On October 11, our own Software Specialist Gregor Beyerle attended WAVE AKADEMIE Berlin’s Dissertation Presentation of Audio Engineering and 3-D/Game Design to demonstrate the StudioLive 32SC mixer’s DAW mode in conjunction with Studio One. The StudioLive 32SC is the new centerpiece of WAVE AKADEMIE’s “Soundlab,” where a large variety of both hardware and software instruments are accessible to the students.
Students and lecturers alike were amazed by the hybrid workflow of the StudioLive 32SC, which excels at integrating tons of outboard gear (like drum machines and synths) with software instruments, especially when used with Studio One. The ability to assign any channel to send or receive via analog, USB, or network gives WAVE AKADEMIE the flexibility they need in their Soundlab.
The ability to multitrack record jam sessions onto an SD card was also received with great enthusiasm, as it enables the students to record songs directly into the mixer before getting them into Studio One for post production.
Check out photos and video from the event below, and visit Wave-akademie.de for more information on upcoming events!
Available NOW at shop.presonus.com from Craig Anderton… How to Create Compelling Mixes in Studio One! This is Craig’s third book on Studio One, and it weighs in at a whopping 258 pages!
Mixing is where you create an experience that transports the listener into your musical world. And now, renowned music technology expert Craig Anderton brings his years of production and mixing expertise to an easy-to-understand, comprehensive guide about all aspects of mixing. Chapters include Mixing Philosophies, Technical Basics, Mixing with Computers, How to Use Plug-Ins, Mixing and MIDI, Prepare for the Mix, Adjust Equalization, Dynamics Processing, Sidechaining, Add Other Effects, Create a Soundstage, Mix Automation, Final Timing Tweaks, and Review and Export.
Profusely illustrated, and loaded with constructive, practical, meaningful advice that will improve your mixes dramatically, this 258-page eBook sets the standard for discovering how to make compelling mixes in Studio One.
Chapter 1: Mixing Philosophies
Chapter 2: Technical Basics
Chapter 3: Mixing with Computers
Chapter 4: How to Use Plug-Ins
Chapter 5: Mixing and MIDI
Chapter 6: Prepare for the Mix
Chapter 7: Adjust Equalization
Chapter 8: Dynamics Processing
Chapter 9: Sidechaining
Chapter 10: Add Other Effects
Chapter 11: Create a Soundstage
Chapter 12: Mix Automation
Chapter 13: Final Timing Tweaks
Chapter 14: Review and Export
Appendix A: Mixing with Noise
Appendix B: Calibrating Levels
Just as we can use plug-ins to process audio, Studio One’s Note FX are plug-ins for MIDI data. They tend to be overshadowed by our shiny audio plug-ins, but have a lot of uses…like generating cool percussion parts.
This may sound like a stretch (“c’mon, can it really generate a musical percussion part?”), but the audio example will convince you. The first four measures are a percussion part created by the Arpeggiator NoteFX, the second four measures combine the percussion part with a house drum loop, and the final four measures are the house drum loop by itself—so you can hear how boring the loop sounds without the added percussion part.
This part was created with three conga and two bongo samples, each assigned to its own MIDI note. The initial “part” was just those five notes, each with a duration of four measures. It doesn’t really matter how long the notes are, you just want them to be continuous for the duration of the drum part. I then added the Note FX Arpeggiator plug-in to arpeggiate the notes (Fig. 1).
By themselves, the standard up/down and down/up patterns tend to sound overly repetitive. The Random option (outlined in red above) helps, but then you have a random percussion part, which doesn’t relate to the music. So let’s introduce the secret sauce: automation (Fig. 2).
The key here is automating the Play Mode and Rate. The Play Mode automation starts with up/down for a measure, then down/up, then random for a bit more than a measure, and then down/up again. This adds variety to the part, and when it repeats, the random section creates additional variations so that all the parts don’t sound the same.
But what really adds the human element is varying the Rate. It starts off as 1/16th, but then just before the third measure starts, does one beat that starts with 1/32nd notes and ramps down over the beat to 16th-note triplets. The last three beats of the four measures uses a 32nd-note Rate so that the “robot percussion” adds some tasty, faster fills to lead into the next measure. I used down/up during these faster parts, but random can sound good too.
The final touch is Swing, which is set to around 70% in the audio example. Note how even though the drum loop is metronomically correct, adding swing to the percussion part lets it “dance” on top of the drums.
Now, here’s a very important consideration: You may look at the above and think “this sounds too easy,” or maybe “but what are the exact settings I should use?” The answers are yes, it really is that easy; and the exact settings really don’t matter all that much—feel free to experiment. Studio One’s little robot percussionist is full of surprises, and the way to uncover those is to play around with the settings, and automate them to create variations.
