I am from Guangzhou, China, a metropolitan city close to Hong Kong where many imports and exports occur. As a child, I didn’t have the luxury of accessing music at the touch of my fingertips, like I do now. I remember going to secret spots on the weekends to pick out records among piles and piles of CDs with broken cases, which were smuggled in from overseas and were damaged by the customs. My mom had a Sony stereo set with a CD player and two cassette slots… it was pretty fancy in the ’90s. I was obsessed with recording my favorite songs to the cassette tapes. And then my mom bought a Walkman with recording ability through its built-in mic—I figured out how to play music in the background with my mom’s stereo and record bedtime stories I wrote. I paid for all of those CDs, but none of the profits went to the creators.
My family wanted me to follow in their footsteps and become a visual artist or a designer, but I was already obsessed with music. I always wanted to play the piano. So at the age of 16, I decided to pursue music secretly. I found two incredible music teachers on the Internet and started taking lessons, unbeknownst to my family. I learned how to read, play, and study music with strict and intense classical training. It was really difficult at the time because I didn’t know if anything would come from it, and I had to make money on the side to pay for the lessons. Looking back, I’m glad I took that risk. It was totally worth it. A year later, I was accepted to the Communication University of China, the best music and technology program in China, to study music. My music career began.
The next part of my journey called for a relocation to the states, so I moved to Los Angeles after college. I started at Paramount Recording Studios and climbed the career ladder there. The learning never stops in Los Angeles; every day I pick up something new and practice until it becomes a habit. I am so inspired by the music culture in L.A., everyone I meet is just so talented, driven and inspiring. You don’t have to learn how to read music to be able to create music. How it sounds and how it connects with people is the most important part of the business.
The PreSonus audio products that I’ve been using are the StudioLive 16.0.2 digital mixer and their award-winning Digital Audio Workstation (DAW) software Studio One Professional, which I mostly use for producing.
Its ease of use, flexibility and Macros are among the top features that led me to choose working creatively in this environment. Other DAWs usually require third-party software to program Macros, whereas with Studio One it is integrated natively as part of the DAW workflow itself.
Another particularly useful feature about Studio One that I find useful is the ARA integration (with Melodyne pitch correction) to the Studio One software engine. It saves so much time and I can edit vocal audio clips in real time at any stage of the process.
I love the quick-nudge capability inside of an audio clip. It’s a fast workflow and I don’t have to clean up the edit point or cross-fades every time I make an edit.
In short, Studio One flows really well, it’s quick and intuitive. No downtime for creativity. Truly amazing!
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.
Discovering new sonic universes to explore is what being a musical artist is all about!
Let’s dive into RMB Justize’s discussion about his worlds of sound, and how he does it all with PreSonus Sphere:
“Versatility and persistence are a deadly combination of characteristics. They are much-needed weapons to have in an artist’s arsenal.”
Based in Chicago, IL with ties to the DMV area… Taylor Gang’s in-house producer Ryan “RMB Justize” Baker grew up in a musical household, his mother being a classical violinist for the Chicago Sinfonietta, exposing RMB’s ears as early as six years old.
“I caught the music bug from Mom, for sure. I remember turning 11 or 12 and having nothing but a voice recorder and a Yamaha DJX keyboard. Skateboarding was the thing back then, with influences ranging from Sum 41 to Incubus to The Neptunes and Noreaga. A couple of years later I finally dove into making music with computers, using every piece of software I could get my hands on until now. But… then came PreSonus Studio One, which changed it all for me.
“The interest came from an artist I worked with at the time—he wouldn’t stop mentioning it! After spending countless months into years on ProTools, FL Studio and Reason, I wanted a program that could do it all. I’m a religious template maker, as most are, so the workflow determines the imagination most if not all of the time and Studio One takes care of the madness with ease. Let’s just focus on the music and pushing envelopes more than finding where to click certain stuff. PreSonus did it right, ranging from AudioBox interfaces I’ve owned in the past, all the way to the new Quantum which gives me more than enough power to control the room.”
Since the premiere of Studio One version 5 in July of 2020, RMB has become a power user… eventually convincing a few fellow producers and artists to try it, if not make a full switch.
“There have been times where I’ve walked into big label studio sessions and people look confused because they’ve never seen Studio One in person! Once I show my way of doing certain things, using certain plug-ins in certain ways, they’re overly surprised. It’s hands-down the fastest program, which lets me flex my mind-work and turn my rough thoughts (even voice notes) into full records. I’ve had people come to my studio for sessions and look surprised when they ask why I use it. You have to try for yourself to find your workflow.”
Honorably noted, PreSonus Sphere has made his processes for online collaboration, recording, mixing, and mastering an album-quality one-stop-shop, helping the migration become a breeze. Especially during times of a pandemic where people can’t communicate like they normally would, it’s a necessity.
“I think all DAWs should have an ecosystem such as PreSonus Sphere, whether you’re just getting started or an A-list musician. The tools available make it seamless to share files and keep up to date on things like deadlines and most recent notes/mixes, rather than scrambling through emails and hard drives (which we can all relate to, I’m sure). Having that system in one spot, one site, one page, actually kept me in line when finishing a label record and staying up to date without confusion.” (Chevy Woods—Since Birth)
Recently focusing more on production and audio engineering as well, the AAF import feature has been a godsend.
“I still find myself walking people through how to convert sessions to AAF rather than tracking out. There is no other program that will line the session up identically with automation and fades, to say the least, which saves more time than I expected. That’s just a small piece of my realization, of how capable this DAW is. Cheers, PreSonus!”
Since the start of the COVID-19 pandemic, RMB’s main focus is to create cutting-edge music, knowing he has the perfect DAW to do so, with no issues.
Now through the end of the year, enjoy 30% OFF Studio One 5 and Notion AND ONE FREE MONTH of PreSonus Sphere when you purchase an annual subscription!
PreSonus Sphere is a complete collection of award-winning software, inspiring content libraries, collaboration tools, cloud storage, weekly live streams, video tutorials, and much more…
This offer excludes EDU licensing—ends December 31, 2020 (the best day of the year). Available worldwide right out of the PreSonus Shop and at your favorite music retailer.
Bring musical inspirations to life and enhance your creativity with the blazingly fast and intuitive Notion™ 6 music composition and performance environment.
You can also get 50% off ANY Notion Add-on, including the popular BUNDLE PACK ALL…
Plus 50% off Channel Strip Collection!
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: