PRESONUS StudioLive 16.4.2 User Manual
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PRESONUS StudioLive 16.4.2 User Manual

16 channel digital recording and performance mixer
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StudioLive
™
16 . 4 . 2
16 Channel Digital Recording and Performance Mixer
16 Channel Digital Recording and Performance Mixer
User Manual Version 1.10
© PreSonus Audio Electronics, Inc.
All Rights Reserved.

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  • Page 1 StudioLive ™ 16 . 4 . 2 16 Channel Digital Recording and Performance Mixer 16 Channel Digital Recording and Performance Mixer User Manual Version 1.10 © PreSonus Audio Electronics, Inc. All Rights Reserved.
  • Page 2 StudioLive User’s Manual Version 1.10...

  • Page 3: Presonus Limited Warranty

    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...

  • 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 ..............11 1.4 Getting Started: Mixing ............... 12 2 Controls & Connections 2.1 The Patch Bay ................14 2.2 Hook-up Diagram: On Stage With the StudioLive ...... 18 2.3 The Fat Channel ................
  • Page 6 Table of Contents 2.10 Digital Effects | Master Control ..........51 2.10.1 The FX Menu ..............52 2.10.2 Creating & Recalling a Scene........54 2.10.3 Saving & Loading Channel Presets ....... 57 2.10.4 The System Menu ............58 3 Recording 3.1 System Requirements ..............
  • Page 7 Table of Contents 5 Tutorials 5.1 Microphones ................80 5.1.1 Condenser ..............80 5.1.2 Dynamic ................. 80 5.1.3 USB and Other Types ............. 81 5.1.4 Microphone Placement ........... 81 5.2 A Brief Tutorial on Dynamics Processing ........84 5.2.1 Common Questions Regarding Dynamics Processing ... 84 5.2.2 Types of Dynamics Processing ........
  • Page 8 Table of Contents 6 Technical information 6.1 Troubleshooting ................. 115 6.2 Specifications ................118 6.3 Channel Strip Library ..............121 6.4 Effects Library ................122 6.5 Rack Ear Installation Instructions ..........123 6.6 Session Data Recall Sheet ............124...

  • 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: 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 12: 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 13 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.

  • Page 14: 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 15 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 16 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 17 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.

  • Page 18: Hookup Diagram: On Stage With The Studiolive

    Controls & Connections Hookup Diagram: On Stage with the StudioLive...

  • Page 19: The Fat Channel

    Controls & Connections The Fat Channel • Power Switch. Push the top part of the switch ( | ) to turn on your StudioLive. Push the bottom part of the switch ( O ) to turn it off. 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.

  • Page 20: 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 21 Controls & Connections The Fat Channel The Select Button 2.3. 1 Phase Hi-Pass Noise Compressor Limiter FireWire Reverse Filter Gate send Inputs (Ch 1-16) Subgroups Main Out L/R Aux Sends 1-6 Internal FX Sends 1-2 External FX Returns 1-2 Tape Input Talkback Mic Solo Bus Monitor Bus...

  • Page 22: High Pass Filter

    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 23 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 24: Compression Ratio

    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 25 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 26 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 27 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 28 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 29 Controls & Connections The Fat Channel Dynamics Processing and EQ 2.3.2 High Band EQ On/Off Button Activates Control for the High Band EQ for the Selected Input or Output Bus. This button actives control of the High band for the selected channel or bus.
  • Page 30 Controls & Connections The Fat Channel Dynamics Processing and EQ 2.3.2 Limiter On/Off Button Turns on the Limiter for the Selected Input Channel or Output Bus. When the limiter is engaged the button will illuminate. The threshold for the limiter is set to 0 dBFS. The Ratio ∞...
  • Page 31 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 32: Dynamics & Eq

    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 33: 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 34: 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 35: 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 36: 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 37: Input Channel Strip

    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 38: 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 4.5 discusses how to use these aux buses for monitor and effects mixing.
  • Page 39 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.

  • Page 40: 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 41: Subgroups

    Controls & Connections Subgroups As explained in Section 5.4, 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 42 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.

  • Page 43: 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 44: 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 45: Master Section

    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 46: 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 47: 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 48: 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 49: 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 50 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.

  • Page 51: 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 52: 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 53 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.

  • Page 54: 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 55 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 56 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.

  • Page 57: Saving & Loading Channel Presets

    Saving and 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 58: 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 59: The System Menu

    To enable the Lockout feature, you must first connect and sync your StudioLive to a computer. Please review Sections 3.3.6 for more information on this feature. StudioLive 16.4.2 firmware version 1.10 and higher features a 31-band 1/3 octave graphic EQ that can be inserted on the Main output bus.
  • Page 60 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.

  • Page 61: 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 62: 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 63: Installation On Mac Os X

    Recording Getting Started: recording Installation in Mac OS X 3.2. 1 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 64: 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 65: 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 66 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.

  • Page 67: Using Plug-In Effects As Inserts

    Recording Using your StudioLive as an Audio Interface Using Plug-In 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 68: Universal Control

    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...

  • Page 69: Universal Control

    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.

  • Page 70: Settings Menu

    Recording Using Your StudioLive as an Audio Interface Universal Control 3.3.3 Settings Menu Changes the Window Views The Settings menu in the Launcher window provides you with several options for viewing the Launcher and Device Windows and to set up WDM playback (PC only). •...
  • Page 71 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...

