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PreSonus выпустила набор плагинов Analog Effects Collection, вдохновлённых винтажным оборудованием
Ранее плагины из состава комплекта были доступны только пользователям PreSonus Studio One.
PreSonus анонсировала выход коллекции плагинов PreSonus Analog Effects Collection. Набор состоит из пяти обработок, вдохновлённых винтажным оборудованием и ранее включённых в комплект поставки DAW PreSonus Studio One.
Набор PreSonus Analog Effects Collection предлагает пять плагинов: Analog Delay, Analog Chorus, Red Light Distortion, Rotor и Tricomp. Плагины можно приобрести как в составе бандла, так и по отдельности. Пользователям PreSonus Studio One обработки доступны в случае использования редакций Professional и Artist.
Дилэй Analog Delay эмулирует аналоговый BBD-дилэй. По словам разработчиков, плагин предлагает тёплый звук и возможность создания разнообразных эффектов задержки. В состав плагина также входит отдельный модуль овердрайва.
Хорус Analog Chorus представляет собой процессор хоруса, поддерживающий до трёх голосов. Пользователи могут модулировать время задержки низкочастотного осциллятора, а также настраивать ширину стереополя. Согласно информации PreSonus, Analog Chorus основан на гитарных эффектах и процессорах 1970-х годов.
PreSonus Analog Effects Collection
Дисторшн Red Light Distortion предлагает шесть вариантов обработки, эквалайзер и возможность управления соотношением чистого и обработанного сигнала. Пользователи могут настраивать ручки Drive и Distortion независимо. Плагин способен создавать перегруженные сигналы с уникальным звучанием, отмечают создатели.
Эмуляция эффекта Лесли Rotor оснащается множеством настраиваемых параметров. Так, например, регулировке поддаётся скорость вращения каждого динамика, равно как и его звучание. Плагин также оснащается ламповым овердрайвом.
Последний плагин в комплекте — трёхполосный компрессор Tricomp. Плагин оснащается автоматической настройкой порога срабатывания и коэффициента обработки. В состав процессора входит регулятор микса для параллельной обработки и модуль сатурации.
Напомним, что ранее компания PreSonus начала продажи сабвуфера Eris Sub8. Модель создана в дополнение к компактным мониторам Eris E3.5 и пригодится для использования в сверхкомпактных студиях звукозаписи.
PreSonus Blog
Add Lookahead to the Fat Channel Compressors
December 17, 2021 by Craig Anderton
The Fat Channel is a versatile channel strip plug-in that, because of all the other cool Studio One individual processors, is easy to overlook. But it has several outstanding features, including the ability to choose from a variety of compressors—sort of like plug-ins within a plug-in (fig. 1). Three are stock; the rest are optional at extra cost from the PreSonus shop.
Figure 1: A fully loaded Fat Channel can choose from 11 compressors.
However, none of these compressors has a lookahead feature. Lookahead delays the audio we hear, but the compressor monitors the audio in real time. Thus, the compressor knows in advance when it needs to apply compression. Without lookahead, if you’re using heavy compression (like for guitar sustain), you’ll hear a nasty pop because the compression can’t kick in until the audio exceeds the threshold—and by that time, it’s too late. Some of the audio has already passed through uncompressed, which causes the pop. The first audio example exhibits this pop. Also note that the first and second audio examples are both normalized—but this one sounds really soft, because the pops are so loud you can’t raise the level any higher without bumping against the headroom.
The solution is simple. What’s more, it applies to not only the Fat Channel, but any dynamics processor, from any manufacturer, that doesn’t have lookahead.
Create a bus, and insert the Analog Delay. Edit the parameters for 2 ms of delay, delayed sound only, and no modulation (fig. 2). Insert the Fat Channel after the Analog Delay, and choose your favorite compressor.
Figure 2: Analog Delay settings for the lookahead function.
At the audio track you want to process, create two pre-fader sends. One goes to the bus, and the other to the Fat Channel’s sidechain. Turn down the track’s fader so you hear only the audio coming from the bus. This accomplishes our goal: The audio applies compression to the Fat Channel 2 ms before the audio enters the compressor. So, the compressor is primed and ready to go when a transient hits (fig. 3).
