Our good friends over at Obedia recently completed ANOTHER in their tremendous Studio One series, this time focusing on EXCHANGE, Studio One’s robust new resource sharing functionality. EXCHANGE is free in the latest update, check it out below!
PreSonus Artist Dr. Scardo just wrapped the video for their new single, “END OF THE WORLD!” This track was recorded, mixed, and mastered entirely in Studio One. We hope it’s not really The End of The World, despite Mayan prophecy, because we’d like to see and hear more Studio One productions. And also because apocalypses are a total bummer.
If you’re not familiar with Transient Detection, the first thing you need to know is that it’s not about finding the homeless. You’re thinking of a hobometer. Forget that. Transient Detection, in the DAW sense, is about grabbing the louder, pokier bits in your wave form. Now sure, you can do that with your eyes and ears, despite the creeping tinnitus you likely have by now, but what’s important is what you do WITH these Transients once they’ve been detected. Grab these os and 1s by their digital little collarbones and bend them to your will! But why?
Because drummers have substance abuse issues. Let’s say you spent EONS on your snare tuning and mic placement, and it sounds like a squib in a squnich. Then the drum-dum shows up reeking of cheap patchouli oil, tail and sticks dragging. You get the take, but it’s sloppy, and said drummer is all “THAT WAS THE ONE, MAN!”
The advantages of Transient Detection begin with the ability to grab those late-but-great-sounding snare hits and snap ’em to grid. Just make sure no analog purists are looking. You’ll end up with pixel-perfect snare whacks—if you like. The quantization is scalable; you can render the performance TR-909 mechanized, or leave some natural looseness, or set it somewhere in-between.
Now that you know what this technology has to offer, let’s consult with another aweseomesauce OBEDIA video on the how. Click below.
Brad tricked me. He sent me this vid titled “Steve Vai Hand on Heart – Carvin DC400 PreSonus Studio One.” I got all excited, and clicked the link, and it started to play, and I was all “HOLY CRAP NO ONE TOLD ME WE SIGNED UP STEVE VAI.” Then the camera panned back from the guitar, and I realize it’s PreSonus artist Phil LaBarge! And not only does Phil play like Steve Vai, but he sounds like Steve Vai, thanks in no small part to the painstaking amp and cabinet re-creation algorithms of Ampire, the amp modeling package included in Studio One.
So, I guess it’s not all Brad’s fault. Our software engineers had a lot to do with it; listen for yourself! Sonically, it’s all here: buttery, polyunsaturated, gently delayed 80’s tubey-tone that makes me want to head down to the beach to practice my Karate Kid crane kicks.
With Ampire, you can fool your fans and have them thank you for it. Thanks Phil!
Phil sent me the presets he used on these recordings, which can be downloaded here: http://www.presonusftp.com/social/Phil_LaBarge_Presets.zip
Perhaps “Transforming Audio” isn’t the ideal nomenclature. In the DAW sense, “Transforming” is all about rendering your malleable, spongey, VST-, reverb- and Melodyne-saturated audio track down to a single, simple, WAV. Think less like Optimus Prime turning into a truck and more like flattening layers in Photoshop. Do so once you’ve dialed in the effects to juuuuust the way you like them—this process frees up your rapidly aging CPU from thinking about all those heady, pitch-shifty convolution-reverberizing plugins. Freeing up RAM in this way means you can apply heady pitch-shifty convolution-reverberizing plugins to some other track. Or you can Transform to MIDI.
Fortunately, if you like, Transformation is non-destructive. If you’re unhappy with the changes you’ve committed to, you can always bring it back to the way it was before, much unlike my relationships with women.
Our dudes over at Obedia stay busy. Visit them!
We’re lucky to have the folks at Obedia in our corner, and so are you. These folks are experts at being experts, and serve as a fallback/auxiliary for our in-house tech support crew—effortlessly dispensing expert advice with a guru’s credibility and a surgeon’s hand.
Smart as whips but really much more kind than whips, Obedia’s video editors have been earning time-and-a-half while producing a new, five-part series of Studio One 2 techie videos. Episode 1, above, highlights tips’n’tricks concerning the mucho-lauded Celemony Melodyne.
OBEDIA is a rad company that ‘s all about making your gear work FOR you instead of against you. “Obedient media,” see what they did there? Their training is fun, concise, and above all informative. It makes even the expert-level functionality of the software easy-to-understand. OBEDIA videos have mined all the fun of the Pirates of the Caribbean movies and all the information of Carl Sagan’s “Cosmos,” and compressed it all into sparkly 6-minute infotainment diamonds.
At first glance, track organization may not sound like the most glamorous feature a DAW can offer. Fact is that cleanliness is next to good-producer-liness, and an orderly, easy-to-read workflow is just about as important as astute microphone placement.
Our good buds at Obedia are back again! Already! Today they bring us an in-depth look at Transient Beat Detection in Studio One 2. This technology allows the astute producer to correct timing inaccuracies in recorded audio. Snapping lazy snare hits to the grid is only the beginning; prepare yourself for the miracle of audio bending!