  • Page 72: Advanced Wdm Features (Pc Only)

    Recording Recording Using your StudioLive as an Audio Interface Using Your StudioLive as an Audio Interface Advanced WDM Features (PC only) Advanced WDM Features 3.3.4 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 73: 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 74: 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 75: 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 76: Multiple Mixers

    The unit with the next lowest ID will be the second to last and so on. If you will be recording with two StudioLive 16.4.2 mixers, take a moment to look at the serial numbers on the bottom of each mixer. The mixer with the lowest serial number will be designated as Inputs and Outputs 1-16 in your recording application.

  • Page 77: 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 78: 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 79: 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 80: 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: •...

  • Page 81: Tutorials

    Tutorials Microphones 5. 1 The StudioLive works with most types of microphones, including dynamic, ribbon, and condenser microphones. Condenser 5. 1 . 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 82: Usb And Other Types

    Tutorials Microphones USB and other Types 5. 1 .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 83 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 84 Tutorials Microphones Microphone Placement 5. 1 .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.

  • Page 85: 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 86: A Brief Tutorial On Dynamics Processing

    Tutorials A Brief Tutorial on Dynamics Processing Common Questions Regarding 5.2. 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.
  • Page 87 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. Compression/Limiting Punch, apparent loudness, presence—these are just three of the many terms used to describe the effects of compression/limiting.

  • Page 88: Types Of Dynamics Processing

    Tutorials A Brief Tutorial on Dynamics Processing Types of Dynamics Processing 5.2.2 • 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.
  • Page 89 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. Most manuals and text books assume a prior level of knowledge. We hope this section will help you to get the greatest benefit from your independent study in the world of music production.

  • Page 90: Vocabulary Of Dynamics Processors

    Tutorials A Brief Tutorial on Dynamics Processing Vocabulary of Dynamics Processors 5.2.3 • 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 91 • 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. •...

  • Page 92: General Compression Setting Suggestions

    General Compressing Setting 5.2.4 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 93: Stereo Mix

    Acoustic Guitar. This setting accentuates the attack of the acoustic guitar and helps maintain an even signal level, keeping the acoustic guitar from disappearing in the track. Threshold Ratio Attack Release -6.3 dB 3.4:1 188 ms 400 ms Electric Guitar. This is a setting for “crunch” electric rhythm guitar. A slow attack helps to get the electric rhythm guitar “up close and personal”...
  • Page 94 Tutorials A Brief Tutorial on Dynamics Processing General Compressing Setting 5.2.4 Suggestions Effects Squeeze. This is dynamic compression for solo work, especially electric guitar. It gives you that glassy “Tele/Strat” sound. It is a true classic. Threshold Ratio Attack Release -4.6 dB 2.4:1 7.2 ms...

  • Page 95: 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 96: What Is An Eq

    Graphic EQ The StudioLive 16.4.2 features a 31 band Graphic EQ that can be inserted on the Main bus. A graphic EQ is a multi-band equalizer that uses sliders to adjust the amplitude for each frequency band.
  • Page 97 Tutorials Equalizers What is an EQ? 5.3. 1 • Low-Mids (250Hz to 2 kHz): In general, you will want to emphasize the lower portion of this range and deemphasize the upper portion. Boosting the range from 250Hz to 500Hz will accent ambience in the studio and will add clarity to bass and lower frequency instruments.

  • Page 98: How To Find The Best And Leave The Rest

    Tutorials Equalizers How to Find the Best and 5.3.2 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 99 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. The following two charts suggest frequency ranges that should be accentuated or downplayed for the most common instruments.

  • Page 100: To Boost Or Not To Boost

    Tutorials Equalizers To Boost or Not To Boost 5.3.4 Table 2...

  • Page 101: General Eq Setting Suggestions

    Tutorials Equalizers General EQ Setting Suggestions 5.3.4 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 102 Tutorials Equalizers General EQ Setting Suggestions 5.3.4 Percussion Snare 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 PEAK/SHELF...
  • Page 103 Tutorials Equalizers General EQ Setting Suggestions 5.3.4 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...

  • Page 104: Subgroup Mixing

    Tutorials Subgroup Mixing 5.4. 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 105 Tutorials Subgroup mixing Instrument Groups 5.4. 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.

  • Page 106: Effects Groups

    Tutorials Subgroup mixing Effects Group 5.4.2 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 107: 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 108: Effects Processing

    Tutorials Aux Bus mixing Effects Processing 4.5.2 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 109 Tutorials Aux Bus mixing Effects Processing 5.5.2 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.

  • Page 110: 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 .6. 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 111: Delay

    Tutorials Digital Effects Digital Delay 5.6.2 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 112: 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. 2) 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 113: 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 114: Using The Solo Bus For Monitoring

    Tutorials The Solo Bus Using the Solo Bus for Monitoring 5.8.2 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 115: Destructive Soloing

    Tutorials The Solo Bus Destructive Soloing 5.8.2 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 116: 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 6 pm CST. PreSonus Technical Support is available via email during the same hours at techsupport@presonus.com.
  • Page 117 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 118 Technical Information Troubleshooting 6. 1 Fader Movements have no effect on audio Verify that your StudioLive is not locked by navigating to Page 4: 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.

  • Page 119: 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 120 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 121 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 ..........................

  • Page 122: 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 123: 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 124: Rack Ear Installation Instructions

    Technical Information Rack Ear Installation Instructions Step 1: Using a Philips screwdriver, remove the th- ree 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 125: Session Data Recall Sheet

    Technical Information Session Data Recall Sheet...

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