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User Guide - Performance Audio

1. Instrument and record controller movements When connecting the receive port be careful to avoid f doubled events if the same port is used by Keyboard device Use to play an external MIDI Doepfer E MU Edirol Evolution JL Cooper Keyfax KORG M Audio Mackie Novation MIDI AL Peavey 1 12 1314 1516171819 i108 14012013814 15 PreSonus Yamaha Receive From Send Mobile 3 MIDI Send MIDI Clock Use MIDI Clock Start Send MIDI Timecode Mobile 2 MIDI PreSonus AudioBox 1818VSL 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 Specify which MIDI channels will be used to communicate with this keyboard For most purposes you should select all MIDI channels If you are unsure of which MIDI channels to select we suggest you select all 16 6 Inthe Send To drop down menu select the MIDI interface output from which Studio One Artist will send MIDI data to your sound module In the Receive From drop down menu select the MIDI interface output from which Studio One Artist will receive MIDI data from your sound module If your sound module will not need to send information to Studio One you can leave this unspecified Click OK and close the External Devices window You are now ready
2. wr m se A EE ol d D n 5 AUGIODOX Declaration of Conformity Responsible Party PreSonus Audio Electronics Address 7257 Florida Blvd Baton Rouge LA 70806 USA Phone 1 225 216 7887 declares that AudioBox 1818VSL complies with Part 15 of the FCC rules Operation is subject to the following two conditions 1 This device may not cause harmful interference and 2 This device must accept any interference received including interference that may cause undesired operation Note No product support is available when you call the number above Refer to your Certificate of Warranty in your Owner s Manual for PreSonus Product Support telephone number A PreSonus Baton Rouge USA www presonus com 72 P e n IA Owner s Manua Added bonus PreSonus previously Top Secret recipe for Jambalaya Ingredients e 5 bslink andouille sausage e 3165 boneless chicken 2165 ground beef e 3 bs onions yellow or purple e 2 stalks of celery e 116 bell peppers green or red 1 batch green onions e 3 Ibs rice Tony Chachere hs Cajun Seasoning 1 bottle chicken stock concentrate or 3 cubes chicken bullion 1 Rotel tomotoes with chilies diced regular hot e Tabasco sauce Cooking Instructions 1 Ina 16qt pot or larger slice link sausage and pan fry until brown 2 Add ground beef
3. 19 j Place a dynamic microphone an inch or two away from the speaker of the guitar amplifier Experiment with exact location If you are recording an amp with multiple speakers experiment with each one to see if one sounds better than the others Place condenser microphone approximately six feet away pointed at the amp Experiment with distance Also experiment with inverting the phase of the room microphone to check for phase cancellation and reinforcement Select the fuller sounding position To use this technique in a live application omit the condenser microphone 45 5 Tutorials PreSonus AudioBox 1818VSL 5 1 Microphone Types Acoustic Guitar Point a small diaphragm condenser microphone at the 12th fret approximately 8 inches away Point a large diaphragm condenser microphone at the bridge of the guitar approximately 12 inches from the guitar Experiment with distances and microphone placement Another popular method is using an XY microphone placement with two small diaphragm condenser microphones See drum overheads photo on the next page Plug the electric bass guitar into a passive direct box Connect the instrument output from the passive direct box to a bass amplifier Place a dynamic microphone an inch or two away from the speaker and connect it to a AudioBox 1818VSL microphone mp ev cn
4. kHz Lover mom a o em SHELE 60 62 Owner s Manual Tutorials 5 Equalizer 5 3 Distorted Electric Guitar LOW MID LOW MID LOW MID LOW MID Lover E s ES ean EUN ow ae RO Hz MEE NK S C HI MID HI MID HI MID HI MID ON OFF LO HI FREO mE Lower ON 35 SHELF Keyboards V Piano di LOW MID LOW MID LOW MID LOW MID d um ERES EN E ET FREQ GAIN 665 ON sF 108 HI MID HI MID HI MID HI MID ERO M mem Lower ER m e an PEAK 3 co j 63 Gar gt 941 5 Tutorials PreSonus AudioBox 1818VSL 5 4 Aux Bus Mixing 64 5 4 Aux Bus Mixing The Aux bus provides outputs to create auxiliary mixes that are separate from the main mixes VSL for AudioBox 1818VSL is equipped with 4 stereo aux buses to create a separate mix for Outputs 3 4 5 6 and 7 8 as well as two more buses for internal effects buses FX A and B 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 5 4 1 Monitor Mixing Creating custom monitor mixes for your musicians is critical If musicians can t hear themselves or their bandmates their performance will suffer A monitor mix c
5. Gar ENS gt 941 5 Tutorials PreSonus AudioBox 1818VSL 5 2 A Brief Tutorial on Dynamics Processing 5 2 A Brief Tutorial on Dynamics Processing Each channel in Virtual StudioLive VSL for AudioBox 1818VSL includes a Fat Channel dynamics processing section What follows is an excerpt from a brief tutorial on dynamics processing written by PreSonus president and founder Jim Odom It is included to help you get the most out of VSL and the Fat Channel This tutorial will take you through the basics of dynamics processing and will explain the various types of dynamics processors 5 21 Common Questions Regarding Dynamics Processing What is dynamic range Dynamic range can be defined as the ratio between the loudest possible audio level and the noise floor For example if a processor states that the maximum input level before distortion is 24 dBu and the output noise floor is 92 dBu then the processor has a total dynamic range of 24 92 116 The average dynamic range of an orchestral performance can range from 50 dBu to 10 dBu on average This equates to a 60 dB dynamic range Although 60 dB may not appear to be a large dynamic range do the math and you ll discover that 10 dBu is 1 000 times louder than 50 dBu Rock music on the other hand has a much smaller dynamic range typically 10 dBu to 10 dBu or 20 dB This makes mixing the various signals of a rock performance
6. SMUX 4x4 By default these Modes are set to ADAT 8x8 As long as you are using your AudioBox 1818VSL at 44 1 kHz or 48 kHz you do not need to make any changes Power User Tip Failure to set the correct Mode for the sample rate being used will result in audio artifacts Setting mode is not necessary when using Analog or S PDIF I O at higher sample rates Sets ADAT 0 to ADAT or S MUX Mode When recording or playing back at 44 1 kHz or 48 kHz the I O on the AudioBox 1818VSL will provide 8 audio channels over the optical inputs and outputs When recording or playing back at 88 2 kHz or 96 kHz these connections will provide 4 audio channels In order to record or playback at 88 2 kHz or 96 kHz over ADAT you must set the correct Input and Output ADAT Modes These settings are available in OS X s Audio MIDI Setup Utility By default these Modes are set to 18ch 24bit As long as you are using your AudioBox 1818VSL at 44 1 kHz or 48 kHz you do not need to make any changes To record or playback at 88 2 kHz or 96 kHz open the Audio MIDI Setup Utility on your Mac Applications Utilities Audio MIDI Setup Once Audio MIDI Setup opens click on the Audio window If the Audio window doesn t open when Audio MIDI Setup first opens go to Window and select Show Audio window Select AudioBox 1818VSL from the audio device list on the left To the left of the Sample Rate selection menu you will
