Perry Sorensen, Head of Mastering for NAXOS of America, gives us his favorite features of the updates in Studio One 5.5 on the Project Page. NAXOS is the largest distributor for classical jazz and world music.
Perry uses Studio One to master and in this video he gives a walk-thru of how he uses track automation plus more!
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Listen to Perry’s musical expressions with Jessie Kol
I started off my mixing career mixing Tinie Tempah’s triple-platinum album Discovery. Prior to this I wrote and produced music and was signed to labels such as Virgin and Defected Records. Since mixing Tinie’s album I have been busy mixing records for many artist including BTS, Sigrid, Dua Lipa, Kodaline, The Disciples, Sigma and most recently Shane Cod and his platinum single, “Get Out Of My Head.”
I have been mixing in Studio One for six years now and it keeps getting better and better. PreSonus really listens to user feedback and implements suggested improvements frequently; I haven’t experienced this with any other DAW.
Studio One allows for a very fast workflow and because of it’s intuitive build and design I can easily focus on the mixing.
During lockdown in 2020, we decided that London was lacking in high-end state of the art podcast production facilities, so we built VOXPOD Studios. My podcast room can host up to eight people and also offers livestreaming and video recording of the shows on five video cameras placed around the room.
The PreSonus PD-70 dynamic mic has proven to be a game changer in VOXPOD studios. Its sound quality and tone set the bar above all the others on the market.
VOXPOD Studios has already started hosting shows for some big podcasts here in the UK, including the James Smith Podcast and Rugby’s leading podcast, “The Good The Bad and the Rugby.”
Lastly, another new positive feature of 2020 was the launch of PreSonus Sphere. It’s truly a brilliant way of connecting the rapidly growing number or Studio One users, world-wide. I love being able to try out suggested Presets and Studio One shared components from other engineers, writers and producers.
Brody Tullier (aka Zeno) is a 17 year-old composer based in Baton Rouge, Louisiana who has been composing and arranging original music for the past four years.
Delving into advanced audio production more and more in recent years, his music has become the lively, energetic, and polished arrangements that you can hear in his recent Bandcamp releases here.
Brody’s preferred style of compositions lean heavily towards video-game inspired tracks and he aspires to one day seek a career in the video game music industry.
We wish him great success in his ongoing growth as a musician, composer and producer!
She has accumulated hundreds of millions of streams on songs she’s been a part of and earned several #1 singles. Alina’s work has been profiled in Forbes Magazine, Billboard Magazine, American Songwriter, 1883 Magazine, and more. She’s also well-known in the sound design space with LYRE’s Splice sample pack called “Perfect Pop.”
Here’s what you need to know, straight from Alina:
So I started recording myself singing pretty early on, I wanna say… 2005. I had a dynamic mic I plugged directly into the audio input of my prehistoric laptop and I had absolutely zero training in anything related to production. Then, a few years later I upgraded to an M-Box and a $100 MXL mic which is, funny enough, the setup that I got my first songwriting cut on. From then on, I kept progressing and learning, which I still do to this day, although I do have a pretty large bag of tricks at this point that I can dip into when I record different singers in different genres.
A few years ago I switched from Pro Tools to Ableton Live for instrumental production, but I was struggling with the vocal production side of things in there because at the time Ableton didn’t have playlisting, so recording and comping vocals was super time-consuming and clunky.
I decided to test-run Studio One and fell in love with it immediately! With the ease of setting my own key commands, I was able to choose the commands I was used to and not have to learn a whole new set. Sprinkle in the Melodyne and VocAlign via ARA integration, and I knew that I finally found my soulmate vocal production DAW!
I’ve really come to enjoy the PreSonus PX-1 mic, which I use for on-location recording quite a bit. With the right “in-the-box” vocal chain, I can make it sound bright and crispy and much pricier than it actually is!
It’s been a really hectic year for me! At the top of 2021, I set the intention of not holding back in any area of my life or career and for the rest of the year it translated into me pursuing several things all at once. I ended up organizing and hosting an online music convention, called the Modern Music Expo, which you can watch a replay of here:
I also released an EP called 2000’s Teen, which is my first body of work as an artist! And, seeing as my main job is writing and producing music for other artists with mg production team LYRE, I also did a ton of that, my favorite being “Mafia in the Morning” by ITZY, which came out this spring.
I’m already working on my next release: filming a music video and planning the drop. Writing and producing for various projects and making production tutorials for YouTube and TikTok. But mostly, I’m just trying to relax and enjoy fall, which is my favorite time of the year. It’s so important for artists to replenish their batteries, so that’s what I’m doing!
Tell us a bit more about “LA/NY”
“LA/NY” is a new song off my latest album, Outlier. It is a bit of a different direction for me, because I wanted to put forth a killer pop tune that also shined a light on my love of a fuzzy guitar solo.
