Nineteen year-old Anna Clark works as a Grammy-nominated vinyl mastering engineer at Welcome to 1979 Industries. Nine years ago, she founded 501(c)(3) organization Guitars 4 Gifts, which has given over 1,000 youths access to their first musical instrument.
As a lifelong singer/songwriter/musician, Anna has performed live on Lightning 100 (Nashville’s premier independent radio station), she holds a Certificate in Music Business from the Berklee College of Music and is currently on track to graduate from Belmont University in 2022.
When not working on one of her passion projects, Anna loves to spend time with her dogs or attend concerts with her friends and family.
Let’s find out more about how she’s been navigating through and actualizing all of these different creative sonic environments!
What hardware and software tools help you with your audio work at home these days?
I currently use a StudioLive 16 mixer, a Central Station Plus, HP4 headphone amp, a pair of Sceptre S6 monitors, and Studio One DAW software.
Originally, a friend introduced me to your monitors and I basically fell in love with using them. Because I work in many different areas of audio engineering, I needed products that I could use for any area that I was working in, so that I wouldn’t have to have different setups.
I use my StudioLive mixer pretty much every day. It is great because I save different scenes so that if I am recording a guitar/vocal demo, I have some EQ and compression settings saved, and I can bring them up super easily. I love that I can A/B EQ settings using the A/B button, and I also love the vintage EQ and tube compressor. I also have scenes saved for full band sessions, piano/vocal sessions, and more. The StudioLive mixer makes it super convenient for me to walk up and start working. I will also say that I carry it with me everywhere to run sound for live shows and recordings, and have even used it for a live broadcast of a show. It has never let me down and has always been very easy to set up! Because I am able to save settings from my recording sessions, it makes it even easier to set up for a live show.
Basically, I have various synths, mics, instruments, etc. that I leave set up so that I can record an idea at any time and they go directly into the mixer. From there, I use the Central Station which outputs to my Sceptre monitors along with other monitors and a PreSonus HP4.
We’re curious about your work as a vinyl mastering engineer… can you tell us about that sound-world?
The first thing I do when I’m mastering a project for vinyl is look at all of the files and create a session for them. I then check the length of both of the sides. For each speed and size of disk, there are certain limits for how long the side can be. Next, I typically adjust the overall level of the project. Usually, the project is too loud, even if it hasn’t been mastered before. The louder the project is, the wider the grooves are. If the grooves are too wide and take up too much space, the project won’t be able to fit on the lacquer (the type of disk I cut on to make a vinyl master). I then mono the low end and use an EQ to filter out any frequencies that may give me problems. Sometimes if the vocal has too much sibilance it can cause issues, especially if there are also a lot of hi-hats/cymbals. I then run the project down to make sure it will fit and also to make sure there won’t be any trouble areas. If everything looks good, I’ll cut the project after that! Before I cut a lacquer, though, I have to use a microscope to look at a couple test cuts and make sure the stylus is working properly and that there is enough space in between the grooves.
Moving back to your home studio working environment; tell us more about how you’ve been using Studio One and what led you to our DAW?
For producing, tracking, mixing, and mastering. I will also occasionally use it for live recordings with my StudioLive 16 mixer. It has been a very helpful tool!
One of the main factors that lead me to it was when I was producing, being able to bounce between ideas easily and combine ideas from different files. I tend to either work with an “engineer” mindset or a “creative” mindset. Because of how easy Studio One is to use, I am able to start tracking a song while I am writing it, and I am able to keep my “creative” mindset. It helped me when I would be writing and producing at the same time, because it allowed me to be able to keep my creative hat on while still being able to engineer a track.
It is very quick and easy to use, which is helpful when recording live shows. It makes the show go a lot smoother when you’re not having to worry about having to spend a lot of time setting up a session, etc. I also love how well all of the PreSonus gear works together; it is extremely nice to have products that all communicate together so that I’m not wasting time trying to fix something. If I have an idea, I can walk right into my studio and know that I’ll be able to get everything down fast.