7. STEP 4 Creating an Effects Mix Once you have your levels set and your Fat Channel processing dialed for each input you can add reverb and delay to your monitor mixes To begin you must first assign an effects preset to a bus Click on the FX tab and select one of the presets To use that preset simply drag and drop it onto one of the FX buses A or B M DEL Echo Chamber l M DEL Grand Canyon l M DEL Long Delay c M DEL Medium Delav DEL Medium Delay M DEL Short Delay d M DEL Single Repeat M DEL Slap Back d M DEL Slight Echo d REV Ambience REV Arena Pra delay Prae delay REV Bedroom d REV Cathedral REV Closet Damping Damping REV Large Hall Width Width REV Medium Hall Lx ari Se gt 5S 5 E N BS SCO O gt 5 Sees UNM o C de N Reverb Reverb bi I m Room Size Room Size An effects mix is created by using a channel send The A and B channel sends control the volume settings for each channel to FX buses A and B respectively To control the overall amount of the effects you will hear in your mix use the FX A and FX B faders These will raise and lower the 10096 wet effects mix It is important to mention that both FX bus A and FX bus B must be patched to an output pair in order to hear th
8. Setting up an External MIDI Sound Module from the Start Page and Studio One Artist MIDI instrument controllers keyboards MIDI guitars etc send musical information in the form of MIDI data to tone modules and virtual instruments which respond by generating sound as instructed Tone modules can be standalone sound devices or can be integrated into a MIDI instrument such as a keyboard synthesizer Studio One Artist refers to all tone generators as Instruments Once you have set up your MIDI w m ed gt me 5 WY 5 E p m pus de gt N keyboard controller take a moment to configure your sound module 1 Connect the MIDI In of your external sound module A 2 e to the MIDI Out of your MIDI interface Locations Audio Setup External Devices Advanced 2 Inthe External Devices window click the Add Ck Tc in button E ne Ern I Notify me if devices are unavailable when Studio One starts os B o 37 151 eu oipnig pue 3AITOIPNIS JENA 9JeM3JOG 4 p _1 Unknown Vendor L Access n ai i Software Virtual StudioLive and Studio One Artist Studio One Artist Add Device New Keyboard New Instrument New Control Surface Device Model New Instrument Manufacturer Device Name My Hardware Synth b 1 LI Behringer gt Lj CME b b gt b gt b b gt gt
9. vn lt gt gt I ct ca 2 a 1 JENIN 1912 4105 44 1 00 00 06 011 00 00 06 011 Your AudioBox 1818VSL comes with Studio One Artist recording and production software Whether you are about to record your first album or your fiftieth Studio One Artist provides you with all of 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 For more details on the Studio One Pro upgrade program for PreSonus customers please visit www presonus com 4 2 1 Installation and Authorization Once you have installed the AudioBox 1818VSL drivers and connected your AudioBox 1818VSL to your computer you can use the included PreSonus Studio One Artist music production software to begin recording mixing and producing your music To install Studio One Artist insert your installation disc into your computer s DVD drive Follow the onscreen instructions to complete the installation process Running the Studio One Installer To Install Studio One Artist insert your Studio One Artist installation DVD into your computer s DVD drive e Windows Users Launch the Studio One Artist installer and follow the on
10. Solo Button SOLO Mute Button MUTE Monitor Sends and Pan Controls Channel Pan Control Software Virtual StudioLive and Studio One Artist 4 Virtual StudioLive 4 1 Enables Disables VSL Mixing When the VSL On Off button is disengaged your AudioBox 1818VSL functions as a simple 18x18 audio interface with no monitor mix or DSP capability If you plan on mixing exclusively in your DAW or do not need to create monitor mixes using your computer disabling VSL can greatly simplify your work environment When VSL is turned on you will have access to all its mixing capability on your computer Accesses the Fat Channel Above each fader in VSL you will see Select buttons There is a Select button on each of the analog and digital inputs each DAW return on both effects buses and on the Main output bus Each of these buttons serves exactly the same purpose to access the Fat Channel parameters for its channel or bus Turns Soloing On and Off This button will solo its channel to the outputs so that only the soloed channel will be audible When a Solo button is enabled that channel or bus will automatically be selected and its Select button will illuminate Turns Muting On and Off This button mutes its channel It will illuminate red when the channel is muted When a mute button is engaged its channel will be muted in all outputs Sets the Level and Panning of Each Channel in the Monitor Mixes
11. Performance Changes VSL s Input Monitoring Buffer Size VSL offers three Performance modes for input monitoring Fastest Fastest Normal and Safe These modes allow you to adjust the VSL s buffer to either lower the input latency or increase it depending on your computer s speed M Fastest Sets VSLs input buffer to 1 millisecond Normal Sets VSL s input buffer to 2 milliseconds Safe Sets VSLs input buffer to 4 milliseconds For most machines Normal mode will provide excellent stability with nominal latency Buffer Size Selector Windows only Changes the Buffer Size C You can set the buffer size from 32 to 2048 samples The buffer size determines the roundtrip time takes audio data to be converted from analog to digital and back to analog As a general rule the higher the buffer size the better the system performance but the less playable virtual instruments and the like become In general 512 samples 11 to 12 milliseconds will provide you with a large enough buffer for optimum system performance but low enough to be unobtrusive You should set your buffer size and sample rate prior to launching your host application On the Mac the buffer size is set from inside your host application Power User Tip The buffer size for monitoring in VSL is set by the Performance Mode The buffer size you set in VSL Windows or in your audio application Mac OS
12. Phase Reverse is accessible from the Main VSL Page and from the Gate Zoom Phase Reverse is only available on the analog input channels Engages Post Fat Channel Recording Each of the analog inputs can be recorded pre or post Fat Channel EQ and dynamics processing To record the EQ and dynamics processing on any channel simply enable the Post button It will illuminate indicating that the Fat Channel signal path is being routed to your DAW s recording input If this mode is not enabled the signal recorded in your DAW will not include any of the Fat Channel processing Phase Reverse Gate Compressor EQ Limiter It should be noted that the effects buses cannot be recorded You can add reverb and delay to your recorded files later using DAW plug ins The Post button is only available on the Overview Tab and only for the analog and digital input channels Adjust the High pass Filter s Cutoff Frequency The high pass filter s cutoff frequency can be set from 18 Hz to 1 3 kHz Remember that all frequencies below a high pass filter s cutoff frequency are attenuated See Section 5 3 1 for details The slope of the high pass filter is 6 dB octave The high pass filter is accessible from either the Overview or Fat Channel tabs and is available on all input channels and playback streams Turns the Gate On and Off for the Selected Channel or Bus This button engages and disengages the gate for the selected channel It will illu