Finally, I’d like to mention that I have a new eBook out! At 258 pages, “How to Create Compelling Mixes in Studio One” is considerably longer than my two previous Studio One books. I’ve been working on it for the past year, and it’s finally available in the eBook section of the PreSonus shop. Check it out—I sincerely hope it helps you make better mixes.
September is winding down, but we still have one week left to celebrate Studio One’s 10th anniversary—so it’s time for another Friday Tip with 10 Tips! Let’s take a look at some practical, convenient techniques you can do with Presence XT. And yes, there’s a fun downloadable preset at the end.
The Artist Instruments folder has a bunch of drum kits. However, I like to fine-tune drum pitches—higher pitches for a tighter, more beatbox/analog drum sound, or lower for a big rock vibe. Although the Sample Shift control can change pitch, it also changes where the drum appears on the keyboard. For example, if you Sample Shift a snare on the F key by +3, then the drum is lower in pitch, but it now plays back on D instead of F.
There’s a simpler way to tune your drums. Set Env 2 to Full Sustain, and modulate Pitch with it. Turn the modulation amount up to tighten the sound, or down to loosen.
According to Presence, you can’t control effects parameters with the mod wheel—but there are a lot of useful techniques you can do with a mod wheel, other than control vibrato. Here’s one way to control the effects with your keyboard controller’s mod wheel.
Now you can link anything you want with the mod wheel, including effects. For example…
Adding distortion to bass is a beautiful thing, and it’s even more beautiful when you can control the distortion amount with the mod wheel.
The Sample Start Mod control can add major expressiveness because it lets you control the attack’s character via velocity. Here’s how it works: when Sample Start Mod turned counter-clockwise off-center, with low velocities playback starts further into the sample, past the initial attack. But higher velocities trigger the full attack sound. For example, with an instrument like Slap Bass, this technique can emphasize the slap component with high velocities, while lower velocities bypass the slap. However, Sample Start Mod can affect any instrument with a defined attack.
Because a sample may not start at a zero-crossing, you may hear a click with some velocity values. Adding a little bit of Amp Env attack (usually only a millisecond or two) fixes this.
Call up the Vox > Choir > Choir Full preset. Set Transpose to -12, and Sample Shift to Semi-Tone: 12. You might also want to slather on some more reverb by turning up the Size and Mix, but regardless, you’re ready for your next moody movie soundtrack, or Gregorian chants dance remix.
Let’s face it, John Coltrane fans—a sampler will never replace a sax player. However, the Winds > Baritone Sax > Baritone Sax Full preset is pretty good, so it seemed like a useful starting point for something a little more expressive. There are several treaks, but the main action is with the modulation.
The penultimate touch is some vibrato by modulating Pitch. I used LFO set to about 4.5 Hz, with 680 ms of Delay time, controlled by the Mod Wheel (although I think Aftertouch is an even better choice, if your controller supports it). And of course, we want some reverb. The existing reverb is okay, but push the Size to 2.45 seconds, and Mix to 45%. Yeah, that’s the ticket! You might also want to choose Mono, unless you know any saxes that play chords. And yes, I’ve provided a downloadable preset for your playing pleasure—scroll down to the end.
Set the bend to +7 for bend up, and 0 for bend down. Now when you want to slide down to a note, start at the top of the mod wheel, and then bring it down at whatever rate you want. It’s impossible to “overshoot” the target note, even when using the virtual mod wheel on the instrument GUI, with bend down set to 0.
The pitch of analog synths drifts over time. Although Presence XT has a random LFO waveform, it’s stepped, and there’s no way you can “round off” the corners to create smooth variations. But there’s a solution (isn’t there always…). Use the sine waveform for LFO 1 and set it to a low rate, like 0.1 Hz. Select the random waveform for LFO 2, set to a slightly faster rate (like 0.4 Hz), and use it to modulate LFO 1. Meanwhile, use LFO 1 to modulate pitch; you don’t need to use much modulation to obtain a useful effect. Try this with Artist Instruments > Synths > Analog Fifths—you’ll be impressed.
There might be a tendency to overlook the editor because Presence XT does enough on its own. And yes, I know the editor is $79.99. But, it’s cheaper than getting another sampler, and the capabilities are impressive. It’s easy to figure out, and it doesn’t take long to add samples—for example, you can specify the root note, high note, and low note by hitting keys. When using per-note samples, you can do fine-tuning, as well as add expressive features like sample start. Presence XT Editor is also a development system, so if you come up with some amazing presets, you can put them into a saleable bundle, and even password-protect it. If you’re into sound design and creating sample-based instruments, I highly recommend unlocking Presence XT’s Editor page.
