Nathan certainly didn’t forget to bring his ATOM SQ along for this amazing songwriting excursion into the Colorado Rockies!
PreSonus, Wherever sound takes you.
He was introduced to Studio One via version 2 back in 2010, after being victim to a home invasion where his studio was picked apart clean. Newly-armed with a PC laptop gifted from one of his sympathetic colleagues, he went straight to Guitar Center where Studio One was sold to him on the promise that he could use familiar key commands from Logic.
After installing the software and navigating around for a day, Studio One was his primary choice moving forward. CMP had used Cubase and Pro Tools previously, so there were features that instantly felt very familiar yet noticeably improved upon. From the Zoom In/Out functions, to the streamlined bus routing and the linear drag ‘n’ drop workflow… everything in Studio One seemed to work the way he wished it would have worked in other DAWs.
CMP now brings his excitement for Studio One with him to every studio session. As a producer in the hip-hop community, he started his Craftmaster Productions YouTube Channel in 2015 to showcase his passion for Studio One, and immediately began attracting the interest of other Studio One users online.
After a year of amazing feedback and growth on the platform, he created StudioOneTutorials.com, a place where the Studio One community could come and directly request content and courses from CMP. He also offers custom templates for Studio One via CMPKits.com along with compositions for producers to sample and flip, as well as his various MIDI products.
He’s been heavily supporting Studio One for a long time, and we’re all the better for it!
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.
As a part of the Acadamy Awards this year, the song “Húsavík” from Eurovision Song Contest: The Story of Fire Saga (which was nominated for the Best Music (Original Song) award) was featured as part of the pre-show event.
This breathtaking performance, set in Húsavík, Iceland (the same setting and filming location as the movie) featured Swedish pop star Molly Sandén, the original singer of the track, backed by a girls choir from the town of Húsavík. On top of that, the stage and performance were set on the actual docks of beautiful, mountain-swathed Húsavík, with full crew, rigging, lighting. The sound for the performance, including routing, playback, recording, and monitoring came courtesy of a StudioLive 24 Series III mixer and Studio One 5. After four days of setup, the performance was finally recorded live the day before airing at the awards ceremony. Oh, and all of this took place outside… in 4°C weather—not counting for windchill.
– Big thanks to Trausti M. Ingólfsson who works for Tónabúðin, our distributor in Iceland, for giving us the report on this wonderful event.
When you join PreSonus Sphere your membership comes with Studio One Professional, Notion plus the native software instruments, effects and plug-ins that PreSonus offers.
Studio One Professional is a powerful and intuitive DAW that works for you – made only more powerful by the full catalog of plugins – while Notion is an easy way to create full scores, sheet music for individual instruments, or guitar tabs and chord charts. Sphere members can also enjoy ongoing software upgrades when new versions are released.
In this Sphere episode, Jacob takes us through a demo of the “Products” tab, and all that is included.
With a PreSonus Sphere membership you get access to exclusive masterclasses in the “Learn” section.
Here you can dive into practical recording topics from industry professionals, covering recording tips, manipulating compression, perfecting EQ on a track, general mixing/mastering techniques, and more! Beyond the recording side, you can explore PreSonus Sphere product-specific videos like dialing in your guitar tone with Ampire, navigating Studio One and learning Notion.
In this episode, Jacob shows us the layout of the “Learn” tab, and how to navigate this “one stop shop” of classes.
If you’re a musician working with other artists, or working alone and trying to keep your folders organized and neat, the PreSonus Sphere Workspaces tab is an indispensable tool for file sharing and organization.
Collaboration has never been easier; share whole songs or individual instrument stems, with quick listening right inside the Workspaces page—no downloading needed! In this Sphere episode, Jacob Lamb takes us through some of his thoughts on how Workspaces can be utilized in his studio, for both song creation and teaching students.
The Bunn (a.k.a. Scott Sokoloski) is a stoked dude from Canada who makes low-tuned, heavy music despite wearing guitars incredibly high, with very short straps.