13. 4 1 6 Using VSL to Create a Monitor Mix 30 Studio One Artist Quick Start 32 4 2 1 Installation and Authorization 32 4 2 2 Enabling the Audio Driver 35 4 2 3 Configuring MIDI Devices 35 4 2 4 Creating a New Song 38 4 2 5 Creating Audio Tracks 40 4 2 6 Creating MIDI Tracks 41 4 2 7 Adding Virtual Instruments and Plug in Effects to Your Song 42 Tutorials 44 Microphone Types 44 5 1 1 Condenser 44 5 1 2 Dynamic 44 5 1 3 USB Microphones and Other Types 44 5 1 4 Microphone Placement 45 A Brief Tutorial on Dynamics Processing 48 5 2 11 Common Questions Regarding Dynamics Processing 48 5 2 2 Types of Dynamic Processing 49 5 2 3 Compression Settings Some Starting Points 54 Equalizers 56 5 3 1 Whatisan EQ 56 5 3 2 Equalization Settings How to Find the Best and Leave the Rest 58 5 3 3 General EQ Suggestions 61 5 4 Aux Bus Mixing 64 5 4 1 Monitor Mixing 64 5 4 2 Effects Processing 64 5 5 Digital Effects 65 5 5 1 Reverb 65 5 5 2 Delay 66 6 0 Technical Information 67 6 1 Specifications 67 7 0 Troubleshooting and Warranty 69 7 1 Troubleshooting 69 7 2 PreSonus Limited Warranty 70 Index 71 D Mss Fo Le Presonus AUG E TM fia
14. Definition 49 50 Suggested Settings 54 Terminology Associated With 50 Creating a Monitor Mix 30 64 Creating an FX Mix 31 64 Cubase 14 D Decay 65 Delay 66 Delay Time 66 Downward Expansion 52 Dynamic Range 48 E Equalizer Definition 56 Parametric 56 Shelving 57 VSL 27 Expansion Definition 51 F Fader 24 Fader Locate See Recalling Faders Fat Channel 21 Frequency Tables 59 60 FX Sends 23 G Gate 25 49 H Hard knee 51 High Pass Filter 25 I Import Audio Studio One 43 K Key Filter 52 Key Listen 52 L Limiter 27 50 Loading Presets Fat Channel 29 FX 29 Logic 14 M Makeup Gain 51 Meter Decay 16 Metering 24 Meter Peak Hold 16 MIDI Controller 36 MIDI Sound Module 37 Monitor Sends 23 Mute 23 N Noise Gate Definition 53 O Overview Tab 21 Index Performance Modes 17 Phantom Power 5 44 Phase Reverse 24 Plugins 43 Post Button 25 Post Fader Metering 16 Predelay 65 Presets Adding New 20 Deleting 21 Fat Channel 20 FX 20 Q Q Definition 56 R Range 52 Ratio 50 52 Release 51 52 Reverb 65 RunatStartup 17 S Sample Rate 17 Scenes 20 Creating in VSL 20 Recalling 29 Select Buttons 23 Show Hide Buttons ADAT 22 DAW 22 Sidechain 51 Soft knee 51 Solo 23 Sonar 15 Stereo Link 24 T Threshold 50 52 V Variable Feedback 66 71 Lem Ons lt gt Se
15. This button activates control of the equalizer s Low band for the selected channel or bus The button will illuminate to indicate control is active The Low EQ band is available for all input and output buses Sets the Center Frequency for the Low EQ Band The center frequency is the middle of the passband the mean between the lower and upper cutoff frequencies that define the limits of the band You can adjust the center frequency from 36 to 465 Hz Sets the Gain Attenuation or Boost of the Center Frequency This control sets the gain cut or boost at the center frequency for the Low band The level of the center frequency can be set between 15 and 15 dB Turns On the Low Shelving EQ for the Selected Input or Output Bus When the Shelf button is not engaged the Low band is semi parametric Enabling the Shelf button turns the Low band into low shelving EQ that alters by a fixed amount a band of low frequencies at and below a user selected shelving frequency A low shelving is like a bass control knob on a consumer audio device In this mode the Center Frequency control selects the shelving frequency Activates Controls for the Mid EQ for the Selected Input or Bus This button activates the controls for the equalizer s Mid band for the selected input or output The button will illuminate to indicate control is active The Mid EQ band is available for all input and output buses Sets the Center Frequency of t
16. e _ VON sn vlc Parl 2 aA VAN i LAS V B WP B 657 7 Em Owner s Manual Overview 1 Introduction 1 1 1 1 Introduction 4 4 EI p P H i Thank you for purchasing the PreSonus AudioBox 1818VSL PreSonus Audio Electronics has designed the AudioBox 1818VSL utilizing high grade components to ensure optimum performance that will last a lifetime Loaded with 8 high headroom Class A XMAX microphone preamplifiers a built in 18x18 USB 2 0 recording and playback engine MIDI 1 0 S PDIF I O I O BNC word clock output Fat Channel processing with 3 band EQs compressors limiters and downward expanders delay and reverb effects and more AudioBox 1818VSL breaks new boundaries for music performance and production All you need is a computer with a USB 2 0 connection a few microphones and cables powered speakers and your instruments and you are ready to record in the studio or in front of a live audience We encourage you to contact us at 225 216 7887 9 a m to 5 p m Central Time with questions or comments regarding your PreSonus AudioBox 1818VSL PreSonus Audio Electronics is committed to constant product improvement and we value your suggestions highly We believe the best way to achieve our goal of constant product improvement is by listening to the real experts our valued customers We appreciate the support you have shown us th
17. Above each channel are channel sends and pans for each output pair A channel send is just like a fader on a mixer It sets the volume level of its channel in the monitor mix The pan control sets the channel s relative position in the left right stereo mix When a pair of channels is stereo linked the pan control sets the spread of the channels in the left right stereo mix The top control for each output pair is the send level and the lower control is the pan control Sets the Level of Each Channel in the FX Mixes The FXA and FXB Send controls sets the level of each channel in the FX Buses The higher the level the wetter the processed signal will be Sets the Panning of Each Channel in the Main Mix The pan control sets the channel s relative positions in the stereo main mix When a pair of channels is stereo linked the pan control sets the spread of the channels in the left right mix 23 w IESU ce 4 BS 509 O m 5 So UNM CSc gt NY 4 Software Virtual StudioLive and Studio One Artist PreSonus AudioBox 1818VSL 4 1 Virtual StudioLive UN Fader Controls the Overall Level of the Channel or Bus Each input channel features a fader for accurate level adjustment Unity j i gain 0 dB is denoted by a U T JE 4 9 St WN gt gt et ca e
18. Because Outputs 1 and 2 share the same signal source you can use these meters to monitor that output pair as well Owner s Manual Hookup 2 Rear Panel Connections 2 2 2 2 Rear Panel Connections LINE OUTPUTS TRS BALANCED MAIN OUT J 7 SPDIF Y 44 1 96 KHZ Line Outputs The AudioBox 1818VSL has eight line outputs to route to external devices such as headphone amps and DJ mixers Outputs 1 and 2 share their playback streams with the Main Outs Outputs 7 and 8 share their playback streams with the headphone output Outputs 3 through 6 have independent playback streams Main Out These are the main outputs for the AudioBox 1818VSL The output level of the Main Outs is controlled by the Main volume knob on the front of the unit MIDI I O MIDI stands for Musical Instrument Digital Interface MIDI inputs and outputs allow connection to and communication with external MIDI equipment One function of these ports is MIDI sequencing but the MIDI protocol can be used for much more than instruments and sequencing NOTE MIDI is not audio but is frequently used to trigger or control an audio source such as a plug in or synthesizer It s important to ensure that your MIDI data is correctly sent and received by the appropriate hardware or software devices If the devices generate audio you may also need to return the audio to an AudioBox 1818VSL input channel Please consult the User s
