Let’s find out more about them and what’s new in the Pigface camp in these surreal times we’re in:
Martin: I’ve had a long storied career – starting in 1979 when I joined Public Image Limited (the band started by Johnny Rotten when the Sex Pistols imploded) for a 5 year spell that included world tours and their most successful albums. A few years with Killing Joke (who just opened for Tool last year) some work with Nine Inch Nails (appearing on the Grammy award winning Wish) touring with Ministry and founding my own band Pigface – an industrial ‘supergroup’ that has included Mary Byker (PWEI, Gaye Bykers On Acid), Chris Connelly (Revolting Cocks, Ministry), Randy Blythe (Lamb Of God), Danny Carey (Tool), Curse Mackey (Evil Mothers), En Esch (KMFDM), Lesley Rankine (Silverfish, Ruby), Charles Levi (My Life With The Thrill Kill Kult), Bobdog Catlin (Evil Mothers), Bradley Bills (Chant), Andrew Weiss (Ween, The Rollins Band), Greta Brinkman (Moby, Druglord), Orville Kline (Porn and Chicken), Gaelynn Lea, Dirk Flanigan (77 Luscious Babes), Leanne Murray (Beer Nuts), Chris Harris (Project 44), Mike Reidy (Worm), Leyla Royale, Andrew Apocalypse, Ali Jafri, Roger Ebner, Bruce Lamont, Jesse Hunt, Dai, C.A.M., J Lamar, Just Chris (courtesy of Add-2) and Rona Rougeheart.
I started my own label Invisible Records in 1988 and, after a few short years it was obvious I should open my own studio – I bought Steve Albini’s tape machines (an 8 Track ½” and a ¼” machine both by Otari.) As digital started to enter our lives my studio became a hybrid of cool quirky analog, circuit bent pieces, and whatever digital interfaces were affordable at the time.
More and more of my time was spent either in the studio or out recording live events with my band in the US or over in China where I travelled a couple of times. I’ve always been impressed by how supportive PreSonus is to artists– either with no nonsense customer support when needed or by carefully crafting new pieces of equipment that just make sense. I think the piece that illustrated their support of artists for me was the now “classic” Faderport– when most companies were trying to sell multi-fader automation they (and then I) realized that most of us only needed one channel to write volume and pan automation – so, that, I guess, cemented everything for me.
It feels like things are really coming to fruition now, with support from PreSonus and my good friend and audio engineer, Mark Williams. I got to see the StudioLive 64S Series III console mixer in action first at Mark’s studio in Baton Rouge where he laid out all of the tracks, but then we got to work at River City Studio, which is an amazing recording facility, right there at the PreSonus office building. Everyone was so welcoming, people jumping out of meetings to say hi that I had met speaking at PreSonuSphere years ago (you should bring that back!) and I even met the CEO. Mark and I were able to tweak the tracks there and then finish up any tweaks remotely from Chicago.
All of this made the need for a StudioLive 64S console essential for my studio– with so much catalog and multi-track sessions it will be an essential hub of our next few years of activity as a band and as a label. I have the ability to quickly communicate the power of these live shows we have been creating. We recorded many of the shows during our 2019 tour – the line up was just AMAZING and, just be reading through the names you’ll know this was nothing to roll the dice with – the new format allows seamless passing of sessions, follow up tweaks, and easy workflows. Not only has the StudioLive 64S made the mixing of the live tracks from the last tour possible, it’s enabling possibilities of making other shows available for the fans who want more material from us.
Mark: I met Martin the first time in 1993 while working in college radio at the University of Alabama. I worked for him as a field representative for Invisible Records for about 5 or 6 years. Martin contacted PreSonus about one of his ACP88’s and became an Endorser for the company. Throughout the years, PreSonus has outfitted his studio with products including: the ADL600, Central Station, Fadeport, Digimax 96, and their award-winning DAW software, Studio One.
I’ve worked on numerous recording projects and mixes throughout the years with Martin and in November 2016, we recorded the Pigface 25th anniversary concert at the Chicago House of Blues using 2 StudioLive RM32 rackmount mixers and Capture recording software.
In 2019, I supplied Martin with a Quantum interface to record all Pigface live concerts with. The front-of-house (FOH) engineer for the final concert at Thalia Hall sent me all 32 channels of the recording. I synced up the 26 channels from the multitrack with 6 additional channels from the board mix and FOH feed.
Breaking down the 32 channels, 48khz recording down by song was quite an undertaking, as it was a massive amount of data to go through.
