To celebrate, we’re giving away a FaderPort 8 to one lucky entrant during the broadcast! That’s a $500 USD value!
Here’s how to enter:
And that’s it! You’re entered. One winner will be drawn at random and notified directly on May 22 at 2 pm CST. Contest open globally. Webcast starts at 10 am CST on May 22, 2018 on Facebook and YouTube. TUNE IN!
I’ve been experimenting with phasers lately, and found some interesting tricks. This week we’ll create a mind-melting phaser-meets-stereo-imager. Next week, we’ll create a super-customizable phaser with continuously variable peaks and notches, so you can obtain specialized vintage sounds like the original Electro-Harmonix Polyphase.
HOW IT WORKS
You can reproduce the sound of a phaser with several tracking notch filters, so instead of using a phase shifter per se, we can use the Pro EQ.
The five parametric stages are set up as notch filters one octave apart, with a sweep range of four octaves. The FX Chain Frequency control sets their frequencies. If you download the multipreset, I highly recommend reverse-engineering it to see how to control multiple filter stages from a single knob.
The FX Chain Q control sets the phase effect’s resonance/sharpness by altering the Q for all five stages simultaneously. Broader Q settings reduce volume, with a less focused, gentler phasing sound. High Q settings are sharper, with a more pronounced phasing effect.
But the secret ingredient here is splitting the signal path into the Pro EQ-meets-phaser and the Mixtool. Inverting the phase for the Mixtool’s left and right channels cancels out any remaining dry signal from the Pro EQ “phaser,” which accents the phasing sound.
If you compare this to the sound of the PreSonus Phaser, it’s like the PreSonus Phaser supplements the audio with the phasing effect, while the Imaging Phaser replaces the audio with the phasing. They both have their uses.
THE IMAGING PHASER
The real mind melt happens if you run program material through the Imaging Phaser and then click the Image Xpand button. This swaps the right and left channels, which because they’re out of phase, creates insane imaging effects. The first time I tried this was on a laptop, and clicking on Image Xpand made it seem like the speakers were located somewhere else in the room. The effect is less dramatic with signals that don’t contain a lot of stereo information and ambiance, or on headphones, but it still makes a difference.
THE AUDIO EXAMPLE
The first part showcases the phaser effect. After the word “Reunited” appears, you’ll hear an unprocessed version of the track for four measures. After that, it’s Image Xpand time, with the FX Chain control being varied to alter the sound somewhat.
And for those without the patience to build their own Imaging Phaser, here’s an FX Chain multipreset you can download. Have fun!
The Project Page Meets Bluetooth
After mastering a project, I like to check out its suitability in a variety of contexts by listening to it over and over again—in the foreground, in the background while people are talking, while the dishwasher runs, whatever. This can be very instructive when trying for masters that are transportable not just for different playback systems, but for different listening conditions.
And that’s when it hit me: Bluetooth! I have IK Multimedia’s iLoud portable Bluetooth speaker, and carry it around the house to listen to music that’s streaming from a mobile device. Why not carry it around while listening to a mastered Project? Or even loop a Song, so I can get lyric ideas while the instrument tracks play in the background? Or listen over other Bluetooth devices, to get an idea of the type of sonic violence the music will have to endure at the hand of consumers?
Okay, so I was a little slow to tumble to this…but reality checks can indeed be useful, and I hope you find this tip useful as well. We’ll do the Mac first, and then Windows.
1. Choose Apple menu > System Preferences > Bluetooth.
2. Turn on Bluetooth at the Mac if it isn’t already.
3. Turn on your Bluetooth playback device, and enable pairing for it (usually by pressing a pairing button on the device).
4. When the Connection Request appears, click Connect.
5. The Bluetooth window will show the device as connected.
6. In Studio One, choose Preferences.
7. For Playback Device, choose your Bluetooth playback device.
1. Choose Settings > Devices > Bluetooth & other devices.
2. Turn on Bluetooth in Windows if it isn’t already.
3. Click on Add Bluetooth or other device, then choose Bluetooth when Add a Device appears.
4. Turn on your Bluetooth playback device, and enable pairing for it (usually by pressing a pairing button on the device).
