All tiny touches, but just enough to fool your brain into thinking you’re in a fresh space. Areas around the arrange window are a shade lighter, reducing the contrast marginally and making it seem a tad flatter. Notepad‑style scribble strips are available on pretty much everything for note‑taking and recording whatever details you want to add. 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. The sample‑based 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. Amongst the new features are a Chord Track for songwriting and development, ripple editing for arranging, pattern creation and step sequencing. 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. So, when you’ve already caught up with the rest of the market, what do you do with the next update? PreSonus decided to get creative. 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.
#Presonus studio one prime pro
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.
With the fundamentals covered in previous versions, Studio One 4 branches out to explore new creative possibilities.įor me, version 3 marked the moment when Studio One caught up with the competition.
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