Luke: I’m a producer / composer and mixing engineer best known for my remixes for Kylie Minogue (a Grammy-nominated Billboard #1), The Killers, Robbie Williams, Bob Marley and Amy Winehouse–to name but a few–I just produced Twenty Five Ten, an album in homage to my late mother.
It has sounds for here and now, rooted in decades of influences and experiences.
Featuring successful collaborations with Kevin Godley (10 CC, Godley & Creme), model Roxy Horner, Nick Tart (Diamond Head), Rachael & James Akin (EMF), Lucy Pullin (The Isle of Man, Robbie Williams), Melanie Taylor, Flora, Phat Hat.
My 18-track album was recorded in various places such as Brisbane (Australia), Tel Aviv, Mallorca, Brussels, Los Angeles, Dublin, Katowice (Poland), and Baton Rouge (USA).
Besides my emotional motivation to get this project done, I really wanted this record to connect genres, eras, and mix generations. Somehow connect the dots between timelines in a unified story, with its joyful and bonkers moments, with its own directions and contradictions, or more simply put: my story.
I have a rock-solid PreSonus eco-system based around a Quantum 2, FaderPort 16, and ATOM, nothing superfluous—they all have a purpose. The FaderPort 16 is giving me the gestures I’m used to when balancing tracks on a console; the vibe is based on even relationships between instruments.
It’s a different experience, and the decisions I’m making helped me to assign a more prominent role to sounds buried in a mix, with fingers on all faders I’m sorta painting a sonic picture based on my impression. With a mouse it’s also achievable, but it’s more cerebral; it’s laser focused, and less expressive.
The ATOM is perfect when I want to jam with drums or synth shots. It’s perfect for fortunate accidents! I come up with ideas I wouldn’t get from a keyboard. In some of my remixes I like to slice vocals that I then drop into impact to create what we call “vox lox” to build new lines, for example that was a centerpiece of my Kim Wilde Kids In America remix. The new chorus idea was all done with Impact XT and the ATOM.
Quantum 2 is just brilliant, it’s been my companion in so many tasks, it’s never let me down. As musical director for a Native American show I’m in charge of, I used this thing on stage in large venues with thousands of people, the sound was amazing and so stable. I also mixed a full season series for a TV network; a short film for Disney; sound mix for HBO; my album and remixes—it’s been so reliable and with a constant, pristine sound. It fits perfectly in my backpack, so I’m super mobile.
I usually work from home, and when necessary I just take my laptop to a commercial studio, plug my Quantum 2 to their system, launch Studio One, and I’m set. I can do the adjustments I feel are needed and go back home.
My album was also mastered that way, I’ve had a reliable listening environment there, and all songs loaded into the project page. The big plus was when I felt that I was doing too much tweak, I could just open the song, fix whatever was needed with one click and go back.
Lately besides my remixes, I’ve been asked to mix a couple of original songs from the ’80s/’90s on which I’ve been given the multi-tracks, such as Fine Young Cannibals, Shakespear’s Sister, or Bananarama to name but a few.
I could really set up Studio One to be ready at all time and nicely organized like a vintage console, and now with Version 5 Professional, I can switch between an SSL or Neve sound in just 2 clicks. That’s fantastic.
What led you to choose Studio One?
Studio One is just another part of me, it never gets in the way. It’s a companion standing in front of me that is always ready for war.
The interface is very clean and soothing in a way, it always feels like some quietness before the storm. It also sounds great, fully-featured and with the Project page, you can virtually do anything within ONE app.
These days as a musician you have to wear so many hats that the last thing you want is distractions and learning curves on different apps. With Studio One I can produce, compose, mix, and master with features located in familiar places.
What Studio One features have proven particularly useful and why?
The drag & drop concept, be it for sounds, presets, instruments, or FX. This thing is a home run. When I feel that I’m not going to be in a productive mood, I spend a lot of time organizing all of the above for future sessions.
How does Studio One compare to other DAWs you have used?
They can be the adult in the room in a world where feature lists to sell new major updates are prioritized over the quality of their achievement.
With backward compatibility, if something is poorly implemented from the start, then you’re stuck with it until the end of days. We all love new features, of course, but it shouldn’t come at that price.
So when I see something not yet available in Studio One, I just tell myself: “If you can’t make music with what Studio One has to offer today, maybe you should just quit.” The kid in me is not a fan of that sentence, but it’s a nice motto to move on.
Which Studio One feature or concept doesn’t get enough spotlight (or isn’t talked about enough) in your opinion?
Without a doubt I’d say macros, they can be really powerful, I remember doing one for a friend of mine, he was new to Studio One, he was looking after a way to slice and map samples easily.
So I came up with one that analyzed the loop, detected transients, sliced at transients and sent them to Sample One XT, it was so good that I’ve added it to a shortcut and ended up using it myself. I’m thinking of sharing it with the community.
Any useful tips/tricks or interesting stories based on your experience with Studio One that would be of interest to our user base?
During the lockdown with friends we’ve had some virtual sessions, we were sending ideas back and forth and it appeared that none of them used MusicLoops, they were saving their ideas or overdubs as songs.
I told them that I have a folder called ideas, so every time I try a new synth or jamming with a virtual instrument, I just drag & drop it to that folder, and it then becomes an asset for my future project. Everything is saved in a single file with an audio version, MIDI, presets, and FX used all in one go.
From time to time, I like to browse that folder to see if there’s anything inspiring or useful.
That’s basically the story of the opening track on my album, I’ve had this nasty groove made with Impact XT floating around for some time, and one day it was the right idea for the mood I was in.
Never lose your ideas, phrases and so on, don’t expect to remember anything two years or two months from now with random or cryptic names… Just drag and drop in a place, where you’ll find your sparkles of ideas at all times!
Any final comments about PreSonus and Studio One?
I always found the name intriguing, now that I see how powerful it’s become over the years, and on its way to become the ultimate DAW, I take it that it was not just a name… it was a plan.
Grammy-nominated producer Luke Mornay has been advocating Studio One ever since he made the switch from Cubase a few years ago. Naturally, he got in at the ground floor with Studio One 3. Here’s his thoughts on all things Studio One 3, including Mai Tai, Note FX, and Presence XT. To close it out, he shares a cool trick he calls “Creative Comping.”