This was especially helpful when I was just getting started as an engineer, because everything was very straightforward when I was setting it up.
All of the PreSonus products work in many different settings. For example, I originally purchased my StudioLive board for live events, but I use it in a studio setting as well and love it there, too!
Finally, let’s talk about you as a creative musical artist!
My main influences for my own music are artists like Maggie Rogers, Florence and the Machine, and St. Vincent. I have a love for analog synths and was lucky enough to get my hands on a couple for this project. I used a Roland Juno 6 and a MOOG Sub Phatty for most of the songs, and then had a drummer/guitarist/bassist add parts to each of the songs as well. I love using basic tools like EQ and reverb to make new sounds that I haven’t heard before. Typically, I will use the Pro EQ plugin that comes with Studio One to take out certain frequencies. The majority of EQ’ing I do is subtractive, because I like to make sure that every instrument has its own space in my songs. A lot of my time is spent experimenting with lots of different effects to try to get the sounds that I can hear in my head. I love the depth that an analog synth and live instruments can bring to a session, but I also love being able to edit a project easily. Even though I’ll record a lot of different instruments, I like to be able to edit each of the parts so that you can feel the song “build up” from each of the verses to the chorus. Studio One makes it really easy for me to audition different parts and figure out what I like. I am also known for creating a bunch of different versions of the same song, and Studio One is able to make my workflow seamlessly. I use the Scratchpad function because I typically write a song while I am also recording it, so I am able to try out different ideas without having to commit. That is one of the things that Studio One does best, is it works for Engineers, but also Songwriters, Artists and Producers of creative content these days online.
I feel very lucky that I found your products because it has really helped me grow my studio and career. Thank you, PreSonus!
Nashville-based Lij Shaw sure stays busy year-round as an audio engineer and podcast producer!
Recording Studio Rockstars is a #1 iTunes podcast that invites you into the studio to learn from recording professionals so that you can make your best record ever and be a “Rockstar” of the studio yourself. Lij started the podcast because he had loved the excitement of being an intern in the control room during a real session with professional recording engineers and producers. He remembered listening in on the amazing stories they would tell, and realized that he had a chance to help people everywhere have that same experience through podcasting.
Podcasting now allows him to help people all over the world by doing the very thing that he and other producers and engineers love to do anyway, which is talk about making great records in the studio.
During the first part of his career, Lij focused on the idea that a record that he helped to create could impact thousands of listeners. But now podcasting gives the platform to help more people—who love recording—impact many thousands more through their music that he’s been helping them create.
What is mind-blowing is that Lij’s musical and creative impact has grown exponentially through podcasting! We sat down with Lij and asked him a few questions about it all.
Q: How long have you been in the audio industry?
A: I started recording music in my teens with a four-track cassette tape machine, eventually went to MTSU for their college recording program, and have now been recording professionally for 30 years.
Q: How has the audio industry changed since your early days?
A: Recording studios used to be huge industrial spaces that required massive budgets to create and operate with 2” tape machines and wide mixing consoles. Today the recording studio has evolved and shrunk down to the size of a portable smartphone. With a simple laptop, interface, and software you can have a complete professional recording studio for a tiny fraction of what it used to cost. This year five of the top Grammy awards were swept up by Billie Eilish and her brother Finneas O’Connell for producing a record in their bedroom recording studio. Times have definitely changed!
A: I had been a podcast fan for a couple of years listening to business-focused podcasts like Pat Flynn, and John Lee Dumas. In fact, I started listening because I wanted to learn more about running the business side of my recording studio. Pretty soon I thought, “why not start a podcast of my own to talk about making records? It’s what we all do anyway!”I saw a wide-open opportunity through podcasting to bring my expertise and network of music professionals together to create something that I had already devoted my life to: the recording studio. I also realized that many of us making records shared the same feeling of being somewhat in the shadows of the bands and artists we recorded every day. We want to say, “Hey we are Rockstars too!”
