Khaliq Glover has been in the audio production game for some time now, and has some incredible A-list talent on his resume: Prince, Herbie Hancock, Marcus Miller, and more. Here he is at PreSonuSphere 2013, sharing some of his Studio One secrets.

For more on Studio One, click here: http://www.presonus.com/studioone

John DeNosky spoke at PreSonuSphere 2013, sharing his insights on one of the most powerful features integrated into Studio One Professional: Celemony Melodyne. Melodyne allows for subtle-to-extreme pitch correction… but that’s not all! Learn some advanced Melodyne trickery in this great talk.

For more on Melodyne: http://www.celemony.com/cms/
For more on Studio One: http://www.presonus.com/products/studio-one

Justin Lassen and Naomi Mercer spoke at PreSonuSphere 2013, and shared some of their production secrets concerning recording and comping vocals in PreSonus Studio One. Comping the best possible performance elements from your take has never been easier!

For more on Studio One, click here: http://www.presonus.com/products/studio-one

PreSonus LIVE Airs Today! 2 p.m. CST / 3 p.m. EST / Noon PST / 19:00 UK / 20:00 EU

Cilck here to watch the show: http://www.presonus.com/videos/presonuslive

Heard great things about PreSonus Studio One? Tune in and check out these confessions of an ex-Pro Tools user.

Join Joe Gilder from Home Studio Corner for this LIVE webcast, where he’ll detail his reasons for making the switch to Studio One, and show you how to make the same transition.

Join us in the chat room and send Joe your questions.

[This just in from producer Guy Perchard! He recently contacted us about his experience with Studio One, and we just had to share. ]

Hi PreSonus!

I recorded Steve Heron’s song “I Swear Blind” after-hours at Red Dog Music, the instrument shop I work at in Edinburgh, Scotland. I was an early adopter of Studio One. In more than two years of using it to track bands and songwriters, I’ve never experienced a glitch, crash or artifact in the recorded audio. I’ve worked with Steve before on full-band productions (the usual four-piece plus backing vocals and a horn section) but for this B-side track, he wanted something a little more raw and natural. Everything on this session was tracked in one take, with minimal editing.

I’m a huge fan of the in-house effects built in to Studio One. Pro EQ is ludicrously useful for subtractive EQ and I apply it as an insert to every track on the mix; its interface makes finding the mud and taming it a doddle. The Compressor plug-in is also a mighty beast! The knee parameter is really useful for making the compression a little more transparent and subtle. The Room Reverb plug-in also used regularly;  I send the vocal, guitar and Fender Bass VI all to a slightly tweaked version of the “medium studio” preset.

One element that has a bit more going on is the ghostly sounding guitar, played with an E-bow. The E-bow guitar was processed via an insert chain consisting of: Autofilter, Compressor, Pro EQ, Beat Delay, Analog Delay, and finally Binaural Pan. Even though it sounds pretty extreme when you solo it, it works well as a subtle element in the whole mix. The whole master buss is then running through the awesome RedLightDist valve-sim plug-in on a very gentle setting to knock-off a little of the clarity and to excite the mids.  The only non-PreSonus plug-in on the mix is iZotope Ozone, to provide some subtle multi-band compression and a few dB of loudness.

I find working in Studio One is an absolute joy, but it has slightly ruined me for any other DAW software on the market. I frequently face-palm when I see people fumbling around with the clunky menus in Pro Tools… If they only knew they could make things so much easier for themselves!

Well done, PreSonus! You’ve made producing music as fun and intuitive as playing it.

[This just in from Jessica Ramsey of Moon Honey! She offered some insights on using the FireStudio Mobile for memory loss aversion. ]

I suffer from melody-idea-loss-aphobia: the common fear that a melody will be lost forever if not immediately recorded. That said, the FireStudio Mobile was an invaluable tool for writing vocals on my new record. In two snaps, I’d hook it up to my laptop and lay down vocal demos. Thanks to Studio One I was able to try out my ideas, mixing lead and back up vocals on top of rough instrumental tracks the boys had already recorded.

I wrote and recorded a four-part vocal harmony for “The Ship” on my own bed at 3 a.m. I exported each harmony individually, so that when it came time to officially record the seven-minute-long epic of a song, I could play them back individually and nail them in one take… almost. The tracks were also extremely helpful when it came time to perform; I had four choir singers on stage with me at our last Manship Theatre show, and they learned/practiced their parts with the demo harmonies!