After a life of touring and gigging throughout North America in bands, The Bunn started producing his own music, back around 2010. Super-low tuned stuff. Not djent though, and not with 7 or 8 string guitars. The tunes are a post-sludge/ doom kind of thing and with extra long-scale, 6 string baritone guitars.
Besides creating and producing material for Foreigns, Wetlands, & Venns, “The Bunn” is forever busy sharing production and practical techniques in working with super-low tuning and getting music done on his YouTube Channel.
Guitarist, producer, sound engineer and Solar Guitars Artist, Nick Hill runs his YouTube Channel focuses on mixing, metal, and tones. There, he shows how to create modern metal guitar tones, mix, master, and learn the process of music production.
He operates on Spotify both a solo artist and as part of a project called The Partisan Component with Jeff Plewa, an amazing metal vocalist.
Gary Hiebner is a South African guitarist, music producer, content creator, and YouTuber. He started off as a guitarist in the South African music scene in the early 2000’s and from there gathered an interest in music production.
Through learning the different software audio applications available Gary developed a keen interest in music tuition and for the last 8 years he has been creating and providing music tutorials courses on many of the audio DAWs, plugins and effects available on different teaching platforms.
Currently he is a course creator at Groove3 and he also runs a YouTube Channel (Heavy Tones) where it focuses on heavy, low tuned guitars productions and how to get the most out of your heavy low tuned guitars… from dialing in a killer tone for low tuned guitars all the way to guitars setups for low tuned guitars. Also, be sure to check out his new series at Udemy: Advanced Tips and Techniques in Studio One
Because of their depth of work and respect in the extended range guitar online community on YouTube, PreSonus was so fortunate to have these three gentlemen so graciously and enthusiastically help out with creating most of the Presets (and sound examples on our website) for the recent PreSonus Ampire High Density software add-on pack that was just released. Thank you so much for your time and effort guys!
Let’s get to know them a bit better and how their workflow history intersects with PreSonus hardware and software.
PreSonus: How did you discover Studio One?
GH: I started off working in ProTools probably in about 2004, and then moved over to Logic in about 2006 and used that for a good couple of years. But around 2012 I started using Studio One alongside Logic. But I found myself preferring the workflow of Studio One. The interface is smoother and cleaner and with the new updates they have really been adding some great features that help my workflow.
TB: Initially through owning PreSonus hardware (since the FirePod and FireStudio, currently STILL using an AudioBox22 VSL which has been super solid for the last 5 years!). Bundled with the interface was an “Artist” version of Studio One. I’ve really taken to it in recent years (Studio One Pro) since connecting and collaborating with fellow YouTuber, Nick Hill. Nick is a veteran Studio One user and a great mixer. In our musical collaborations everything happens in twin setups of Studio One so that Nick can seamlessly go to the mix stage.
NH: I was definitely a little late to the Studio One party. I recall my early days of audio recording exploration, this would have been the early 00’s, using early versions of DAWs like Digital Orchestrator Pro and then moving into Reaper thinking THAT jump was massive. I tried various other offerings and my best friend Lenny had discovered this DAW called Studio One. At this point, it may have been toward the end of Version 2’s life cycle but we jumped in headfirst and the rest, as they say, is history.
PreSonus: If you explored Ampire in previous versions of Studio One, what are your thoughts on it now versus then?
TB: I started to pay attention to Ampire in Version 4, of particular interest was the “Double”. I’m a huge fan of Rectifiers and needed to try it. The amp itself sounded pretty great, however Ampire as a environment was missing some key functionality and features in order to make it part of my regular routine.
NH: I remember trying early iterations of Ampire and thought, “oh this is neat, but I won’t really use it.” The personal workflow I’ve developed and grown to feel most comfortable with has been hardware or externally based ie audio interface, using mics, capturing real sounds/amps/acoustic instruments, and then on to using hardware like the Line 6 Helix but as Ampire improved, I found myself using it for various mixing and layering tasks, adding in some melody lines, ambient guitar parts and overall “ear-candy” to some of my mixes and projects.