So the title, Recording Studio Rockstars, is a nod to the listeners who are “The Rockstars” or would like to be one day, and it is also a compliment to the guests that I invite onto the show who are already there.
Q: How does your first podcast compare to your most recent?
A: My first podcast was terrible! I spent all day trying out different positions on my microphone just to see what my voice sounded like. I recorded my intro ideas over and over again and spent hours mixing one minute of voice and music. I’m sure it sounded like a mess! Then one a long drive I listened to them repeatedly and began to get excited about the possibility that this might actually work.
It took me a few years to finally launch Recording Studio Rockstars. In fact, this is my fourth podcast! My first show was called “Bitcoins and Gravy,” and was all about cryptocurrencies. I created that show with a co-host and we did quite well, getting plenty of press and were quickly added to a growing network of podcasts. But after 8 months of hard work with 30 episodes and 60 interviews conducted the partnership blew up. I had started my podcast with the wrong partner. So I had to start all over again. Plus I realized that I was being pulled in a direction that while fascinating wasn’t really where my heart was in making music.
My next podcast started with a group of four co-hosts and again fell apart after eight months of hard work. This time it just fizzled out because the four parents didn’t have the same vision for the podcast. Partnerships are tough.
Then I started my music podcast called The Toy Box Studio Show and began interviewing producers and musicians but soon realized that the show title and focus didn’t really help anyone understand why they should listen. The title made it sound like the show was all about me rather than all about the listener and helping them in some way. So eventually I got the message and launched Recording Studio Rockstars which has now grown to over a million downloads and over 250 interviews with weekly fans that love the show.
Q: There are so many podcasts these days. How do you stand out?
A: Having an easy to understand title is a great start. Recording Studio Rockstars has two keywords in it that a listener is likely to search for “recording studio.” The interview-style podcast also gains some traction by tapping into the existing networks of many of its guests. And the most important thing of all is the simple act of being unshakably consistent. By publishing on the same day every week and being consistent in the content and message, it allows the audience to know what to expect and feel like its worthwhile to give their time to listen to your show. Treat your audience with great respect and they will likely treat you with great respect, too—by listening to your show.
Q: Do you ever take your podcast on the road?
A: At first I offered to bring my laptop studio over to my guests’ studios to conduct the interviews but quickly discovered that I could be much more efficient if I had the guest come over to my studio. It took me too long to set everything up remotely. But now that the technology for recording a mobile podcast has improved so much I am looking at using new portable options like the ones offered by PreSonus.
They’re now making the AR8c portable USB interface/mixer that would easily allow you to have a professional podcasting studio in any location.
Using their high-quality, built-in Class A XMAX mic preamps, you can connect it you a laptop to record multiple mic inputs for group podcasts, and add bumper music in real time for fast-paced podcast production… OR simply record in stereo directly to an onboard SD card for convenience that doesn’t even require a laptop!
The ioStation 24c gives you a simple interface that would allow you to plug in your mic, and one for your guest to record to Studio One on your laptop. It also doubles as a powerful single-fader control surface. Plus you can record in high-quality resolution: 24-bit/192kHz.
Q: What’s your favorite podcast right now?
A: I certainly have some podcasts about music and recording that I enjoy like Working Class Audio, Six Figure Home Studio, The Mastering Show, Roadie Free Radio, Produce Like A Pro, Bobby Owsinski’s Inner Circle, and Song Exploder. Some of my favorite business-related shows are Smart Passive Income, Entrepreneur On Fire, and the Graham Cochrane Show. And there are many other great marketing podcasts like The Art Of Paid Traffic, and Perpetual Traffic. But I also love listening to podcasts that have nothing to do with my usual work topics, like The Singularity, FM podcast, or Data Dash and Crypto Zombie.
