Related Manuals for PRESONUS STUDIOLIVE 16.4.2 - V1.12
Summary of Contents for PRESONUS STUDIOLIVE 16.4.2 - V1.12
- Page 1 StudioLive ™ 16 . 4 . 2 16 Channel Digital Recording and Performance Mixer 16 Channel Digital Recording and Performance Mixer User Manual Version 1.12 © PreSonus Audio Electronics, Inc. All Rights Reserved.
- Page 2 StudioLive User’s Manual Version 1.12...
- Page 3 14 days of purchase. During the warranty period PreSonus shall, at its sole and absolute option, either repair or replace, free of charge, any product that proves to be defective on inspection by PreSonus or its authorized service representative.
- Page 4 • Use only the attachments/accessories recommended or manufactured by PreSonus for your StudioLive. • All domestic PreSonus products should be serviced at the PreSonus factory in Baton Rouge, Louisiana. If your StudioLive requires a repair contact techsupport@presonus.com to arrange for a return authorization number. Customers outside the U.S. should contact their local...
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Page 5: Table Of Contents
Table of Contents 1 Overview 1.1 Introduction ................9 1.2 Features ..................10 1.3 What Is In the Box ..............12 1.4 Getting Started: Mixing ............... 13 2 Controls & Connections 2.1 The Patch Bay ................15 2.2 Hook-up Diagram: On Stage With the StudioLive ...... 19 2.3 The Fat Channel ................ - Page 6 Table of Contents 2.10 Digital Effects | Master Control ..........52 2.10.1 The FX Menu ..............53 2.10.2 Creating & Recalling a Scene........55 2.10.3 Saving & Loading Channel Presets ....... 58 2.10.4 The System Menu ............59 3 Recording 3.1 System Requirements ..............
- Page 7 Table of Contents 5 Tutorials 5.1 Studio One Artist Quick Start ............ 83 5.1.1 Installation and Authorization ........83 5.1.2 Enabling the Audio Driver ..........86 5.1.3 Configuring Your MIDI Devices ........87 5.1.4 Configuring Audio I/O ............. 90 5.1.5 Creating a Song .............. 92 5.2 Microphones ................
- Page 8 Table of Contents 5.8 Level-Setting Procedure ............127 5.9 The Solo Bus ................128 5.9.1 Using the Solo Bus for Monitoring ........129 5.9.2 Destructive Soloing ............130 5.9.3 Using Solo In Place (SIP) to Set Up a Mix ...... 130 6 Technical information 6.1 Troubleshooting .................
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Page 9: Overview
Introduction 1. 1 Thank you for purchasing the PreSonus StudioLive™ 16.4.2. PreSonus Audio Electronics has designed the StudioLive™ utilizing high-grade components to ensure optimum performance that will last a lifetime. Loaded with 16 high-headroom, XMAX microphone preamplifiers; a built-in 32x18 FireWire recording and playback engine;... -
Page 10: Features
StudioLive™ includes CAPTURE™, a fully integrated live recording software by PreSonus, allowing you to record every performance and rehearsal with a few clicks of your mouse. - Page 11 • Record stereo mix of StudioLive Mixer • Import/Export individual .wav, .aiff, .mp3, or OpenTL All PreSonus audio interfaces now include PreSonus Studio One Artist recording software, which comes with over 4 GB of plug-ins, loops, and samples, giving you everything you need for music recording and production.
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Page 12: What Is In The Box
Overview What is in the Box In addition to this manual, your StudioLive package contains the following: • PreSonus StudioLive digital recording and performance mixer • 6’ 6-pin-to-6-pin FireWire 400 cable • IEC power cord • Software installation DVD containing: •... -
Page 13: Getting Started: Mixing
Overview Getting Started: Mixing Before you begin, there are a few general rules of thumb that we recommend you follow: • Always turn the Main fader and both the Monitor and Phones knobs in the Monitor section down before making connections. Before plugging or unplugging a microphone while other channels are active, mute the channel to which you are connecting. - Page 14 Overview Getting Started: Mixing Press the Input button in the Meter section. While speaking or singing into your microphone, turn the trim knob on Channel 1 until the signal reaches the desired lev el, but don’t raise it too much or the input will clip. Watch the level meter.
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Page 15: Controls & Connections
• Microphone Inputs. Your StudioLive is equipped with 16 custom-designed PreSonus XMAX microphone preamplifiers for use with all types of microphones (including dynamics, condensers, and ribbons). The award winning PreSonus preamplifier has a Class A input buffer followed by a dual-servo gain stage. This arrangement results in ultra-low noise and wide gain control, allowing you to boost signals without increasing unwanted background noise. - Page 16 Controls & Connections The Patch Bay 2. 1 • Insert connector wiring: • Tip = send (output to inserted device) • Ring = return (input from inserted device) • Sleeve = common ground • Aux Inputs. The StudioLive is equipped with two auxiliary inputs (effects returns). In Section 5.5.2, we discuss using an aux bus to send several channels to an external effects processor;...
- Page 17 Controls & Connections The Patch Bay 2. 1 • Mono Output Level. This knob controls the maximum level of the Mono Output signal. The signal can be attenuated to -40 dB and boosted up to +10 dB. • Main Output. The StudioLive features both XLR and TRS main outputs. These outputs are parallel to each other and to the mono output.
- Page 18 Controls & Connections The Patch Bay 2. 1 • FireWire Ports. There are two standard 6-pin FireWire 400 ports on the back of the StudioLive. Either port can be used to connect your StudioLive to a FireWire port on your computer. If your computer has a 4-pin connector (commonly found on laptops), you will need to purchase a 4-to-6-pin adaptor or cable.
