IK.Multimedia.AmpliTube.v3.0.1.VST.RTAS.Incl.KeyGen-DYNAMiCS

AmpliTube 3. The New King of Tone.
More Gear. More Feel. More Power. More Tone.
There’s a new king in tone, and its name is AmpliTube 3. A massive upgrade of the leading guitar and bass tone gear modeling software, AmpliTube 3 raises the industry standard of sound variety, realism and creative power. If your recording or playing “rig” is lacking in that rich, lush expressive analog warmth, then you need to check it out. With over 160 precisely modeled pieces of vintage and modern gear available in one package, AmpliTube 3 is the ultimate tone gear collection for the player/producer/engineer suffering from tone angst.

AmpliTube 3 gives you more.

More Gear — Infinite Combinations.
AmpliTube 3 contains over 160 pieces of gear, more than double the amount of other packages, including models from the most sought-after vintage collections and modern day workhorses. You’ll get 51 individual stompboxes and effects, 31 amplifier preamp & power sections, 46 speaker cabinet models, 15 high end stage and studio mics, and 17 post amp rack effects. Plus, with the new AmpliTube 3 open architecture, you can add more packages as you need them, like AmpliTube Fender™ and Ampeg® SVX.
More Feel — True Dynamic Response.
AmpliTube 3 gear models give you THE most realistic playing feel — not just the tones — but the actual dynamic response of their hardware counterparts. Nothing comes closer to the feel and touch of playing through a real rig than AmpliTube 3. Plus, with IK’s proprietary VRM™ (Volumetric Response Modeling) technology, you can add ultra-accurate rotating speaker effects, free dual mic placement plus room ambience and response to custom craft your tone.
More Power — Creative Inspiration.
Face it — the better you sound, the better you play. AmpliTube 3 unleashes more creative power than ever, helping you to easily carve new, truly unique voicings for your guitar, bass, keyboard, drum and vocals. Our new creative effects let you create sounds you never heard before, and the new “drag & drop” effects configuration feature lets you quickly experiment with effects in the signal chain to get that totally unique sound.
More Tone — Every Sound you can Imagine.
AmpliTube 3 is the voice for your soul. With the largest collection of ultra-accurately modeled gear, creative effects and flexible routing features, you’ll never run out of sonic possibilities. Every sound you’ve heard, and ones you haven’t are here… your sound is in here.

System Requirements

Windows

Minimal: Pentium 1GHz / Athlon XP 1.33 GHz, 512 MB of RAM, Windows XP / Vista or later.

Suggested: Pentium 2.4 GHz / Athlon XP 2.4 GHz, 1 GB of RAM, Windows XP / Vista or later.

Supported Plug-in formats: VST, RTAS.

AmpliTube 2 RTAS requires Pro Tools 7.0 or later.

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Focusrite.Guitar.FX.Suite.VST.v1.0.2-ASSiGN

Focusrite's Guitar FX Plug-in Suite includes eleven professional VST/AU plug- ins, ideal for today’s guitarist. These include five of the world’s finest guitar amp models and four distortion pedal effects, all courtesy of Italian software company 'Overloud'; experts in the field of accurate Guitar Amp modeling. A 'hot tuna' guitar tuner and 'smart' hum remover are also provided.

The amp models include plug-ins based on the Vox AC30, Marshall JCM900, Fender Twin, MESA Boogie Rectifier and the Fender Bassman. The pedal models include plug-ins based on the Boss DS-1, the Ibanez Tube Screamer, the Electro Harmonix Big Muff and the Dunlop Fuzz Face.

The amp and pedal models utilise Overloud's renowned analogue modelling technology, which faithfully reproduces every detail of an analogue tone. It also ensures perfect reproduction of parameter behaviour, so you always feel like you're controlling the real hardware. With Overloud's analogue modelling technology, each component of the schematic has its own mathematical model. After this rather raw scientific step, the resulting tone is fine tuned by ear. Overloud don't, unlike many modelling companies, use standard widely available DSP techniques to obtain a tone that only vaguely resembles the original one. Instead, custom developed non-standard DSP techniques reproduce every detail
of the original tone.

Finally, each Guitar FX Suite plug-in provides a host of initial pre-sets, providing a number of great tones for you to audition immediately. You can also save and recall custom pre-sets, building a vast library of your own customised tones over time.

