With the fundamentals covered in previous versions, Studio One 4 branches out to explore new creative possibilities.
For me, version 3 marked the moment when Studio One caught up with the competition. PreSonus had ticked all the boxes, appropriated all the features, and designed an interface that was familiar enough to attract casual Cubase users while being serious enough to pull in seasoned Pro Tools professionals, and vice versa. It was no longer the underdog, and no second fiddles needed playing: Studio One had pulled in the high production values and become a decent DAW that deserved your attention. So, when youâve already caught up with the rest of the market, what do you do with the next update? PreSonus decided to get creative.
Where version 3 was perhaps all about mixing, production, arranging and audio processing, version 4 is about giving producers, songwriters and music makers more compositional tools for the writing of music. Amongst the new features are a Chord Track for songwriting and development, ripple editing for arranging, pattern creation and step sequencing. The sampleâbased instruments get you sampling as well as playing, AAF import makes the move from another DAW even easier and Song import lets you pull that cool chorus out from another project to work into something else.
![]() GUI
PreSonus have mostly retained the look of Studio One 3, but there are some minimal adjustments to the interface: a narrowing of the meters, a flattening of the faders, track colours now bleed into the labels, and the little icons on clips are just slightly bigger. Notepadâstyle scribble strips are available on pretty much everything for noteâtaking and recording whatever details you want to add. Areas around the arrange window are a shade lighter, reducing the contrast marginally and making it seem a tad flatter. All tiny touches, but just enough to fool your brain into thinking youâre in a fresh space. The appearance is adjustable, and theyâve added a Luminance slider to the Appearance editor. Slide it all the way to the right and it will take you back to the horrors of version 2. (Thereâs no appreciable change, either functional or visual, to the Project mastering window of Studio One, which is still as grey and blue as ever.)
Châchâchâchâchord Changes
Chord Tracks are appearing on a lot of DAWs at the moment, and PreSonus go all in with their implementation. A Chord Track runs along the top of the arrangement, below the timeline, and displays the chordal structure of your song. This can be purely informational, but where it gets interesting is where you use it to modify and control the harmonic content of your music. Any tracks that youâve set to follow the Chord Track will snap themselves to those chords â and this includes not only MIDI and instrument tracks, but audio tracks as well.
With MIDI, itâs easy. Studio One already knows and understands the notes on the track and can identify the chords being used. Change the chord in the Chord Track and the notes are moved to conform. With audio itâs a little bit different, because Studio One is not going to know the harmonic content of your audio without a bit of analysis and processing. So, from the rightâclick menu, you select Detect Chords, which does exactly what it says, with the names of the detected chords appearing along the bottom of the audio clip. Once the chordal structure is known, Studio One can transpose the audio in real time to follow the Chord Track. And itâs not just transposition: you can also change the chord type and quality, and the audio happily follows.
Choosing and experimenting with chords is done with Studio Oneâs chord wheel. You can choose keys and chords, types and qualities, root notes and intervals. You can create chords by clicking on the virtual piano keys, or play them in from your MIDI controller. Itâs all nonâdestructive, and simply turning off the Chord Track returns all the audio and MIDI to where you started. There are some nice workflow touches, such as the ability to select all the chords of a single type and have them change together, and the way that all clips that have been adjusted feature a little processing icon on the lower left corner. If you are using Studio Oneâs integration with PreSonusâs Notion notation software, this Harmonic Editing can make creating lead sheets a lot easier and faster.
Create and edit chords in the Chord Wheel, and the harmonic content follows the Chord Track. Azetek engineering pte ltd contact number.
In practice, the reality of using the Chord Track with audio is a little, shall we say, experimental. When I applied the chord detection to guitar tracks, I found that it would start the chord in the transitions rather than on the downbeat, and Iâd need to open the audio editor to snap them all into place. (You can quantise the chord start point, but I would find that the chords were not necessarily off the beat, just not on the right beat, and so quantising had no helpful effect.) I also encountered the odd slur as the audio pitchâshifted if it wasnât precisely on the beat, and a bit of editing was required to tighten that up.