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Page 19: Hookup Diagram: On Stage With The Studiolive
Controls & Connections Hookup Diagram: On Stage with the StudioLive... -
Page 20: The Fat Channel
Controls & Connections The Fat Channel The heart of the StudioLive is the revolutionary Fat Channel. The Fat Channel makes dynamics, routing, and panning for every input and output on the StudioLive available at the touch of a Select button. The 16 multipurpose knobs and meters located in the Fat Channel control nearly every adjustment you will need to make on your StudioLive. -
Page 21: The Select Button
Controls & Connections The Fat Channel The Select Button 2.3. 1 All around the StudioLive, you will see Select buttons. There is a Select button on each of the 16 inputs, each of the 6 analog aux sends, both of the internal effects buses, each of the 4 subgroups, the two auxiliary inputs, and last, but certainly not least, the main output bus. - Page 22 Controls & Connections The Fat Channel The Select Button 2.3. 1 The following table provides a quick guide to the processing that is available for each bus in the StudioLive: Phase Hi-Pass Noise Compressor Limiter FireWire Reverse Filter Gate send Inputs (Ch 1-16) Subgroups Main Out L/R...
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Page 23: Dynamics & Eq
Controls & Connections The Fat Channel Dynamics Processing and EQ 2.3.2 The main function of the Fat Channel is to provide dynamics processing and filtering for every input and output on your StudioLive. The rotary encoders work in conjunction with the meters directly above them to adjust the dynamics processing and EQ. - Page 24 Controls & Connections The Fat Channel Dynamics Processing and EQ 2.3.2 Gate Threshold Sets and Displays the Threshold of the Gate for the Selected Channel. This encoder sets, and the meter displays, the gate thresh old for the selected channel. The threshold deter- mines the level at which the gate will open.
- Page 25 Controls & Connections The Fat Channel Dynamics Processing and EQ 2.3.2 Turns the Auto Button On Enables Automatic Attack and Release Mode. When Auto mode is active, the Attack and Release controls become inoperative, and a preprogrammed attack and release curve is used. In this mode, the attack is set to 10 ms, and the release is set to 150 ms.
- Page 26 Controls & Connections The Fat Channel Dynamics Processing and EQ 2.3.2 Compressor Attack Sets and Displays the Compressor Attack Setting for the Selected Input Channel or Output Bus. This encoder sets, and the meter displays, the compressor’s attack setting for the selected channel or output bus.
- Page 27 Controls & Connections The Fat Channel Dynamics Processing and EQ 2.3.2 EQ Low Band On/Off Button Activates Control for the Low Band EQ for the Selected Input or Output Bus. This button actives control of the equalizer’s Low band for the selected channel or bus. The button will illuminate to indicate control is active.
- Page 28 Controls & Connections The Fat Channel Dynamics Processing and EQ 2.3.2 Low Mid EQ Button Activates Controls for the Low Mid Band EQ for the Selected Input or Output Bus. This button actives the controls for the equalizer’s Low Mid band for the selected input or output. The button will illuminate to indicate control is active.
- Page 29 Controls & Connections The Fat Channel Dynamics Processing and EQ 2.3.2 High Mid EQ Button Activates Controls for the High Mid Band EQ for the Selected Input or Output Bus. This button actives the control for the High Mid band for the selected input or output.
- Page 30 Controls & Connections The Fat Channel Dynamics Processing and EQ 2.3.2 High Mid Band EQ Gain Control Sets and Displays the Gain Attenuation or Boost at the Center Frequency. This encoder sets, and the meter displays, the gain cut or boost at the center frequency of the High Mid band. The level of the center frequency can be set between -15 and +15 dB.
- Page 31 Controls & Connections The Fat Channel Dynamics Processing and EQ 2.3.2 High Band EQ Gain Control Sets and Displays the Gain Attenuation or Boost at the Center Frequency of the High Band EQ. This encoder sets, and the meter displays, the gain cut or boost at the center frequency of the High Band EQ.
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Page 32: Panning & Stereo Link
Controls & Connections The Fat Channel Panning and Stereo Link 2.3.3 The Pan Control for each Input or Output bus is set on the Fat Channel. The LED display shows the Pan setting, and the encoder to the right of the display controls panning for the selected input or output bus. -
Page 33: Output Assignments
Controls & Connections The Fat Channel Output Assignments 2.3.4 Output assignments are set within the Fat Channel. It should be noted that the StudioLive will prevent you from creating a feedback loop. Subgroups can only be assigned to the main outs and the six aux sends cannot be assigned to a subgroup or to the main outputs. -
Page 34: Copy, Save, Load
Controls & Connections The Fat Channel Copy, Save, Load 2.3.5 Every setting in the Fat Channel can be copied from one to channel to another and can be saved and stored as a user preset to be recalled later. Press the Copy button to copy the settings on the selected channel or bus. -
Page 35: Metering
Controls & Connections Metering The StudioLive offers flexible metering at the touch of a button. The 16 meters in the Fat Channel section can monitor: • All 16 inputs, post-gain and pre-dynamics, pre-EQ, and pre-fader • All 16 inputs, post-dynamics, post-EQ, and post-fader •... -
Page 36: Metering Controls
Controls & Connections Metering Metering Controls 2.4. 1 Below the System section of the StudioLive, you will find the Meters section. Each of these buttons are toggle switches, meaning you can turn them on or off by simply pressing them and then pressing them again. -
Page 37: Input Channel Strip
Controls & Connections Input Channel Strip The StudioLive is equipped with all of the standard input controls of an analog mixer. In addition, the StudioLive provides the added flexibility of routing a playback stream from your audio recording software to the mixer via the FireWire bus, just as if it were an analog input. This lets you incorporate digital audio tracks into the main mix as well as inserting plug-in effects and software instruments from your audio program. -
Page 38: Solo Button
Controls & Connections Input Channel Strip Input Channel Controls 2.5. 1 Input-Channel Select Button Enables Fat Channel Processing and Routing. As previously described in section 2.3.1, the Select button routes its channel through the Fat Channel, allowing you to add dynamics processing, EQ, and panning; assign the output routing;... -
Page 39: The Aux Bus
Controls & Connections The Aux Bus The StudioLive has six analog aux sends and two internal effects sends. The aux sends are mono; however, two aux sends can be linked to create a stereo bus. Section 5.6 discusses how to use these aux buses for monitor and effects mixing. - Page 40 Controls & Connections The Aux Bus Analog Aux Sends 2.6. 1 Aux Send Select Button Enables Fat Channel Viewing. As previously described in section 2.3.1, the Select button routes its aux send through the Fat Channel, allowing you to add dynamics processing and EQ. Mix Button Enables Aux Bus Mixing and Metering in the Fat Channel.