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Sobre a greve promovida pela apeoesp

Desculpem mas não vou deixar de colar uma postagem do blog do jornalista Reinaldo Azevedo, da Veja, sobre essa greve imbecil:

NÃO! OS QUEIMADORES DE LIVROS DE DILMA E BEBEL NÃO SALVAM NINGUÉM. ELES DÃO É PAULADAS NA CARA DE MULHERES POLICIAIS

sábado, 27 de março de 2010 | 17:38

Vejam esta foto. Viram?

Ela está em todos os blogs dos petralhas. Vagabundos que escrevem a soldo viram na imagem do fotógrafo Clayton de Souza, da Agência Estado, um momento sublime da solidariedade humana, verdadeira poesia em meio à guerra. Segundo eles, um dos comandados de Dilma e Bebel, a chefe da baderna e da depredação promovida pela Apeoesp, carrega um policial ferido. A imagem seria uma emblema da grandeza dos grevistas.

Pois é. Não se trata de UM policial, mas de UMA POLICIAL. Ela se chama Érica Cristina Moraes de Souza. O HOMEM QUE A CARREGA NÃO É UM DOS TONTONS-MACUTS DA BEBEL, NÃO! Trata-se de um policial.

Érica foi covardemente agredida por um dos marmanjos da Apeoesp: LEVOU UMA PAULADA NO ROSTO, COM FERIMENTOS SÉRIOS NO NARIZ E NA BOCA.

OS QUEIMADORES DE LIVROS DE DILMA E BEBEL TAMBÉM DÃO PAULADAS NA CARA DE MULHERES. E, no caso, Érica é uma mulher e tanto: veste um uniforme e tem a coragem de defender a segurança pública.

Não, canalhas!

Os “homens” de Dilma e Bebel não salvam ninguém!
Os “homens” de Dilma e Bebel quebram a cara de mulheres!

Até que Dilma não se desculpe por ter dado apoio público a Bebel, que admitiu fazer uma “greve política”, continua co-responsável pela arruaça. Assim, os arruaceiros continuarão a ser chamados aqui de “a tropa de choque de Dilma e Bebel”, “os queimadores de livros de Dilma e Bebel”, os “tontons-maCUTs de Dilma e Bebel”.

MAGIX Vandal Guitar Amp v1.101

Vandal is a unique virtual guitar and bass amplifier for PC and Mac that avoids working with simple impulse responses. Every individual step – each tube, every amplifier stage, even the speaker coils – is virtualized.Compare our sound to the others, and you'll hear a more nuanced and authentic result.

Vandal also offers detailed effects and stomp boxes (several overdrive and distortion effects, different compressor effects, EQ, chorus, phaser, wah-wah, delay, reverb, lo-fi and many more) and advanced microphone settings in an easy-to-use interface that lets you forget that you are using a software amplification.Vandal has a very low CPU consumption and can be hosted as a VST plug-in (Windows), or as a VST/AU plug-in.

Size: 13 MB

Format: VST

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_________________________________________________

AGIX.Vandal.Guitar.Amp.VST.v1.101.PROPER-ASSiGN

Vandal: Authentic. Powerful. Alive.

Vandal is the only guitar and bass amplifier of its kind that brings the characteristic sound and the playing feel of a real hardware setup together with the advantages of a software to your computer!

From the tubes to the speaker coils, every step and component of the amplifier is virtualized and, thanks to the Physical Modeling technology, creates unparalleled great sound – whether for a recording session in a studio, during band rehearsal or for a live performance!


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Celemony Melodyne Studio Edition 3.2.2.2

Melodyne studio – Polyphonic magic. Melodyne studio is the largest member of the Melodyne family. With this most powerful version you are no longer limited to the editing of monophonic melodies, but you can also handle complex textures and even polyphonic material, such as chords or song mixes!* Furthermore, Melodyne studio is a complete audio multi-tracker with an unlimited number of tracks and a high resolution of up to 32 bit and 192 kHz. Recording artists and engineers have known about Melodyne for years. For a long time, though, it was only monophonic vocal and instrumental parts that could benefit from Melodyne’s much-admired editing algorithms: algorithms capable of everything from minor corrections of intonation to extreme pitch shifting and from the subtle modification of grooves to drastic time stretching.