With a bit of editing, though, instrument recordings generally coped quite well with the pitchâshifting, while vocals have their own thing going on. Perhaps unsurprisingly, Studio One doesnât detect chords in vocal parts very well, and then when I applied chords from the Chord Track, they would tend towards unintentionally classic AutoâTune effects. There are some mode options to massage the results a little, and âParallelâ seems to work best for vocals, maintaining the relationships between the notes in the chord and giving the least amount of leaping about. âNarrowâ mode shifts each note to its nearest counterpart in the chosen chord, and I found this best for keys and strummed instruments. Thereâs a âBassâ mode for keeping a bass line to the bottom note, and âScaleâ, which snaps the notes to a scale. Finally, âUniversalâ mode doesnât require chord detection in the audio and is best kept for crazy stuff.
Having control over the chord type and intervals gives you a lot of creative possibilities as you develop a song. If you are working purely in MIDI then this is without a doubt a completely invaluable writing tool. Once you bring in audio then it tends to become more of a useful aid to development, though for instrumental parts, if your playing is bang on the money or if you spend a bit of time editing the chord positioning, the results can be really rather good. The Studio One manual does point out that the Chord Track has its limits, and that audio pitchâshifting will always generate some artifacts. It goes on to recommend the reârecording of audio parts to fit the final chord progression, which sounds like a good idea to me.
Ripple Edit
Another tool that will particularly appeal to songwritersseeking to make structural changes to their music is ripple editing, activated using a toggle button on the toolbar. With ripple editing enabled, material after a selection is moved leftwards to fill in the gap when you cut, and moves rightwards to make space when you paste. This is also very useful for editing spokenâword material, where you donât want to introduce gaps.
Pattern Play
There are two revolutionary developments in Studio One 4âs MIDI editing facilities, the first of which is that you no longer have to edit percussive notes in a pianoâroll: thereâs now a classic drum grid editor that makes the experience far smoother. Click the button in the editor to switch between piano roll and drum editor and you even get a drumstick mouse cursor, while a click of the spanner icon lets you get minimal and show only the note lanes you want to edit. Itâs simple and effective â where has it been for three versions?
The new Drum Editor gives you a drum stick and a grid in place of the piano roll.
The other development is Patterns, a patternâbased step sequencer for creating switchable and loopable melodic phrases and percussive parts. Simply insert a pattern clip onto the timeline and get to work. Thereâs a range of resolutions and up to 64 steps, and you can work either in a melodic mode with a piano keyboard up the side or a percussive mode where each MIDI note is given a lane.
In melodic mode, it initially feels very much like a pianoâroll editor until pattern elements start to creep in to remind us why we like this style of sequencing. Itâs a step sequencer, so this is not about recording a performance, itâs about programming a pattern of notes in a grid. In step record mode, each time you press a key on your MIDI keyboard it records the note into the next step. You donât have to worry about timing or length, as thatâs taken care of by the global gate control. Whether itâs done through painting with the mouse or step recording over MIDI, playing with notes in Patterns is a whole load of fun, which is not something I often feel about the piano roll.
Even better is step automation. At the bottom of the editor, you get a lane of parameter automation thatâs applied per step. Along with the usual Velocity there are two Patternsâspecific parameters called Repeat and Probability, both of which are a lot of fun. Repeat adds a ratchet effect to the note, letting you pull in a roll of up to 10 repeats, and Probability gives you a percentage likelihood of the note on that step sounding. This quickly introduces a humanising feel to your patterns. Although each step can contain multiple notes, automation is applied to every note in that step.
You can, in fact, automate anything you like here. If you are using the Studio One instruments such as Mai Tai then all you need to do is rightâclick a knob on the instrument GUI and select âEdit Pattern automationâ to have it added to the pattern automation lane. This is separate from track automation, and only appears in the pattern editor. With thirdâparty VST Instruments, things are slightly less fluid; thereâs a âthree dotsâ button which reveals all the available parameters within the VSTi, but these are not always helpful or easily navigable. However, you can also drag a parameter to a pattern automation lane by opening up the mapping editor in Studio Oneâs plugâin container. This shows the lastâmoved controls, which makes finding the one you need much easier.
![]() Beat ThatPresonus Studio One Free Download
The Patterns feature really shows its versatility in the drum, percussion or âRhythmic Modeâ, which is particularly good when coupled with the Impact XT drum machine. The lanes represent MIDI notes that trigger the various drums in a kit, and when using Impact XT, these lanes are automatically labelled for you. As with the Drum Editor, you can filter out the notes youâre not using and focus on the beats at hand. The lanes have their own mute and solo buttons, and individual pattern lengths and resolutions, so you can conjure up whatever polyrhythmic combinations of timings you want. There are also additional tools in this mode, such as lane filling in full, 2nd or 4th steps and the copy/paste of patterns between lanes. All the same automation lanes are available in this mode, making full use of the Repeat and Probability functions.