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Page 41: Internal Effects-Send Controls
Controls & Connections The Aux Bus Internal Effects Send Controls 2.6.2 Mute Button Mutes and Unmutes the Internal Effects Bus. This button will mute or unmute its internal effects (EFX) bus. It will illuminate red when the bus is muted. Post Fader Send Button Enables and Disables Post Fader Send. -
Page 42: Subgroups
Controls & Connections Subgroups As explained in Section 5.5, subgroup mixing is very useful for grouping channels for master level control of a submix (e.g., drums) and for providing a fader level for effects. Subgroup Channel Select Button Enables Fat Channel Viewing. As previously described in section 2.3.1, the Select button routes its channel through the Fat Channel, allowing you to add dynamics processing, EQ, panning, etc. - Page 43 Controls & Connections Subgroups Subgroup Meters Displays the Level of the Subgroups. In the upper-right corner of the StudioLive are the Subgroup meters, which display the levels of the subgroup outputs.
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Page 44: Main Output Bus
Controls & Connections Main Output Bus Main Select Button Enables Fat Channel Viewing. As previously described in section 2.3.1, the Select button routes its channel through the Fat Channel, allowing you to add dynamics processing, EQ, panning, etc. Main Fader Controls the Level of the Main Output. -
Page 45: Master Section
Controls & Connections Master Section The Master section of the StudioLive controls the monitoring, talkback output, solo bus, and aux and tape inputs. -
Page 46: Aux Inputs A And B
Controls & Connections Master Section Aux Inputs A and B 2.9. 1 The StudioLive features an internal effects processor that allows you to load two different effects at the same time, but it also allows you to patch return processed signals from an external effects processor, using the Aux bus. -
Page 47: Talkback System
Controls & Connections Master Section Talkback System 2.9.2 The StudioLive features a Talkback microphone input on the back panel. This can be routed to each of the aux outputs as well as to the mains. It is important to note that the aux outputs are in stereo pairs in this section. -
Page 48: Track In
Controls & Connections Master Section 2 Track In 2.9.3 The StudioLive allows you to patch in an analog input or a playback stream from your recording application. This enables you to compare audio sources during mixdown or patch in intermission music between bands without using any of your 16 input channels. -
Page 49: Solo Bus
Controls & Connections Master Section Solo Bus 2.9.4 The StudioLive features a solo bus for flexible monitoring. In this way, you can fine-tune a vocal compressor in your control-room monitors or headphones while the rest of the band is warming up, or audition an aux mix for more accurate adjustments. -
Page 50: Monitor Bus
Controls & Connections Master Section Monitor Bus 2.9.5 The StudioLive features a headphone output as well as control-room outputs, giving you the ability to monitor multiple sources on the StudioLive. The Monitor bus on the StudioLive allows you to monitor the main outputs, Solo bus, main FireWire return from your computer, and the stereo analog tape input. - Page 51 Controls & Connections Master Section Monitor Bus 2.9.5 FireWire Monitor Button Assigns the Main Left/Right FireWire Return to the Monitor Bus. The FireWire Monitor button patches the main left/ right FireWire return (that is, the signal from your audio software’s master outputs) to the monitor bus. Main Mix Monitor Button Assigns the Main Mix to the Monitor Bus.
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Page 52: Digital Effects Master Control
Controls & Connections Digital Effects Master Control 2. 1 0 From the Digital Effects | Master Control section, you can select and change the parameters of the two internal effects processors, as well as store and recall every setting on your StudioLive at the touch of a button. -
Page 53: The Fx Menu
Controls & Connections 2.10 Digital Effects | Master Control The FX Menu 2. 1 0. 1 The StudioLive features two internal effects processors. Each processor can access the StudioLive’s selection of high-quality reverbs and delays. As described in Section 2.6.2, each of these effects can be routed to any of the subgroups, the aux bus, or the main outputs. - Page 54 Controls & Connections 2.10 Digital Effects | Master Control The FX Menu 2. 1 0. 1 time. You do not have to select the Time parameter in order to use the Tap button. However, you have to be on the Extended Parameters page (page 2 for FX A, page 3 for FX B) or you must select the Time parameter for the desired effect on the first screen of the FX menu.