Melodyne studio 3 introduces this magic to full chords and complex audio signals as well; so now harmonic material (such as rhythm guitar or piano parts) can be transposed (without altering the tempo), slowed down or sped up (without altering the pitch) and even quantized.* What’s more, all this can be done in real time with the highest sound quality for which Melodyne is famous. You might already know pitch shifting and time stretching from other programs, yet with Melodyne, even extreme alterations still sound natural and convincing

Key features:

• * Handles also polyphonic material (eg. chords and mixes).
• * Complete multi-track arrangements (unlimited number of tracks).
• * Superb resolution: up to 32 bit, 192 kHz.
• * Melody Manager to browse audio files.
• * Can import Liquid instruments and Melodyne Sound Library.
• * ‘Correct Pitch’ and ‘Quantize Time’ macros.
• * MelodyneBridge and ReWire integration.

Celemony.Melodyne.Studio.Edition.v3.2.2.2.Incl.Keygen-AiR
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Led Zeppelin: Live at London’s Arena 2007

Led Zeppelin: Live at London’s 02 Arena 2007

CD1 01. Intro 02. Good Times Bad Times 03. Ramble On 04. Black Dog 05. In My Time Of Dying 06. For Your Life 07. Trampled Under Foot 08. Nobody’s Fault But Mine 09. No Quarter CD2 10. Since I’ve Been Loving You 11. Dazed And Confused 12. Stairway To Heaven 13. The Song Remains The Same 14. Misty Mountain Hop 15. Kashmir 16. crowd 17. Whole Lotta Love 18. crowd 19. Rock And Roll Part 1 Part 2

Rainbow - The Final Cut 1985 VHSRIP

Recorded in between 1982 and 1984.
RITCHIE BLACKMORE guitar
ROGER GLOVER bass
JOE LYNN TURNER vocals
DAVID ROSENTHAL keyboards
CHUCK BÜRGI drums

Tracklist:

1. Spotlight Kid
2. Death Alley Driver
3. I Surrender
4. All Night Long
5. Can't Happen Here
6. Difficult To Cure
7. Can't Let You Go
8. Power
9. Since You've Been Gone
10. Stone Cold
11. Street Of Dreams

Playing Time: 56:32

Link1 Link2 Link3 Link4 Link5 Link6

ATTENTION: Join all files with hjsplit

Mokafix FX

Mokafix.Audio.Sentor.VST.v1.0.RC1.Incl.Keygen-ASSiGN

Sen'tor is modelled after a vintage overdrive pedal featuring a warm     
                                                                          
distortion chain and an advanced EQ. This EQ is a key element in this effect,
                                                                          
as it let you sculpt the sound and obtain a wide variety of tones. Each EQ 
                                                                          
knob has an influence over a full set of parameters regarding filters      
                                                                          
frequencies and relative volumes. What makes is so special is that each knob
                                                                          
may influence the same parameters differently. The "mid" EQ knob can produce
                                                                          
a scooped sound when turned fully down, giving you access to that classic  
                                                                          
heavy sound. Versatility is the key word here, and you will find yourself  
                                                                          
tweaking it and make it suitable for very different genres, from blues to  
                                                                          
hard rock or jazz.

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Mokafix.Audio.RectiFuzz.VST.v1.2.Incl.Keygen-ASSiGN

A few effects managed to create a consensus among guitar players in terms
                                                                          
of quality and usability... but very few ever created as much division as  
                                                                          
this famous fuzzy tone blending unit Rectifuzz is based on. Some love it,  
                                                                          
some hate it, but you can't get indifferent to the insane distortion provided
                                                                          
by this big stomp effect. Rectifuzz won't put an end to this debate but    
                                                                          
rather heat it up further more. Based on the circuitry of that famous pedal
                                                                          
with a blend knob, Rectifuzz will provide you with a heavy, wide tone to fuel
                                                                          
your metal amp or add some ringy grit to your funk riffs or lead solos. 

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Mokafix.Audio.Muffin.Rider.VST.v1.2.Incl.Keygen-ASSiGN

Muffin Rider is based on a famous transistor fuzz pedal featuring two gain
                                                                          
stages and a tone knob. After 40 years of success, this pedal is still     
                                                                          
considered as a must when it comes to bold, loud sustain. The unique       
                                                                          
architecture of this distortion let it autobias enough to get nice warm    
                                                                          
sustaining notes, and boosts and clips the high and low ends through the two
                                                                          
gain stages in a way that provides that characteristic creamy tone.        
                                                                          
 From pink psychedlic to smashing grunge tones, this effect is a must in any
                                                                          
guitar player's arsenal. 