19. Because a USB microphone is in effect an audio interface we recommended that you not use them with the AudioBox 1818VSL as the likelihood of conflicting drivers is great If you are using new or nonstandard type of microphone e g USB headset laser MEMS please consult your microphone s user s manual for power requirement and compatibility information 44 Owner s Manual Tutorials 5 Microphone Types 5 1 Regardless of the microphone type you are using we recommend reading your microphone s user s manual thoroughly before engaging phantom power and in case other usage questions arise Ne 5 1 4 Microphone Placement The following are a few recording applications to help you get started with your AudioBox 1818VSL These are by no means the only ways to record these instruments Microphone selection and placement is an art For more information D visit your library or local bookstore as there are many books and magazines about recording techniques The Internet is also a great source of recording information as are instructional videos Some of these microphone placement d suggestions can be used in live applications as well as for studio recording Place one microphone above the high strings and one microphone above the low strings Experiment with distance the farther back the more room you will capture This technique can be used for live and studio applications
20. Tracks window In the Add Tracks window you can select the number and type of tracks you d like to create Mono Audio Stereo Audio Instrument or Automation and can customize the track name and color Owner s Manual Software Virtual StudioLive and Studio One Artist 4 Studio One Artist 4 2 3 Once you have added your tracks you can assign the oT input by simply clicking on the input to which a track is o input L if currently assigned This will bring up the inputs list You also access the audio I O setup from here Mone Input L Mic 1 4 Ifyou would like to add a track for each of the available Input R Mic 2 inputs and have the routing automatically assigned Input 1 Line 3 simply go to Track Add Tracks for All Inputs Input 2 Line 4 Input 3 Line 5 5 To begin recording create an audio track assign it to Input 1 and connect a microphone to the first channel on the AudioBox 1818VSL Select Record Enable on your track in Studio One Artist Turn up the Channel 1 level while speaking singing into the microphone You should see the input meter in Studio One Artist Audio Setup react to the input Adjust the gain so the input level is near its maximum without clipping distorting Input 4 Line Input 5 Line 7 Input 6 Line B 6 Connect a set of headphones to the AudioBox headphone output You may also wish to connect monitors to the AudioBox s Main outputs You
21. compatible 1 3 Summary of Studio One Artist Software Features All PreSonus audio interfaces 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 The Studio One Artist Quick Start Guide is located in Section 4 1 of this manual You will find a complete user manual on the Studio One Artist installation DVD Unlimited track count inserts and sends 20 high quality native plug ins amp modeling Ampire delay Analog Delay Beat Delay distortion Redlight Dist dynamics processing Channel Strip Compressor Gate Expander Limiter Tricomp equalizer Channel Strip Pro EQ modulation Autofilter Chorus Flange Phaser X Trem reverb MixVerb Room Reverb and utility Binaural Pan Mixtool Phase Meter Spectrum Meter Tuner Over 4 GB of loops samples and instruments featuring Presence virtual sample player Impact virtual drum machine SampleOne virtual sampler Mojito virtual analog modeled subtractive synthesizer Innovative and intuitive MIDI mapping Powerful drag and drop functionality for faster workflow Mac OS X Windows compatible Owner s Manual Overview 1 Summary of Virtual StudioLive Software Features 1 4 1 4 Summary of Virtual StudioLive Software Features gt E gt Virtual StudioLive is a powerful monitor mixing application that allows you to add p
22. 1 1 Ratio The ratio is the relationship between the output level and the input level In other words the ratio sets the compression slope For example if you have the ratio set to 2 1 any signal levels above the threshold setting will be compressed such that for every 1 dB of level increase into the compressor the output will only increase 0 5 dB This produces a compression gain reduction of 0 5 dB dB As you increase the ratio the compressor gradually becomes a limiter Limiter A limiter is a compressor that is set to prevent any increase in the level of a signal above the threshold For example if you have the threshold knob set at O dB and the ratio turned fully clockwise the compressor becomes a limiter at O dB so that the output signal cannot exceed 0 dB regardless of the level of the input signal Attack Attack sets the speed at which the compressor acts on the input signal A slow attack time allows the beginning envelope of a signal commonly referred to as the initial transient to pass through the Owner s Manual Expansion Tutorials 5 A Brief Tutorial on Dynamics Processing 5 2 compressor unprocessed whereas a fast attack time immediately subjects the signal to the ratio and threshold settings of the compressor Release Release sets the length of time the compressor takes to return the gain reduction back to zero no gain reduction after the signal level drops below the compression threshold Very short relea
23. 1 dB 0 002 ms 38 ms Snare Kick This setting allows the first transient through and compresses the rest of the signal giving a hard snap up front and a longer release Threshold Ratio Attack Release 2 1 dB 300 ms Left Right Stereo Overheads The low ratio and threshold in this setting gives fat contour to even out the sound from overhead drum mics Low end is increased and the overall sound is more present and less ambient You get more boom and less room Threshold Ratio Attack Release 13 7 dB 128 ms 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 Release 4 4 dB 189 ms 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 400 ms Keyboards Stereo Mix Effects 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 and gives punch to your crunch Threshold Ratio Attack Release 0 1 dB 193 ms Piano This is a special setting for an even level across the keyboard It is designed to help even up the top and bottom of an acoustic piano In other words it helps the left hand to be heard along with the right hand
24. 2 Dynamic P Dynamic microphones are possibly the most widely used microphone type especially in live shows They are relatively inexpensive resistant to physical damage and typically handle high sound pressure levels SPL very well Unlike condenser microphones most dynamic microphones do not require a power source fe ar lt gt ev nN Dynamic microphones especially ribbon microphones tend to generate low output E voltages so they typically need more preamp gain than condenser microphones Ribbon Ribbon microphones special type of dynamic microphone and E get their name from the thin metal ribbon used in their design Ribbon microphones capture sound with very high fidelity especially higher frequencies However they often are very fragile many newer models are less so and typically cannot handle high sound pressure levels 2 Most ribbon microphones do not require phantom power In fact unless a ribbon microphone specifically calls for phantom power sending phantom power to a ribbon microphone can severely damage it usually beyond repair 5 1 3 USB Microphones and Other Types Many microphone types are available and as technology evolves it is likely that 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