The Probability option on each note in a melodic Pattern adds considerable potential.
There have been some grumblings on the Internet about the Repeat function and Impact XT, with some people complaining of clicks caused by Impact not retriggering on a zeroâcrossing point, which is particularly obvious on kicks. It doesnât happen when using the Sample One instrument, or when manually recreating the pattern in the drum editor, and one solution seems to be to turn off Choke in Impact XT. Another criticism is that you canât take a lane out to a piano roll like you can in some other DAWs, which means you canât adjust the pitch of hiâhats and snare rolls as is common in trapâstyle music. There are workarounds, but they are longâwinded and out of character with the usual slick Studio One workflow.
Within a pattern you can create an infinite amount of variations and then scatter them across your Song, where they will happily integrate alongside standard MIDI clips and automation on the same track. When you copy a pattern in the arrangement, be aware that it becomes a connected âghostâ copy that always refers back to the original and gets edited regardless of which copy of that pattern you are editing. If you want to edit a duplicate pattern independently of the original, you need to separate it out first.
Patterns can be saved for use in other projects by dragging them to the browser, where they appear as â.patternâ files. PreSonusâs web site talks about how âthereâs a new library of inspirational drum Patterns and Variations Patterns in the Musicloops format for easy, dragâandâdrop saving and exportâ, and after a fair bit of digging around in the browser I did come across a folder of âMusical Filesâ, inside which was a folder called âImpact XT Kits and Soundsâ. This does indeed house patterns and variations, and they are indeed pretty fabulous. Drag them across and they load up with an instance of Impact and the right kit all ready to go. These are great, so itâs a shame they are so difficult to find. They need their own tab, or a more obvious location where you can find them and add your own creations.
Percussive Patterns can feature different lengths and resolutions across multiple lanes, helping to create complex polyrhythms.
Instrument Improvements
Both of Studio Oneâs sampleâbased instruments, Impact XT and Sample One XT, have been overhauled for version 4. The first thing these improvements bring is some very welcome colour. Sometimes it feels as though Studio One is in competition with Ableton Live to come up with the dullestâlooking GUIs, but load up Impact or Sample One and prepare to be startled. Thereâs a range of colours you can step through, all of them of a very pleasing hue, and in general, the tweaks PreSonus have made to the GUIs are excellent. The previous versions of these instruments seem terribly basic and dated in comparison.
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Impact XT has eight times as many pads as the preceding version, so now each preset kit can contain a whole load more than 16 samples. Each group of 16 pads gets mapped across your keyboard, so you could reach them all if you had enough keys; otherwise, they are tabbed in the interface. Each pad can be routed to one of 16 stereo or 16 mono outputs. The Pitch, Filter and Amp controls are retained from the previous version, but the filter is now a 24dB/octave design with added Drive and Punch controls.
You can pull samples in from anywhere and drop them onto pads; holding Shift while you do so will have loops automatically sliced across multiple pads. Itâs so easy.
Patterns combines seamlessly with the new Impact XT sampler.
Sample One XT shares the same ease of use, except that in this case, when you hold Shift the loop will be sliced across the keys, ready to play in a Recycleâstyle. The big new feature in Sample One XT is the ability to record audio. Yes, you can actually sample into the sampler! You can record from any physical input or track or bus routed in from the Console. Recording can be triggered manually or using a gate threshold, which can automatically slice up drum parts for you. The same Pitch, Amp and Filter controls as are found in Impact are available, along with an LFO, but these act over the whole instrument, not individual samples. PreSonus have added two effects banks, offering seven effects modules including delay/reverb, a gater, EQ and distortion.
The flow when working with these instruments is truly remarkable. Pulling samples from the browser, your desktop or from an audio track, even just pulling in a selected region is a complete breeze. You can knock together a fully functional instrument or drum kit in no time at all. The mapping is simple, the envelopes are obvious, the editing straightforward. Thereâs nowhere to get bogged down: itâs a smooth instrumentâbuilding experience.