GH: In the beginning, like in version 2 where I started, Ampire was very basic. I was jumping for other Amp sim plugins to get the tone I was after. But I only really started exploring Ampire again with the new State Space Modelling. The Amps sound sooooo much better now. More realistic on getting that sound that you hear from a real amp. Where it sort of sounds like you can feel the air pushing out the speaker. So yeah the new version of Ampire has really come leaps and bounds from the earlier versions.
PreSonus: What do you think about the 3 new amp models in the Ampire High Density add-on pack?
NH: Having had some time to play with the new High Density stuff, It’s safe to say that these newly modeled amps stack up against some of the big-name, 3rd party offerings.
GH: I love all the new amps. Obviously I am more inclined towards amps catering towards high gain. So these new amps are exactly the tones I’m looking for. My favorite being the German sounding Gasoline EMC2. I’m a big fan of the brand it’s being modelled after, so yeah you guys really nailed it with that amp model.
TB: The new amps and cabs sound really good offering a satisfying level of feel and spirit as in the real-life hardware. Both the new drive pedals, the Wild Drive and Demolition Drive really help to shape, tighten, and add dimension to the amps. The new Space Reverb is a very nice addition that I could easily use in a number of different scenarios. Very soft and organic vibes.
PreSonus: How easy was it for you to dive in and start coming up with presets?
GH: Yeah, I could jump in straight away and build up presets quite easily. I’m not into building up big huge chains of amps and pedals. I like to keep the chain quite simple. So with the interface it was easy for me to dial up the sounds I was after. Sometimes just an amp head, speaker cabinet, gate, overdrive and EQ. That’s it.
TB: Ampire, for me, needed no instruction. I just opened it and started using it. Maybe the only thing I got tripped up on was looking for features that I expected that do not exist. Hahaaa!
NH: I wish that I could say I labored for hours and hours over the process but the fact of the matter is, I spent more time jamming on my presets and making the final 1-2% finishing touches than I did creating the actual tones. The new High-Density Amps are straight up, easy to work with and I think users will see that.
PreSonus: What’s the best feature you like about Studio One?
TB: That you don’t need any 3rd party plugins other than perhaps a virtual acoustic drum suite (if you don’t work with a drummer) to produce finished, commercially viable tracks. Typically I need 3rd party dynamics, EQ’s and spatial effects to actually make a track. Studio One closes that gap, especially with the addition of Ampire. The only similarly competing platform in this way would be Logic.
NH: Having used Studio One for years now, I’ve grown to love so much about this DAW. It seems to get out of my way and lets me create but the coolest or the best thing about it speaks to PreSonus as a whole and that is their willingness to work WITH the artists, producers, mix engineers, and musicians who use it. They take feedback, suggestions, and input from the community and continually try to make Studio One better with every update. It won’t always be a perfect process and pleasing everyone is a fool’s errand, but they get marks for trying in my book.
GH: I really like the Pitch Shift pedal effect. I have been through some of the other pitch shifting emulations around and a lot of them suffer from adding too many artifacts when the sound is transformed up and down. But this one works great. I really like the sound and use of it.
PreSonus: What are your thoughts on 2020?
NH: What can I say about 2020 that hasn’t already been said? It’s been rough and scary but with challenge comes growth. I focused on making my community a positive place, a creative place, and a sort of escape from the world and the at times, overwhelming negativity. Not as a way to put on blinders, but as a coping mechanism. I’ll tell you one thing, it’s given me much more appreciation for all of the things we all seem to take for granted when life isn’t on its head, that’s for sure.
GH: 2020 has been a strange year, I’m sure for all. With the whole pandemic and lockdown restrictions. Luckily for me I work from home, and don’t do much gigging and performing outside of the studio anymore. So I haven’t been affected too much in that way like many others have.
But it’s been a great year for guitars. There’s been some great releases focused towards guitarists. And I have been spending more time this year than ever dialing in the tones I want for my guitars and fine tuning them to a level where I finally like the productions I’m getting. So if anything 2020 has been a year for me to dive deeper into my guitar productions.