25. 5 THD 510 18 VDC 2 6 center positive Barrel 5 5 mm OD 2 1 mm ID 9 5 mm length 114 dB 48 kHz A wtd 114 dB 48 kHz A wtd USB 2 0 high speed 24 bit 44 1 kHz 48 kHz 88 2 kHz 96 kHz 6 mS analog input to analog output Toslink connectors ADAT SMUX formats RCA female connectors BNC connector 4 5 Vpp 750 load 5 pin DIN connectors Owner s Manual Troubleshooting and Warranty 7 Troubleshooting 7 1 7 0 Troubleshooting and Warranty _ 7 1 Troubleshooting I Many technical issues can arise when using a standard computer as a digital audio workstation DAW PreSonus can only provide support for issues that directly relate to the AudioBox interface Studio One digital audio workstation software and AudioBox VSL mixer control software PreSonus does not provide 000 support for computer hardware operating systems and non PreSonus hardware and software and it may be necessary to contact the manufacturer of these products for technical support Please check our Web site www presonus com regularly for software information and updates firmware updates and support documentation for frequently asked questions You can get individual technical assistance by calling PreSonus at 225 216 7887 Monday through Friday between the hours of 9 a m and 5 p m Central Time PreSonus technical support is available via email during the same hours at techsupport presonus com
26. BNC word clock cable is required to achieve proper sync USB 2 0 Port This is where you connect the USB cable from your USB 2 0 a AudioBox 1818VSL to your computer The AudioBox 1818VSL must be connected to a USB 2 0 port to work properly J Power Input This is where you connect the power supply for your AudioBox 1818VSL The AudioBox 1818VSL cannot be bus powered Power Switch This is the On Off switch for your AudioBox 1818VSL F3 E Owner s Manual Hookup 2 Typical Band Hookup Diagram 2 3 2 3 Typical Band Hookup Diagram headphone amps drumset del EN 2 Hookup PreSonus AudioBox 1818VSL 24 Speaker Switching Hookup Diagram 2 4 Speaker Switching Hookup Diagram studio monitors studio monitors SYNC OUT ADAT 44 1 96 KHZ MIDI L 7 5 E N IN OUT e Ux lt 7 XU Jit LINE OUTPUTS TRS BALANCED PreSonus Owner s Manual Connecting to a Computer 3 System Requirements 3 1 3 0 Connecting to a Computer Your AudioBox 1818VSL is a rugged USB 2 0 audio interface with flexible monitoring control and professional audio tools 3 1 System Requirements Below are the minimum computer system requirements for PreSonus Studio One Artist and Virtual StudioLive software Macintosh e Operating Systems e Ma
27. Manuals of your MIDI devices for help with MIDI setup and usage S PDIF In and Out Jacks The S PDIF standard allows two channels of audio to be transmitted at rates up to 24 bit 96 kHz The S PDIF I O also allows the AudioBox 1818VSL to send and receive word clock to external digital devices Power User Tip Remember to set S PDIF as the Clock Source and set the sample rate to correspond to the external device in the AudioBox VSL Setup Tab Windows or in Audio MIDI Setup OS X when using the S PDIF input for external sync ADAT S MUX Input and Output These are ADAT S MUX connections for your external digital devices When recording or playing back at 44 1 kHz or 48 kHz the ADAT input and output will stream 8 channels When recording or playing back at 88 2 kHz or 96 kHz each connection will stream 4 channels The ADAT S MUX also allows the AudioBox to send and receive word clock to external digital devices Power User Tip Remember to select as the Clock Source and set the sample rate to correspond the external device in the AudioBox VSL Setup Tab Windows or in Audio MIDI Setup OS X when using the ADAT input for external sync 2 Hookup PreSonus AudioBox 1818VSL 2 2 Rear Panel Connections SYNC OUT BNC Sync Output This is a 750 word clock output that allows the AudioBox 1818VSL to transmit word clock information to other digital audio devices Power User A 75
28. O Destination Select O Installation Type O Installation Summary Connecting to a Computer 3 Installation for MacOSX 3 3 After inserting the Installation CD into your disc drive browse the disc and run the AudioBox 1818VSL installer which will take you through each step of the installation process Please read each message carefully and be especially careful that you do not connect your AudioBox too soon w Install PreSonus AudioBox VSL Welcome to the PreSonus AudioBox VSL Installer You will be guided through the steps necessary to install this software w Install PreSonus AudioBox VSL Standard Install on Macintosh HD This will take 24 8 MB of space on your computer Click Install to perform a standard installation of this software on the disk Macintosh HD Change Install Location Go Back w Install PreSonus AudioBox VSL The installation was completed successfully The installation was successful The software was installed Click Restart to finish installing the software Back 4 Restart Y You will be directed to the Welcome screen Click Continue and follow the onscreen instructions You will be directed to choose the hard drive onto which you want to install the drivers and Virtual StudioLive software You must choose your system drive storage drives and partitions cannot be used as hosts for the driver When installation is
29. Threshold Ratio Attack Release 10 8 dB 112 ms Synth The fast attack and release on this setting can be used for synthesizer horn stabs or for bass lines played on a synthesizer Threshold Ratio Attack Release 11 9 dB 1 8 1 0 002 ms 85 ms Orchestral Use this setting for string pads and other types of synthesized orchestra parts It will decrease the overall dynamic range for easier placement in the mix Threshold Ratio Attack Release 3 3 dB 50 ms Stereo Limiter Just as the name implies this is a hard limiter or brickwall setting ideal for controlling the level to a two track mixdown deck or stereo output Threshold Ratio Attack Release 5 5 7 1 1 0 001 ms 98 ms Contour This setting fattens up the main mix Threshold Ratio Attack Release 13 4 dB 0 002 ms 182 ms 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 93 ms Pump This is a setting for making the compressor pump in a desirable way This effect is good for snare drums to increase the length of the transient by bringing the signal up after the initial spike Threshold Ratio Attack Release 0 dB 191 0 001 ms 55 cr 5 3 Equalizers Dine Aane Presonus AUGIODOX Fat Channels in VSL are equipp
30. Timing Master to PreSonus AudioBox DAW Out 1 Set the Recording Timing Master to PreSonus AudioBox Mic Inst 1 Launch Ableton Live Go to Options Preferences Audio Choose Driver Type Asio Audio Device ASIO PreSonus AudioBox 1818VSL Go to Input Config Enable and select the desired Input channels Go to Output Config Enable and select the desired Output channels You may now select the AudioBox 22 44VSL s inputs and outputs for each track created in Live 3 3 4 5 tos 9 St WN et gt I et ca et 3AITOIPNIS JENA 9JeM3JOG 4 Software Virtual StudioLive and Studio One Artist PreSonus AudioBox 1818VSL 41 Virtual StudioLive 4 0 Software Virtual StudioLive and Studio One Artist 4 1 Virtual StudioLive Your AudioBox 1818VSL comes with a powerful software bundle that provides everything you need to record produce and mix an album This software package including Virtual StudioLive VSL and Studio One Artist is designed to help you get the most from your studio Virtual StudioLive is a powerful monitoring software that essentially turns your AudioBox 1818 into a mini StudioLive 16 0 2 VSL provides control of channel effects bus and Main bus levels Fat Channel parameters and effects VSL also includes a librarian allowing you to easily manage