Presence XT can load sounds from other formats—EXS, Giga, Kontakt version 4 (and below), and Sound Fonts. Finally, check out Tip 1 in the September 13 Friday Tip on using ATOM as an auxiliary keyboard. This makes it easy to access the keyswitching in Presence XT presets that contain this feature, even if you have only a four-octave keyboard.
I hope y’all enjoyed this month’s special editions of the Friday Tip. Happy birthday, Studio One!
We’ve got a lot to cover in this blog post, so we’ll start with the most exciting thing…
From now until 2020, you (and everyone you know) can get 25% off Studio One Professional, and 33% off Upgrades and Crossgrades to Studio One Professional! If you’re still running an older version, Studio One Artist, or want to add Studio One to your existing workflow with another DAW… there’s never been a better time!
But that’s not all! Our own Gregor Beyerle, Software Specialist, has put together this incredible retrospective video covering the history of Studio One. Check it out:
Also, we have had a giveaway running for most of the month, and will be announcing the grand prize winner next week after we hear back from them and confirm eligibility. In the meantime, here are some of our favorite submissions so far:
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🇬🇧: What I really love about making music is that music doesn’t see colors, races, countries or languages. You can tell and understand everything with just a single chord or melody. It’s perfect. 🇪🇸:Lo que amo de hacer música, es que la música no ve colores, razas, países o lenguajes. Puedes decir y entender todo con tan solo un acorde a o melodía. Es perfecta. Y tú, ¿que amas de hacer música? #🎵 #🇻🇪 . . . . . . . . . . . . . . . . . #studioonegiveaway #andreew #presonus
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Thanks to everyone who entered!
Take a second and consider all the things you accomplish in 24 hours…
Now. Think about re-writing, producing, mixing, and mastering a song in that amount of time and putting it out for the public. Sound reasonable? Oh, and be sure to book a photographer to shoot the cover art for the single.
Did we just give you an anxiety attack? Sorry.
That’s the exact challenge that was presented to PULL N WAY, a female pop duo from Central Switzerland. Fortunately, Studio One was there to help tackle the assignment.
LATTESSO is a “cold coffee to go” brand in Switzerland. They connected with PULL N WAY for the launch of their latest vegan products. LATTESSO based the 24-hour challenge on the idea to have PULL N WAY re-write one of their existing songs—which would include tracking new vocals and creating new cover art, including photography. Watch the whole challenge here:
We had the opportunity to chat with PULL N WAY and their producer, Andy Prinz about the challenge.
During the challenge, did you want to give up? What kept you going?
Well to be honest, the hours between 3 a.m. and 6 a.m. were the hardest. We just came back to the studio after our photoshoot in Zurich. We almost fell asleep but our passion kept us motivated to continue the challenge! We managed it to finish the song and we sang tons of other songs to stay awake.
All the gear is fantastic and affordable. We use Studio One to track all our vocal recordings, edit/comp the vocal tracks, and create basic ideas in pre-production. For monitoring, we have two Sceptre S8s and a Tremblor, and for the recording a Studio 192 USB interface with two priceless headphone outputs and latency-free monitoring. Studio One is a fantastic piece of software, for both composing and producing—and it’s super fast with all the drag & drop functionality. Plus, we love the graphical interface!
When did you first hear about Studio One?
Andy, one of our producers, is a long-time Studio One user… I think from version 1.6 on! So all our first recordings from four years ago had been done in Studio One, and with further PreSonus gear already, so it’s basically the DAW we’re introduced to from the very beginning.
What features are you most impressed with your gear?
The drag & drop functionality, vocal comping, Melodyne & VocALign integration via ARA, new gain functions and the GUI. We totally fell in love with the ATOM controller, which we’re starting to use as a live tool to trigger samples or vocal/drum loops from our existing songs.
How easy/difficult was Studio One to learn during the 24-hour challenge?
It was super easy to record and edit all vocals in this short time, and we made it all on our own. For the final product, we had help from Andy.
Where did you go for support?
We had a basic introduction by our producer, and just learned by doing in Studio One Artist—and we used some YouTube tutorials as well.
Where did you go for inspiration?
We worked with a really cool film crew, they are as old as we are so we had a great time together which made it easy to think about the new lyrics which represent those happy and positive vibes. So we didn‘t really need to go to a certain place to get inspired.
The gear is affordable and offers a huge variety of functions for semi pro’s and professionals alike! We also like that we don’t have to carry a dongle for Studio One! PreSonus is part of our musical journey for a long time and we’ll continue using it for all current and future recordings. At the moment we’re writing and producing new songs for various collaborations and new Pull N Way songs.. so stay tuned. Equipment: We just found out on Instagram that PreSonus has released some microphones! We’ll definitely try these out!