5. Click on the device name to connect it. Once it’s connected, click on Done.
6. In the Windows search box, type Sound and then select Sound Control Panel.
7. Your Bluetooth device should appear in the list of potential playback devices. Click on it, and then click Set Default to make the Bluetooth device your default playback device.
8. Now that Windows is set up, open Studio One, and choose Options. Select Windows Audio for your Audio Device, and you’re good to go.
Here’s a follow-up to last Friday’s tip on creating an authentic sounding wah with the Pro EQ. That’s fine, but what if you want to control it with a footpedal instead of a mouse? Keep reading.
First, you need a pedal that generates MIDI data. There are several options. Most keyboard controllers have an expression pedal input. Plug an expression pedal into this, and the controller will likely output controller 11 over MIDI. You may be able to assign this to a different controller number (see your hardware’s documentation); however, this probably won’t be necessary.
If you don’t have a keyboard (or floor multi-effects with a pedal that produces MIDI out), then check out the Pedal Controller, a small box from MIDI Solutions. This accepts an expression pedal input and outputs your choice of MIDI controllers. (For do-it-yourselfers, the circuit board is small enough you can probably mount it in a pedal if you want a stand-alone MIDI pedal.)
Assuming you’re using a keyboard with an expression pedal input, you now need to add the control surface to Studio One if you haven’t already. Call up the Options menu, and add the keyboard. Here, I’ve added The Laboratory controller from Arturia.
Next, you need to map the pedal. Go to the right-hand side of the Control Link menu and select the device to open the Device Control map. Note that The Laboratory is selected as the device.
If you can’t see the right section of the Control Link menu, then your monitor resolution is probably 1600 pixels wide or less. Another way to open the Device Control map is to open the Mix view [F3], and then click on External in the Console navigation column (to the far left of the Console). This opens the External panel; double-click on the desired device in the External panel.
Now click on the Device Control’s MIDI Learn button, and then move the footpedal. As if by magic, Control 1 appears, with its controller number assignment.
Now whenever you want something in Studio One to react to the footpedal, you just select Control 1. You can also rename this—perhaps not surprisingly, I changed Control 1 to Footpedal.
Now let’s suppose you want to control the Pro EQ Mid Frequency (Freq) control, which we used last week to vary the wah frequency. It’s simple:
Now choose the desired assignment—in my case, “Assign MF-Frequency to Footpedal on the Laboratory.” Move the pedal, and it will change the frequency.
However, you probably don’t want the pedal to cover the full frequency range, but just a typical wah’s range so you have more precise control. We have a solution for that, too. Instead of right-clicking on the knob and assigning it to the footpedal, assign it to a Channel Macro Control, like Knob 1. Open up the Channel Editor, right-click on Knob 1, move the knob, next move the pedal, and then choose “Assign MF-Frequency to Footpedal on the Laboratory.” (By the way, you can assign pretty much everything in Studio One to a controller using the right-click + move controller + choose assignment protocol.)
Now you can use the Transition settings graph to limit the pedal’s range. Alter the curve shape to a response you like—it doesn’t have to be linear—or even change the “sense” of the pedal travel so that pulling back on the pedal raises the wah frequency.
Once you’ve done this kind of assignment a few times, it will become second nature and you’ll be able to take advantage of pedal power for increased expressiveness. So put your foot down, get on the good foot, or put your best foot forward—the choice of clichés is yours!
Neil Zaza is a career guitar virtuoso who recently took some time out of his schedule to discuss his personal workflow with the PreSonus FaderPort 8 controller. He covers everything from set up to plugins to automation, he goes deep and covers it all! For your enjoyment, we complied the full series into one playlist here. Check it out and enjoy!
For more on the FaderPort, click here!
For more on Neil, click here!
You never know where the next gig is coming from—maybe it’s joining a disco revival tribute band, being asked to play guitar on a remake of Shaft, or getting a quick $200 from a YouTube producer to come up with a background theme for their “Remembering the ’70s” docu-series. What do all of these have in common? Yes! The magic of the wah pedal.