A: Get very clear on who you would like to help with your podcast and why they would want to dedicate many hours of their life to listening to you. I have fans that regularly will tell me they have listened to nearly every episode of my show. That means they have literally spent hundreds of hours listening to me interview my guests. Wow!
So, why do they do this? Because it helps them name better records. Why will your fans want to give you that much of their time? Also, why do you want to do the podcast in the first place?
It takes a huge amount of effort and time and you will definitely get to the point where you are completely sick of creating your own podcast and wish you could just take a break. But you don’t want to take a break if you are trying to be consistent. So you want to pick a topic that you absolutely love that will carry you through those very difficult moments.
Lastly… be very clear with yourself whether you want this to become a business and learn how to outline the path from a fan listening to your show all the way to you offering them the massive value that you could make the foundation of your business. What is your mission statement in one or two sentences? Get clear and then get even clearer. And then take your topic and narrow it down further. Then take that focus and narrow it even further until you have something very specific for your audience.
Let’s take a closer look at the “Studio” in “StudioLive,” with special guest host Matt Osgood! In this six-video series, Matt covers everything from basic setup to recording with effects and remote control. Later in the series we get a look at StudioLive DAW Mode and automation writing in Studio One.
This is good stuff.
[This just in from Nigel of DMT Productions!]
Hi everyone, my name is Nigel Trego, I am the Technical Director at DMT Productions, a UK-based events production company. DMT specialises in producing live events for theatres, arenas and large festivals—from sound, lighting and projection to filming, photography and FX. DMT has been operating for ten years and has a team of 20-plus specialists including sound engineers, lighting engineers, dancers, performers, AV techs, drone, and Steadicam operators, photographers, and pyrotechnicians. DMT Productions have chosen the PreSonus Studiolive Series III Ecosystem as our touring mix package.
DMT currently has:
DMT Production engineers have worked with the likes of Bob Dylan, Blood, Sweat and Tears, James, Texas, The Alarm, Westlife, Grace Jones, and Snow Patrol—to name a few.
We are at present engaged with several projects based in theatres, arenas and large festivals predominantly in the EU. As I write this, members of our team are working on a project filming with US-based Nitro Circus in Wales, helping to promote their World Games event across the UK.
Our current featured artist is Donna Marie, a multi-award-winning artist in her own right and the National Tribute and Music Award official #1 Lady Gaga Tribute and Impersonator for the last seven years. We are currently working for Donna to produce her UK tour of A Star is Born This Way, a tribute to the Oscar-winning film A Star is Born, in act one followed by a second act of full-on Gaga hits. The show features live and pre-recorded video, a live band, dancers, and pyrotechnics, and will be featured in a number of UK theatres—and even some arenas where Lady Gaga herself has performed!
DMT uses the PreSonus StudioLive Ecosystem exclusively. We use the PreSonus Studiolive 32R as a stage box and the StudioLive 16 at front of house. The logical layering and compact size of the StudioLive 16 make it perfect for all venue FOH sizes (some venues have limited FOH space, especially festivals) and it is easily transportable in the crew bus. We chose the PreSonus StudioLive Ecosystem for many reasons; previous experience with the StudioLive AI series and the legacy StudioLive products not only gave us the confidence in reliability and sound quality but also confidence in the ease-of-use. The layout is logical, and the Fat Channel allows for fast and clear access to parameters that are essential to a live performance. Naturally, we evaluated the competition with products such as Allen and Heath SQ-series and of course the Behringer X32 range. When compared via price vs. features/performance/
The feature sets of the Studiolive Series 3 Ecosystem are in abundance and too many to mention in this blog. However, we have some favorites! AVB is a clear winner. Great performance and flexibility allowing us to route any signal to whatever we want without having to buy expensive (licensed) AV networking expansion cards. We were using Focusrite Saffire Pro 40s as audio I/O for our sequenced stems—one of the only I/O devices that can handle 10 individual outputs (we run some of our stems in stereo). Now we can hook up a USB cable from our show control Mac straight to the StudioLive rack or console mixers and have as many USB audio channels for stems as we need; we can then route USB across the AVB network with practically zero latency. Most consoles have complicated menus for digital patching and for configuring matrices. We find the PreSonus very intuitive and easy-to-use at the console level—but even easier via UC Surface on a tablet.