From my side in the future I’m going to be focusing more on Studio One tutorials courses across the platforms I use. And working hard at my Heavy Tones guitar YouTube channel as am having a lot of fun with that and it seems to be growing nicely. So if you haven’t seen my channel yet I would highly appreciate you stopping by, watching a video or two and leaving your thoughts on what you think.
TB: It’s an interesting, transitional period for music production. Pro audio and bedroom producer spaces are melding into the same space. I think that the trends going forward are going to be software that runs really light, ultra clean and simple GUIs that go away from trying to look like in real life, and software that makes global collaboration accessible and easy.
With Studio One and Ampire specifically I would like to see the gate, smoothed out and further developed (the Fortin Zuul is an incredible gate if you need inspiration). As well, it would be nice to see the cab shaping tools expanded so as to be able to launch a single instance from the inserts that offers a fully refined tone without the need for any additional inserts in the FX rack. This is the big reason that I favour the Helix platform, (and previously BiasFX) and also why I don’t use Neural DSP or STL plugins. I want a single instance that sounds awesome, needs no additional plugins, runs light on my system, and gets out of my way so that I can focus on playing and being creative. Additionally I’d like to see a clean GUI without IRL graphics. Much of Studio One is leaning already in this direction, it would be nice to see it go all the way!
Overall, I really like the single platform for creators approach of Studio One. Just needs a killer acoustic drum suite. No other cross-platform DAW offers such a comprehensive list of pro level tools. And the cross platform thing (Mac/PC) is huge.
We hope that you have enjoyed this round-table discussion by 3 of the most down-to-earth and formidable extended range guitar players online who took the time out to share their personal thoughts here with us.
Visit their YouTube Channels:
2020 has been a year like none other that most of us can remember in our lifetimes. But, we managed to see another Halloween weekend come and go… and true to my own annual tradition, I busted out the Oingo Boingo playlist to honor the songwriting/compositional mastery of Mr. Danny Elfman, along with one of my all-time favorite drummers, Mr. Johnny “Vatos” Hernandez and his quirky approach to propelling all those amazing songs they created in the 80’s.
So, I had the honor of spending time this past NAMM 2020 in Anaheim at our PreSonus Booth with Mr. Bill Jackson, who I discovered was Oingo Boingo’s recording engineer on one of the songs to a hit movie I used to watch ad infinitum back in my youth, Weird Science and all subsequent album releases as well as my go-to end of year holiday film (to this day), Tim Burton’s Nightmare Before Christmas. We spoke at length about how he’s been using our Faderport line of control surfaces to craft his mixing with total human organic interactivity.
Here then, is what he had to say and much more!
During college, I played guitar in bands and also recorded them, as well as other local artists, with a Teac A3340-S. I had no EQ on my Tascam mixer, but I had a Tapco spring reverb.
My career started at Sunset Sound in Hollywood. I started as the runner, but I was always going in early and staying late. Sunset has 3 rooms, and I would go to each room, before the session started and look at every mic, then follow the path through the console and all the outboard gear. These were great engineers, working on projects like Van Halen, Doobie Brothers, Toto, etc. Eventually, I was able to hang out during some of the sessions and the clients got to know me. That led to me getting thrown into a lot of sessions, including some for a solid month of engineering for Prince, Sheila E., and The Time.
I randomly was selected to be the assistant engineer on “Weird Science” by Oingo Boingo. When they came back the next week, to record the Dead Man’s Party album, the engineer could not commit to it, so he told Danny Elfman to use me. I recorded every album after that, including the final Live Farewell album.
Danny had also started scoring music for films, and I recorded music for about 12 films with Danny, including recording all of the singing voices for Nightmare Before Christmas.
Around the same time that I started working with Oingo Boingo, I had been recording demos with this producer, Howard Benson. That eventually led to recording and mixing about six major-label albums with Howard, including Bang Tango’s Psycho Café. Howard continues to make records that achieve gold, platinum, and #1 status.
I have probably worked on about 200 albums, in some capacity.
Now, I mix a lot of prime-time network television and a lot of documentaries and have created a space at my house for mixing all of that, as well as recording and mixing albums and singles for independent artists.
