from ear to ear! I highly recommend trying this approach.
👀☝️Faderport 16 as a centerpiece of Sir Bob Cornelius Rifo’s studio setup
PreSonus: For those who don’t know already, please tell us about yourself and what you’ve been up to?
Sir Bob: Been in the music business since 2006, worked with a lot of artists from Paul McCartney to Tommy Lee, going to Jason Aalon Butler, to Zhu.
I’ve played all the major festivals of the world, multiple times; Coachella, Lollapalooza, Primavera Sound, Rock im Ring, Rock imPark, Sziget, EDC, Summer Sonic, Fuji Rock… I could go forever.
I’m a musician, producer, and photographer—and I go crazy for motors!
PreSonus: So, tell us… how did the Faderport 16 and you become involved?
Sir Bob: I fell in love with the original Faderport almost four years ago and now got crazy with FaderPort 16. I needed a simple and solid machine. This fit the bill nicely!
Long story short—I love mixing and having control of the faders under my fingers. Nothing can replace the human touch and the Faderport 16 somehow returns it back.
PreSonus: What DAW do you use with the Faderport 16?
Sir Bob: Ableton Live 10.
PreSonus: What would you say you like most about PreSonus?
Sir Bob: Your customer service, peripheral installation speed, and ease of product use.
PreSonus: Any tips or tricks with our products you’d like to share?
Sir Bob: As you can imagine, I’m not new to DAW controllers. I’ve played with a lot of them, and I’ve bought many during the years from Mackie to SSL. This is the only one that has never given me any problems… which should be a priority for all controllers out there, just saying.
PreSonus: In closing… what would be on your “wish list” from us in the future?
Sir Bob: I’m dreaming about the Faderport 24. MAKE IT REAL!!!
ioStation24c: The collaborative partner for the solo artist.
When you’re a solo artist, you have to be more than just creative to realize your vision—you must also be a producer and an audio engineer. The ioStation 24c audio interface and production controller provides the tools needed for all of these diverse roles in a compact, ergonomic desktop design that will fit into any home studio.
[This just in from Charlie Bauerfeind, producer for genre-defining power metal pioneers, Helloween! In his search for the perfect DAW Controller for his ultra-compact-but-complex, MacBook Pro-based, live-broadcast setup for Helloween’s Rock in Rio Show on October 4th, he turned to Presonus’s Faderport 16.]
I was blown away by the ease of use in the FaderPort 16’s setup, and the incredible versatility in this most compact DAW controller. It was truly a plug-and-play experience, and made my job in Rio go perfectly smooth… My Pro Tools-based setup is comprised of several session-based pre-programmed automation parts… but the much bigger dynamic automation part needs to be handled flawlessly during the live performance. I’ve owned a FaderPort Classic for a long time, but the FaderPort 16 allowed me to deliver a great broadcast result for one of the biggest Rock festivals on this planet.
A big THANK YOU to the guys at PreSonus!
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:
This Instant Rebate is available now through the end of June and is offered WORLDWIDE!
This just in from Glenn Rosenstein, a three-time Grammy-winning mix engineer whose credits include U2, Madonna, Talking Heads, The Ramones, James Brown, Miles Davis and many others. His work in film and television has landed him both an Oscar and a Golden Globe while working on projects including The Sopranos, Celebrity Circus, The Last Emperor, Blown Away, Married To The Mob, Charmed, Beverly Hills 90210, All My Children and Buffy The Vampire Slayer. We recently got in touch with him to get his perspective on all things PreSonus.
Hey Glenn. Tell us about yourself!
I’ve had a fun career that’s led me to many musical adventures. I started early on at Power Station in NYC, then as a staff engineer at Sigma Sound Studio. I became an independent mixer, then producer, eventually winning some Grammys and selling a bunch of records, back when that was a possibility. I’m still producing both for my Sony labels, as well as independently. I partner in a number of project studios in Nashville, Muscle Shoals, and New York, as well as having a room at historic Fame Studios.
What PreSonus products have you used and which do you currently use?
I’ve always been a PreSonus user. As time goes on, PreSonus continues to release products that almost anticipate my needs. I started out with the ADL 600, a very tasty stereo mic pre from a few years back. I’ve put together a pretty cool room in my Muscle Shoals facility that’s centered around the StudioLive 64S, along with some great AVB powered PreSonus peripherals: The StudioLive 32R, the EarMix 16M, and the SW5E among them. Also to be found are the PreSonus R80 monitors and, of course, Studio One. And I always travel with my Faderport 16. Always.
For what applications are you using the products?
My PreSonus facility is very much a writing/production room that is easily convertible to a full-blown production studio. I like the creative ease and intuitive design that is integrated into all of the PreSonus cosmos of products. It’s simple to start off small—just creating some beats or a few phrases on guitar or a vocal idea—and easily push that to a bigger, more robust production without having to shift rigs.
What led you to choose these particular PreSonus products?
I had a pretty solid awareness of the PreSonus offerings for many years and was fortunate enough to meet and spend some time with Jim Odom. His backstory is steeped in music production and performance, and, ultimately, creating solutions that he wanted for himself. I liked that a lot. I still do. I totally get the narrative of PreSonus products, their evolution over the past few years, and their remarkable value. Jim and his team are always pushing the boundaries—they’re taking insane amounts of features and options and putting them in boxes that should cost five times what they’re asking. I have no idea how they get it done, but they do. And all that filters down into very usable tools that sound great and are fun to work with.
Having used the gear, what do you like most about the specific PreSonus products you use?
Let’s talk about the Faderport 16: A 16-channel control surface that fits under your arm—brilliant design and execution. Regardless of my preferred DAW, I always feel right at home. I’m in a hotel, it’s there. I’m in a rehearsal room, it’s there. Perfect combination of small footprint and functionality.
This just in from Craftmaster Productions—a good look at the PreSonus ATOM workflow using SampleOne XT in Studio One.
CMP has been producing excellent Studio One content for years. Head on over to YouTube and give him a Subscribe for more!