QMix-UC is also a fantastic feature. Our bands play with a click so that their performance is in sync with pre-recorded video and pre-recorded stems; thus monitor mix set-up is critical. Using an in-house desk can take up to an hour to get the perfect IEM mix for all band members, and even then that might need to change during the performance. The ability for the band to adjust their monitor mixes via the PreSonus QMix-UC app is now something that we cannot live without. Event setup time and sound check duration are dramatically reduced allowing us to focus on other areas of the production. Additionally, we save on the cost of a monitor desk and engineer. The project and scene management is second to none. Project, scenes and even the Fat Channel library can be exported/imported to/from a tablet or PC over USB or Wi-Fi.
Our sound engineers love the PreSonus workflow and use the Fat Channel Collection Vol. 1 plug-in suite extensively. We are, however, excited about future PreSonus integration with Waves using the Waves AVB Soundgrid Bridge announced earlier this year.
The ability for us to record 34 channels of 48K multi-track at live events to SD Card (and Mac/PC) is also a fantastic feature. This allows us to take the recording back to the studio and load it straight into Studio One to mix for video production that we then use for further event promotion. We used this feature extensively during a multi-tribute festival this year where our camera operators filmed the entire three-day event. Our sound engineer took the FOH multi-track recordings back to the studio to mix. We were able to create professional video packages that we then provided to the bands that were performing, which they in turn now use as their promotional material for their socials and web.
The majority of the time, our engineers seldom use the console mixer, tablet at FOH is the way forward for them. Other great PreSonus features include the ability to share scenes between the different mixers, no matter the form factor, this is great to have a backup mix ready to go in case of an HW failure. Virtual sound check is a great tool and the ability to use two mixers in tandem is superb. Let me elaborate on that. We have the 32R set as “standalone” at drum riser position with all stage mics and instruments feeding it and the 32R is, in turn, feeding the IEMs, stage wedges and the main PA. Our show control MacBook is hooked up to the 32R via USB and digitally patched running 10 channels of USB audio. All of the 32R channels (including USB) are sent over AVB to the FOH console and the FOH console mixes (Matrix and Aux) sent back to the 32R over AVB. The flexibility of digital patching in conjunction with AVB is incredibly powerful. This allows us to benefit from the USB channels on the 32R at riser position while retaining full mix control at FOH.
One of our productions was to headline a festival this summer on a clifftop in beautiful West Wales, we had an audience of around 5000 at this particular event. We had decided to take our 32R (running on a Relio UPS) and feed the event PA (via their mixer) from the Left and Right channels of the 32R to allow us to soundcheck quickly. The event who supplied PA had a mixing desk they used for the other bands performing that evening of which we only used the two channels (Left/Right). Just before our performance began the heavens opened! Once the rain had stopped we managed to wipe the stage dry, tip the water out of the keyboard player’s keyboard and start the gig! After a spectacular video-based intro, three bars in on the first song, the power went out, no sound, no lights, no video.
The band continued to play, they were on IEMs from the 32R. Fortunately, the stage wedges were also working, they were on a different power feed to the main PA, so we turned them to face the crowd. It turns out that water had worked it’s way into the mains Distro taking out one of the electrical phases. It took the event organisers 13 minutes to fix the issue only to find their networked stage box had blown, so still no sound! We plugged the PreSonus 32R directly into the event’s amps and away we went! The show must go on. The reason for telling this story is because when we plugged the PreSonus directly into the amps, the difference in the sound quality was incredible, so much so that a number of people came over to FOH to comment on how good the sound was and to ask why it wasn’t as good for the other bands that were on during the event (not using our PreSonus). The event organisers were over the moon that the event continued during the power outage and commended DMT for keeping the audience entertained and stopping them from leaving the event.
