PreSonus, which has earned a reputation for quality audio gear at affordable prices, cemented its status as a serious player with last year’s rollout of the StudioLive 16.4.2 digital mixer and Studio One DAW platform.
The Studio One platform — which evolved from KristalLabs’ Kristal Audio Engine freeware app — is apt for PreSonus and many of its customers: the artist/engineer. This review focuses on Studio One Artist, which offers 32-bit audio processing and is bundled with PreSonus FireStudio products. Studio One Pro adds features including 64-bit processing, an integrated mastering suite, CD burning, MP3 import/export, and AU, VST2, VST3, and ReWire support.
There are many things to like about Studio One Artist. Compatible with Mac OS X, Windows XP/Vista, and Windows 7 operating systems, it’s very well thought out. When launched with a PreSonus interface, the software recognizes the interface and opens a start page. By selecting “Create a new Song,” pre-programmed templates auto-configure software inputs and assign them to the appropriate hardware inputs (the user can also create song templates). Sample rate and bit resolution, Timebase and tempo stretching are also selected and tweaked here, along with interface and external devices.
PreSonus FireStudio Mobile The PreSonus FireStudio Mobile impresses straightaway, housing 10 inputs and six outputs in a 5.5 x 5.5 x 1.75-inch, 4.5-pound box. It is bus-powered: with a laptop, a set of headphones and one or two mics, the FireStudio Mobile presents extensive, yet compact, field-recording possibilities. Talk about traveling light! If you’re running on battery supply, you can record anywhere. A wall-wart power supply is also included.
The front panel includes two PreSonus XMAX Class A combination XLR/TS mic/instrument preamps, their gain knobs and 48V phantom power engage button; 3-LED level indicators; headphone output with gain knob; main stereo output gain knob; and power indicator light.
The unit’s back panel adds six more balanced, 1/4-inch line-level inputs; a DB9 connector for included breakout cable for S/PDIF and MIDI I/O; and two FireWire 400 ports, the second allowing daisy-chain to any other FireStudio interface, including the aforementioned StudioLive 16.4.2 mixer. The second FireWire port can also be used as a passthrough to connect a hard drive to your computer.
Like Studio One Artist, the FireStudio Mobile allows up to 24-bit/96k recording, another bang-forbuck feature that illustrates just how far “down-market” high-quality performance extends today.
We took a PowerBook G4, the FireStudio Mobile, a pair of Earthworks mics, and Audio-Technica ATH-M50 headphones to a local club. We put up the two room mics, and ran three stereo subgroups out of the club’s analog mixer into the FireStudio Mobile’s line inputs — drums and bass; guitars; and vocals — and ended up with a nice live recording.
The XMAX preamps sound quite good. They do lack the dimension of a high-end — and high-priced — mic pre: the top isn’t quite as open. But there’s a nice, warm sound to them; they’re certainly as good as anything in a similar product, maybe even a little better.
Later, we decided to write and record a song with the FireStudio Mobile. We sampled a few keyboard, bass, and drum sounds in Studio One Artist, triggering them with an old M-Audio Oxygen8 controller via the MIDI inputs. Later, we added acoustic and electric guitar via inputs 1 and 2.
These two projects — recording a live band in a club and composing in a home-studio setting — illustrate this rig’s finest attributes. Everything — interface, software, and external device — integrates well. The compactness of the FireStudio Mobile and the features included in Studio One Artist make setup and operation so easy, and the portability factor is terrific. Lastly, the FireStudio worked nicely with both Digital Performer and Logic 9. Studio One Artist may not do much radically different than Pro Tools, Logic or any of the others but it offers a very nice, seamless workflow. The Mix, Edit, and Browse functions are simultaneously displayed on the Song window; the fact that one does not have to continually jump between windows is a welcome change, especially in the artist-as-engineer scenario.
Otherwise, Studio One Artist will be familiar to users of its DAW brethren. Tracks are vertically arranged; controls are on the left; and a browser is on the right. A zoom menu allows multiple viewing sizes and horizontal and vertical zoom sliders, along with another slider for zooming a waveform or event within a track in and out. Functions like track naming, colorcoding and grouping, as well as additional layout options, are achieved with one or two clicks.
Recording controls are accessed via mouse click or key command. As one would expect, each track features Record, Solo, Mute, and Monitor buttons. Transport, tempo, metronome, and volume functions are at the bottom of the Song window.
We both observed that the addition of a PreSonus FaderPort, the company’s $130 USB controller, would allow better transport operation for increased speed and control. [According to PreSonus, Studio One automatically recognizes FaderPort; Studio One’s MIDI Link feature allows quick, easy mapping of FaderPort’s fader to any parameter controlled by a knob or fader — not just volume. — Ed.] Maybe a Studio One package with included FaderPort would be a worthwhile bundle? We sure would’ve liked that.
Nonetheless, we love the logical and speedy workflow of Studio One: When you put an effects send on a channel, for example, a return is automatically created. Adding inserts is equally simple; the same goes for markers, which can be added, or removed, with one button command during playback.
Studio One Artist really shines — and surprises — in its browser offerings. The DAW packs 20 diverse Native Sound plugins; the 150-instrument strong SoundPack from Native Instruments’ Kore Player; Native Instruments’ Guitar Rig LE; four virtual instruments; Toontrack EZDrummer Lite; and more than 1.4 gigabytes of loops. The organization, and especially the ease of drag-and-drop — of effects onto a track or an entire group, or an instrument or synth onto a MIDI track — allows the user to keep pace when creativity is flowing. [In Studio One V. 1.5, users can also drag back to the browser to save effects settings, effects racks, VI patches, audio clips, and MIDI clips. See the sidebar below for more on V. 1.5 features. — Ed.]
What’s more, these sounds and effects are really quite good, especially given the price of the entire package. Each effect comes with multiple presets, and users can create and store their own. We found that the compressor works especially well. The Native Effects suite also includes the Ampire amp-emulating effect, and even an instrument tuner. No more worrying about hardware tuners and 9V battery life!
Another feature that really impressed us is Studio One’s MIDI editing interface. It’s not really different than those of any other DAW, but the interface is easier to see and thus operate. We also noted that the program is stable and ran well, on both an old Apple PowerBook G4 running Tiger and an iMac G5 with Leopard. [For V. 1.5, OS X 10.4 Tiger support is dropped. However, explains PreSonus, the new version runs native (Cocoa) in Snow Leopard. — Ed.]
Having so much information in one window was a little confusing, at first, to someone accustomed to other DAWs; but in a short time, Studio One Artist became second nature. That isn’t a criticism; this is a serious DAW for serious audio production (at a seriously good price — $199 street).
Tim Hatfield has been a freelance producer/engineer/mixer in NYC for 20 years and is co-owner of Brooklyn’s Cowboy Technical Services.