Recent projects? What’s next for you?
We have released our debut album “Colours” this year but–after several live gigs during Summer–we’ve already started working on new material for our upcoming releases, ranging from Pop to Electronic. We’ll also try to make at least 1-2 cloud trap songs… therefore we’re actually looking for a suitable French rapper. Besides that, we have loads of featuring requests, mainly from the EDM scene/DJs and we’re currently evaluating what’s best for us and what’s the best fit!
If you haven’t heard, we’re celebrating 10 years of Studio One this month! Starting September 16, we’re hosting a giveaway on our social media channels.
Prizes include daily copies of Studio One 4 Professional, and a single GRAND prize including a FaderPort 16 and a pair of R-Series studio monitors will be awarded to one lucky individual on September 27!
Here’s what you need to do to enter:
START SUBMITTING ENTRIES TODAY!
All the winners will be chosen at random from the hashtag. One winner DAILY! One entry per day max, please. Private accounts will not qualify, so set your profiles to public if you want to win!
This is a global giveaway and will run September 16 through September 27. Winners will be contacted directly by PreSonus.
This blog post will tell you how to get the perfect amount of bass when mastering audio using BASSROOM.
This is where so many potentially awesome tracks fail. Too much bass and your track will sound bloated and lack clarity. Not enough bass and your track will sound weak.
I have a process that helps me set the perfect amount of bass for my clients every time. Since I implemented this technique I can honestly say that my mastering business has dramatically improved (more than doubled!)
I hope that this technique helps you too, whether it’s growing your studio business or simply nailing the master of a track that will further your career as an artist.
Let’s start with why nailing the low-end is so difficult:
So we’re up against a few hurdles here, but the technique I’ll explain will improve the low- end of your masters, even in the most basic studio set-ups.
Step 1: Load Up Our Mixing and Mastering EQ BASSROOM on The Master Channel
BASSROOM uses complex algorithms that accurately identifies how the human ear perceives low-frequencies relative to the balance of the whole mix. For that reason it should be loaded on your master channel so it can analyse and be applied to your whole mix.
Step 2: Choose A Preset
To get the most value from BASSROOM, start by selecting a preset that best suits the material you’re working on.
Step 3: Create A Target
Rather than choosing a preset, you can create your own target values by clicking the target icon in the bottom left corner and importing reference tracks. If you’re creating targets, we recommend clicking and dragging on the waveform to select the drop or chorus for the analysis, as this is usually the material with the best representation of the bass in the track. BASSROOM will create targets based on all the tracks loaded into the analysis window.
Step 4: Shape Your Low End
Now monitor a bass heavy section of your production (i.e. the drop or chorus), and you’ll see the targets move to the suggested EQ positions based on the tonal balance of your mix compared to the tonal balance of your preset. Use the targets to get a great starting point, then adjust by ear to tweak your low-end to perfection. The algorithm accounts for differences in loudness, so the targets will be accurate and relevant whether you’re mixing or mastering.
Step 5: The Level Match
The EQ adjustments may have changed the overall gain of your audio. If the gain has changed by more than 2dB the speaker icon will turn orange. Hover your mouse over the bypass icon to open the output gain and level match pointer. Match the gain slider to the level match pointer to match the perceived loudness of your audio before it passed through BASSROOM.
HEAR THE DIFFERENCE!!
Not only will your low-end fall into place, but the level matching will give you a well-balanced sound across the whole frequency spectrum. Toggle bypass on and off to hear the difference.
You read that right. Get our award-winning notation software, Notion 6 for FREE when you buy a PreSonus bundle! That’s $150 USD for FREE!
If you have purchased and registered a qualifying PreSonus recording bundle between August 1, 2019, and September 30, 2019, you’re eligible to receive a free copy of Notion 6. Notion 6 will be added to your account automatically upon hardware registration.
The following bundles are included in this promo:
Hear what TopTenReviews.com has to say about Notion 6:
Notion 6 is by far the best music notation software for less than $200. It is easy to use once you get used to the interface, and the sampled instruments are the best we heard. We reviewed a few programs that cost less than Notion, but this software can compete with the best composition programs in any price range.
Let’s introduce you to UK-based sample library developer Zero-G who we recently joined forces with to present dedicated sample packs for Studio One—and now you can enjoy 30% OFF the entire collection for the month of August.
Zero-G offers six collections ranging from ambient sounds, vocals, and cinematic material to live played instruments and more, each Zero-G title has been fully customized for Studio One users in Presonus’ proprietary soundset format providing a smoother, creative experience and workflow.