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Page 55: Creating & Recalling A Scene
Controls & Connections 2.10 Digital Effects | Master Control Creating & Recalling a Scene 2. 1 0.2 The StudioLive allows you to create and store a library of scenes. A scene is like a snapshot of your mix. It stores each Fat Channel parameter for every input and bus, as well as each fader’s position, the aux and effects mixes, channel mutes and solos, and the input selection (analog input or FireWire playback stream). - Page 56 Controls & Connections 2.10 Digital Effects | Master Control Creating & Recalling a Scene 2. 1 0.2 The Fat Channel will be restored to the same setting for every input and output on your StudioLive. Each of the dynamics as well as the four bands of the EQ will be turned off. Their parameters will be set as follows: FAT CHANNEL PARAMETERS HIPASS...
- Page 57 Controls & Connections 2.10 Digital Effects | Master Control Creating & Recalling a Scene 2. 1 0.2 If you enable Fader positions as a part of your Scene recall, the StudioLive will automatically put the meters in Fader Locate mode after you press the Recall button.
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Page 58: Saving & Loading Channel Presets
Saving & Loading Channel Presets 2. 1 0.3 The StudioLive comes with a suite of channel-strip presets created by professional PreSonus users and endorsed artists and engineers. These presets provide a great jumping-off point to create a mix quickly and easily. The StudioLive also allows you to create your own library of presets. -
Page 59: The System Menu
Controls & Connections 2.10 Digital Effects | Master Control The System Menu 2. 1 0.4 In most digital consoles manuals, the phrase “System menu” inspires a sense of dread. However, with the StudioLive, you have nothing to fear. The System menu on the StudioLive serves just a few simple functions, most of which have very little to do with mixing a show. - Page 60 Controls & Connections 2.10 Digital Effects | Master Control The System Menu 2. 1 0.4 Press the Page Down button again to access the Gate Type menu. The StudioLive lets you choose between an Expander and a Noise Gate for each pair of Channels. In practice, expanders and noise gates are used almost identically.
- Page 61 EQ. But in traditional graphic EQ designs, the center frequency of each band is fixed. PreSonus took a different approach with the StudioLive. The StudioLive Graphic EQ is a pool of shelving filters from which coefficients like cutoff frequency, bandwidth, and gain are extracted through a process of curve fitting.
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Page 62: Recording
A more powerful system (faster processor with more RAM) allows lower latency (signal delay) and better overall per- formance. Windows 64-bit system compatibility requires driver version 3.4 or later. Subject to change check www.presonus.com for updates... -
Page 63: Getting Started: Recording
Recording Getting Started: recording Installation Windows 3.2. 1 After you insert the Installation CD into your CD-ROM drive, the StudioLive installer will take you through each step of the installation process. Please read each message carefully—ensuring especially that you do not connect your StudioLive too soon. 1) The StudioLive Installer was made as simple and easy to follow as possible. -
Page 64: Installation On Mac Os X
Recording Getting Started: recording Installation in Mac OS X 3.2.2 Your Installation disc contains the installers for your StudioLive drivers, Capture, and a Capture demo session. Each needs to be installed separately. After inserting the Installation CD into your disc drive, browse the disc and run the StudioLive installer, which will take you through each step of the installation process. -
Page 65: Using Your Studiolive As An Audio Interface
StudioLive driver as the audio device driver for your software. It is important to note that your StudioLive uses the same driver as the PreSonus FireStudio family of interfaces, so its driver will be displayed as “PreSonus FireStudio” in all driver- selection menus. -
Page 66: Firewire Sends & Returns
Recording Using Your StudioLive as an Audio Interface FireWire Sends and Returns 3.3. 1 When using the StudioLive as an audio interface, it is important to understand the terms “FireWire send” and “FireWire return.” Because the audio interface in the StudioLive is completely integrated with the other functions of the mixer, the FireWire I/O is designed to work as an independent bus. - Page 67 Recording Using Your StudioLive as an Audio Interface FireWire Sends and Returns 3.3. 1 Note that either channel of the stereo pair can still be accessed on a mono track in your host application; only the routing must be assigned as a stereo pair. For instance, if you have a backing- vocal group routed to Subgroup 1, and a guitar group routed to Subgroup 2, you would create two mono tracks in your recording application.
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Page 68: Using Plug-In Effects As Inserts
Recording Using Your StudioLive as an Audio Interface Using Plug-Ins Effects as Inserts 3.3.2 The FireWire streaming on your StudioLive is continuously bidirectional. This means that the StudioLive is always sending signals from the 16 direct FireWire sends on each input channel, as well as from the auxiliary inputs and buses assigned to the second bank of 16 FireWire sends. -
Page 69: Universal Control
Recording Using Your StudioLive as an Audio Interface Universal Control 3.3.3 The StudioLive 16.4.2 is compatible with the Universal Control application. As with all FireStudio family interfaces, Universal Control includes two windows: the Launcher window and the Device window. For the StudioLive, the Device window is the Auxiliary Inputs Router. As discussed in the Section 3.3.1, the Auxiliary Inputs Router allows you the freedom to choose which additional buses to route to the eight stereo auxiliary FireWire sends as well as create a password for your StudioLive so that you can lock out unauthorized users (See Section 3.3.6 for details). - Page 70 Recording Using your StudioLive as an Audio Interface Universal Control 3.3.3 Buffer Size Selector (PC only) Changes the StudioLive Buffer Size. You can set the buffer size from 64 to 4,096 samples. The buffer size (or latency) determines the roundtrip time it takes audio data to be converted from analog to digital and back to analog.