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Mokafix.Audio.Lamp.Driver.VST.v1.0.RC1.Incl.Keygen-ASSiGN

Lamp Driver is based on an analogue pedal featuring a tube to provide a  
                                                                          
warm smooth saturation. It actually features two gain stages, one opamp based
                                                                          
and one tube based. Main gain is actually provided by the opamp stage; the 
                                                                          
signal is then hi passed before passing through a tube stage. The result is a
                                                                          
smooth and responsive tone enhancing your playing dynamics. Two EQ variations
                                                                          
are provided to respect teh orginal versions, and give you access to more  
                                                                          
tone options.

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Mokafix.Audio.The.Bat.VST.v1.0.RC1.Incl.Keygen-ASSiGN

The Bat is an faithful emulation of one of the most famous guitar        
                                                                          
distortion pedals. The Bat will provide you with a wide range of distorted 
                                                                          
sounds from Blues to Punk rock. Thanks to a unique gain stage design, the Bat
                                                                          
gain knob will let you add sustain by enhancing a specific frequency range 
                                                                          
and push it into clipping. A diode clipper will then softclip the result once
                                                                          
more and extend the dynamic range. The tone knob acts like a classic low pass
                                                                          
filter, and let you change the low pass frequency.

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Mokafix.Audio.Kung.Fuzz.VST.v1.2.Incl.Keygen-ASSiGN

Fuzz effect is probably one of the most simple, raw effects possible. While
                                                                    
an overdrive aims at pushing the next element in the chain to saturation
                                                                    
(usually an amp), a fuzz will amplify and saturate internally. The output
                                                                    
signal has a regular level, but sounds highly distorted. So making something
                                                                    
new in the fuzz domain is not obvious and it is not everyday a plugin can
                                                                    
claim clipping your sound in a new way. Most software Fuzz will soft clip the
                                                                    
signal, and slightly shift it to give it some bias.                     
                                                                    
Kung Fuzz and Kung Fuzz 68 are modeled after the famous Fuzzface? analog
                                                                    
unit. The dynamic response of that device differs from simple clipping in the
                                                                    
way it biases at high input levels (see graph B). The output sound is more
                                                                    
nasal, emphasizing odd harmonics. You can compare it to the difference  
                                                                    
between a  minimoogish square and the most narrow pulse. Do not hesitate to
                                                                    
feed it with a monophonic sound (guitar, voice, simple waveform) to hear this
                                                                    
phenomenon clearly. Kung Fuzz 68 enhances the fuzz possibilities by letting
                                                                    
you set the amount of bias, and soften the clipping treshold to make it more
                                                                    
versatile and better fit other sound sources such as bass guitar or synths.


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Mokafix.Audio.EZ-Driver.VST.v1.2.Incl.Keygen-ASSiGN

Distortion pedals often kick overtones out of clipping limits. Playing
                                                                    
chords in a distortion can become frustrating. Based on a famous analogue
                                                                    
circuit carved by guitar players, EZ-driver delivers a warm distortion while
                                                                    
letting higher frequency pass through. EZ-Driver is based on a famous opamp
                                                                    
distortion that is reknown for its warm tone and the way it respects your
                                                                    
guitar natural timbre. The tonal quality of this effect makes it suitable for
                                                                    
blues rock or jazz. The Drive knob affects both the tone and distortion by
                                                                    
changing the first stage opamp feedback path. From slight crunch to more
                                                                    
pronounced distortion this distortion respect playing dynamics and gives you
                                                                    
access to a variety of warm tones to spice up your signal chain without 
                                                                    
sacrifying your instrument specific qualities.


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Mokafix.Audio.D-Plus.&.D-380.VST.v1.0.RC1.Incl.Keygen-ASSiGN

 D-plus is based on a famous distortion used in huindreds of recordings. Its
                                                                    
classification can be subject to controversy since it is capable of smooth
                                                                    
overdive sounds and can be pushed to more extreme clipped distortion.   
                                                                    
The secret of this effect lies in the distortion stage design, which makes
                                                                    
the Gain knob affect both tone and distortion amount. Thanks to this design,
                                                                    
the Gain knob (Distortion) let you access a wide variety of tones and makes
                                                                    
it one of the simplest and yet more versatile distortion effect.        
                                                                    
The D-380 is based on another effect using the same.