Sample One XT now incorporates live sampling.
As Sample One XT expands itself into a fully fledged sampler, it begins to encroach on the role of Presence XT and its optional editor and instrument builder. I suppose you could see Sample One as a RAMâbased performance sampler and Presence as a diskâstreaming library sampler. Sample One is certainly easier and faster to use, but Presence can handle larger instruments with multiple layers of velocity and has more modulation abilities. Studio One provides a file exchange facility which lets you export your instrument from Sample One as a âmultisampleâ file that Presence can open. Itâs a very cool feature although I donât quite understand why it canât be saved in this format as a preset that appears in the Sample One preset list. Instead, you have to save it somewhere else and then dig around to find it and drag it into Presence, which just seems a little disconnected.
Go With The Flow
Studio One is all about the workflow. The rules of navigation and tool access established in version 3 have been followed through with new creative possibilities. Whether these have been dreamt up by PreSonus or borrowed from elsewhere, they all fit in nicely with the flow. The way audio moves from browser to track, track to sampler, sampler to Impact is just so smooth.
The Patterns bring a gloriously simple and creative melody and percussion generator right into the midst of your music. Itâs not a plugâin, or something you route into the DAW: itâs right there on your timeline. The one thing missing, perhaps, is any form of randomisation that would allow you to quickly generate a melody and scaleâquantise it with the Chord Track, or autoâgenerate interesting rhythms.
The Chord Track is well implemented, and the chord wheel makes it a doddle to experiment with different harmonic structures regardless of your musical ability. And, as it runs with the Arrange track and into Scratch Pads, it fits right into the existing flow of things, even if the audio side of it isnât quite what I expected â itâs occasionally seamless and sometimes transparent but, more often than not, requires a bit of help to do something remarkable. Ultimately, though, Studio One 4 delivers an impressive bag of features that make musicâmaking faster, easier and more rewarding.
Multiâtouch
Version 3 introduced Studio One users to the possibilities of multiâtouch technology. Although it wasnât always a smooth experience, it was really good in places; incremental updates have improved upon the implementation, and version 4 consolidates this support. Thereâs still no documentation on how to use the touch facilities, and the only mention of them in the manual is unchanged from version 3, referring users to an enabling setting in the options that doesnât exist (or maybe itâs an option only in the Mac OS version?).
You can now rearrange plugâins in the console with your finger and copy them from track to track. Selecting different tracks, either in the Console or the arrange window, is pretty much instantaneous. Navigation in and around the arrangement is superâquick with oneâfinger scrolling and pinchâtoâzoom either horizontally or vertically. When it comes to selecting clips and moving or editing, we are reintroduced to our old friend the tapâandâpause. This is still most annoying in the piano roll, a place where being able to quickly tap in notes would be of most benefit. As it is, you can doubleâtap to enter a note quickly or tapâandâpause for the note to appear. Automation also benefits from a doubleâtap, and you can also tapâandâhold for a second and then draw in a more freehand way. This has been improved a bit, so that you can now start drawing from anywhere rather than having to grab an existing handle first. You can now also move plugâin GUIs without going through the tapâandâhold activation.
This need to frequently pause was my biggest complaint about the touch implementation in version 3, and version 4 improves things, but doesnât remove it completely. I still maintain that if PreSonus moved from singleâfinger navigation to a twoâfinger navigation mode, like all other touchâenabled DAWs, it would allow them to get rid of the tapâandâwait/hold/pause that is so detrimental to the workflow.
On a positive note, touch in the pattern editor is completely awesome. Tap and the note appears immediately! Thereâs no mess and no waiting around: tap and itâs there, just as in any other piece of touchâenabled music software. The automation is the same â instantly touchable â which makes you wonder why itâs still a bit rubbish in the MIDI editor and the new Drum editor. And the pinch/zoom in the pattern editor is simply fabulous. More of this please, PreSonus, and less of the waiting around for notes to appear and actions to activate!
ARA 2.0
Studio One 4 has fully implemented and is ready for version 2 of the Audio Random Access plugâin protocol. Itâs a technology that allows audio processing from software such as Celemonyâs Melodyne to be edited and applied directly in the timeline. Version 2 is considerably more versatile, allowing for simultaneous multitrack editing and promising a much smoother experience. But itâs still not quite available at the time of writing.