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Page 71: File Menu
Recording Using your StudioLive as an Audio Interface Universal Control 3.3.3 File Menu Opens and Closes Launch and Device Windows From the File menu of the Launch Window, you can open and close both windows, as well as quit the Universal Control application •... - Page 72 Recording Using Your StudioLive as an Audio Interface Universal Control 3.3.3 Settings: Always on Top Allows the Launch Window to Stay in View When Other Applications Are in Use. When this is enabled, the Launch window will remain in the foreground when other applications are active, rather than being in the background behind the current application’s window.
- Page 73 Recording Using Your StudioLive as an Audio Interface Universal Control 3.3.3 PHYSICAL SOFTWARE Subgroup 1 Auxiliary In 17 Subgroup 2 Auxiliary In 18 Subgroup 3 Auxiliary In 19 Subgroup 4 Auxiliary In 20 Aux Send 1 Auxiliary In 21 Aux Send 2 Auxiliary In 22 Aux Send 5 Auxiliary in 23...
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Page 74: Advanced Wdm Features (Pc Only)
Recording Using Your StudioLive as an Audio Interface Advanced WDM Features (PC only) 3.3.4 Just like the award-winning FireStudio family of interfaces, the StudioLive features some advanced WDM features to enhance its use as an audio interface. In the upper left hand corner of the Universal Control Launcher window, you will find the Settings menu, from here you can configure your WDM input and output streams. -
Page 75: Configuring Your Studiolive For Core Audio (Mac Only)
Recording Using Your StudioLive as an Audio Interface Configuring Your StudioLive for 3.3.5 Core (Mac only) Your StudioLive can be used as the main Core Audio device for you Mac, and you can route the main outputs of your Mac to any of its available output streams. By default these streams are routed to Channels 1 and 2 on your StudioLive. -
Page 76: Enabling And Using Lockout Mode
Recording Using Your StudioLive as an Audio Interface Enabling and Using Lockout Mode 3.3.6 As mentioned in Section 2.10.4, your StudioLive features a lock-out mode which allows you to temporarily disable nearly every feature on the StudioLive. It is important to mention that analog portions (i.e., input trim knobs, faders, and cue, tape input, and monitor levels) can all still be adjusted. -
Page 77: Hook-Up Diagram: In The Studio With The Studiolive
This diagram features a PreSonus HP60 headphone amplifier receiving two different mixes from Aux 1 & 2 and Aux 3 & 4, while a third monitor mix is sent from Aux 5 & 6 to a PreSonus HP4 headphone amplifier. Channels 1-4 on the StudioLive are switched to FireWire Playback so that a click track, a prerecorded vocal track, and a stereo track of sampled drum beats can be included in each musician’s monitor mix. -
Page 78: Multiple Mixers
StudioLive firmware is user updatable and it is recommended that you check the PreSonus website periodically for driver and firmware updates. The driver must be installed on your Mac or PC and your StudioLive must be connected and synced before you can run the firmware updater. -
Page 79: Aux Mixing With Cascaded Mixers
Multiple Mixers Getting Started Aux Mixing With Cascaded Mixers 4. 1 .2 Every channel in the mixer chain can be sent to the six Aux outputs on the Master unit. When you press the Mix button on any of the six auxes, you will notice that the Mix button for the corresponding aux will illuminate on every mixer in the chain. -
Page 80: Internal Effects Buses
Multiple Mixers Getting Started Internal Effects Buses 4. 1 .3 Unlike the 6 Aux buses, the two Internal Effects buses on each mixer are independent. Using the same example as the previous section, Channels 1-16 can only be routed to EFXA and EFXB on Slave 2, Channels 17-32 are routed to Slave 1’s EFXA and EFXB buses, and Channels 33-48 are processed using the Master unit’s two internal effects buses. -
Page 81: Scene Store And Recall
Multiple Mixers Getting Started Scene Store and Recall 4. 1 .5 Channel Strip presets, Effects presets and mix Scenes are stored and recalled locally on each mixer. However, if you are creating a mix Scene, the name that you create on any of the mixers will be transmitted to the entire chain. -
Page 82: Local Versus Merged Buses And Inputs
Multiple Mixers Local Versus Merged Buses And Inputs As discussed earlier, the two Internal effects buses are local only, meaning they are controlled from each mixer separately and they can only accept signals from the channels on their respective mixers. The following inputs and bus are local only: Talkback Microphone : The Talkback Microphone on the Master unit‘s Master Section is the •... -
Page 83: Tutorials
50th, Studio One Artist provides you with all the tools necessary to capture and mix a great performance. As a valued PreSonus customer, you are also eligible for an upgrade discount for Studio One Pro when you are ready to master your work, create a digital version for the Web, or incorporate third-party VST plug-ins into your recording process. - Page 84 Activating Studio One Artist Online. If your computer is not connected to the Internet, visit the Studio One product page at www.presonus.com on an Internet-connected computer to create your account. After you have created your account, skip to Activating Studio One Artist Offline.
- Page 85 Tutorials Studio One Artist Quick Start Installation and Authorization 5. 1 . 1 Installing Bundled Content for Studio One Artist Studio One Artist comes bundled with an array of demo and tutorial material, sampled instruments, loops, samples, and unique third-party content. The Studio One Artist bundle includes all that you need to begin producing music.
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Page 86: Enabling The Audio Driver
PreSonus. If you have an Internet connection on your computer, these links will be updated as new tutorials become available on the PreSonus Web site. -
Page 87: Configuring Your Midi Devices
Tutorials Studio One Artist Quick Start Configuring Your MIDI Devices 5. 1 .3 From the External Devices window in Studio One Artist, you can configure your MIDI keyboard controller, sound modules, and control surfaces. This section will take you through setting up your MIDI keyboard controller and sound module. - Page 88 Tutorials Studio One Artist Quick Start Configuring Your MIDI Devices 5. 1 .3 Step 3 In the Receive From drop-down menu, select the MIDI interface input from which Studio One Artist will receive MIDI data. In the Send To drop-down menu, select the MIDI interface output from which Studio One Artist will send MIDI data to your keyboard.