Figure 3: Track and bus setup for Fat Channel lookahead.
Now compare the next audio example to the first one—the nasty pop is gone. Yeah! Also notice how it’s much louder, because the headroom doesn’t have to accommodate a pop.
However, there’s a catch. Studio One plug-ins with a lookahead function delay the signal by 1.5 ms, but apply plug-in delay compensation so that all the other tracks are delayed by 1.5 ms. This keeps the tracks in sync, and you don’t really notice a delay this short. However, our “faux lookahead” doesn’t have plug-in delay compensation.
Then, move the track forward on the timeline by 2 ms to align it with the other tracks. You can do this via the Delay setting in the Event Inspector (F4).
So…What’s the Deal with Aux Channels?
December 10, 2021 by Craig Anderton
Hardware is making a comeback. Real-time, improvisation-based drum machines and synths are gaining popularity, and you can find occasional bargains for used synths that were top of the line only a few years ago. So, it makes sense that Studio One would want to simplify integrating external hardware synths (similarly to how Pipeline integrates external hardware effects).
When Version 5 introduced the Aux Channel, comments ranged from “So great—I’ve been wanting this for years!” to “why not just feed the instrument into audio tracks?” Well, they’re both right—Aux Channels are about workflow with external hardware synthesizers. But Aux Channels can streamline workflow and simplify setup, compared to assigning the instrument outs into audio tracks, which then route to the mixer.
Aux Channels monitor external audio interface inputs directly, not the outputs from recorded tracks, in the mixer. These external inputs can be any audio. For example, when mixing, you might want to listen to a well-mixed CD for comparison. You don’t need to record this as a track, just monitor the inputs it’s feeding as needed.
Aux Channel Benefits
My favorite feature is that you can add a hardware synthesizer to the External Instruments folder (located in the Browser’s Instruments tab), and drag and drop the hardware synth into the arrange view—just like a virtual instrument. This automatically creates the Aux Channel, and sets up the Instrument track as you saved it. Set up the external synth once, then use it any time you want.
Also, the external instrument needs only the Note data track in the Arrange view—audio tracks are unnecessary because you’re just going to mix them in the console anyway. This is consistent with Studio One’s design philosophy of dedicating the Arrange view to arranging, not mixing. Of course, you can show/hide audio tracks in the Arrange view, but it’s more convenient to have those audio tracks show up directly in the console, like your other audio sources.
How to Create an Aux Channel
First, your hardware sound generator needs to be set up as an external Instrument in the Options (Windows) or Preferences (Mac) window. Then, in the Console, click on External toward the lower left. Click the downward arrow for the desired External Device, and choose Edit. (Note that if it’s a workstation that combines a sound generator with a keyboard, you should have two entries—one for the Keyboard, and one for the Instrument. Choose the instrument.)
When the control mapping window appears, click on the Outputs button (the one with the right arrow; see fig. 1), and choose Add Aux Channel.
Figure 1: How to add an Aux Channel for an external device.
After the Aux Channel appears, assign its input to the audio input(s) being fed by the hardware synth. For example, if the synth’s audio is going to stereo input 3+4, then choose that stereo input. (If your existing Song Setup I/O doesn’t include an easily identifiable name for the inputs being used for the Aux track, considering doing some renaming.)
Next, save these default settings. If needed, click on Outputs again to bring up the controller mapping window, and click on Save Default. Saving it is what allows the hardware instrument to show up in the Browser.
All Ready!
In the Browser’s Instruments tab, look under External Instruments (toward the top, just under Multi Instruments). Drag your instrument into the Arrange view, and start playing. If you don’t hear anything, the likely causes are either that the keyboard being assigned to the synth isn’t the default keyboard (specify All Inputs for MIDI in, and it should work), or the Aux Channel input hasn’t been assigned to the correct audio interface inputs.
Also note that with workstations whose keyboard drives the sound generator, turn off the Local Control parameter (usually in the instrument’s MIDI setup menu). Otherwise, you’ll be playing the sound generator from the keyboard, and Studio One will also be feeding it notes. The result is note double-triggering.
