Author Archives: Studio One Expert

PreSonus Studio One 3.5.3 Update Released

PreSonus has released Studio One v 3.5.3 with the following improvements;

New features and improvements in Studio One 3.5.3

• Support for Faderport 16
• [Project Page] new command to split Track and Event
• Copy range keeps the original range
• “Add Insert” for mixer channel as Macro target
• Added a value box “Reduction Level” (automation values) with range: 0% – 100%.

The following issues have been fixed in Studio One 3.5.3

• Potential crash with VSTs when updating master file
• [macOS] DDP export fails when Japanese characters are used in Project name
• [macOS] AU factory preset not restored
• [macOS] Potential crash on quit when certain AU plug-in UI is open
• [macOS] [Project Page] Some songs are truncated when burned to CD
• [macOS] Under certain conditions, search for files won’t deliver any result
• [macOS] Potential crash when opening a song with certain 3rd Party plugins (e. g. Slate VerbSuite)
• Some notes not playing when Song started at bar one
• Copy/Paste of automation not working when Folder Tracks are used
• Automation sometimes not applied to Mixdown
• Scratch Pad content appears in the main timeline after Mixdown
• Volume automation varies with device block size
• Send level automation noise
• Channel names on Multi-Instrument presets not restored correctly
• [Compressor] Gain Knob change has no effect
• [Compressor] sidechain switches to mono on listen
• [Compressor] Key Listen in Stereo Mode not working correctly
• [Fat Channel XT] – Key Filter crackle
• Multi-Instrument macro knob parameter name not updating in real time
• Duplicating Arranger section may lose some Events on copy
• Deleted Song folder after Notion transfer
• Console 1 steals focus during transformation process
• Occasionally hanging notes on Stop
• VST not loaded when Notion sends data into open song

Users can update from within the application or via their PreSonus account.

Using Waves Codex To Design A Custom Riser Transition

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Often times in music production, you may find yourself in need of a transition to segway from one section of a track into another. There are various ways in which this can be done, but one in particular that can fit the bill is a classic riser transition. Whether you may realize it or not, there’s a good chance that you’re already familiar with this type of effect, as its often found in modern E.D.M. and hip-hop/trap styles of music. It has a signature sound, and there’s a good reason why it gets used – simply put, it just works..

Although there are numerous sample packs available with these types of transitions, they can easily be generated (and customized) using the right type of Virtual Instrument. In fact, this is often more preferable, as with a couple quick tweaks of a parameter here and there, you can easily come up with something that fits the track, and has its own unique sound.

In this 1st video of a 2 part free tutorial series with the support of Waves, Marcus demonstrates how to use the Waves Codex Wavetable Synth plug-in to create a custom riser transition in a hip-hop/trap song. In addition to using Codex, he also turns to Waves OneKnob Pumper to help create a gated effect, as well as Renaissance Reverb to add some depth and ambience.

Waves SSL G-Master Buss Compressor Deal $29 1 Day Only

A much-loved buss compressor the Waves SSL G-Master Buss Compressor is currently on a killer deal of $29, usually $200, for one day only.

In a recent article “4 Plug-ins That Sit On My Master Buss In Studio One” we wrote;

“This plug-in comes in several flavours with versions from both Waves and Universal Audio on their UAD platform. Rather than use the SSL 4000 G Series mix buss compressor for adding loudness it has the effect of gluing a mix together, which I find works best when used in a subtle fashion.

I get a rough level up and then set the threshold so the meter is showing no more than 4db of compression, in fact barely kissing the first segment of the VU markers. Then I add a little make-up gain and mix into it adjusting the rest of the settings to taste and depending on the genre of music.

The SSL 4000 G Series master buss compressor is magic.”

Head over to Waves to get this killer plug-in at the great price.

Wavesfactory Mercury Prize Draw Winners

Last month we gave 3 people a chance to win the fantastic Wavesfactory Mercury piano, a faithful rendition of the Freddie Mercury piano at Metropolis studios in London.

The lucky winners are;

  • First prize winner – Dave Bascombe
  • Runner up – Joe Grint
  • Runner up – Sergio Kharlakian

First prize winner got the Mercury Piano Pro and runner-up prizes are Mercury Piano Lite.

Right now Wavesfactory is offering 50% off storewide in their sale.

We Asked Studio One Users What They Think Of Studio One – Here Are Their Responses

A few week ago in a blog post on Studio One Expert, Russ Hughes shared why he loved working with Studio One. At the end of the article, we asked other Studio One users to comment.

Russ said;  “There are many great features in Studio One that make it a powerful DAW, it’s a list as long as your arm, but I love Studio One mainly for that one reason, it helps me get on with being creative without getting in the way.”

