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
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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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.
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.
Lamp Driver is based on an analogue pedal featuring a tube to provide aDownload Uploading
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.
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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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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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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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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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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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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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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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)
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:
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.
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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