Outlier is an album built on exquisite tension: like an endless push-and-pull between desire and resistance, determination and self-sabotage, the instinctive need to belong and the urge to strike out on your own. My songs were produced by Michael Shuman (Queens of the Stone Age and Mini Mansions) and it’s an album full of guitar-drenched sounds that’s wildly unpredictable and immediately magnetic.
What amp/pedals did you use for “LA/NY”?
It was all done within Studio One, using the PreSonus Ampire plug-in. Specifically, I used the Wild Drive, Demolition Drive, Equalizer and Delay pedals running into the Blackface Twin model amp paired with a 2×12 American Cabinet.
(NOTE: if you’re a PreSonus Sphere Member, you can download her exact Ampire Preset here)
How did you first discover PreSonus?
I first discovered PreSonus while working at a music shop in Austin, TX. They sold audio recording equipment from all different brands, but I noticed that PreSonus had the most intuitive software (Studio One Artist) included, as well as the best price point.
What was your first PreSonus product?
It was the Studio 1810c audio interface, but I have since upgraded to a Studio 1824c. I’ve got the FaderPort to the right of my computer keyboard. I also now have their Revelator io24 that you see me using in the video above, of course!
How long have you used Studio One?
About three years now.
What are your Top three favorite features about Studio One?
My favorite aspect of Studio One is how easy it is to use. The drag & drop aspect helps me work really quickly and efficiently. I also really love using Impact for drum sounds, Presence for sample-based instrument sounds, the Mai Tai polyphonic synthesizer, and Ampire for pedal FX and amp modeling.
With masterpieces such as “Alive,” “Falling Deeper,” and “Vertigo,” people from all over the world began to feel a deep connection with Kisnou’s music, counting for more than 7 million total streams on Spotify alone in 2020. Featured on BBC, New Balance, TV commercials and countless Spotify playlists, his music is often defined as otherworldly: perfect for anyone who wants to experience a real sonic journey.
From ambient to electronic, from orchestral to indie, Kisnou is a never-ending adventure that explores worlds of atmospheric sounds and storytelling. Featuring bittersweet poetry, untold stories, cold atmospheres, field recordings, and broken song structures, each song is a deep cinematic experience you will not forget.
Kisnou began making music using FL Studio back in 2015, eventually working for years within the Ableton Live software environment before recently discovering Studio One and PreSonus Sphere’s creative workflow environment.
In his words:
So… at the beginning, I really had no knowledge, never played an instrument. I just jumped and went for it. I felt like I had some stories to tell.
I’m a self-taught producer. It’s pretty easy to learn so many things online. I also used to listen to a lot of music, every day—while drawing or doing homework, while coming home from school. It was a part of me and of my life, every day. Many people are surprised when I say that I’m self-taught, especially those who are musicians or producers as well. It makes me feel happy, but I have always been down to Earth and very respectful. For example, in 2020 an American writer sent me one of his books, as a thank you gift because he loved my music. The book is called Wounded Tiger, and the author is such a wonderful person. It is a book about World War II and the true stories of multiple people that lived through that moment of history. I can’t say much about it but the author is trying to find the right chance to make a movie out of it… and I might be a part of the soundtrack team. Fingers crossed!
I graduated in 2019 and got my Bachelor of Arts in Commercial Music, but since 2017 I have been making music for a good fan base online that has grown quite fast. I hit my first million streams on a song, and from there it started to get even better! I had an income, collaboration opportunities, and a licensing partnership with Marmoset Music that got me some really good placements! One of my songs was featured in a New Balance commercial and a Tomorrowland video. Now music is my full time job. I currently have around 150,000 monthly listeners on Spotify alone.
The first artist who actually truly inspired me to make music was Koda. He is a talented guy from Los Angeles who wrote some beautiful songs. His songs were just pure magic for me, they resonated like nothing else. I felt like the lyrics were talking to me. My favorite song from him is “Angel.” I loved the video as well, so much that I contacted the video artist a couple of years ago and we created the music video for my song “In The Origin, We Breathe.”
Other inspirations include: The Cinematic Orchestra, Bersarin Quartett, Sorrow (a great electronic/garage music producer), Pensees, and Owsey. I come from the Ableton world, so I am also very much into electronic music, future garage, and ambient. I am in love with atmospheres, long reverbs, evolving sounds, textures and so on.
Lately I have been listening to the YouTube channel Cryo Chamber. Some songs are a bit too dark sometimes, but you can find such incredible atmospheres. I find it very inspiring.
You know, I live in the countryside, so I am always spending time in nature. I feel like I am lucky to be living here, but at the same time you might feel isolated or lonely quite often. It depends on the mood I guess.
I used Ableton for 3-4 years, made great songs thanks to that DAW, but somehow… I wasn’t really feeling comfortable there. I was slowly getting sick of it, even if the creative tools, the stock plugins and workflow were amazing.
By chance I found out about Studio One and then I started to see what you could do with it and it slowly got my interest, until I finally decided to make the switch.
