Using Solo In Place (Sip) To Set Up A Mix - PRESONUS StudioLive 16.0.2 Owner's Manual

8 Tutorials
8.7 The Solo Bus
8.7.3

Using Solo in Place (SIP) to Set Up a Mix

In Section 8.7, we discussed a quick and easy way to set up the input levels for your
StudioLive, ensuring that you have the highest possible input level without clipping
your analog-to-digital converters. The next step is to set up your mix by dialing in
the dynamics, EQ, and fader settings for each channel. Enter Solo In Place (SIP).
As discussed earlier in Section 8.7, most engineers start with the drums and
work from the bottom up. To begin, bring all your faders down and raise your
main fader to unity gain. Press and hold the SIP button in the Cue section until
it illuminates and press the Solo button on your kick-drum mic channel. Notice
that all the other channels on your StudioLive have been muted. Bring up the
fader on the kick-drum channel and press the channel's Select button. The Fat
Channel will display the dynamics processing, EQ, output routing, and pan
settings for the kick drum. Using the encoders and meters in the Fat Channel,
set up the compressor and EQ for this channel. Once you are satisfied, bring the
fader back down, and press the Solo button again. Next, press the Solo button
on the snare-mic channel and repeat this procedure. In this way continue with
each drum mic and then move on to the other instruments that are connected
to your StudioLive. When you have finished with all the instruments, press
the SIP button again and slowly bring up your faders to set up your mix.
156 156 156
PreSonus StudioLive ™ 16.0.2 Owner's Manual
9.0 Technical Information
9.1 Specifications
Microphone Preamp
Type
Frequency Response to Direct Output (at unity gain)
Frequency Response to Main Output (at unity gain)
Input Impedance
THD to Direct Output (1 kHz at unity gain)
THD to Main Output (1 kHz at unity gain)
EIN to Direct Output
S/N Ratio to Direct Output (Ref = +4 dB, 20 kHz BW, unity gain, A-wtd)
S/N Ratio to Main Output (Ref = +4 dB, 20 kHz BW, unity gain, A-wtd)
Common Mode Rejection Ratio (1 kHz at unity gain)
Gain Control Range (± 1 dB)
Maximum Input Level (unity gain)
Phantom Power (± 2 VDC)
Line Inputs, Balanced
Type
Frequency Response to Direct Outputs (at unity gain)
Frequency Response to Main Outputs (at unity gain)
Input Impedance
THD to Direct Output (1 kHz at unity gain)
THD to Main Output (1 kHz at unity gain)
S/N Ratio to Direct Output (Ref = +4 dBu, 20 kHz BW, unity gain, A-wtd)
S/N Ratio to Main Output (Ref = +4 dBu, 20 kHz BW, unity gain, A-wtd)
Gain Control Range (± 1 dB)
Maximum Input level (unity gain)
Technical Information 9
Specifications 9.1
XLR Female, balanced
20 Hz-40 kHz, 0 / -0.5 dBu
20 Hz-20 kHz, ± 0.5 dBu
1 kΩ
< 0.005%, +4 dBu, 20 Hz–20 kHz, unity gain, unwtd
<0.005%, +4 dBu, 20 Hz-20 kHz, unity gain, unwtd
+125 dB unwtd, +130 dB A-wtd
-97 dB
-94 dB
+65 dB
-16 dB to +67 dB
+16 dBu
+48 VDC
1/4" TRS Female, balanced mono
10 Hz-40 kHz, 0 / -0.5 dBu
20 Hz-20 kHz, 0/-0.5 dBu
10 kΩ
<0.0007%, +4 dBu, 20 Hz-20 kHz, unity gain, unwtd
<0.005%, +4 dBu, 20 Hz-20 kHz, unity gain, unwtd
-105 dB
-94 dB
-20 dB to +20 dB
+22 dBu
157 157 157