Bouncing
To preserve what the Instrument track plays as an audio track, choose a track’s Transform to Audio Track option, or select the Event and bounce to a new track (fig. 2).
Figure 2: The bounce menu for hardware instruments.
When bouncing, make sure that the Record Input is assigned to the Aux Channel where the Instrument’s audio appears. Finally, Studio One knows that because the bounce involves external hardware, the bounce must be done in real-time (faster than real-time bouncing is possible only with virtual instruments that live inside the computer). Happy hardware, everyone!
James F. Reynolds: VOXPOD Studios and Studio One
December 8, 2021 by Perry Tee
So why is BTS (방탄소년단) “Fake Love” official video shown above?
Because their hit song was mixed in Studio One Professional by our latest PreSonus Sphere Featured Artist, James F. Reynolds!
Let’s catch up with the man himself and find out more about what he’s been up to lately:
I started off my mixing career mixing Tinie Tempah’s triple-platinum album Discovery. Prior to this I wrote and produced music and was signed to labels such as Virgin and Defected Records. Since mixing Tinie’s album I have been busy mixing records for many artist including BTS, Sigrid, Dua Lipa, Kodaline, The Disciples, Sigma and most recently Shane Cod and his platinum single, “Get Out Of My Head.”
I have been mixing in Studio One for six years now and it keeps getting better and better. PreSonus really listens to user feedback and implements suggested improvements frequently; I haven’t experienced this with any other DAW.
Studio One allows for a very fast workflow and because of it’s intuitive build and design I can easily focus on the mixing.
During lockdown in 2020, we decided that London was lacking in high-end state of the art podcast production facilities, so we built VOXPOD Studios. My podcast room can host up to eight people and also offers livestreaming and video recording of the shows on five video cameras placed around the room.
The PreSonus PD-70 dynamic mic has proven to be a game changer in VOXPOD studios. Its sound quality and tone set the bar above all the others on the market.
VOXPOD Studios has already started hosting shows for some big podcasts here in the UK, including the James Smith Podcast and Rugby’s leading podcast, “The Good The Bad and the Rugby.”
Lastly, another new positive feature of 2020 was the launch of PreSonus Sphere. It’s truly a brilliant way of connecting the rapidly growing number or Studio One users, world-wide. I love being able to try out suggested Presets and Studio One shared components from other engineers, writers and producers.
Join PreSonus Sphere today to check out James’ exclusive Presets and from those by other featured artists!
James F Reynolds: PreSonus Sphere Featured Artist
They include: two Reverb Macros, five Studio One Workflow Macros, three Drum FX Chains and a Mix Bus FX Chain for all PreSonus Sphere members to access and enjoy.
Amp Sims: Garbage In, Garbage Out
December 3, 2021 by Craig Anderton
An astute Friday Tip reader commented that while the tip on how to level the outputs of amp sim presets was indeed useful, I should also write about the importance of input levels. Well, I do take requests—and yes, input levels are crucial with amp sims.
Physical amp sims are forgiving. They soak up transients, and chop off low and high frequencies. But amp sims tend to magnify the differences between guitars and playing styles. When going through the same preset, a player who uses a thin flat pick, 0.008 strings, and single coil pickups will sound totally different compared to a player who uses a thumbpick, 0.010 strings, and humbuckers. So, let’s look at four common mistakes people make when feeding amp sims.
The first half has the input set to 5 o’clock. Not only is the sound so distorted the playing is indistinct, listen to the very beginning, before the first note hits. All that gain is picking up noise, hum, and garbage that becomes part of your guitar signal. No wonder the amp sim sounds like garbage—it has plenty of garbage mixed in. The audio example’s second half has the input at 9 o’clock. The sound is not only more focused, but stronger.
Figure 1: Rolling off the lows and highs before feeding an amp sim can clean up the sound.
In particular, listen to the spaces between notes. The version without EQ has a sort of bassy mud between notes that detracts from the part’s focus.
The bottom line is simple: If your amp sim doesn’t sound right, the quickest fix might be as simple as turning down the input level, and rolling off some lows and highs before the amp sim.