- Page 89 Tutorials Studio One Artist Quick Start Configuring Your MIDI Devices 5. 1 .3 Step 2 The Add Device window will launch. From the menu on the left, select “New Instrument.” At this point, you can customize the name of your sound module by entering the manufacturer and device names.
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Page 90: Configuring Audio I/O
Tutorials Studio One Artist Quick Start Configuring Audio I/O 5. 1 .4 Now that you’ve configured your MIDI devices, let’s create a new Song. We‘ll start by setting up your default Audio I/O. Step 1 From the Start page, select “Create a new Song.” Step 2 In the browser window, name your Song and choose the directory in which you’d like it saved. - Page 91 Tutorials Studio One Artist Quick Start Configuring Audio I/O 5. 1 .4 Step 5 Click on the Song Setup button to open the Song Setup window, then click on the on the Audio I/O Setup icon. Step 6 Click on the Inputs tab in the Audio I/O Setup window, and you will see all of the available inputs on your StudioLive.
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Page 92: Creating A Song
Tutorials Studio One Artist Quick Start Creating a Song 5. 1 .5 Now that you’ve configured your MIDI and Audio I/O and created a new Song, let’s go through some of the basics of Studio One Artist so you can start recording! Creating Audio Tracks Step 1 In the upper left corner of the Arrange window, you will... - Page 93 Tutorials Studio One Artist Quick Start Creating a Song 5. 1 .5 To begin recording, create an audio track, assign it to Input 1, and connect a microphone to the first channel on the StudioLive. Select the record enable and monitor on your track in Studio One Artist. Turn up the Channel 1 gain knob on the front panel of the FireStudio Project while speaking/singing into the microphone.
- Page 94 Tutorials Studio One Artist Quick Start Creating a Song 5. 1 .5 Step 4 At the bottom of the Inspector menu, you will see your Bank and Program selections. From here, you can remotely change the patch on your sound module. Please Note: MIDI data does not contain audio signals.
- Page 95 Tutorials Studio One Artist Quick Start Creating a Song 5. 1 .5 Drag and Drop Effects To add a plug-in effect to a track, click the Effects button and select it or one of its presets in the Effects Browser, then drag it over the track to which you would like to add it.
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Page 96: Microphones
Tutorials Microphones The StudioLive works with most types of microphones, including dynamic, ribbon, and condenser microphones. Condenser 5.2. 1 Condenser microphones generally capture sound with excellent fidelity and are one of the most popular microphone choices for studio recording and, increasingly, for live performance as well. Condenser microphones require a power source, which can be provided by a small battery, an external power supply, or phantom power, which is usually provided by a mixer, preamplifier, or direct (DI) box. -
Page 97: Usb And Other Types
Tutorials Microphones USB and other Types 5.2.3 There are many microphone types available, and as technology increases, it is very likely more will be developed. One type of microphone to emerge recently is the USB microphone. These may be dynamic or condenser mics, but many of them have built-in preamps and need drivers to work with computers. - Page 98 Tutorials Microphones Microphone Placement 5.2.4 Electric Guitar Place a dynamic microphone an inch or two away from the speaker of the guitar amplifier. Experiment with exact location. If you are recor- ding an amp with multiple speakers experiment with each one to see if one sounds better than the others.
- Page 99 Tutorials Microphones Microphone Placement 5.2.4 Drum Overheads (XY example) Place two small-diaphragm condenser micro- phones on an XY stereo microphone holder (bar). Position the microphones so that each one is at a 45-degree angle, pointed down at the drum kit, approximately 7 or 8 feet up. Expe- riment with height.
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Page 100: A Brief Tutorial On Dynamics Processing
The heart of the StudioLive is the Fat Channel dynamics section. What follows is an excerpt from brief tutorial on dynamics processing written by PreSonus president and founder, Jim Odom. It is included to help you get the most out of your StudioLive. This tutorial will take you through the ba- sics of dynamics processing and will explain the various types of dynamics processors. - Page 101 Tutorials A Brief Tutorial on Dynamics Processing Common Questions Regarding 5.3. 1 Dynamics Does every instrument need compression? This question may lead many folks to say “absolutely not, overcompression is horrible.” That statement can be qualified by defining overcompression. The term itself must have been derived from the fact that you can hear the compressor working.
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Page 102: Types Of Dynamics Processing
Tutorials A Brief Tutorial on Dynamics Processing Types of Dynamics Processing 5.3.2 Dynamics processing is the process of altering the dynamic range of a signal, thereby enhancing the ability of a live sound system or recording device to handle the signal without distortion or noise and aiding in placing the signal in the overall mix. - Page 103 Tutorials A Brief Tutorial on Dynamics Processing Types of Dynamics Processing 5.3.2 • A vocal performance usually has a wide dynamic range. Transients (normally the loudest portions of the signal) can be far outside the average level of the vocal signal. Because the level can change continuously and dramatically, it is extremely difficult to ride the level with a console fader.
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Page 104: Vocabulary Of Dynamics Processors
Tutorials A Brief Tutorial on Dynamics Processing Vocabulary of Dynamics Processors 5.3.3 In scientific research, it is widely accepted that if one needs to master a subject quickly, one must learn the associated vocabulary and industry terms. The same is true with audio recording and production. - Page 105 Tutorials A Brief Tutorial on Dynamics Processing Vocabulary of Dynamics Processors 5.3.3 • Auto. Places a compressor in automatic attack and release mode. The attack and release knobs become inoperative and a preprogrammed attack and release curve is used. • Makeup Gain. When compressing a signal, gain reduction usually results in an overall reduction of level.