31. X applies only to the driver s performance in your ASIO or Core Audio application 4 Software Virtual StudioLive and Studio One Artist PreSonus AudioBox 1818VSL 41 Virtual StudioLive ADAT Mode Window Only ADAT In Mode A ADAT Out Mode ADAT 8 8 Perormance 24 N Jt 9 cos WN et gt h a gt I et 1 et 1 JONI SJeM3JOS ADAT Mode OS X Only Built in Microphone 4 inf 0 out 1 Built in Input 2 inf 0 out Built in Qutput Z out AudiaBox 1818 VSL fe nut 18 Sets ADAT 1 0 to ADAT or S MUX Mode When recording or playing back at 44 1 kHz or 48 kHz the I O on the AudioBox 1818VSL will provide 8 audio channels over the optical inputs and outputs When recording or playing back at 88 2 kHz or 96 kHz these connections will provide 4 audio channels In order to record or playback at 88 2 kHz or 96 kHz over ADAT you must set the correct Input and Output ADAT Modes AudioBox VSL provides two modes ADAT 8x8 Channels 1 8 44 1 48 kHz ADAT SMUX 4x4 Channels 1 4 88 2 96 kHz If you are recording at 88 2 kHz or 96 kHz you must set the ADAT In Mode to SMUX 4x4 in addition to setting the correct sample rate If you are outputting audio through the optical outputs on your AudioBox 1818VSL at 88 2 kHz or 96 kHz you must set the Out Mode to
32. a surface and bouncing back There are closer surfaces of course notably the floor and the ceiling just in front of the stage but only a small part of the direct sound will go there so those reflections will be much less noticeable Adjusting the predelay parameter on a reverb allows you to change the apparent size of the room without having to change the overall decay time This will give your mix a little more transparency by leaving some space between the original sound and its reverb e HF and LF decay The types of surfaces a space also affect the sound Carpet and soft furnishings will absorb more high frequency waves thereby reducing the high frequency decay time while hard surfaces such as tile or stone reflect sound extremely well resulting in a brighter ambience Similarly the high frequency HF and low frequency LF decay time allow you to adjust the brightness or darkness of the reverb enabling you to better emulate these environmental factors 65 5 Tutorials 5 5 Digital Effects E ar ev cn 66 Delay PreSonus AudioBox 1818VSL A delay essentially creates an echo although you can often use delays to create more complex time based effects The source signal is delayed so that it is heard later than it actually occurred Delay Time Delay time is the time between the so
33. all old electrical and electronic equipment this product is not to be treated as regular household waste Instead it shall be handed over to the applicable collection point for the recycling of electrical and electronic equipment CE This product complies with the European Union Council Directives and Standards relating to electromagnetic compatibility EMC Directive 2006 95 EC and the Low Voltage Directive 2004 108 EC 1 0 1 1 1 2 1 3 1 4 1 5 2 0 2 1 2 2 2 3 2 4 3 0 3 1 3 2 3 3 3 4 4 0 4 1 Overview 7 Introduction 7 Summary of AudioBox 1818VSL Hardware Features 2 Summary of Studio One Artist Software Features 2 Summary of Virtual StudioLive Software Features 3 Whatis in the Box 4 Hookup 5 Front Panel Connections 5 Rear Panel Connections 7 Typical Band Hookup Diagram 9 Speaker Switching Hookup Diagram 10 Connecting to a Computer 11 System Requirements 171 Installation for Windows 12 Installation for Mac OSX 13 Using the AudioBox 1818VSL with Popular Audio Applications 14 Software Virtual StudioLive and Studio One Artist 16 Virtual StudioLive 16 4 1 1 Virtual StudioLive Setup 16 4 1 2 Virtual StudioLive Browser 20 4 1 3 Virtual StudioLive Overview and Fat Channel Tab 21 4 1 4 VSL Controls Definitions and Uses 22 4 1 5 Loading Scenes and Presets from VSL 29
34. are now ready to record For complete instructions please consult the Studio One Reference Manual which is located on your Studio One Artist installation DVD w m eo RES NM BOS O 5 UNM Coo u gt N 4 2 6 Creating MIDI Tracks 1 Click on the Add Tracks button When the Add Tracks window launches select Instrument as the track format and click the OK button Stereo Instrument Automation Track 5 2 Toassign your MIDI input click on the MIDI Inputs list and select your m B external sound module If you have added virtual inputs to your session Impact you will also see them as available inputs Mojito If you selected your MIDI keyboard controller as the default keyboard Hardware Synth it will already be selected If not choose your MIDI controller from the Output menu directly below 3 To the left of the Add Track button you will find the Inspector button Click it to display more parameters for the selected track 41 4 Software Virtual StudioLive and Studio One Artist PreSonus AudioBox 1818VSL 4 2 Studio One Artist 4 Atthe 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 7 MIDI data does not contain audio signals To hear your sound module you must connect the audio output of the so
35. by an equalizer for example to reduce sibilance de essing in a vocal track The control signal is then returned to the unit via the connector One common application for a sidechain is when using a compressor to reduce the level of music or other background sound whenever a narrator speaks or vocalist sings allowing the voice to be clearly heard In this application the vocal signal is routed to the sidechain input while the music is routed through the main compression circuitry Now the compressor will automatically duck that is reduce the level of the music whenever the narrator speaks or the vocalist sings There are two basic types of expansion dynamic and downward Expansion increases the dynamic range of a signal after the signal crosses the expansion threshold Dynamic expansion is basically the opposite of compression In fact broadcasters use dynamic expansion to undo compression before transmitting the audio signal This is commonly referred to as companding or COMPression followed by expANDING By far the most common use of expansion is downward expansion In contrast to compression which decreases the level of a signal after it rises above the compression threshold expansion decreases the level of a signal after the signal goes below the expansion threshold The amount of level reduction is determined by the expansion ratio For example a 2 1 expansion ratio reduces the level of a signal by a factor of two e 9 if a l
36. ceilings These are known as early reflections and their pattern provides psycho acoustic indications as to the nature of the space that you are in even if you can t see it As each reflection is then reflected off of more surfaces the complexity of the sound increases while the reverb slowly decays The reason for the widespread use of reverb in audio recording is fairly self evident human beings don t live a vacuum Because our brains receive cues about the nature of the space around us based partially on audio reflections a sense of space makes an audio recording sound more natural and therefore more pleasing The following parameters can usually be adjusted in a reverb effect e Decay Decay is the time required for the reflections reverberation to die away In most modern music production reverb decay times of between one and three seconds are prevalent A reverb setting with strong early reflections and a quick decay are a great way to create a stereo effect from a mono source e Predelay Predelay is the time between the end of the initial sound and the moment when the first reflections become audible Imagine you re back on that stage in a large music hall This time you stand on the very edge of the stage and shout Hello world toward the center of the hall There will be a brief pause before you hear the first noticeable reflections of your voice because the sound waves can travel much further before encountering