Martin flew down the last week of February 2020 so we could mix the album in my studio. The heart of our system was an IMAC with 32 gigs of RAM with a few external terabyte drives, a StudioLive SL64 console mixer, Scepter 8 monitors and Avantone Mixcubes. We went through each song to evaluate what we would use. As we did that, we created template fat channels for each musician. We had 3 drummers, 3 bassists, 2 guitarists, a DJ, 3 saxophones, cello, viola, violin, sitar and more vocalists than I can remember.
Basically we mixed everything “live” using the StudioLive 64S, relying on the console for dynamics processing and effects. We did some simple edits in Studio One. However, to maintain the integrity of the recording, we didn’t repair or fix anything. We used the recording as is in all its chaos and beauty. We didn’t correct any timing, pitch (i.e. no Auto-Tune!). I wanted to stay true to the Pigface form for the live energy.
A couple of days went by of mixing in my studio and then went to River City Studio. I was able to store the presets for the StudioLive 64 on the iMac. We just carried it up to the studio and plugged it in. The scenes loaded up quickly and easily. The transition from my studio to the PreSonus studio was seamless. We were able to get a different perspective in PAE HQ due to the different room and monitoring.
Then, we finalized the mixing in my studio and I uploaded the mixes online for filesharing, as Martin had to fly home to Chicago. He and I tweaked the final mixes over the next month easily to get to the final product that has been pressed to a beautiful Double LP. Y’all need to check it out… click on the link below for more info!
The mix that we did there is what is being used for the live video concert on October 10th.
If you know him well, you know him as “Kirkee B.” To the rest of us, Curt Bisquera is a world-renowned professional studio and live drummer. Having played with more famous artists than we have room to name in this blog post, he’s in-demand—both in the studio and on the road. Talk about a Dinner Party DREAM guest list: Mick Jagger, Elton John, Tom Petty and the Heartbreakers, Seal, John Fogerty, Sarah McLachlan, John Legend, Hans Zimmer, Josh Groban, Lana Del Rey, Celine Dion, Johnny Cash, Billy Joel, Tina Turner, Donny Osmond, Lionel Richie… those are a few of his credits over the last 30 years in the music industry.
We recently connected with Kirkee B on Instagram and found out he’s a HUGE PreSonus Sphere user and fan! We thought it would be nice to hear his thoughts on PreSonus Sphere.
How did you first hear about Sphere?
I heard about PreSonus Sphere through PreSonus’ Artist Relations Manager, Perry Tee. He really didn’t say what it was… he just said, “Look out for what’s coming… it’s gonna blow your mind!” And he was correct!
What got your attention?
The video content. I’m on Sphere every day watching all the new video content that’s posted. I’m getting better at using Studio One 5, thanks to all the videos from Gregor and Joe! They are a huge help and inspiration.
What’s keeping your attention?
The fact that it is always maintained and updated and that I can also join in with a bunch of other users around the world.
Can you speak to the value of PreSonus Sphere?
Oh man, where to begin? After the morning espresso kicks in, there are two things I check: the news and PreSonus Sphere! I always feel like I’m on top by checking Sphere everyday… Super valuable!
Is there something specific that you’ve learned from one of the exclusive videos?
YES! I’ve learned how to use the Splitter Tool thanks for PreSonus Sphere and I LOVE IT!
What would you tell someone who’s considering Sphere?
Once you sign on, you will feel the world of creativity at your fingertips! There’s nothing like it.
In your opinion, how can PreSonus Sphere change the music industry?
It allows users to gain confidence at their own pace in using PreSonus products and software in an easy, one-stop, online environment. Confidence is huge if you want to be successful in this industry.
How does it feel to be one of the FIRST to join the PreSonus Sphere family?
I am honored! It’s really changed the game for me, now in my creativity is limitless. I can do things now I was unable to do in the past. NOW the future for me is PreSonus Sphere!
The response to Studio One 5 and the launch of PreSonus Sphere has been OVERWHELMING, to say the very least… We are blown away and extremely grateful for our customers’ enthusiasm! We are working non-stop to respond to specific issues any customers may run into. We wanted to take a minute and answer a few questions about the grace period we’re offering to our customers.
PreSonus is providing a super-sized 90 day grace period for Studio One version 5. This means if you registered a copy of Studio One 4 on or after April 1, 2020, you are within the grace period. Here are all the specifics:
Note: If you registered a copy of Studio One 4 Artist that was bundled with a third-party product during the grace period, we are sorry but you are not eligible for an upgrade.
During this grace period, if you have multiple copies of Studio One Professional or Studio One Artist in your account, all copies are stamped as upgraded automatically. However, only you only get one copy of Studio One 5 or PreSonus Sphere per account, not per product. This is only a rule for those registrations that occurred during the grace period.
After clicking the Redeem button above you will see a screen similar to the one pictured below. Depending on how you acquired your product or your product type you may not have both buttons: