Starpoint Gemini 3 With Nikola Jeremi

For those of you who are not familiar with Nikola (Nik) Jeremi 's work on the previous iteration of the Starpoint Gemini videogame soundtrack, you can find out about that here.

This will be a deep dive into how Nik used Studio One Professional along with the ATOM and our Studio 1824c interface to route audio and MIDI data to and from external hardware synths his own words!

ATOM Controller

The most important thing about ATOM in this production is that it is used both as a playable instrument, as well as editing and mixing controller.

The layout was very simple in terms that it already integrates itself perfectly with Studio One, and I didn't have to do much with tweaking it.

So far it completely replaced my old Classic FaderPort (which I still own and use it from time to time) in regards to transport commands, writing automation for track levels, panning, and the amount of signal being sent to FX tracks. I will surely upgrade myself with the current FaderPort pretty soon because I have worn out the buttons on the old one from years of usage.

I used small sticky tags in order to label the four knobs, so I always know which knob controls which parameter.

After the transport tab buttons, the ones I used the most are Song Setup, Editor and instrument Show/Hide. It really speeds up my workflow, and it was especially helpful on this game. Since 80% of the game's soundtrack was done in the box, browsing through instruments and editing their MIDI data was really easy and fast.

One of the things that really amazed me regarding ATOM was the fact that every pad is labeled with the corresponding default control in Studio One Editor. I rarely touched my computer keyboard for editing.

Whenever I wanted to make a quick edit of my parameters in Impact, or any other instrument that matter, I just hit that Show/Hide instrument button, and voila! Everything is right there at my fingertips! I will talk more about ATOM and Impact XT later.

Studio 1824c Interface

I used FireStudio Project for over eight years, and it has been a solid workhorse of an interface for me throughout my career. It worked flawlessly until I had a power surge at my home, which fried some of my gear, including the interface, so THAT was the only reason I had to replace it.

It actually happened in the middle of my work on Starpoint Gemini 3, so I researched a little and decided to go with Studio 1824c as an upgrade. To be honest, it's as if I never replaced my old interface, because PreSonus hardware is really great when it comes to communication with Studio One, so the only thing I had to do was to plug it in my PC and install the latest drivers, and that was it. My production of this soundtrack hasn't stopped at all, because everything was so compatible, so I just had to re-connect a few audio cables. It took me only minutes and I was back on track.

Since 20% of the soundtrack to Starpoint Gemini 3 is done on hardware synths and instruments, Studio 1824C is a Godsend for connecting all four of my hardware synths:

My Yamaha DX7 was connected via splitter cable as a stereo unit to my inputs 5 and 6.

I also used my three analogue KORG synths: (Volca Bass, Volca Keys, Volca Kick) in stereo via another splitter cable which was connected to inputs 1 and 2, because these Volcas were used the most for this soundtrack.

All of the synths received their MIDI data via MIDI In/Out from Studio 1824c, and I am really happy I didn't have to buy an external MIDI interface for this. The only thing I had to do was to plug and unplug the midi cables from one synth to another, depending which one I was using at that time, but it's not a mood killer.

My inputs 3 and 4 were set up as mono. Input 3 has an external 1073 clone mic preamp attached to it, and Input 4 has an external DI for recording and re-amping guitars and bass.

Inputs 7&8 together with Outputs 7&8 were used as stereo FX loop send/return for my FX pedal chain with Pipeline Stereo plugin:

I also used sticky tags to label my front panel of Studio 1824C, and I mapped out my ins and outs inside song setup window, so I could save it as a default setting for all of my tracks for this game.

Regarding my FX chain loop, I used delay, chorus and shimmer reverb pedals in series, and I set them up to be used with Pipeline XT stereo plugin (which comes bundled with Studio One Pro) on an FX track. The reason I opted for this approach instead of connecting my synth output directly to pedals, is because I wanted to have an overall control of the amount of synth signal I am sending to any FX chain. Sometimes I wanted to automate the amount of signal being sent, and that is where those mapped knobs from ATOM came in handy.

I am pretty amazed by the build quality of Studio 1824c, having in mind the price of the unit. I absolutely love the front panel metering and big level knob for main out. Having two headphone outputs is really handy when I invite a session musician to record, because I don't have a booth, then we both use headphones in the same room. Studio 1824c is a workhorse of an interface and it has improved my workflow ten times better than before.

I amhave yet to build my own Eurorack modular synth, so I can send CV signals via Studio 1824c outs to my synth. That is an AMAZING feature, and I am really looking forward to using it in the future.

Impact XT

Impact XT was an essential part of my beats and percussive materials for both action and exploration tracks, and the way ATOM integrates with Impact XT has been really helpful to my workflow throughout the course of this entire soundtrack.

I used two instances of Impact XT:

One was for triggering 80s synth drums and transition fills that you can hear in synthwave all the time. The first bank (BLUE) was for elements of the drum kit, and the second bank (GREEN) was for triggering drum fills for

LINK:	https://blog.presonus.com/index.php/2020/04/16/starpoint-gemini-3-with...
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