There were many comments on the story we thought we should share some of them, here is a selection of the responses.

Users Julian Leal said;

“I tried several DAWS before committing to Studio One and I really love the whole company, support system, online tutorials, and online community of users. This American company is so open and you have quick and direct communication with tech and staff to address any concerns. They really want every user to be happy and knowledgeable and successful with their products, you really feel the love and you can’t help but love them back. Also, the most important thing is that they constantly deliver free updates and their DAW is truly the state of the art and ahead of the curve. :-)”

Rickard Mattison said;

” I’m currently sitting and converting my projects to Studio One and I’m just getting more and more attached to this one. Then there are things I miss from Steinberg but Studio One is just a youth in comparison to Steinberg who has had many years of development in his product. But with this thought, I think Scar Studio One has been set on the right features and they will build on their concept I am convinced. I’m really looking forward to the little details that will make Studio One one of the leading DAWs on the market.”

Bobby Phillips said;

” I’m running Version 3 Professional, and with all the new features they keep adding, it just gets better and better. VCAs, native low latency, better automation tools. PreSonus listen to their users and react pretty damn quick. :)”

User Waynewiz said;

“S1 is great. very intuitive. However, it does hang up randomly like Pro Tools on my MacbookPro. If S1 only had a score editor like Logic, I would be very happy.”

User Madge said;

“Studio One 3 is fantastic. I tried Mixcraft, Reaper and Pro Tools (which drove me nuts and looks archaic) and gave S1 a go and have absolutely loved it ever since. Great interface, so easy to set up, layers, arranger, scratchpad, drag and drop effects/instruments are just some of the features that reinforce my belief that S1 is the best DAW for my needs.”

Niclas Gustafsson said;

“To me its a mix of just loving the way it works and loving the techs behind it. The feeling of involvement in the development of their forums is worth a lot. Sure I miss a lot of functionality from Logic and Cubase (audio editor, extended grouping, etc.) but the workflow, really new and great features and community are totally making up for it!”

User Spidervis said;

“The most important thing was ease of use. If I need to find anything new, I guess this should be there and yes it is. I didn’t need to get a class before using Studio One.”

Andi Gisler said;

“I already posted on FB but it’s worth saying again: I’m SO glad to know that I’m not the only one who was severely frustrated with both the ‘customer service’ and reliability of PT. I take it slow with learning S1 but right from the start, I noticed HUGE improvements over PT. Despite enough CPU horsepower, RAM and a stable PCIe connection in PT I never was able to use higher sample rates except with high buffer sizes.

Studio One? I stay on 96k and buffer size 64 and it works great without crashes, it’s SO much faster than PT and with the lesser latency of 96k I finally am at a point where I feel that there is no drawback at all to record directly in the DAW without any analogue workaround.

Staying with first impressions, the fact that S1 always creates a master fader is great – and it has a mono button too! These seemingly small things – along with drag-and-drop of plug-ins, automatically created busses and auxes – stacks up to being a HUGE time-saver.

Another thing: I haven’t really gotten into the stock samples and instruments yet but played around a bit with Ampire: It really does sound good! I used Amplitube in PT and it is good but what a messy interface and unreliable performance in general. Amplitube works like a charm at no additional cost…..

Last week I had a session where I had to use PT and going back there felt very cumbersome. I definitely will stay with Studio One!!!”

Normally when you ask users to make comments they tend to be negative, however, PreSonus have managed to make a product and create a community that on the whole engenders a lot of positivity, that is impressive.

Perhaps you’ve had the same experience or are you not as happy about Studio One? Feel free use this opportunity to tell your story too!

Free Friday Plug-in – New Waves VU Meter

Want another free VU meter to sit alongside the one from PreSonus? We expect most of you to have the PreSonus VU meter, but it would be amiss of us not to tell you about this.

Then Waves have produced a free VU meter plug-in, they say;

“Meter your levels the classic way with this plugin which boasts the smoothness and ballistic accuracy of top-grade hardware.”

Anyway, you need to head over to Waves and sign up you get it.

Happy Synthsgiving – Black Friday Deals!

As you recover from turkey coma, here are some deals on synths, plug-ins, and music production software for Black Friday, all of which you can access from the smartphone resting atop your expanding belly. Know about something that should be on this page but isn’t? Let us know and we’ll update the page!

Accusonus, makers of magical loop-deconstructing software ReGroover, are offering both the full and “lite” versions for half off ($149 and $49, respectively). Get it here.

Arturia has 50% off individual software instruments from their V-Collection. Get them here.