So, my PreSonus journey actually started with a music editor, Micha, that I was working with. I noticed that he (and other music editors), would bring in a little box, that sat beside their computer. It had one fader, cool transport control buttons, lots of function buttons and a big blue knob. I asked him about it, and he showed me what it could do. (Music editors, as part of their job, have to present Quicktime mixes to the producers, using the music score from the composer, the way it should sound in the finished mix. This helps the producers decide if they want to keep the music, or make changes to it).
NAMM was just a few weeks away, and by chance, I walked in to the entrance where PreSonus was set up. I was immediately drawn over to what turned out to be an 8-fader version of the single-channel FaderPort that the editors were using. I played around with it and asked a few questions, and when I got home, I ordered one of the first ones available.
What drew me to the FaderPort 8 was the small footprint and low profile. I like having it right in front of my timeline monitor, and it doesn’t block my view, as some new controllers can, and its depth is shallow enough that my monitor can stay completely behind it, but still be close to me. I also loved the price. I don’t think there is anything out there that compares with the FaderPort 8 and FaderPort 16, for the price.
What I like the most about the FaderPort series has to start with the amazing transport controls. Whomever designed this transport is a genius. I am all about minimal movement and conservation of energy. My setup has four monitors, and I divide my movements fairly evenly between my right and left hands.
The tactile feel of the buttons, and the precise layout, which matches where my fingers naturally fall, is awesome. Especially if I am recording overdubs and constantly using the transport controls… I don’t have to move the position of my hand or even look at the controls. It is very ergonomic and natural.
Other features that make my life easier, are the big blue knob that allows me to quickly spin to the next bank of tracks, or move 1 channel at a time. I am always spinning that knob to get the channels that I want to be on the surface. In addition to a Solo Clear button, there is also a Mute Clear button, which will clear the solos and mutes showing on the surface in Pro Tools.
I like that the Audio and Virtual Instrument buttons can be used to switch between the Mix and Edit windows in Pro Tools.
Very convenient are the Latch, Trim, Touch, Write, Off and Read buttons, to change the automation setting of highlighted tracks.
Something that definitely should be mentioned, is that I can choose between Studio One, MCU, HUI, and MIDI Mode, when I set it up to use with my DAW.
I also love that I can adjust the fader sensitivity. I have always had issues with moving faders knowing that I am touching them. The Faderport gives me 7 levels of sensitivity to choose from. Level 6 works perfectly for my fingers.
I can also easily adjust the contrast and brightness of the display to work with my viewing angle.
It comes in handy for recording music, especially how the large Select buttons can become the Arm buttons, in bright red. My average tracking session is about 12-14 tracks of drums and the other live musicians (usually playing along as guide tracks for the drummer). Boingo always recorded that way, with everyone playing live, even if we were only going to keep the drums. I still record like that. It helps the band realize that the tempo and drum parts are right.
The Faderport 16 especially shines when it comes to mixing for Television. Here’s the workflow/process:
For each episode, my mix tech, Christina, at Sony, sends me the Pro Tools session, which is made from a combination of my template and my FX editor, Mike’s session, and the audio files folder that goes with it. They both have my template, so this is an easy collaboration. Mike has cut in all of the FX and BG tracks, from scratch, but also includes some pre-mixed 5.1 sounds, that I have made from previous episodes, that I sometimes blend into similar scenes in the new episodes. It ends up being a combination of my pre-mix and his new tracks, for these particular scenes. Mike also includes the Foley, which is performed by Robin and Sarah, the Foley walkers that I love at Sony. I asked for them to be on Madam Secretary, and they also created the Foley for other shows I worked on, such as The Goldbergs, and now The Resident.
What is great about the Faderport 16, is that I can easily grab the eight or so background tracks for a scene, and get a quick balance, then I press the Sends button, and (in this case, select Send C) and grab those same faders to add the ambiance reverb to the BGs that I have selected for that scene.