- Page 106 Tutorials A Brief Tutorial on Dynamics Processing Vocabulary of Dynamics Processors 5.3.3 • Hold. Hold time is used to keep the gate open for a fixed period after the signal drops below the gate threshold. This can be really useful for effects such as gated snare, where the gate remains open after the snare hit for the duration of the hold time, then abruptly closes.
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Page 107: General Compression Setting Suggestions
General Compressing Setting 5.3.4 Suggestions The following are the compression presets that were used in the PreSonus BlueMax. We have included them as a jumping-off point for setting up compression on your StudioLive. Vocals Soft. This is an easy compression with a low ratio setting for ballads, allowing a wider dynamic range. - Page 108 Tutorials A Brief Tutorial on Dynamics Processing General Compressing Setting 5.3.4 Suggestions Fretted Instruments Electric Bass. The fast attack and slow release in this setting will tighten up the electric bass and give you control for a more consistent level. Threshold Ratio Attack...
- Page 109 Tutorials A Brief Tutorial on Dynamics Processing General Compressing Setting 5.3.4 Suggestions Stereo Mix Stereo Limiter. Just as the name implies, this is a hard limiter, or “brick wall,” setting—ideal for controlling the level to a two-track mixdown deck or stereo output. Threshold Ratio Attack...
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Page 110: Equalizers
Tutorials Equalizers The StudioLive is equipped with a 4-band semi-parametric equalizer on every input and output bus. Here’s a brief explanation of how an EQ functions, as well as some charts to help you navigate the frequency ranges of various instruments so you can quickly choose the best EQ settings for your recordings and live mixes and to help you get the most out of your StudioLive. - Page 111 Tutorials Equalizers What is an EQ? 5.4. 1 boosting pleasant tones of an instrument such as the attack. Take for instance, a kick drum. A kick drum resonates somewhere between 60 to 125 Hz, but the attack of the kick drum is much higher at 2 to 5 kHz.
- Page 112 Tutorials Equalizers What is an EQ? 5.4. 1 • Bass (60Hz to 250Hz): Because this range contains the fundamental notes of the rhythm section, any EQ changes will affect the balance of your mix, making it fat or thin. Too much emphasis will make for a boomy mix.
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Page 113: How To Find The Best And Leave The Rest
Tutorials Equalizers How to Find the Best and 5.4.2 Leave the Rest Included at the end of this section are some general frequency principles to guide you through the wonderful world of equalization, but these are far from set in stone. So how do you find the best and worst each instrument has to offer and adjust them accordingly? Here’s a quick guide: First, solo just the instrument with which you are working. -
Page 114: To Boost Or Not To Boost
Tutorials Equalizers To Boost or Not To Boost 5.4.3 With every instrument there are frequencies that can be attenuated or boosted to add clarity or fullness to it in the mix. And of course, the wrong frequencies can make an instrument shrill, muddy, or just downright annoying. - Page 115 Tutorials Equalizers To Boost or Not To Boost 5.4.4 Table 2...
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Page 116: Vocals Presets
Tutorials Equalizers General EQ Setting Suggestions 5.4.4 Included with your StudioLive is a library of Channel Strip presets. Section 3.8.3 discusses how to load these presets onto a channel or bus and how to create your own presets. For an idea of where to start, check out the following generic EQ settings for several different instruments. - Page 117 Tutorials Equalizers General EQ Setting Suggestions 5.4.4 Rock Male Vocals LOW MID LOW MID LOW MID LOW MID ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN PEAK HI MID HI MID HI MID HI MID ON/OFF LO/HI FREQ (kHz) GAIN ON/OFF...
- Page 118 Tutorials Equalizers General EQ Setting Suggestions 5.4.4 Fretted Instruments Electric Bass LOW MID LOW MID LOW MID LOW MID ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN SHELF HI MID HI MID HI MID HI MID ON/OFF LO/HI FREQ (kHz) GAIN...
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Page 119: Subgroup Mixing
Tutorials Subgroup Mixing A subgroup allows you to combine multiple channels in a single bus so that the overall level for the entire group is controlled by a single fader. In addition to level control, the StudioLive allows you to apply the Fat Channel’s noise gate, limiter, compression, and EQ to the group as a whole, in addition to the processing available for each channel. - Page 120 Tutorials Subgroup mixing Instrument Groups 5.5. 1 volume and panning for each mic in the mix. Choose the Select button above Subgroup 1. In the Fat Channel’s Stereo section (to the right of the Pan display), enable Link, and turn the Pan knob all the way clockwise to set the stereo pan to hard left and right.
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Page 121: Effects Groups
Tutorials Subgroup mixing Effects Group 5.5.2 This is perhaps one of the most creative ways in which a subgroup can be used. By assigning an effects mix to a subgroup, the front-of-house engineer can become, in effect, a member of the band. This is especially useful when employing specialty or signature effects. -
Page 122: Aux Bus Mixing
Tutorials Aux Bus Mixing The Aux Bus provides outputs to create auxiliary mixes that are separate from the main and subgroup mixes. The StudioLive is equipped with 8 aux buses: Aux 1-6, which have physical output jacks, and EFX A and B, which are the internal effects buses. Aux buses can be used for many applications, the two most common of which are creating monitor mixes and inserting external effects processors into the mix. -
Page 123: Effects Processing
Tutorials Aux Bus mixing Effects Processing 5.6.2 There are at least two advantages to using an aux bus for an effects processor rather than using a channel insert: several channels can be sent to a single processor, and you can vary the level sent from each channel to the processor, allowing you to create an effects mix. - Page 124 Tutorials Aux Bus mixing Effects Processing 5.6.2 Turn the Output knob in the Aux 1 section to 12 o’clock and press the Select button. In the Fat Channel, assign Aux 1 to the Main outputs. Press the Mix button for Aux 3. The meter section of the StudioLive will now show the output levels of each of the 16 channels.