ILIO, U.S. distributors for a slew of brands including Spectrasonics and Vienna Symphonic Library, are offering the Gig Performer plug-in hosting software, intended as a primary alternative to Apple MainStage for playing virtual instruments live, for $99. Go get it.

iZotope is offering the “Essentials” version of their RX audio repair, Neutron mixing, and Ozone mastering plug-ins for just $29 each, or $79 for the suite of all three. This and a handful of other specials are on this page.

Moog Music is bringing the coveted hardware with up to 30% off on synthesizers including the Minimoog Model D reissue, Voyager XL, Sub Phatty, Minitaur, Mother-32, Werkstatt, Etherwave theremins, Theremini, plug Moogerfooger and Minifooger effects pedals. Master page here.

Native Instruments is taking 50% off the price of most of their software, including the kitchen-sink Komplete 11, through November. Details here.

Not strictly for Black Friday, Novation is running November-long discounts on a bunch of products, including the MiniNova and Circuit synths as well as several audio interfaces from their sister company Focusrite. It’s all here.

Output Sounds are offering 25% off most software, and 60% off if you buy it in a bundle. Here’s their page.

Propellerheads have discounted just about everything, including $100 off Reason. Shop the huge sale on their store page.

ROLI, who makes our favorite futuristic wavy black keyboard controller, has some very aggressive deals going. Buy a Seaboard Rise and get FXpansion’s BFD3 drum software (usually $349) for free. In addition, you get $100 cash back on the Seaboard Rise 25 and $200 back on the 49-key version. Buy a Lightpad Block controller and get a free Snapcase Solo plus $50 cash back. It’s all here.

Spitfire Audio is running a number of discounts, giveaways, and online events for Black Weekend, including a teaser video that looks like it was conceived by Friedrich Nietzsche.

U.S. mail order king Sweetwater has a ton of things onsale. Scroll midway down this page to ind the “Keyboard and DJ” section, which includes a Pittsburgh Modular synth.

Waves has specials on too many things to list, so check out the master page here.

Waves CLA MIxDown Overview

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In this free video tutorial with the support of our good friends at Waves, Marcus Huyskens takes a look at using Waves CLA MixDown on the Mix Buss to quickly master a Cue.

Gibson Kills Cakewalk

We didn’t want to believe the rumors were true, but Gibson Brands have officially ceased development of all Cakewalk products. This includes the powerful SONAR family of Windows-based DAWs, as well as soft synths such as Rapture and Z3TA+.

The first thing a lot of Cakewalk users no doubt want to know is: Where do I stand with support and continuing to use my stuff? Noel Borthwick, Chief Technology Officer for Cakewalk, had this to say:

“After 30 years of Cakewalk’s long and illustrious history, I am saddened to announce that we ceased new product development and reduced overall operations this past Friday. You can read the formal announcement from Gibson here, which states that this decision was made in order to align with the company’s acquisition strategy, focused on growth in the global consumer electronics audio business.

“Working at Cakewalk has been an incredibly positive experience for all of us who worked here. This can largely be attributed to the incredible people who worked here, past and present. I’ve been at Cakewalk 19 years and I’ve never come across a more dedicated and talented group of people. Our greatest motivation was the joy in producing software for an astonishingly passionate base of artists, musicians and producers who used our software to create music on a daily basis.

“So what does this mean for you, our loyal customers who’ve been with us all these years? Cakewalk’s servers will continue to operate, you will still have access to all of your online assets, and your software will continue to work normally. A dedicated team has been established during this transition period to continue to serve the Cakewalk community. Monthly updates to SONAR from Cakewalk will however cease during this time. We will continue to post notifications to keep you informed with any relevant developments. A sincere thank you to everyone in the Cakewalk community.”

From the perspective of consumer choice, this is a bad thing. Though I (editor Stephen Fortner) was never a Cakewalk user personally, I got to know the program via longtime user and music technology guru Craig Anderton, and was consistently impressed with its power and sound quality.

That Henry J. and company are circling the wagons should come as no surprise, however. Gibson has recently experienced a major debt crisis and put its iconic Memphis location up for sale. Plus, the more grudge-prone are inclined to think Gibson has never really known what to do with techie, nerdy, synthy brands it acquires: It proved to be a Dickensian orphanage for Oberheim in the late ’80s and a slaughterhouse for Opcode in the late ’90s. Had things gone differently, our own biggest website might be called Studio Vision Pro Expert.

We at Synth Expert wish nothing but success to all the music and pro audio brands in the Gibson stable. But their own official statement begs the question: If Gibson’s strategy is to focus on consumer electronics (and presumably guitars), what will be the fate of other pro-audio subsidiaries such as KRK and TASCAM?