Luke Mornay: Twenty Five Ten

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.

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.

It has sounds for here and now, rooted in decades of influences and experiences.

Featuring 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.

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).

Besides my emotional motivation to get this project done, I really wanted this record to connect genres, eras, and mix generations. 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.

I have a rock-solid PreSonus eco-system based around a Quantum 2, FaderPort 16, and ATOM, nothing superfluous-they all have a purpose. 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.

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. With a mouse it's also achievable, but it's more cerebral; it's laser focused, and less expressive.

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. 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 new chorus idea was all done with Impact XT and the ATOM.

Quantum 2 is just brilliant, it's been my companion in so many tasks, it's never let me down. 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. 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. It fits perfectly in my backpack, so I'm super mobile.

For what applications are you using Studio One Professional?

I'm working 100% in the box and I'm using Studio One for everything and anywhere.

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 can do the adjustments I feel are needed and go back home.

My album was also mastered that way, I've had a reliable listening environment there, and all songs loaded into the project page. The big plus was when I felt that I was doing too much tweak, I could just open the song, fix whatever was needed with one click and go back.

Lately besides my remixes, I've been asked to mix a couple of original songs from the '80s/'90s on which I've been given the multi-tracks, such as Fine Young Cannibals, Shakespear's Sister, or Bananarama to name but a few.

I could really set up Studio One to be ready at all time and nicely organized like a vintage console, and now with Version 5 Professional, I can switch between an SSL or Neve sound in just 2 clicks. That's fantastic.

What led you to choose Studio One?

Studio One is just another part of me, it never gets in the way. It's a companion standing in front of me that is always ready for war.

The interface is very clean and soothing in a way, it always feels like some quietness before the storm. It also sounds great, fully-featured and with the Project page, you can virtually do anything within ONE app.

These days as a musician you have to wear so many hats that the last thing you want is distractions and learning curves on different apps. With Studio One I can produce, compose, mix, and master with features located in familiar places.

What Studio One features have proven particularly useful and why?

The drag & drop concept, be it for sounds, presets, instruments, or FX. This thing is a home run. When I feel that I'm not going to be in a productive mood, I spend a lot of time organizing all of the above for future sessions.

How does Studio One compare to other DAWs you have used?

This software brings me peace of mind, and that's priceless. PreSonus shines by making huge steps at their own pace with three priorities: the user experience, consistency and coherence.

They can be the adult in the room in a world where feature lists to sell new major updates are prioritized over the quality of their achievement.

With backward compatibility, if something is poorly implemented from the start, then you're stuck with it until the end of days. We all love new features, of course, but it shouldn't come at that price.

So when I see something not yet available in Studio One, I just tell myself: If you can't make music with what Studio One has to offer today, maybe you should just quit. The kid in me is not a fan of t

LINK:	https://blog.presonus.com/index.php/2021/03/02/luke-mornay-twenty-five...
	See more stories from presonus

More from PreSonus