I was able to check how the Chord Track and Melodyne relate to one another, as you can imagine them coming into conflict. As far as I can tell, launching the Melodyne editor for a clip disables the effect of the Chord Track on that clip, and it remains disabled until the Melodyne editing is removed or rendered to the audio.
AAF & S1 Song Data Import/Export
One function thatâs been sorely missing in previous Studio One iterations is the ability to import projects from other DAWs. Likewise, it has not previously been possible to pull in parts of other Studio One Songs into the active Song. To remedy the first omission, version 4 now has fully integrated AAF import and export. You can drag an AAF file into the arrangement and all the tracks and layout are perfectly realised, and AAF is also available as an option in the Save As.. dialogue.
Importing data from other Songs is almost as easy. When you Import Song Data and select a Song you get a list of all the available tracks. Choose which tracks you want and they appear in your new Song. This only works with saved Songs, not templates, which is a little strange; also, itâs only about track data and wonât bring in effects busses. However, if you go back into the original Song and enable some automation for a bus then it will appear in the track list and you can import it.
Artist Or Professional?
For this review, I tested the âfull fatâ Professional version of Studio One 4. The much more affordable Artist version does not include the Chord Track or the new import/export options, but does feature the new Patterns and Drum editor. As in version 3, advanced features such as the mastering functionality, Melodyne integration, Scratch pads, extended effects chains and video playback are also absent from Artist 4, but perhaps the most significant omission is support for thirdâparty VST and AU plugâins.
Pros
Cons
Summary
Studio One 4 is a musicianâs update, aimed more at the makers than the mixers, and takes Studio One from a place that hosts your creativity to one that enables and explores it.
informationStudio One Professional £344. Price includes VAT.
Source Distribution +44 (0)20 8962 5080
Published August 2018
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$399.00
It's all about workflow. Perhaps more than any DAW I've tested recently, Studio One 3 makes it easy to lay down beats and record audio, and it simultaneously feels like a mature workstation. It's as if someone took Pro Tools, removed many of the unnecessary mouse button presses, and rearranged the menus and dialogs to make sense. Studio One doesn't scale to larger studios as well as Pro Tools, and is still missing some key features. But it's an inspired audio editing choice for anyone who needs a serious audio and that dislikes Avid's move to subscription pricing for support.
Versions and Setup
PreSonus offers three versions of Studio One 3. The impressive Prime (free) includes unlimited audio and MIDI tracks, some basic plug-in effects, drag-and drop editing and comping, and the Presence XT sampler (really a 'rompler,' with no sampling capability) with 1.5GB of instruments. You can save as many projects as you want, and there are no nag screens, but you can't add third-party plug-ins.
Artist ($99) adds more editing tools, including track folders and event-based effects, multi-touch support on Windows machines, the excellent Mai Tai analog modeling synth, and the Fat Channel track plug-in that offers a bevy of mixing tools in a single interface. Professional ($399), which I tested for this review, adds built-in Melodyne pitch correction for vocals, many more effects including a multi-band compressor and convolution reverb, and more virtual instruments, and it switches from 32-bit to a 64-bit summing engine. You can also add third-party VSTs and AU plug-ins to Professional, although this feature is also available as an optional add-on to Artist.
Your PreSonus account shows dozens of separate downloads for the various included instruments, loops, and content packs. But don't fret; when you first fire up Studio One, it'll prompt you to download all of it at once from inside the program, rather than having to run all of those as separate installs. Melodyne is separate, though; you'll get a second product key for it.
For this review, I tested PreSonus Studio One 3.5.2 on a four-year-old MacBook Air with 8GB RAM and a 256GB SSD running macOS Sierra 10.12.6, a PreSonus AudioBox USB audio interface, and an M-Audio Oxygen 25 MIDI keyboard controller. I also tested it on a Core i7 Windows 10 PC with 16GB RAM, 256GB SSD, and 3TB hard disk, and it ran just as well on that machine with the same interface. Given that I tested Studio One using an audio interface from the same company, I wasn't expecting any latency issues and didn't run into any. But I found you could switch audio interface hardware while the program is open and a session is running, which is something you can't do in Pro Tools.
