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Normally I use my own impulse responses (see the Friday Tip Synthesize Open AIR Reverb Impulses in Studio One for info on how to create your own impulse responses), but of the factory impulses, for vocals I’m a big fan of the Gold Plate impulse. The final link in the chain is the Open AIR reverb (Fig. In any event, the Delay Beats, Feedback, and Mix parameters cover what you need for most vocal echo effects. Also, the LFO isn’t used, so if you want to modify the ping-pong effects, you’ll need to open the interface and do so manually.
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Feel free to change the Macro control assignment. Although many of the parameters are well-suited to being macro controls, there had to be a few tradeoffs to leave enough space for the crucial controls from other effects.įigure 3: The Analog Delay is set up for basic echo functionality.įor example, the Delay Time controls beats rather than being able to choose between beats and sweeping through a continuous range. The parameters are preset to a useful doubling effect, and there are only two control switches-one to enable/bypass the effect, the other to increase the stereo spread.įor echo/delay effects, the Analog Delay comes next (Fig. 2).įigure 2: The Chorus provides a voice-doubling ADT effect. The Chorus is the next processor in the chain, but it’s used for doubling, not chorusing (Fig. However, as you increase the Top control, the frequency goes just a bit lower so that the boost covers a wider section of the high-frequency range. The High-Frequency section adds “air” around 10 kHz. The High-Mid Frequency stage sits at 3 kHz, because boosting in this frequency range can improve intelligibility. So, when you pull the LMF Gain down, the LF stage’s Q gets broader increase Gain, and the Q goes up somewhat. The Low-Frequency stage is fixed at 110 Hz with 1 dB of gain, but its Q tracks the Low-Mid Frequency stage’s Gain control. The most interesting aspect is how the Low Frequency and Low-Mid Frequency stages interact subtly when you edit the Bottom control.
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This contributes to the Vocal QuickStrip’s character.
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You can place the EQ either before or after the compressor here, the EQ is before the compressor because boosting certain frequencies “pushes” the compressor harder. The Fat Channel also includes a built-in high-pass filter.
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Of its three available compressors, the Tube Comp model emulates the iconic LA-2A compressor-the go-to vocal compressor for many engineers.įigure 1: Fat Channel settings for the Vocal QuickStrip FX Chain. It works with Studio One 4 as well as 5 (note that the Widen button for the Doubler is functional only in Studio One 5).
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There’s a download link for the Vocal QuickStrip.multipreset file, so you don’t need to assemble the chain yourself. Insert this vocal processing’s “greatest hits” FX Chain in your vocal track, tweak a few settings, admire how wonderful the vocal sounds, and then carry on with your project. So you start browsing effects, tweaking them, trying different settings-and before you know it, you’re going down a processing rabbit hole in the middle of your session. Unfortunately, though, that raw vocal is kind of…uninspiring. Suppose you’ve laid down your raw vocal-great! Now it’s time to overdub some instrumental parts and background vocals. There’s also a bundle with the book and my complete set of 128 custom impulses for Open Air…but so much for how I spent my summer vacation, LOL. And as a “thank you” to those who bought the original version, you’re eligible for a 50% discount on the 2nd edition. The new edition includes the latest Studio One 5 features, as well as some free files and Open Air impulses, but also has 35% more content than the first edition-it’s grown from 121 to 194 pages. This tip is excerpted from the updated/revised 2nd Edition of How to Record and Mix Great Vocals in Studio One.