Why You Want to Level Ampire Presets
November 26, 2021 by Craig Anderton
It’s great we can store presets, trade them with other users, and download free ones. But…when selecting different Ampire presets to decide how they fit with a track, you want their levels to match closely. Then, your evaluation of the sound will be based on the tone, not by whether the preset is softer or louder. However, consistent preset levels are not a given.
Having a baseline level for presets, so you don’t need to change the level every time you call up a new one, is convenient. You can’t really use VU meters for this, because you want sounds to have the same perceived level, which can be different from their measured level. For example, a brighter sound may measure as softer, but be perceived as louder because it has energy where our ears are most sensitive.
My standard of comparison is a dry guitar sound, because I want the same perceived level whether Ampire is enabled, or bypassed. You might prefer to have Ampire always be a few dB louder than your dry guitar—whatever makes you happy.
Enter LUFS
The LUFS (Loudness Unit Full Scale) measurement protocol measures perceived loudness. LUFS measurements allow streaming services like YouTube, Spotify, Apple Music, and others to adjust the volume of various songs to the same perceived level. This is why you don’t have to change the volume every time a different song shows up in a playlist. The system isn’t perfect, but it’s better than dealing with constant level variations. Fortunately, Studio One has a Level Meter plug-in that gives LUFS readings (fig. 1).
Figure 1: The Level meter can measure levels based on a variety of standards, including LUFS.
The Process
We interrupt these steps to bring you an important bulletin: The Level Meter reading that matters is the INT field. This averages out the audio, so you’ll see the reading change at first, and then settle down to a consistent LUFS reading. When you change levels, call up a different preset, or make any changes, click on the Reset button to re-start the averaging process. When doing any LUFS measurements, you can’t be sure the reading is correct until you’ve a) hit Reset, and b) played the event several times, which is why we want to loop it.
We now return to the step-by-step procedure.
Figure 2: Use the output control to obtain similar levels from different presets.
Figure 3: Save your work for future sessions.
And while you’re at it, save the Song you used to do this testing. Then you can call it up again in the future, when you want to match preset levels.
Okay, so it took a little time to balance all your presets. But when deciding what preset to use in the future, you’ll be glad you set them all to a baseline level.
Brody Tullier on using Studio One for Video Game Soundtracks
November 23, 2021 by Perry Tee
Brody Tullier (aka Zeno) is a 17 year-old composer based in Baton Rouge, Louisiana who has been composing and arranging original music for the past four years.
His main style of composition is often through complex midi-mapping and programming, although he is also a studying pianist and vocalist.
Delving into advanced audio production more and more in recent years, his music has become the lively, energetic, and polished arrangements that you can hear in his recent Bandcamp releases here.
Brody’s preferred style of compositions lean heavily towards video-game inspired tracks and he aspires to one day seek a career in the video game music industry.
We wish him great success in his ongoing growth as a musician, composer and producer!
PreSonus Sphere (Annual Membership)
Complete Collection by PreSonus
Buy and get one FREE
Connected by music. United by creativity.
This product is an annual Membership to the PreSonus Sphere.
Music connects all of us. PreSonus Sphere celebrates sonic creativity by providing a complete suite of powerful tools to fuel your imagination and bring your inspiration to life. More than software and content, PreSonus Sphere is a global community of creative enthusiasts and respected professionals—all brought together by and for the love of music.
PreSonus Sphere membership includes licenses for essential software tools to build the core of your studio, including the award-winning Studio One Professional DAW and Notion music composition and performance software. You also get every plug-in and Studio One and Notion Add-on that PreSonus makes, including CTC-1 Pro Console Shaper, Audio Batch Converter, Presence XT Editor, add-on sounds, and so much more! Use over 100 inspiring content libraries to supercharge your productions with the complete Spark Collection sample and loop libraries, Tom Brechtlein Drums, and new content being added continuously.
