PreSonus’s Studio One 4.5 DAW update promises to give users what they’ve been asking for

It’s update time for PreSonus’s Studio One, with the trusted and respected DAW reaching the ripe old version of 4.5. A free revision for existing users, this contains more than 70 new features, many of which have been implemented in response to user requests.

Let’s start by looking at the Input Channel section, which gives you updated hardware preamp controls for selected PreSonus audio interfaces. What’s more, all audio and instrument channels, effects channels and buses also feature gain and phase controls.

There’s a new grouping system, too: groups now have attributes for defining edit groups or mix groups using attributes for Volume, Pan, Mute/Solo, Inserts, and Sends. Groups can be nested, and can be edited and activated/suspended with one click. A dedicated command can globally enable/disable all Groups at once.  

On the setup front, it’s now easier to configure an audio interface - you can add new inputs and outputs in a single step and give them custom names and colours. You can also reorder inputs and outputs by dragging and dropping, and export/import complete I/O setups (useful if you switch between mulitple interfaces or work in different studios).

Plugin management has also been improved, and CPU load when using combined virtual instruments inside a Multi-Instrument has been significantly reduced. In fact, it’s said to have been lowered by up to 70% for native plugins and 50% for third-party plugins.

The game has changed in the area of MIDI editing, too, with new features and enhancements to speed up your workflow. A number of other utilitarian tweaks have been made, too.

Find out what else is new and grab the update on the PreSonus website.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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