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Mokafix.Audio.Companero.Fuzz.VST.v1.2.Incl.Keygen-ASSiGN

 Transistor based Fuzz pedals like the Fuzzface? hard clip and hard bias the
                                                                    
input signal. But why biasing hard in one direction when you could do it in
                                                                    
both direction one after the other using two transistors? This is probably
                                                                    
the question a japanese engineer asked himself when designing that rare fuzz
                                                                    
Companero VST was inspired by. This pedal will provide a very distorted sound
                                                                    
and react instantly to your playing. A gain parameter was added to get the
                                                                    
most out of the double transistor structure. Low gain will let you benefit
                                                                    
from the first auto-biasing.

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Mokafix.Audio.Brass.Buster.VST.v1.2.Incl.Keygen-ASSiGN

Bass guitar distortion requires specific features, and this VST based on a
                                                                    
famous vintage transistor fuzz pedal will give you a few controls to get a
                                                                    
good range of fuzz tones for your bass guitar or anything you want to feed
                                                                    
it with.                                                                
                                                                    
This effect has a preamp that is split into two paths. One goes to the
                                                                    
output stage to be mixed to the wet signal through the "bass volume" knob.
                                                                    
The second signal is sent through a complex distortion stage that will
                                                                    
drive, rectify and further drive the signal.                            
                                                                    
The "Sensitivity" knob let you change the gain of the signal sent into that
                                                                    
stage and access a variety of tones, from ring mod distortion to weird  
                                                                    
extreme fuzz.                                                           
                                                                    
The EQ section let you change the filter color ("Brass" switch) and add
                                                                    
some unfiltered distortion to the filtered signal ("Harmonic" switch).  
                                                                    
Finally the "Brass Volume" let you set the amount of distorted signal. This
                                                                    
very specific way to let you mix the distorted signal to the preamp dry 
                                                                    
signal makes this pedal very suitable for bass guitar.                  
                                                                    
Although this effect was initially designed for bass, it's unique tone made
                                                                    
it quite popular among guitar player or even keyboardist, thanks to the 
                                                                    
possibility to mix dry and wet signals.                                 
                                                                    
Electronic musicians will also be surprised by the twisted sound this 
                                                                    
vintage effect can provide if fed with obssessive basslines or lush pads. 

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Mokafix.Audio.Baboon.VST.v1.0.RC1.Incl.Keygen.200TH.RELEASE-ASSiGN

Baboon is based on a rare vintage fuzz pedal. Different things make this
                                                                    
effect pretty specia. The effect features two channels.                 
                                                                    
The Treble Booster channel actually bypasses the fuzz stages and tone 
                                                                    
stack, and features its own gain knob.                                  
                                                                    
The Fuzz channel engages the full circuitry and delivers a heavy fuzz tone,
                                                                    
thanks to its two transistor based fuzz stages.                         
                                                                    
Fuzz channel tone stack has two modes. In "A mode", the Tone knob acts as a
                                                                    
regular hi cut filter. In "B mode" the Tone stack scoops the mid frequencies
                                                                    
and the Tone Knob let you adjust the volume of the frequencies above 7kHz in
                                                                    
the mix. Mode B provides that bold scooped tone to fuel any guitar track.
                                                                    
The fact the pedal features a gain knob for each channel let you switch
                                                                    
between each channel without having to adjut the input gain. 


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Joe Bonamassa

Joe Bonamassa é um cantor/guitarrista norte-americano que tem um estilo semelhante ao de Steve Ray Vaughan, Kenny Wayne Sheppard e Johnny Lang.

Bonamassa nasceu em Utica, New York, onde seu pai era dono de uma loja de guitarras. Isto possibilitou que Joe começasse a tocar guitarra aos quatro anos. Ao 11 anos, JOe passou seis meses tendo aulas de guitarra com o virtuoso do country Dany Gatton que ensinou Bonamassa a rocar estilos como country e jazz. Durante este tempo ele tocava com a banda de Gatton toda vez que ela se apresentava em New York. Sua primeira apresentação foi abrindo um show de B.B. King quando ele tinha 12 anos. Aos 14 anos formou uma banda com Berry Oakley Jr (filho do baixista dos Allman Brothers), Erin Davis (filho de Miles Davis) e Waylon Krieger (filho de Robby Krieger - do The Doors). Com essa banda, Bloodline, chegou a gravar um álbum, pela EMI, que produziu dois singles - "Stone Cold Hearted" and "Dixie Peach."