PreSonus Sphere makes it easy to share your projects with other members using your PreSonus Sphere workspace. Your Sphere membership also includes 30 gigabytes of cloud storage for backups, stems, collaboration, and more. A live chat lets you communicate in real-time with your global production team to make sure you’re all on the same page and striving towards the same goal. As a member, you’ll be invited to exclusive events and training to meet like-minded Sphere users and grow your collaborative network. Each month you can expect something new—whether it’s new exclusive content or a special surprise gift, just to thank you for being a part of PreSonus Sphere—and all at a low monthly or annual membership with no additional upgrade costs or hidden fees.
Features
Studio One 5 Professional
Record, produce, compose, mix, master, and perform all from a single, intuitive application. Designed with ease of use at its core, Studio One® 5 is your creative partner from studio to stage. The Start Page provides what you need to begin your creative process, including a dashboard with all your songs, projects, and shows, plus a personalized user profile that allows you to add custom metadata to all your creations.
Open the Song Page and you’ll find everything you need to record, compose, edit, produce, and mix with a complete set of virtual instruments, effects, groundbreaking arrangement tools, and a new advanced Score View based on PreSonus’ award-winning Notion notation application. Integrate your external instruments with the drag-and-drop ease of a virtual instrument. Next, assemble and master your masterpiece in the Project Page. Projects and Songs are linked, so you know the mix you’re mastering is always up to date.
And when you’re ready to hit the stage, Studio One is right there with you. New in Version 5, the Show Page lets you add backing tracks, virtual instruments, and plug-in effects to your live instruments with an easy-to-use Setlist that lets you sculpt your performance and change your show each night or do a quick edit on the fly when inspiration strikes. The standard for end-to-end production, only Studio One 5 seamlessly moves with you from initial inspiration to full production, final mix to mastered album, digital release to stage production… and lets you truly create without boundaries.
Features
Notion™
Bring musical inspirations to life with the blazingly fast and intuitive Notion™ 6 music composition and performance environment. Compose when and how you want and even enter music with your own handwriting. Take projects to the next level with deep integration with Studio One®. Hear and perform music with gorgeous samples by the London Symphony Orchestra and others. Deliver polished scores faster than ever before, from complete film orchestrations to simple lead sheets and guitar tab.
Whether you are an instrumentalist, songwriter, composer, arranger, music educator, or student, you’ll find Notion 6 to be the easiest-to-use and best-sounding notation software on the market today. Notion 6: Redefining music notation.
Features
Traditional Notation or Tablature – Fast and Easy
Create and Perform with Unmatched Sound Quality
Serious Studio Integration
Deliver Professional Scores and Polished Performances
Ampire
Ampire is PreSonus’ new State Space Modeled guitar amp/cab/stompbox simulator, included in Studio One Professional 4.6 and later. You get five new amplifier models, 16 cabinet emulations, and a pedalboard full of effects. Ampire is now available for use in other DAWs in VST3, AAX, and AU formats!
Features
Channel Strip Collection
Pepper your tracks with a tasteful dash of PreSonus flavour via these two State Space modelled plug-ins recreated from classic PreSonus hardware channel strips, available in Studio One® Native Effects, VST3, AU, and AAX formats for use in your DAW of choice. The RC 500 is modelled from the PreSonus RC 500 FET Channel Strip; VT1 is modelled from a PreSonus classic tube channel strip. When the engineer who designed the original analogue circuits can get together for drinks with the master of State Space Modeling, the resulting plug-in sounds so true to the original that even the designer of the analogue hardware can’t tell the difference.
Features
Fat Channel XT + Add Ons
Originally designed for integrated compatibility between Studio One and StudioLive mixers, Fat Channel XT brings award-winning StudioLive processors and State Space models of vintage EQs and compressors to your DAW of choice. Fat Channel XT was designed to be the ultimate channel strip for any input or bus with a variable high pass filter, gate/expander, compressor, EQ, and limiter—all in one singular plug-in. In addition to the classic StudioLive compressor and EQ modules, you get two State Space Modeled compressors and EQs recreated from coveted vintage studio gear. Need more virtual analogue goodness? Fat Channel XT can be expanded with any or all of the eight compressors and seven EQ models in the Fat Channel Plug-in Collection.
Features
System Requirements
Windows
macOS
Studio One Remote for iPad
Studio One Remote for Android
Studio One Remote for Windows
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