Interface and Recording
Getting settled in Studio One is pretty straightforward if you're coming from another DAW, although it's probably a little intimidating for first-timers. Studio One automatically suggests dates and names for your new projects to help keep you organized. You can also set the keyboard shortcuts to mirror Pro Tools or another DAW to ease migration to Studio One. A few minor nits: It's tough to get everything on the screen at once, and the interface doesn't scale to higher resolutions the way it does in FL Studio.
New low latency monitoring in version 3.5 is a long overdue feature, and it works on both recording and monitoring audio as well as with virtual instruments. Recording and editing the latter seems to use less clicks than some other DAWs: Click once to record, once for the metronome, once for rewinding, and double-click to split a clip into two. It's fast, and the program is super-responsive. You can set up instruments so that you just have to drag the plug-ins over, complete with a picture representation. Within moments, I had an offbeat, syncopated groove happening exactly the way I wanted using Impact and its '60s a GoGo' kit. You can easily create your own Split and Multi instruments by dragging and dropping additional ones on the same track.
Most of the regular audio editing features you'd expect in a proper DAW are here. You can trim or split clips, add fades, and adjust the gain of a clip right from the Edit window. Studio One was the first DAW to integrate genuine Melodyne pitch correction directly within the app, rather than having to export audio, correct it, and then reimport it back in a la Pro Tools. Since then, other popular DAWs like Logic and SONAR have added some type of integrated pitch correction. It's not only faster, but it means you can continue to edit the pitch-corrected clips from within Studio One without having to go back out to Melodyne first.
While Studio One is almost 10 years old, it's still several decades younger than its major competitors, so it's expected that some features will not be as fleshed out in this program. One is a proper score editor, which is completely missing. If you need this and prefer Studio One, PreSonus sells Notion, a full-featured notation program that can work alongside Studio One Artist and Professional (the top two tiers). There's no easy way to save I/O routing templates or track templates, or import session data from other projects. There's also no Pro Tools-like Smart Tool to help out with MIDI editing, although you get an alternative tool you can switch between like you do in Logic Pro X, and in some audio editing contexts the arrow can change to the range tool. You don't get some other more advanced MIDI editing features, like a drum editor, or the ability to stretch clips or scale velocities over a period of time.
Mixing
The mixer is laid out intelligently, as long as you understand one quirk going in: You must click the Expand arrow on a channel to open up the insert and send panel to the right. From there, you can insert all kinds of effects, and PreSonus provides dozens of Extended FX chains in a separate drop down folder that helps you mix faster. You can search for plug-ins just by typing, and you can drag inserts from one channel to another and mirror them immediately like you can in Logic. That said, if you're working with multiple plug-ins on each mixer channel and have them all open, you begin to lose your overall look at all the meters, and the view ends up quite cluttered.
One feature I love is setting up a reverb on a send; all you have to do, literally, is drag the reverb to the track. Studio One automatically sets up the send, the plug-in, the return, and the level so that you've got a reverb happening instantly, and you can then activate the same send on additional tracks. You can also click the send to bring up the reverb plug-in to change the release, the type, or any other parameter, without having to hunt up and down the mixing board for the correct channel first. This is all significantly faster than it is in Pro Tools.
Using Studio One's Mix Engine FX and its Console Shaper plug-in, you can model the sound of an analog console from within the mixing engine, including drive, noise, and crosstalk. The mix bus, even with the standard compressor, sounds good when set to a low ratio (1.3) for just a few dB of reduction on the peaks. In the box, you get enough effects to bring a project from start to finish, including mastering (though I'll always recommend having an experienced second pair of engineers do the final mastering if the budget allows).
Studio for All
On the Mac, Apple made it difficult for just about every competitor by slashing the price of Logic Pro to $199 back in 2011 with version 9. Six years later, other DAWs still seem to be thriving. Pro Tools remains the pro-studio standard; there have been some high-profile switches to Studio One, and there probably should be more, given how good this program is. Pro Tools still excels in importing session and individual track data, and its Smart Tool-based approach to audio editing is second to none. But Pro Tools is more expensive up front and requires monthly support fees, and it lacks integrated pitch correction. Unless you have the need for Avid's support for broadcast standards or the budget for a rack of HDX hardware, or want to have maximum compatibility with other studios and sessions, going with Studio One could well be a smart, alternative choice for a pro-level DAW.
PreSonus Studio One
Bottom Line: PreSonus reinvented the common digital audio workstation in 2008 with Studio One; the latest version is the most inspired yet.
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