Nathan certainly didn’t forget to bring his ATOM SQ along for this amazing songwriting excursion into the Colorado Rockies!
PreSonus, Wherever sound takes you.
With masterpieces such as “Alive,” “Falling Deeper,” and “Vertigo,” people from all over the world began to feel a deep connection with Kisnou’s music, counting for more than 7 million total streams on Spotify alone in 2020. Featured on BBC, New Balance, TV commercials and countless Spotify playlists, his music is often defined as otherworldly: perfect for anyone who wants to experience a real sonic journey.
From ambient to electronic, from orchestral to indie, Kisnou is a never-ending adventure that explores worlds of atmospheric sounds and storytelling. Featuring bittersweet poetry, untold stories, cold atmospheres, field recordings, and broken song structures, each song is a deep cinematic experience you will not forget.
Kisnou began making music using FL Studio back in 2015, eventually working for years within the Ableton Live software environment before recently discovering Studio One and PreSonus Sphere’s creative workflow environment.
In his words:
So… at the beginning, I really had no knowledge, never played an instrument. I just jumped and went for it. I felt like I had some stories to tell.
I’m a self-taught producer. It’s pretty easy to learn so many things online. I also used to listen to a lot of music, every day—while drawing or doing homework, while coming home from school. It was a part of me and of my life, every day. Many people are surprised when I say that I’m self-taught, especially those who are musicians or producers as well. It makes me feel happy, but I have always been down to Earth and very respectful. For example, in 2020 an American writer sent me one of his books, as a thank you gift because he loved my music. The book is called Wounded Tiger, and the author is such a wonderful person. It is a book about World War II and the true stories of multiple people that lived through that moment of history. I can’t say much about it but the author is trying to find the right chance to make a movie out of it… and I might be a part of the soundtrack team. Fingers crossed!
I graduated in 2019 and got my Bachelor of Arts in Commercial Music, but since 2017 I have been making music for a good fan base online that has grown quite fast. I hit my first million streams on a song, and from there it started to get even better! I had an income, collaboration opportunities, and a licensing partnership with Marmoset Music that got me some really good placements! One of my songs was featured in a New Balance commercial and a Tomorrowland video. Now music is my full time job. I currently have around 150,000 monthly listeners on Spotify alone.
The first artist who actually truly inspired me to make music was Koda. He is a talented guy from Los Angeles who wrote some beautiful songs. His songs were just pure magic for me, they resonated like nothing else. I felt like the lyrics were talking to me. My favorite song from him is “Angel.” I loved the video as well, so much that I contacted the video artist a couple of years ago and we created the music video for my song “In The Origin, We Breathe.”
Other inspirations include: The Cinematic Orchestra, Bersarin Quartett, Sorrow (a great electronic/garage music producer), Pensees, and Owsey. I come from the Ableton world, so I am also very much into electronic music, future garage, and ambient. I am in love with atmospheres, long reverbs, evolving sounds, textures and so on.
Lately I have been listening to the YouTube channel Cryo Chamber. Some songs are a bit too dark sometimes, but you can find such incredible atmospheres. I find it very inspiring.
You know, I live in the countryside, so I am always spending time in nature. I feel like I am lucky to be living here, but at the same time you might feel isolated or lonely quite often. It depends on the mood I guess.
I used Ableton for 3-4 years, made great songs thanks to that DAW, but somehow… I wasn’t really feeling comfortable there. I was slowly getting sick of it, even if the creative tools, the stock plugins and workflow were amazing.
By chance I found out about Studio One and then I started to see what you could do with it and it slowly got my interest, until I finally decided to make the switch.
Currently, I just try to make Studio One adapt to my workflow and that was quite easy. The possibility to internally customize shortcuts and create macros is just wonderful in my opinion. I have many macros mapped around my keyboard, and have others on the buttons of my mouse. I have mapped CTRL + ALT as a hold command on one of the two main side buttons, then on the other one I have a Macro that activates the bend marker view, automatically swaps to the Bend Tool so that I can do my edits and then press it again to deactivate the bend view.
On the four lower side buttons I have mapped the editor, channel, inspector and browser for quick tasks. Though If I hold control and press those buttons, or ALT, I have other sets of commands to help me out.
One more functionality that I love is the Transform to Audio Track command, which prints a MIDI file into audio, but it’s better compared to what I’ve seen in other DAWs I’ve used in the past (FL Studio, Ableton, or Pro Tools) because I can print the MIDI to audio and preserve the instrument—so that If I ever want to revert back to the plug-in, I can do that at any given moment. I can choose to render the insert FX or not, which is also great.
In other DAWs, I either had to make a copy of the plug-in, print one to audio and leave the other there, just disabled. Sometimes I printed a MIDI file into audio feeling that it was perfect, then days later, I felt like I wanted to edit the plugin… and I couldn’t do it anymore because I had not copied the plug-in instance before printing.
Lastly, I’m pleased to be a featured artist on PreSonus Sphere!
The presets I created revolve around the use of white noise, layering and distortion: aspects that I have been exploring in the last months to create a sort of vintage but modern, textured sound. Warm, lush pads and pluck sounds, distorted reverbs and atmospheres were my North Star when creating these presets.
There’s 20 presets in all in this pack: FX chains, pad sounds for Presence, some Macros, Mai Tai patches, and a custom reverb of mine… enjoy!
It’s not surprising a lot of Studio One users also have Ableton Live, because they’re quite different. I’ve always felt Studio One is a pro recording studio (with a helluva backline) disguised as software, while Ableton is a live performance instrument disguised as software.
Fortunately, if you like working simultaneously with Live’s loops and scenes and Studio One’s rich feature set, Studio One can host Live as a ReWire client. Even better, ATOM SQ can provide full native integration with Ableton Live when it’s ReWired as a client—once you know how to set up the MIDI ins and outs for both programs.
Now ATOM SQ will act as an integrated controller with Ableton Live while it’s ReWired into Studio One. Cool, eh?
To return control to Studio One, reverse the process—in Live, set Control Surface to None, and toggle the MIDI Ports that relate to ATOM SQ from On to Off. In Studio One’s Options > External Devices, For ATOM SQ, reconnect ATOM SQ to Receive From and Send To.
Note that with ATOM SQ controlling Studio One, the Transport function still controls both Live and Studio One. Also, if Live has the focus, any QWERTY keyboard assignments for triggering Clips and Scenes remain valid. So even while using ATOM SQ in the native mode for Studio One, you can still trigger different Clip and Scenes in Live. If you switch the focus back to Studio One, then any QWERTY keyboard shortcuts will trigger their assigned Studio One shortcuts.
Note: When switching back and forth between Live and Studio One, and enabling/disabling Studio One and Ableton Live modes for ATOM SQ, to return to Live you may need to “refresh” Live’s Preferences settings. Choose None for the Control Surface and then re-select ATOM SQ. Next, turn the various MIDI Port options off and on again.