One of the most attractive things that PreSonus has to offer is that the end-user has a voice. Development of their hardware and software is continuous, user feature requests are taken seriously and the majority of them appear in the next software builds. The support infrastructure is excellent. We have called PreSonus UK on many occasions, the staff are very knowledgeable, friendly, and take a vested interest in helping to resolve even the most complex of problems, efficiently and with haste. On top of that, they are really nice guys that obviously love what they do. Interaction on social media by the PreSonus team is also a major plus point. To be able to reach out to people like Rick Naqvi, Jonny Doyle and Seth Martin on the StudioLive FaceBook Group is a great value-added commodity that is seldom seen with other companies.
For us at DMT Productions, PreSonus is a brand that we trust and we love using the products.
To find out more about DMT Productions, please feel free to visit our websites:-
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!
Did you know? When you buy a qualifying StudioLive digital mixer, you get the Fat Channel Plug-in Collection Vol. 1 automatically added to your my.presonus.com account. The Fat Channel Plug-in Collection Vol. 1 adds 5 EQs and 6 compressor models to your mixer—and they can also be used in the Fat Channel XT Plug-in in Studio One!
This Plug-in collection would cost $499 USD if purchased independently. However, if you’ve purchased one of the mixers listed below after July 1, 2019, all you need to do is register your mixer and the Fat Channel Plug-in Collection Vol. 1 will appear in your my.presonus.com account, ready for download and installation.
Qualifying mixers include:
All Plug-ins are state-modeled to accurately produce the sound and response of the original hardware processors. The following plug-ins are included in this bundle:
This EQ offers the world’s most popular EQ curve. Using gently sweeping treble and bass EQ shelves, it allows you to make subtle, yet effective, changes over wide swaths of the frequency spectrum.
Comp 160 Compressor
With simple controls, yet capable of extreme compression traits, the Comp 160 provides VCA character with a personality all its own. Try it on drums—you’ll be glad you did!
Everest C100A Compressor
Based on a classic design focused on gentle, natural-sounding gain reduction, the Everest C100A helps control dynamics while still letting the signal breathe.
The smooth character of this compressor allows you to create transparent or extreme color changes to your audio, making it a workhorse for just about any application.
Vintage 3-band EQ
With its distinct filter shaping, sheen, and bite, this three-band active EQ includes both high and low shelving filters, providing enhanced tone-shaping possibilities.
Tube P1B Compressor
In general, the response time of optical compressors tends to soften the attack and release, which can smooth out uneven volume fluctuations. Emulating an all-tube, optical design, the Tube P1B compressor delivers musicality, preserving the clarity of the signal even at the most extreme settings.
Tube Midrange EQ
This midrange EQ is based on a passive, all-tube design for ultra-smooth and musical equalization, making it ideal for any midrange source material.
This model of an iconic compressor/limiter of the 1950s imparts an unmistakable silky warmth on just about any signal.
Capturing the unique sound of a twin VCA gain-reduction amplifier design, the Brit Comp is ideal for taming piano dynamics or adding punch to drums and percussion.
The 1960s-vintage EQ provides consistent, repeatable equalization using three overlapping bands, divided into seven fixed frequency points, each with five steps of boost or cut. Its selectable peaking or shelving filters for the high and low band, along with an independently insertable bandpass filter, provide an easy path to creating acoustically superior equalization.
Solar 69 EQ
The sound of classic British EQ is absolutely legendary and has enhanced many a great recording. Emulating this classic British design, the Solar 69 EQ adds definition to kick drums, shapes electric guitars, and adds shimmer to acoustic guitars and vocals without sacrificing body.