Bonamassa coleciona guitarras desde os 13 anos e possui atualmente 215 exemplares na sua coleção. Em seu álbum "You and Me" ele usa 22 guitarras e cinco amplificadores diferentes nas 11 faixas do álbum.

Line-up:
Joe Bonamassa - guitar and vocals
Tony Cintron - drums
Creamo Liss - bass
Kenny Kramme - drums
Eric Czar - bass
Clif Magness - B-3, piano, drum looping, percussion
Beny Harrison - Hammond B-3
Jon Paris - harmonica
Jason Bonham - drums
Carmine Rojas - bass
Rick Melick - organ, tambourine

Special guests
Rick Derringer - vocals, guitar (A New Day Yesterday)
Leslie West - vocals, guitar (A New Day Yesterday)
Greg Allman - vocals, organ (A New Day Yesterday)
Len Bonamassa - guitar (A New Day Yesterday)
Pat Tharll - guitar (You & Me)
Dave Borden - keyboards (A New Day Yesterday)
Matt Wilcox - Keyboards (So It's Like That)
L.D. Miller - harmonica (You & Me)
Jeannie Burns - vocals (A New Day Yesterday)
Annie Burns - vocals (A New Day Yesterday)
Boshra Alsaadi - vocals (So It's Like That)
Curt Schmeider - vocals (So It's Like That)
Dave Bassette - vocals (So It's Like That)
Doug Henihorn - vocals (You & Me)

Discografia:


(2000) A New Day Yesterday

DOWNLOAD
[SB] [52MB]



(2002) A New Day Yesterday: Live

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Part 1 [SB] [95MB]

DOWNLOAD
Part 2 [SB] [16MB]



(2002) So, It's Like That

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[SB] [69MB]



(2003) Blues Deluxe

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[BD] [70MB]



(2004) Had to Cry Today

DOWNLOAD
[SB] [41MB]



(2006) You & Me

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[SB] [45MB]



(2007) Sloe Gin

DOWNLOAD
[RS] [88MB]



(2009) The The Ballad of John Henry

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[RS] [90MB]


EXTRAS


(2002) Live At The Cabooze

DOWNLOAD
Part 1 [RS] [86MB]


Part 2 [RS] [44MB]



(2007) Live in Bellinzona
Postado originalmente no Cordas, Bandas & Metais.

DOWNLOAD
[RS] [86MB]



(2007) Shepherds Bush (live)

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[SB][67MB]



(2008) BBC Studios

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[RS] [77MB]

Mokafix.Audio.Cream.Tube.VST.v1.0.

Cream Tube is based on one of the most famous overdrive circuits ever. This circuit was used in different versions, but the tone remained pretty much the same through the variations. The reputation of this effect is due to the general design and gain stage specificity. The general design relies on the succession of three amplification stages, each providing some clipping. The middle stage is the main Gain stage. That stage was designed to give a smooth overdrive tone close to tube sound, using only solistate components. This stage clips the signal but let a specifically filtered part of it pass below the clipping treshold. The result is a "clean distortion" sound that gives this effect a unique place in the distortion history and makes it a great addition before any amp.

Features:

* Drive, Tone and Volume parameters
* mono / stereo modes
* Midi learn on every parameter
* Oversampling up to "x4"

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Virtual Zeppelin - The Lemon Song (Led Zeppelin cover)

PreSonus Studio One 1.0.0.9920 WIN-UNiON

Studio One 1.0.0.9920 | 53.53 MB

Excellent DAW, combining the advantages of the cube and Abletona. Project comes from Steinberg. A lot of chips. Excellent organization interface. Ease of working with loops and tempo at Abletona. High-quality built-in effects (Presonus all did), and much, much more.

ALL MEAT. NO FAT.
Studio One is a groundbreaking music-creation and production application for Mac OS X and Windows XP/Vista that makes audio recording, MIDI sequencing, and audio mastering ridiculously simple right out of the box, yet provides a wealth of professional features.

