![]() ![]() My album was also mastered that way, I’ve had a reliable listening environment there, and all songs loaded into the project page. I can do the adjustments I feel are needed and go back home. I usually work from home, and when necessary I just take my laptop to a commercial studio, plug my Quantum 2 to their system, launch Studio One, and I’m set. I ’ m working 100% in the box and I’m using Studio One for everything and anywhere. It fits perfectly in my backpack, so I’m super mobile.įor what applications are you using Studio One Professional? I also mixed a full season series for a TV network a short film for Disney sound mix for HBO my album and remixes-it’s been so reliable and with a constant, pristine sound. As musical director for a Native American show I’m in charge of, I used this thing on stage in large venues with thousands of people, the sound was amazing and so stable. Quantum 2 is just brilliant, it’s been my companion in so many tasks, it’s never let me down. The new chorus idea was all done with Impact XT and the ATOM. In some of my remixes I like to slice vocals that I then drop into impact to create what we call “vox lox” to build new lines, for example that was a centerpiece of my Kim Wilde Kids In America remix. The ATOM is perfect when I want to jam with drums or synth shots. It’s perfect for fortunate accidents! I come up with ideas I wouldn’t get from a keyboard. With a mouse it’s also achievable, but it’s more cerebral it’s laser focused, and less expressive. It’s a different experience, and the decisions I’m making helped me to assign a more prominent role to sounds buried in a mix, with fingers on all faders I’m sorta painting a sonic picture based on my impression. The FaderPort 16 is giving me the gestures I’m used to when balancing tracks on a console the vibe is based on even relationships between instruments. I have a rock-solid PreSonus eco-system based around a Quantum 2, FaderPort 16, and ATOM, nothing superfluous-they all have a purpose. Somehow connect the dots between timelines in a unified story, with its joyful and bonkers moments, with its own directions and contradictions, or more simply put: my story. My 18-track album was recorded in various places such as Brisbane (Australia), Tel Aviv, Mallorca, Brussels, Los Angeles, Dublin, Katowice (Poland), and Baton Rouge (USA).īesides my emotional motivation to get this project done, I really wanted this record to connect genres, eras, and mix generations. ![]() It has sounds for here and now, rooted in decades of influences and experiences.įeaturing successful collaborations with Kevin Godley (10 CC, Godley & Creme), model Roxy Horner, Nick Tart (Diamond Head), Rachael & James Akin (EMF), Lucy Pullin (The Isle of Man, Robbie Williams), Melanie Taylor, Flora, Phat Hat. Luke: I’m a producer / composer and mixing engineer best known for my remixes for Kylie Minogue (a Grammy-nominated Billboard #1), The Killers, Robbie Williams, Bob Marley and Amy Winehouse–to name but a few–I just produced Twenty Five Ten, an album in homage to my late mother. We’re extremely excited for our good friend and recording artist Luke Mornay on the release of his new album Twenty Five Ten which has already grabbed a 5-Star review on New Sounds UK! Let’s find out more about what he’s been up to with this project as a longstanding user of PreSonus hardware and software for his musical endeavors through the years.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |