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.
This offer ends July 31 – act fast!
It’s the DEAL of the SUMMER! For one week only, save 50% off on ALL MVP Loops right out of the PreSonus Shop!
MVP Loops provide some of our most popular, top-selling loops and their whole collection is half off right now! Some of MVPs greatest hits include:
For SEVEN DAYS only– Score the Ampire XT Metal Pack for 50% OFF right out of the PreSonus Shop!
The Ampire XT Metal Pack is an Extension for PreSonus’ Ampire XT Native Effects plug-in with six new roaring amp models and six new cajun-encrusted speaker-cabinet emulations designed to bleach the tats off metal guitarists. Adding to the lethal-weapon qualities of this Pack is a brand-new Metal Drumkit for the Impact virtual drum instrument.
HURRY! This offer is available from July 1 through July 7, 2019 and is offered worldwide!
Looking for some of the best-sounding pianos you can get for Studio One? Look no further than this Piano Collection from Chocolate Audio. And, lucky you, save 30% on the whole collection for the month of July 2019!
Three different pianos are available, each recorded with high-quality mics and expensive preamps. They also take advantage of Presence XT’s advanced scripting functionality to simulate the behavior of these beloved instruments as accurately as digitally possible.
Click on over to shop.presonus.com to hear audio demos of these incredible-sounding instruments. And if you’re still not sure after listening… get the combo pack of all three! The Chocolate Audio Piano Collection for Studio One is available only at shop.presonus.com.
Last but not least:
The Chocolate Audio Pianos are compatible with Studio One 3.2 or later: Prime, Artist, and Professional editions.
All of the pianos in this family have the following onboard script controls:
Well…maybe it actually is, and we’ll cover both positive and negative flanging (there’s a link to download multipresets for both options). Both do true, through-zero flanging, which sounds like the vintage, tape-based flanging sound from the late 60s.
The basis of this is—surprise!—our old friend the Autofilter (see the Friday Tip for June 17, Studio One’s Secret Equalizer, for information on using its unusual filter responses for sound design). The more I use that sucker, the more uses I find for it. I’m hoping there’s a dishwashing module in there somewhere…meanwhile, for this tip we’ll use the Comb filter.
Flanging depended on two signals playing against each other, with the time delay of one varying while the other stayed constant. Positive flanging was the result of the two signals being in phase. This gave a zinging, resonant type of flanging sound.
Fig. 1 shows the control settings for positive flanging. Turn Auto Gain off, Mix to 100%, and set both pairs of Env and LFO sliders to 0. Adding Drive gives a little saturation for more of a vintage tape sound (or follow the May 31 tip, In Praise of Saturation, for an alternate tape sound option). Resonance is to taste, but the setting shown above is a good place to start. The Gain control setting of 3 dB isn’t essential, but compensates for a volume loss when enabling/bypassing the FX Chain.
Varying the Cutoff controls the flanging effect. We won’t use the Autofilter’s LFO, because real tape flanging didn’t use an LFO—you controlled it by hand. Controlling the flanging process was always inexact due to tape recorder motor inertia, so a better strategy is to automate the Cutoff parameter, and create an automation curve that approximates the way flanging really varied (Fig. 2)—which was most definitely not a sine or triangle wave. A major advantage of creating an automation curve is that we can make sure that the flanging follows the music in the most fitting way.
Throwing one of the two signals used to create flanging out of phase gave negative flanging, which had a hollower, “sucking” kind of sound. Also, when the variable speed tape caught up with and matched the reference tape, the signal canceled briefly due to being out of phase. It’s a little more difficult to create negative flanging, but here’s how to do it.
So is this the best flanger plug-in ever? Well if not, it’s pretty close…listen to the audio examples, and see what you think.
Both examples are adapted/excerpted from the song All Over Again (Every Day).
If you like what you hear, download the multipresets. There are individual ones for Positive Flanging and Negative Flanging. To automate the Flange Freq knob, right-click on it and choose Edit Knob 1 Automation. This overlays an automation envelope on the track that you can edit as desired to control the flanging.
And here’s a fine point for the rocket scientists in the crowd. Although most flangers do flanging by delaying one signal compared to another, most delays can’t go all the way up to 0 ms of delay, which is crucial for through-zero flanging where the two signals cancel at the negative flanging’s peak. The usual workaround is to delay the dry signal somewhat, for example by 1 ms, so if the minimum delay time for the processed signal is 1 ms, the two will be identical and cancel. The advantage of using the comb filter approach is that there’s no need to add any delay to the dry signal, yet they can still cancel at the peak of the flanging.
Finally, I’d like to mention my latest eBook—More Than Compressors – The Complete Guide to Dynamics in Studio One. It’s the follow-up to the book How to Record and Mix Great Vocals in Studio One. The new book is 146 pages, covers all aspects of dynamics (not just the signal processors), and is available as a download for $9.99.