Here’s “The Ship:”

We’ve got a new album in the works, if you like what you hear in “The Ship,” why not throw in a little bit over at Kickstarter? You can pre-order the dreamy rock & roll album, or even have me cook a vegan dinner for you!

[This just in from Ilias Gogakis, who recently produced an entry in the Eurovision Song Contest using Studio One!]

Hello PreSonus! Anna Capone Papas is a Spinto Soprano vocalist with many years of studies in classic music, piano and opera. She wrote melodies for the song “A Glimpse of Heaven,” with her friend S.Rhodes. In the beginning, the song was a ballad with only piano and vocals.

I work on rock and metal music, and have worked with Anna Capone Papas before. Once I listened her demo, the first thing that hit my mind was to transform the song to a pop metal opera, without changing her original ideas. So, I added some heavy modern metal riffs and my friendly drummer wrote some groovy drum parts.

Because the Eurovision Song Contest needs a catchy song, we made a pop/symphonic metal song, which is catchy to all listeners in central and Northern Europe, where both styles of music are very popular.

We had a very little time to compose, mix and master the song in order to enter the Switzerland Song Contest for Eurovision. The whole song was ready in five days. We were working 13 hours every day for all five days at my studio, Master Sound Studio, located in Athens, Greece. It was a great experience!

With the song structure finalized, we tracks guitars, drums, vocals, and pianos. This was followed by adding full orchestra parts using PreSonus sound libraries and some other libraries.

Drums were recorded using Slate Digital SSD 4 and CLA Expansion Kit via a Roland TD 20 KX V-DRUM. The were all  recorded by me using Schecter Guitars though the Blackstar Amp Series One 6L6. All recordings, mixing and mastering sessions were made in Studio One 2 Professional.

You can hear “Glimpse of Heaven” below.

The link to vote for the song is www.eurovisionplattform.sf.tv/videos#A

[This just in from Julian Reaves, AKA Giuliani, of Architect Media Group!]

Hey PreSonus! I’m Julian. I run Architect Media, an independent entertainment company located in California. We have an in-house digital studio where we use PreSonus Studio One Professional as our main  DAW. We feel that Studio One gives us unlimited flexibility from producing and recording to mastering—all in one application! We used Studio One on Irban Jeter’s album  “I.R.B Hit The Spot,”released on Architect Media Group/ Interscope Digital Distribution, as well as on Ryan Goree’s single “Chocolate Teddy Bear,” that was released on Architect Media Group/ Def Jam Digital Distribution.

Architect Media Group is not just a music company. We are venturing into soundtracks, film, television, and video games, and we’re confident that Studio One Professional is going to play big part in recording, mastering and sound design.

As anyone who uses it knows, with Studio One the hits don’t stop. We just discovered this incredibly flattering, video-peppered review from Ruprect at Recording Review. In it, they state: (among other things)

“I literally stopped using Logic after spending maybe 2 hours with Studio One. Granted, I was excited about learning something new but the switch was surprisingly painless. Fast forward a few months and I’m faster with Studio One than I ever was with Logic. The main reason is that simple tasks I perform numerous times in every mix are streamlined a little.”

Big thanks are due to the Recording Review crew. Their website is chock-full of many other reviews that you should read as well, and they also offer a number of great articles on all elements of the audio recording process. Check ’em out.

Click here to read the review in full and watch a batch of highly informative Studio One videos!

Don’t get me wrong here, as I don’t want to huff and puff too much. We’ve received a few technology awards over the years, and we’re proud of that. But this award is something a little different, for two reasons. First, it’s not so much a technology award as it is an attitude award. Second, it’s the first.

Sorry, that doesn’t make much sense. What I is that this is the first-ever “Customers in Focus” award that has ever been given to anybody. And it’s been awarded to Studio One, from the kind folks over at DAWfreak.se.

Via the DAWFreak.se blog:

“The Customers In Focus AWARD is a completely new award from DAWfreak.se. This award is meant to highlight companies that stand out from the crowd by always making sure that their customers feel they get what they paid for, not only through updates and fixes but by listening to the customers and always providing a good support, helpful tools and other features that shows they care for their customers.”

Click on over to DAWfreak.se to read the review in full!