REQ: Presonus Studio One 7.0.2 Extention And Plugins

Studio One Pro 7 is a solid upgrade with something for almost everyone.

In their typically understated manner, PreSonus have declared that Studio One Pro 7 is the “One DAW for All”. It sounds ambitious, but with the new version I have before me, that claim is almost but not entirely unreasonable. Except that the tagline actually refers to the fact that PreSonus have killed off Studio One Prime and Artist, so now it’s all about Studio One Pro. With this adjustment comes a new pricing structure, giving you a perpetual licence and year of updates for $199. You can upgrade that every year for $149 or opt for the Studio One Pro+ subscription for $179 per annum, which gets you a lot of added extras and includes the perpetual licence. PreSonus are also trying to stick to a more predictable feature release schedule. Significant updates will come three or four times a year, rather than holding things back for a single major update every two years, as has been the case up until now.

For this review, I’m looking at the regular Studio One Pro 7 without any additional thrills or spills, but the first thing you notice is that it comes with many of them anyway. Pro 7 includes the Batch Converter, Presence XT Editor, Lead Architect and Deep Flight One, all of which were additional extras for version 6. So, it’s less money for more stuff. I like this update already.

The top new features in version 7 include AI‑powered stem separation, Splice integration, integrated Launcher, Global Transpose and a new mode for Impact, all of which I’ll dip into. But there are more things twinkling away in this shiny new version that are worth a look, not least of which is the unexpected CV Instrument casually hanging out in the Instruments folder.
AI‑powered Stem Separation

Stem separation is all the rage these days, and Studio One is not a DAW to be left behind for long. On the website, PreSonus say that the technology is still in its infancy, so further performance/quality improvements are planned. I confess to sharing their restrained level of scepticism. That is, until I came up with something to use it for, and now I’m having far too much fun. I have a lot of old songs knocking around drives that are no longer attached to multitrack projects, either because of carelessness, misadventure or because software is no longer available. Using stem separation, I can regain a certain amount of control, get back into the mix and breathe new life into these tunes.