A mint condition Vox Crybaby pedal can sell for up to a grand, but no worries—this Friday’s tip reveals the “secret sauce” for getting a can’t-tell-the-difference-from-the-real-thing wah pedal sound.
Now you might say “C’mon Craig, try to come up with something better next week, okay? It’s no big deal. You just put a ProEQ parametric stage in your guitar track, set it to a relatively high Q, and vary the frequency.” But actually, it’s not that easy. A real wah doesn’t just have a peak that pokes its head up in the middle of the frequency spectrum, but has steep high and low frequency rolloffs on either side of the peak—and we can do that with parallel processing.
Now sweep the frequency back and forth, and you’ll swear you’ve been transported back in time to when wah pedals ruled the earth. This is due to the cancellation on either side of the peak from the Mixtool being out of phase.
And by the way… wahs can also sound great in parallel with bass, and in parallel with drums when you want to add a dose of funk. So don’t spend a grand on a vintage wah—just make your own with Studio One.
Vibrato is kind of the forgotten effect. It appeared briefly in Magnatone guitar amps many (many) decades ago, and some effects add it in a way that seems like an afterthought (“Hey, if we include a switch to turn off the dry signal in this flanger, then we’ll get vibrato!”). In fact it’s such a forgotten effect that when I use it on sustained sources like pads and power chords, people often want to know what “that cool new effect” is.
If a program doesn’t have a vibrato plug-in, the usual option is to trick a flanger or chorus into thinking it’s one. However, Studio One’s Flanger and Chorus are designed to give the lush sounds we associate with those effects, so it’s not possible to obtain true vibrato. However, there is a way to do vibrato with the Analog Delay.
The patch is quite simple. Here are the parameter settings.
Time (Beats section): Turn off sync, and enter 1.5 ms. This will delay the audio by 1.5 ms, but that’s only as much as moving your head 18 inches away from a speaker…I can cope.
Set Factor = 1.00, and Inertia = 0.00. Turn Low Cut and High Cut off. Set Feedback and Saturation to 0, and Mix to 100%.
Mod controls the vibrato depth. A maximum of about 37% works for me. If the depth isn’t enough, then enter 2 or 3 ms for the Time parameter. You’ll want the Sine waveform, but the LFO Beats control setting requires some explanation.
With Sync disabled, you can’t increase the LFO rate beyond 5 Hz. Although this will work as vibrato in some cases, generally, you’ll want to be able to go faster. No problem: Turn on Sync, and then you can obtain faster speeds by choosing faster sync values, like 1/8T or 1/16 at 120 BPM.
And that’s all there is to obtaining real vibrato effects with Studio One.
New in This Release:
Check below for a great new series of videos from Ray discussing the latest in UC 2.6!
Join our community of PreSonus users on the PreSonus Answers site for information and product support. While you’re there, don’t forget to vote for your favorite feature requests.
Alternatively, you can visit our Knowledge Base for more informative articles authored by the support staff. To log a support ticket or contact technical support, please visit MyPreSonus.
Using DX and DXi Plug-Ins with Studio One
The DX and DXi (instrument) plug-in formats for Windows were developed in the late 18th century, shortly after the invention of the steam-powered computer. Okay, okay…they’re not really that old, but development of new DX plug-ins ceased years ago when VST became the dominant plug-in lifeform for Windows. Regardless, you may still have some DX plug-ins installed on your computer from other programs, and want to use them.
Like many other programs, in theory Studio One doesn’t support DX/DXi plug-ins. However, it does support shell plug-ins (e.g., like Waves uses). This means you can use a wrapper that makes DX plug-ins look like they’re VST types. With this workaround, Studio One can “see” and load DX and DXi plug-ins because it thinks they’re VSTs.
I’ve tested the following with many DX and DXi plug-ins, from several manufacturers, in 64-bit Studio One. They can’t do sidechaining, and 32-bit plug-ins that were never updated to 64 bits aren’t compatible with 64-bit Windows, but otherwise they work as expected. Here’s how to make your DX and DXi plug-ins productive members of Studio One society.