Currently, I just try to make Studio One adapt to my workflow and that was quite easy. The possibility to internally customize shortcuts and create macros is just wonderful in my opinion. I have many macros mapped around my keyboard, and have others on the buttons of my mouse. I have mapped CTRL + ALT as a hold command on one of the two main side buttons, then on the other one I have a Macro that activates the bend marker view, automatically swaps to the Bend Tool so that I can do my edits and then press it again to deactivate the bend view.
On the four lower side buttons I have mapped the editor, channel, inspector and browser for quick tasks. Though If I hold control and press those buttons, or ALT, I have other sets of commands to help me out.
One more functionality that I love is the Transform to Audio Track command, which prints a MIDI file into audio, but it’s better compared to what I’ve seen in other DAWs I’ve used in the past (FL Studio, Ableton, or Pro Tools) because I can print the MIDI to audio and preserve the instrument—so that If I ever want to revert back to the plug-in, I can do that at any given moment. I can choose to render the insert FX or not, which is also great.
In other DAWs, I either had to make a copy of the plug-in, print one to audio and leave the other there, just disabled. Sometimes I printed a MIDI file into audio feeling that it was perfect, then days later, I felt like I wanted to edit the plugin… and I couldn’t do it anymore because I had not copied the plug-in instance before printing.
Lastly, I’m pleased to be a featured artist on PreSonus Sphere!
The presets I created revolve around the use of white noise, layering and distortion: aspects that I have been exploring in the last months to create a sort of vintage but modern, textured sound. Warm, lush pads and pluck sounds, distorted reverbs and atmospheres were my North Star when creating these presets.
There’s 20 presets in all in this pack: FX chains, pad sounds for Presence, some Macros, Mai Tai patches, and a custom reverb of mine… enjoy!
Hassan has produced records for some major artists in the Middle East, and was also one of the judges on the Arab Idol show (the equivalent to American Idol in the Middle East) for four seasons, which aired on MBC. Hassan started releasing his own records featuring other artists in the region, starting with this track, back in the days when he was predominantly still working in Logic and Ableton Live:
Here’s a more in-depth account of his history and evolution with DAWs and how he’s settled upon Studio One and PreSonus Sphere, in his own words:
I started producing a long time ago, using Logic when it was owned by E-magic (the good old days!) I loved Logic, but I felt limited until I got introduced to Ableton Live. I spent a bit of time on my own experimenting with it, but it was too daunting to use for ongoing projects until I took a quick crash course in London on Ableton Live, and then I switched when I felt comfortable using it. I didn’t switch 100 percent, though, because there were many things that were better done in Logic… but Ableton was a game changer, producing music in a completely different mindset… minimalism yet experimental!
The idea of racks, drum kits, and so on was endless, and it felt like a modular system that I could change according to my needs… BUT Ableton was also limiting in many ways: it was very unstable, and lacked many features—as if they were stubborn to actually fix or introduce features. So I started looking somewhere else after years of using Ableton and experimenting with the folks at Bitwig. (I even have a 1.0 badge, I think I had the beta before they released the first version!)
Bitwig were actually adding all the things to Ableton Live that the community wanted but, again they took their own route… which isn’t what I needed until finally I got introduced to Studio One.
I first tried Studio One 3 and was intrigued, but I couldn’t rely on it 100 percent until version 4 was out, which introduced Impact XT and Sample One XT. That changed everything for me, having its ease-of-use in my production environment—yet I also get the all-in-one kind of vibe, which I have never found in any DAW available and trust me… I have looked in every corner!!!
Studio One was the first DAW that lets me produce my whole record from writing ideas to final mixes in one place. That never happened before: it was always either Logic and Pro Tools or Ableton and Logic etc. Now it’s ONLY Studio One, and after all these years that’s really something special to note, in my opinion!
The workflow in Studio One is unbeatable: the Macros are pure magic, the ability to have Key Commands to assign uncommon commands makes Studio One very powerful. Production is a breeze, yet I have all these powerful tools: I can integrate Melodyne and ReVoice Pro via ARA, and I can use Layers while recording and Patterns for beatmaking.
Studio One is the most stable DAW I have ever used, it handles anything I throw at it. I have a big appetite when its comes to production, from producing pop records to scoring music to picture/video… and Studio One 5 is keeping up at my speed! Last but not least, the folks at PreSonus are amazing at consistently striving to achieve the best DAW out there; they are very active online, enthusiastic and most importantly… they listen to the community.
And that to me is priceless.
And one other thing—my newest projects have started to incorporatethe new Show Page in Studio One Version 5 for performing live perfectly in sync with my session tracks! Exciting!
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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.
Want to capture the sound of other industry professionals? How about collaborate with a Grammy nominated artist?
With Exchange, you’re able to use presets and sounds from select PreSonus Artists in your own projects. Under the “Browse” section, you’ll also find thousands of downloadable assets from other Sphere Members, and the ability to upload your own unique sounds.
In this last episode, Jacob takes a look at the PreSonus Sphere Exchange tab and demonstrates how to import an Artist’s sound into your Studio One song session.