Fresh code, innovative drag-and-drop MIDI mapping and plug-in management, auto-configuration with PreSonus hardware, insanely good audio quality, unlimited tracks and plug-ins per track, and a powerful, inventive Start page that literally puts the whole project right in your hands are just a few of the compelling features that make Studio One the next generation in audio software. Far from just another music-production program, Studio One changes the rules of the game, giving you a complete, easy-to-use solution from raw tracks to finished master, while supporting the latest standards and technologies.

Studio One Pro
For the committed, spends-days-locked-in-the-studio producer, Studio One Pro includes everything in Studio One Artist and adds:

• - Integrated mastering suite with automatic mix updating, Red Book CD burning, and digital release
• - 64-bit audio engine (instead of the 32-bit version in Studio One Artist)
• - AU, VST2, VST3, and ReWire support
• - PreSonus Native Effects(TM) 64-bit plug-in library, with 26 dynamics processors, reverbs, modulations effects, amp simulators, etc. This includes 64-bit versions all of the Native Effects plug-ins found in Studio One Artist and:
• – Analog Delay tape-delay emulation
• – Expander mono/stereo expander
• – Gate noise gate
• – Groove Delay multitap and tempo-synchronized delay
• – Multiband Dynamics mono/stereo multiband compressor/expander
• – Pipeline hardware insert (allows you to use external hardware processors with Studio One Pro, including delay compensation)

• - Native Instruments(TM) Guitar Rig LE
• - 100 additional premium sampled instruments by Digital Sound Factory(TM) for PreSonus Presence
• - 200 additional instruments by Native Instruments for Kore Player
• - Toontrack(TM) EZDrummer Lite
• - More than 2,000 additional loops (4 GB) by Bandmate Loops

A VISION CREATED FROM EXPERIENCE
A fresh new DAW from a hardware company? Yes and no.
Yes, PreSonus has been creating high-quality digital audio interfaces for years. In the past, we bundled our interfaces with third-party DAWs. But we weren’t entirely happy with any of the choices: the “pro” versions are so cluttered with features that are used by only a handful of people that it’s difficult to access the tools used constantly, and the entry-level versions usually have severe limitations, including a limited number of tracks. So we decided to provide PreSonus customers with software that is powerful and easy to use, integrates tightly with our hardware, and works well with competing hardware that supports Core Audio or ASIO.

But, no, we didn’t try to write a DAW programs ourselves! When developing our StudioLive 16.4.2 digital mixer, we needed a really simple but great-sounding recording application that would tightly integrate with it. We found great partners in Wolfgang Kundrus and Matthias Juwan of KristalLabs in Hamburg, Germany, who had previously worked on such Steinberg mainstays as Nuendo and Cubase. We were so impressed with their skills and products that we decided to team with them to simultaneously develop Capture, the StudioLive 16.4.2’s software mate, and Studio One. Visit www.presonussoftware.com to meet this incredibly talented group of DAW veterans.

Our goal was clear and simple: Wipe the slate clean and apply decades of collective software and hardware experience to bring the DAW back to the musician and producer. After two years of coding and testing, Studio One Artist and Studio One Pro are the result.

High-End Audio Engine
Studio One is based on a cutting-edge audio engine that delivers unparalleled sound. Studio One Pro’s 64-bit audio engine automatically switches between 32-bit and 64-bit floating-point processing on the fly (even with a 32-bit OS), ensuring the highest quality audio at all times. Studio One Artist’s audio engine always operates in 32-bit mode.

Compatible and Easy to Configure
Studio One is compatible with any ASIO-, Windows Audio-, or CoreAudio-compliant audio interface, including, of course, the entire line of PreSonus interfaces. Studio One recognizes your PreSonus interface, and preprogrammed templates automatically create software inputs and assign them to the appropriate hardware inputs on your PreSonus interface. You don’t have to configure your software to work with your hardware–Studio One does it for you!”

Studio One stores I/O configurations with each song, for each computer, and for each device driver. As a result, you can take a song to a friend’s studio, use Studio One with their interface, and when you get back to your studio, Studio One will recall the original I/O configuration for the song, as if you never left. This works regardless of interface.

Innovative Start Page
A powerful tool that will appeal to professionals and hobbyists alike, the Start page allows you to access recent songs and projects, create new ones, configure external devices, and access tutorial information, demo songs, and a special PreSonus news feed. You can download updates and support materials directly from the Start page, without ever leaving Studio One.