I then press the Pan button, which turns those same faders into left and right panners, that I use to pan the more specific tracks of the BGs, such as typing, paper shuffling, cars, and sirens. If I am just panning a single track, I may grab the blue pan knob to do a traditional knob pan. Any surround panning is accomplished with a touch screen I have, which mimics the surround panner in Pro Tools. I also use the Sends button to send FX to the subchannel, and any of the other 3 reverbs that I use. Even though I am using HUI control, I am able to do all of this. I also have the input meter turned on, as well as the ability to see the fader dB levels in the scribble strip. I also use the VCA button to show and hide my EQ plug-in. The Shift-Track buttons allow me to display the SMPTE (or BPM) onto the strip.
When I started mixing episodic television at my place, I need to be able to work efficiently and fast. I had used other small format controllers, but wanted something different in price and also features.
Having 16 faders available on the surface. I really mean this, when I am mixing backgrounds, it is nice to have the faders spaced relatively close together. I can work faster, grabbing 8-10 faders, and then switching to Sends mode and grabbing the same faders to add ambiance. This works very efficiently for me.
Seeing the track input levels on the FaderPort, as well as the level of the fader, really help during a mix, as well as the other features that I mentioned.
I would love to have a single button for saving. I am saving my session all the time, and it would be great if I could just double-tap on the big blue knob to save my work.
All in all, I love how you guys took a console for everyone and made it work so well with HUI in Pro Tools.
An added bonus of mixing at Jacksonland (my home studio) with the FaderPort 16, is that I already had a personal mix workflow in place when COVID-19 appeared, and have been able to continue working on The Resident, every week while all of us are sequestering ourselves from each other, since I was already mixing in this manner.
It’s inspiring to see what our customers have created during these strange days of quarantine and isolation. As soon as you open your social media accounts, one thing is certain: Creativity has thrived over the last few months. We wanted to take a minute and share some of the after-hours projects and live streams PreSonus employees have been a part of during this time. Enjoy!
“My PreSonus family is so awesome, please check out the first of the “PreSonus Isolation Jams” – Gregor Beyerle, who lives in Germany and is our Software Product Specialist started this track and sent it to me. I was immediately excited about what he created which inspired me to add some synth effects and saxophones. I then passed it to Rick Naqvi, our SVP of sales who added those awesome guitars. Next, the track was sent to Ben Livingston who works in our inside sales department who added his funky drums. Finally, we punted the track over to Richard Gaspard, who’s in charge of our worship market, he added his “rockin'” bass guitar… and sent the files back. I then doubled this really cool riff Richard played with horns and Rick and I mixed the music and sent the final mix to Gregor who created this awesome video. Oh, this was all done remotely, in our home studios on all PreSonus recording gear. I have to say I’m really proud to work for this company especially with all the talented people! Nothing can keep us from creating music, not even this virus! I hope you all enjoy our jam!”
“My wife and I formed the duo Highs and Lows, a musical experiment of arranging iconic songs as just bass (upright and electric) and vocals (mostly her on lead and the two of us on backgrounds). The point is to create very sparse arrangements, but also songs that feature the six-string bass as a solo instrument, covering any instrumental solos as part of the recorded performance. All mics used are either PreSonus PM-2 or PX-1, and everything is recorded through either a PreSonus Studio 26 or AudioBox 22VSL. All audio is edited and mixed in Studio One 4 Professional and video shot on iPhone 11 and edited in Adobe Premier using a shot template I created in Adobe Photoshop.”
Watch their performance here and subscribe to their YouTube channel:
“Some guys meet their buddies on the weekend to play golf or poker. We make music while practicing Social Distancing… remotely from our separate homes using Studio One.”
Eric Levy (keyboards): Night Ranger, Garaj Mahal
Jakubu Griffin (drums): Cirque Du Soleil Zarkana, Chaka Khan, Peabo Bryson, Melissa Manchester, Pearcy Sledge, David Cassidy, Pharez Whitted
Jon Cornell (bass): SNL Band, Jackie Greene, Grand Canyon
Alex Painter (voice): Life On Mars Tribute To David Bowie, Solo Artist