Randy Hanley is the founder and host of the Manly Hanley podcast. He’s been using Studio One and a StudioLive mixer to produce the show, and sent us a TON of info on his production method and why he’s chosen PreSonus. If you’re looking to get into Podcasting, this is a great read.
Give us some background on yourself. Who are you, what do you do, and how long have you been podcasting?
I started out as a drummer, professionally teaching at music stores for 12 years. Drums lead me to learn about computers and technology through my interest in recording. I received a certificate at the Recording Institute of Detroit, back when we were still using mini ADAT Recorders, just when a software that rhymes with “Mo’ Jewels” was becoming “the thing.” There was just something about Mo’ Jewels that I was never able to become comfortable with.
I heard of PreSonus, when a music store colleague of mine mentioned that he was going to buy the ACP 88 Compressor. I didn’t even know what it was at the time, but he explained it to me, how it offered all of this compression/multiple channels, at an extremely great value. That’s basically the very first time I heard of PreSonus.
I started a Podcast back in 2011 called “Getting Android,” but I never followed through with it. After I bought my PreSonus FireStudio Project rig for recording music, I realized that I have way more than enough power/setup to do a simple podcast, so why not give it a try? Well, I eventually got around to it, in 2019 and I’m glad I did. I’m more of a reborn podcaster, so technically, I’ve been doing it (consistently) since January.
What PreSonus products do you use?
I use Studio One 4.5 Artist and the StudioLive 16, Series III. I originally started with the FireStudio Project.
What features, in particular, make StudioLive and Studio One suitable for podcasters?
The Templates, ease-of-use, and the perfect integration between Studio One and basically ANY hardware interfaces.
For Podcasting, I’ve created my own template, which you can see below.
What I think really makes PreSonus Studio One accessible to Podcasters? It’s future-proof. For instance, many podcasters move into doing more with their podcast, and that often includes Video/Vlogging. With the Professional edition of Studio One, you have all you need to not have to jump between programs! It’s tiring to jump back and forth from Camtasia (because its audio features are terrible), just to grab the audio file from a DAW. Studio One has it all there in one place. I won’t have to worry about sync issues, or format confusion, because the recent format additions in Studio One 4.5 are amazing and all I’ll ever need.
I also have noticed that Studio One is easy on the CPU/RAM resources–which I think is very important to us Podcasters–My machine isn’t a video-rendering beast–I just use it to record audio and Studio One is extremely fast, even on my somewhat modest machine.
I never feel like I’m lost with the way I can label things. It’s easy enough for my co-host to sit a tablet on the StudioLive and remotely control the faders of the mixer if we need to fix levels. Additionally, the labels on the mixer can reflect what I’ve named them in Studio One. I feel like there is always a way for me to get the job done with PreSonus.
Before I purchased the StudioLive 16, I thought to myself that this might be total overkill to use for a podcast. But then I thought back to how many products I’ve wasted my money on over the years, such as cheaper USB microphones. All of the money I spent on those products easily cost more than just buying this mixer, which includes Studio One anyway. It was a no-brainer. (Incidentally, I recently heard that PreSonus dropped the price on some of the Series III mixers as much as $200.)
Additionally, I was frequenting some Facebook podcasting groups, seeing which kind of problems users commonly had. Users were always running into issues setting up Audacity. Users also ask questions about “Where do I get my Podcast edited, produced, normalized, compressed…” the list went on an on. I realized I could do ALL of the above in Studio One. It’s a HUGE money-saver when it comes to producing my own podcast. I’m not paying anyone to do anything other than advertising and host my Podcast. The way I’m looking at it, I’m saving a ton of money each and every month producing it on my own. With my plug-ins and templates inside of Studio One, I don’t really have to do much editing, ever!
I heard so many good things about Studio One, especially that it was included with many of the hardware products that PreSonus sells and integrates well. Studio One can open projects from other DAWs such as Cubase, Pro Tools and others.
I also never have to worry about running out of inputs. I don’t know of a podcast that has 16 people talking at once 😊.