37. class B selon le cas prescrites dans le r glement sur le brouillage radio lectrique dict par les ministere des communications du Canada 419 PreSonus 7257 Florida Boulevard Baton Rouge Louisiana 70806 USA 1 225 216 7887 WWW presonus com Part 820 0003
38. first launch VSL notice the Browser window along the right side of the screen The Browser in VSL functions similarly to the Browser in Studio One From the Browser you can see all of your Scenes Fat Channel presets and FX presets that are saved on your computer You can also create new settings from this window Simply drag and drop a Scene or preset to load it on your AudioBox 1818VSL 9 St WN et gt I ct ca et 3AITOIPNIS JENA 9JeM3JOG Browser Tab Buttons Displays the Different Preset Categories All of your Scenes and presets are contained in dedicated folders in VSL To view specific set of presets simply click on its tab S e SCENE Displays stored Scenes A Scene is like a snapshot of your mix It stores all Fat Channel parameters for every input and bus as well as fader positions the aux and effects mixes FX bus settings and channel mutes solos Creating a Scene requires simply dialing a mix that you would like to use at a later date and saving it e FAT CH Displays stored Fat Channel presets VSL comes equipped with Fat Channel presets that have been custom designed by professional audio J engineers These presets can be altered renamed and overwritten you can build your own nearly limitless custom library of channel strip settings e FX Displays stored effects presets VSL comes loaded with 50 custom reverb an
39. gate will only allow the intended sound to pass through the volume of everything else is lowered Not only will this strip away unwanted artifacts like hiss it will add definition and clarity to the desired sound This is a very popular application for noise gates especially with percussion instruments as it will add punch or tighten the percussive sound and make it more pronounced 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 in VSL 53 19 j k 5 2 3 Compression Settings Some Starting Points Vocals Percussion Fretted Instruments 54 Soft This is an easy compression with a low ratio setting for ballads allowing a wider dynamic range It s good for live use This setting helps the vocal sit in the track Threshold Ratio Attack Release 8 2 dB 0 002 ms 38 ms Medium This setting has more limiting than the Soft compression setting producing a narrower dynamic range It moves the vocal more up front in the mix Threshold Ratio Attack Release 3 3 dB 0 002 ms 38 ms Screamer This setting is for loud vocals It is a fairly hard compression setting for a vocalist who is on and off the microphone a lot It puts the voice in your face Threshold Ratio Attack Release 1
40. indicator click on it with your mouse Sets the Channel Metering to Post Fader Signal When this option is enabled the channel meters in VSL will display the signal level after it has been boosted or attenuated by the channel fader By default all metering in VSL is pre fader Owner s Manual Software Virtual StudioLive and Studio One Artist 4 Virtual StudioLive 4 1 Run at Startup Window Only Launches the Virtual StudioLive Application Automatically on Startup pepe arse v When is enabled VSL Mh automatically launch each time you boot your Windows On the Mac you can set this up first by dragging VSL to your dock then by right clicking it and selecting Options Open at Login Sample Rate Selector OS X Only Changes Sample Rate Sets the sample rate to 44 1 48 88 2 or 96 kHz Sample Rate A higher sample rate will increase the fidelity of the recording It will also increase the file size and the amount v of system resources necessary to process the audio Changing the sample rate will produce a momentary popping noise Because of this it is recommended that you turn the Main and Phones volumes down on your AudioBox prior to changing the sample rate On Windows systems the sample rate is set from inside your host audio application w ad 4 e Se ce NM BS So w O D 5 YUN RS e YN
41. input Connect the line output from the passive direct box to the other microphone input on your AudioBox Be sure to keep the trim level for this input very low so as not to clip the converters For recording place these signals on separate tracks During mixing you can blend the direct and amplifier signal to taste This technique can also be used in live applications E FEHI d F AL H Ak 4 ay LNW ma m 46 Owner s Manual Tutorials 5 Microphone Types 5 1 EN Drum Overheads XY example Place two small diaphragm condenser microphones on an XY stereo microphone holder bar Position the microphones so that each one is at a 45 degree angle 6 7 pointed down at the drum kit approximately 7 or 8 feet above the floor or drum riser Experiment with height This technique can be used in live applications NL as well 3 gt IL Point a dynamic microphone at the center of the snare making sure it is placed so that the drummer will not hit it Place a small diaphragm condenser microphone under the drum pointed at the snares Experiment with the placement of both microphones Also experiment with inverting the phase of the bottom microphone This technique can be used in F live applications 47
42. of its digital outputs If you want the AudioBox to receive sync from an external device open the Audio MIDI Setup Utility on your Mac Applications Utilities Audio MIDI Setup Once Audio MIDI Setup opens click on the Audio window If the Audio window doesn t open when Audio MIDI Setup first opens go to Window and select Show Audio window Help Show Audio Window Show MIDI Window 4 Software Virtual StudioLive and Studio One Artist PreSonus AudioBox 1818VSL 4 1 Virtual StudioLive ndow Hel o Select AudioBox 1818VSL from the audio device list on the left Using the Clock Source pull down menu B eek i a choose the digital input to which the external device is connected S PDIF or ADAT The AudioBox s sync wie Sorea EE D light will flash from blue to red When the AudioBox is Format mecum 8 in sync the light will be blue a Power User When slaved to an external clock the 98590 AudioBox will not automatically change its sample rate gt to match the external clock As a result it may fail to sync z sll oan 5 to the clock source If your AudioBox is not syncing to an 5 ir external source make sure that both your master device the AudioBox are set to the same sample rate 412 Virtual StudioLive Browser When you