That’s pretty much all there is to it. Open Studio One, and you’ll see all the DX and DXi plug-ins—the screenshot shows plug-ins from Cakewalk, rgc:audio, and Sony. The Instruments tabs will show any available DXi plug-ins.
I don’t have a 32-bit system so I didn’t test this with 32-bit DX shells. But if it works like the 64-bit one, you should be covered there as well.
Granted, this is a bit of a hollow victory because if a DX plug-in’s functionality is available with Studio One’s VST plug-ins, you’re better off using the VST versions. But there are still some DX effects that have no real equivalents in the modern world—and now you can use them.
Sample Magic is back! Well, they never really went away. But it has been a little while since they’ve had new stuff available at shop.presonus.com, and this time around they brought a whopping nine sample packs for your Studio One productions!
These loop and sample packs sound incredible, (almost magical, right?) and are compatible with Studio One Prime, Artist and Professional (Version 3.5.6 and higher). They also include Impact preset kits for making your own beats.
Assorted live instrumentation, Tycho-esque melodics and processed beats are the foundations of Indie Chill 2: Over 700 MB of overdriven keys, live bass guitars, and palm-muted Gibsons—this collection comes stocked with euphoric sounds blending the best of chilled electronica to ambient and indie rock/alternative. Featuring even more sounds, drum hits and high-quality guitar and bass loops, Indie Chill 2 is the perfect toolkit for any and all types of electronica and ambient music.
Future beats with a distinct retro flavour… The ultimate oxymoron brings succulent synths together with machine-drummed beats in Retro Future – a 900MB+ assortment of era-defining pop sensibilities and epic synthesized landscapes. Dive into an action-packed excursion of soundtrack themed melodics, pumping arpeggios, Disco-drummed beats and Tron-hinged analogue heaven.
An artful collage of west coast hip-hop, sample-heavy electronica and chilled trap – pulling in elements of jazz, funk and soul along the way – Low End Theory is a 799MB exploration of the influential LA beat scene made famous by the likes of Flying Lotus, Gaslamp Killer and Daedelus.
Spanning the edgy and experimental to the hazy and hypnotic, Low End Theory comes packed with punchy low-slung beats, thick and fuzzy bass, languid keys, kaleidoscopic synths, skittish percussion, wildly pitched vocals, heavily processed FX and stacks of characterful drum hits and melodic shots expertly crafted from over 100 hours of analogue jams, field recording trips and late-night studio sessions.
Fusing the leftfield sound of downtempo, trip hop, LA Beat and IDM; Glitched Beats delivers 390MB+ of futuristic rhythms, wavetable bass, abstract elements and glitched textures. Including an assortment of WAV and MIDI, Glitched Beats is produced using cutting-edge sound design software and processing to give instant, top quality inspiration-starters.
Deep, contemporary garage beats and lush melodics for ambient and evolving tracks. Classic vocal vibes combine with experimental electronics and modern sound-design for a diverse and slamming collection. Get to grips with over 500MB of shuffling acoustic rhythms, booming subby basslines, lush chord stabs, hooky vox shots and more.
From the creators of the best-selling Chillwave Trilogy comes Lo-fi Electronica, an 840MB+ collection of dusky beats, polaroid-tinged music loops, and beach-hazed melodics. Inspired by a leftfield approach to chillout, indie and synth-pop, Lo-fi Electronica is the product of a love affair with thrift store synths, garage-sale guitar pedals, and tape machines.
Modern beats, warm subs, and club-ready melodies: Future Pop 2 blends the best of the digital era’s hip-hop, R&B, and trap scenes. Processed through the finest hardware, we’ve once again gone all out with this 550MB+ futuristic collection of fat one-shots, pulsating loops, and ethereal FX.
Powerful, deep, and emotive – Organic Techno is an energetic and vigorous assortment of the very latest in modern techno production. Armed with analogue sequences, fluttering arps, harmonically-intriguing mallets, hypnotic percussive drums and immersive atmospheres, this collection is guaranteed to get the inspiration flowing and the mind creative.