Also, with Studio One and my PreSonus hardware interface working with USB is the big sell for me doing this podcast. USB just works. I haven’t had to install any legacy drivers, etc.
What features are you most impressed with?
Ease-of-use and stability! Never crashes on me… EVER!
I am really impressed with how the StudioLive mixer has recall of the effects and fader positions–it doesn’t have to rely on my computer and Studio One’s project settings if I feel like just using the mixer as a LIVE MIXER. But then, if I want to jump into DAW mode, I can make the mixer follow the computer’s settings. There is so much flexibility, it’s crazy. I cannot think of anything I need. I’m also impressed that PreSonus uses AVB, an open standard that allows any vendor to support it. It’s not closed-minded and just feels like freedom. I’m an open-source guy whenever possible–it’s transparent and honest.
Oh, here’s a bonus feature: the community. The PreSonus forums are the best support you could ask for. When I started out with Studio One and my StudioLive mixer, I had a couple basic question. Embarrassingly, the answers were in the manual that came with the mixer, but the community was friendly and helped point me in the right direction. It’s like a small town of nice people wanting to help because they share similar passions, supporting this company that cares about its customers.
Any user tips or tricks or interesting stories based on your experience with PreSonus hardware and software?
I recorded some amazing bluegrass artists on some of the old FireStudio hardware and it still sounds phenomenal today.
As for tips, I’m a HUGE believer in templates. That’s the best way to be productive and save so much time. PreSonus templates are the best.
For Podcasting, I literally have to do zero cleanup. I have my effects set on the mixer (I typically use the Male Voice 1 or 2) and it applies just the right amount of compression and gating. I can do these effects on each individual Mic channel for each podcast co-host. I receive lots of compliments on how nice and clear the audio is. I share my experience often in some Podcast Support groups on Facebook, including this one.
What features do you want to see next in Studio One or StudioLive?
I’d like to maybe just a see a few more default templates, that are Podcast-specific, heck, I’ll share mine with any other Podcasters, just shoot me a message.
What’s next for you?
I hope to learn my mixer / DAW more. I want to do a live podcast eventually. I’d like to use the SD Card feature on the StudioLive mixer, because I know that Studio One makes it easier than ever to take those recordings, directly off the SD card, then opening the project, ready-to-edit on my computer!
What’s your favorite thing about your job? Why did you choose to work here?
It was destiny that I came to work here. I’m from Baton Rouge, first of all, so it’s awesome to be home. I started playing music when I was 13 or so and my dad bought me a 4 track tape recorder to record myself with after watching me play with our answering machine for hours. I wanted to post my recordings on the internet, so I figured out that you could plug the headphone jack of the tape recorder into the mic input of a computer, and then I downloaded a little program called “Kristal” to record with. Turns out, that program eventually became Studio One. This experience was the gateway to a 10-year stint as a sound guy with various production companies, and eventually a degree in computer engineering. PreSonus sponsored my senior design project. I was thrilled when I got an email from Jim Odom after graduating. It really feels like I’ve finally found a permanent place in the world. Never been around so many people who will nerd out on audio like me, and I love it!
What was the first 8 track, cassette, CD or digital download you purchased?
In 2001, I bought P.O.D’s “Satellite” because I was a youth of the nation at that particular time.
Who’s your go-to band or artist when you can’t decide on something to listen to?
I’m a big fan of Ice JJ Fish. He’s really pushing boundaries.
Everyone has a side gig, what’s yours? OR when you’re not at PreSonus, what are you up to?
I’ve been a sound guy for the past decade or so, and I also write and play music. I’m between bands at the moment if anyone is looking for someone to jam.
Why did you choose this as your favorite?
The StudioLive 64S was the first big release I had a significant role in here at PreSonus. I’m proud of the work we did!
Got any tips for working with the StudioLive 64S?
The user layer is probably the best feature of the console. Use it!
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