Easy to Navigate
Unlike most music-production programs, a single, straightforward workspace allows you to track, edit, and mix in one easy-to-navigate window that you can access with a single click. Or if you wish, you can separate the Console and Arrange views and can even drag them to separate displays. A compact Console view allows you to mix while viewing the arrangement so you don’t have to bounce back and forth between windows. You also can switch to a larger Console view–yet another way that Studio One helps you work quickly while giving you maximum flexibility.

The Arrange view employs a waveform display with user-selectable color-coding and sample-level zoom. The Arrange view shows you the big picture, while the Edit view shows you the up-close details; used together, they virtually eliminate the need to zoom in and out. The Console view contains faders, solos, mutes, pans, and other expected elements. It also includes extensive sidechaining capability.

Studio One’s Browser provides instant access to effects, loops, instruments, and other key elements. You can preview any audio clip, and if the clip has tempo information encoded, it will play synced to the song tempo.

Powerful Drag-and-Drop Features
Here’s where it gets really interesting: Studio One’s powerful drag-and-drop function allows you to drag an audio clip, effect, or a virtual instrument from the Browser directly onto a track in the Arrange or Console view. Time stretching enables Studio One to automatically match tempo-encoded audio clips with Song tempo. You can copy an effect or a whole chain of effects–including settings–by simply dragging to a new track in the Console view. These are just a few of the many ways that Studio One’s Browser and drag-and-drop implementation allow you to work quickly, without scrolling through pages of menus. It’s a lot more fun too! No other music-production program even comes close.

Awesome Plug-Ins
Studio One ships with a generous library of PreSonus’s proprietary Native Effects Suite plug-ins, which include a wide variety of built-in effects, such as compressors, EQs, distortion, delay effects, amp modeling, modulation effects, and reverbs. These are brand-new plug-ins that process audio with 64-bit floating-point double precision in Studio One Pro and with 32-bit floating-point single precision in Studio One Artist. This is truly state-of-the-art technology. Studio One also utilizes automatic latency (processing delay) compensation, which keeps tracks in sync regardless of plug-in processing.

Four new PreSonus virtual instruments are also bundled with both versions of Studio One, including SampleOne, a virtual sampler that offers the fastest sample mapping available.

Furthermore, Studio One Pro supports ReWire and the VST and AU plug-in formats, including the new VST 3 plug-in specification (also with automatic latency compensation), so you are ready to use the newest plug-ins as they are released.

Easy, Intuitive MIDI Mapping
When it comes to MIDI mapping, Studio One changes the rules yet again. Of course, you can record MIDI parts and then tweak them in a piano-roll editor. But the real fun starts with Control Link, the most intuitive MIDI-mapping system available. Simply move the hardware and software controls to be linked and click the Link button for instant mapping. In Global mode, hardware and software controls maintain a one-to-one relationship, so a hardware control is linked directly to one software control for the entire program. In Focus mode, control maps only apply to a particular plug-in, so you can make different control maps for each plug-in, and the Focus map is stored with the plug-in, giving you no-sweat, context-sensitive MIDI mapping. This works with all parameters of any VST or AU plug-in. At last, a music-production application that makes controller mapping as easy and flexible as it always should have been!

Integrated Mastering Suite (Studio One Pro)
The Project page (Studio One Pro only) is a complete mastering solution that is fully integrated with the rest of the program. The Project page includes all the necessary tools to create a production-quality master, including effects, crossfades, volume envelopes, and meters. You can make disc images, burn Red Book CDs, and create digital-release albums, complete with metadata. In addition, Studio One Pro creates an intelligent link when songs are placed in a Project for mastering, automatically updating any changes to the original tracks or subsequent mixes. From basic tracking to multiple-release mastering, Studio One Pro is the complete solution.

Technical Info

System Requirements
Windows PC:
Operating Systems: Windows XP or Vista
Hardware:
- Minimum:
– Intel Pentium 4 1.6 GHz processor or AMD Athlon 64 (Turion)
– 1 GB RAM
- Recommended:
– Intel Pentium 4 2.8 GHz EM64T or better or AMD Athlon 64 3000+ or better
– 2 GB or more RAM
Internet connection
DVD-ROM drive
A monitor resolution no lower than 1024×768 pixels

PreSonus.Studio.One.Pro.v1.0-UNION

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