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Page 125: Digital Multi-Effects
Tutorials Digital Effects The StudioLive includes a stereo effects processor that features the two most common type of effects is use today for live sound: reverb and delay. Reverb 5.7. 1 Reverberation or reverb , as it is more commonly known, is perhaps the most widely used effect. Natural reverb is created by sound waves being reflected off of a surface or many surfaces. -
Page 126: Delay
Tutorials Digital Effects Digital Delay 5.7.2 A digital delay emulates an analog tape-echo unit. A tape-echo is a special type of tape recording. It uses one head to record a signal and up to four heads to replay it. The delay time is set by the tape speed and the space between the heads. -
Page 127: Level-Setting Procedure
Tutorials Level Setting Procedure Setting the proper levels is an important part of getting the right sound. The following steps will assist you in quickly setting your levels. 1) Turn each of the 16 trims to 0/-20. 3) Press the Input button in the Meter Section 3) In the Solo bus section, select PFL and turn the Cue level to 12:00. -
Page 128: The Solo Bus
Tutorials The Solo Bus The StudioLive features an independent Solo bus. This feature is extremely useful in setting levels for monitor mixes, dialing in dynamics on each channel, and fixing issues during a live show without interrupting the main mix. The Solo bus has three different modes: AFL (default), PFL, and SIP: •... -
Page 129: Using The Solo Bus For Monitoring
Tutorials The Solo Bus Using the Solo Bus for Monitoring 5.9. 1 When mixing live or when recording multiple musicians at once, it is often necessary to quickly listen in on just one instrument or group. The Solo and Monitor buses can be used together for this purpose. -
Page 130: Destructive Soloing
Tutorials The Solo Bus Destructive Soloing 5.9.2 Destructive Soloing or Solo in Place (SIP) is a great way to tune each channel’s dynamics individually in live mix situations or do some surgical editing in the studio. SIP mode mutes every Channel and Bus that is not soloed in the main bus (i.e. -
Page 131: Technical Information
Frequently Asked Questions. Individual technical assistance may be received by calling PreSonus at 225-216-7887, Monday through Friday between the hours of 9 am and 5 pm CST. PreSonus Technical Support is available via email during the same hours at techsupport@presonus.com. - Page 132 Technical Information Troubleshooting 6. 1 At the time of the publication of this manual, PreSonus only recommends the following Express cards: • ADS Pyro 1394a • StarTech EC13942 Known Incompatible Hardware • ATI RADEON 9000/9001 IGP video chipset. Symptoms are consistent click and pops during audio playback.
- Page 133 Technical Information Troubleshooting 6. 1 Fader Movements have no effect on audio Verify that your StudioLive is not locked by navigating to Page 5: Lockout in the System Menu. Verify that your StudioLive is not in Fader Locate mode. Select Output in the Metering Section and verify that your fader movements are affecting the output signal.
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Page 134: Specifications
Technical Information Specifications Microphone Preamp Type ............................XLR Female, balanced Frequency Response to Direct Output (at unity gain) ...............20-40 kHz, 0 / -0.5 dBu Frequency Response to Main Output (at unity gain) ..............20-20 kHz, +/- 0.5 dBu Input Impedance ..............................1 kΩ THD to Direct Output (1 kHz at unity gain) ........<... - Page 135 Technical Information Specifications Subgroup Outputs Type ........................1/4” TRS Female, balanced (mono) Rated Output Level ............................+18 dBu Output Impedance ..............................51 Ω Tape Outputs Type ........................RCA Female, unbalanced (stereo pair) Rated Output Level ............................+18 dBu Output Impedance .............................. 100 Ω Control Room Outputs Type .......................
- Page 136 Technical Information Specifications Digital Audio ADC Dynamic Range (A-wtd, 48 kHz) ........................ 118 dB DAC Dynamic Range (A-wtd, 48 kHz) ........................ 118 dB FireWire ..............................S400, 400Mb/s Internal Processing ........................32-bit, floating point Sampling Rate ............................44.1, 48 kHz A/D/A Bit Depth .................................24 Reference Level for 0 dBFS ..........................
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Page 137: Channel Strip Library
Technical Information Channel Strip Library Your StudioLive comes with 50 Fat Channel presets custom designed by professional PreSonus users. These presets can be altered, renamed and overwritten; however, there are 50 additional empty storage locations for you to build your own custom library of channel strip settings. -
Page 138: Effects Library
Technical Information Effects Library Your StudioLive contains a library of 50 custom Reverb and Delay presets designed by PreSonus. In addition to these presets, there are 50 free locations for you to build your own custom effects library. The Factory Presets can be altered, renamed, and overwritten. -
Page 139: Rack Ear Installation Instructions
Technical Information Rack Ear Installation Instructions Step 1: Using a Philips screwdriver, remove the three screws beneath the decorative plastic side panel on the right side of your StudioLive. Set these screws aside. You will need them should you want to reinstall the side panel at some point in the future. -
Page 140: Session Data Recall Sheet
Technical Information Session Data Recall Sheet...