43. of this range and deemphasize the upper portion Boosting the range from 250 Hz to 500 Hz will accent ambience in the studio and will add clarity to bass and lower frequency instruments The range between 500 Hz and 2 kHz can make midrange instruments guitar snare saxophone etc honky and too much boost between 1 kHz and 2 kHz can make your mix sound thin or tinny 5 5 Tutorials PreSonus AudioBox 1818VSL 5 3 Equalizers UN High Mids 2 kHz to 4 kHz The attack portion of percussive and rhythm instruments occurs in this range High mids are also responsible for the projection of midrange instruments E S Presence 4 kHz to 6 kHz This frequency range is partly responsible for the clarity of a mix and provides a measure of control over the perception of distance If you boost this frequency range the mix will be perceived as closer to the listener Attenuating around 5 kHz will P make the mix sound further away but also more transparent Brilliance 6 kHz to 16 kHz While this range controls the brilliance and clarity of your mix boosting it too much can cause y some clipping so keep an eye on your main meter S 5 3 2 Equalization Settings How to Find the Best and Leave the Rest How do you find the best and worst each instrument has to offer and adjust their frequency content accordingly Here s a quick guide e First solo just
44. resonates somewhere between 60 to 125 Hz but the attack of the kick drum is much higher at 2 to 5 kHz By setting a narrow bandwidth and boosting the attack a bit you can Owner s Manual Shelving EQ Graphic EQ Tutorials 5 Equalizers 5 3 achieve punchier kick drum without overpowering the rest of the mix A broad bandwidth accentuates or attenuates a larger band of frequencies The broad and narrow bandwidths high and low Q are usually used in conjunction with one another to achieve the desired effect Let s look at our kick drum again We have a kick drum that has a great big low end sound centered around 100 Hz and an attack hitting almost dead on at 4 kHz In this example you would use a broad bandwidth in the low frequency band centered at 100 Hz and a narrow bandwidth boosted at 4 kHz In this way you are accentuating the best and downplaying everything else this particular kick drum has to offer A shelving EQ attenuates or boost frequencies above or below a specified cutoff point Shelving equalizers come in two different varieties high pass and low pass Low pass shelving filters pass all frequencies below the specified cutoff frequency while attenuating all the frequencies above it A high pass filter does the opposite passing all frequencies above the specified cut off frequency while attenuating everything below A graphic is a multiband equalizer that uses sliders to adjust the amplitude for each frequen
45. the trim controls The red clip indicator LED will illuminate when the channel s input signal reaches 0 dBFS At this level your mic preamp line trim signal will exhibit signs of clipping distortion Power User Tip Never run your input levels higher than the channel inputs can handle If you overdrive the analog to digital converters it will cause digital distortion digital clipping which sounds terrible The XMAX preamps in your AudioBox 1818 VSL provide plenty of headroom take advantage of it Phones The Phones knob controls the volume of the headphone output on the front of the unit The headphone amplifier is quite powerful and the volume goes to 11 so use the maximum setting with extreme caution S Main The Main knob controls the output level for the Main Outputs on the back of the AudioBox 1818VSL with a range of 80 dB to 0 dB A TAN USB Sync LED This LED will illuminate blue when the AudioBox 1818VSL is properly powered and synced to a USB 2 0 connection It will flash blue and 32 red when the unit is properly powered but no USB connection is detected Va inch Phones Jack This is where you connect headphones to your AudioBox 1818VSL Main Output Meters These meters display the signal level going to the Main and Line 1 2 Outputs on the back panel of the AudioBox 1818VSL The level set by the Main Output knob on the front panel has no effect on the metered level Power User Tip
46. to all eight Line Outputs on your e AudioBox 1818VSL Outputs 1 and 2 share a mix with the Main Outputs so the mix you create PS for your Main Outputs will be heard through both pairs of outputs Outputs 7 and 8 share a mix with the headphone output so creating a mix for Outputs 7 and 8 will send an identical mix stream to the headphone outputs on the front panel of the AudioBox 1818VSL P 4 1 4 VSL Controls Definitions and Uses VSL is a powerful application that allows you to create monitor mixes using all of the processing features of a StudioLive 16 0 2 digital mixer These monitor mixes are not recorded in your host application It is vital to remember that lowering the channel fader in VSL will not lower the signal in your host application so it is possible to clip the recording without clipping the monitor mix You must set the level for the recording using the trim knobs on the face of the AudioBox 1818VSL A quick note on playback streams The channels labeled DAW in VSL carry a playback stream from your host application DAW Traditionally if you wanted to route a track in your DAW to a physical output on your interface you assigned this output in your host application Because the Virtual StudioLive application provides much more flexible routing you can now route this same track to one output or every output by itself or as part of a mix 22 Owner s Manual VSL On Off 168168VSL_L E Select Button SELBUT
47. to start recording in Studio One Artist The rest of this Quick Start Guide will go over how to set up a Song and will discuss some general workflow tips for navigating through the Studio One Artist enviroment 4 24 Creating a New Song D os 2 EE 38 2 2 2 2 FireStudio Mobile multitrac FireStudio Project Now that you ve configured your MIDI devices let s create a new Song We ll start by setting up your default audio 1 New Song Song Title My First Song lUsers weslev Documents StudioO onas Audiobox US T Recording setup for Audiob FireBox Sample Rate FireBox Multitrack Record FireStudio Lightpipe Ses Recording session for Fires FireStudio Mobile Resolution Timebase Song Length 0151 01 01 000 Stretch Audio Loops to Song Tempo 1 From the Start page select Create a new Song In the browser window name your Song and choose the directory in which you d like it saved You ll notice a list of templates on the left The AudioBox 1818VSL template will create a Song with a track for each of the AudioBox inputs Every track is armed for recording and no further setup is required Select this template and click OK The rest of this section will guide you through creating a Song from an empty session Owner s Manual Software Virtual StudioLive and Studio One Artist 4 Studio One Artist 4 2 4 To begin
48. total unit Combo 4 TS female unbalanced 20 Hz 22 kHz 0 25 dB unity gain 0 00396 4 dBu 1 kHz unity gain 22 kHz BW A wtd 89 dB 4 dBu 1 kHz unity gain 22 kHz BW A wtd 30 dB to 50 dB 21 dBu 0 5 THD 1 0 Combo 4 TRS female balanced 20 Hz 22 kHz 0 25 dB unity gain 0 002 4 dBu 1 kHz unity gain 22 kHz BW A wtd 98 dB 4 dBu 1 kHz unity gain 22 kHz BW A wtd 20 dB to 20 dB 21 dBu lt 0 5 THD 10 67 IE LIESS c c g t c UW ei lt gt 3 ER e jed1UYda sm 6 Technical Information 6 1 Specifications HEADPHONE OUTPUT Connector Type Maximum Power Frequency Response THD N S N Ratio ANALOG OUTPUTS Connector Type Frequency Response THD N S N Ratio Output Level Output Impedance POWER External Power Adapter Connector Type DIGITAL ADC Dynamic Range DAC Dynamic Range Host Interface Bit Depth Sample Rates Maximum Latency ADAT Optical 1 0 S PDIF 1 0 Word Clock Output MIDI 1 0 68 PreSonus AudioBox 1818VSL Ya TRS female stereo 120 mW ch 600 load 20 Hz 20 kHz 0 5 dB max gain 0 01 1 kHz max gain 20 kHz BW A wtd 96 dB 1 kHz max gain 20 kHz BW A wtd Ya TRS female impedance balanced 20 Hz 22 kHz 0 25 dB 0 00396 1 kHz 22 kHz BW A wtd 109 dB 1 kHz 22 kHz BW A wtd 10 dBu lt 0
49. your presets and mix Scenes Controlling VSL is as easy as drag and drop Load Fat Channel presets and Scenes by simply dragging them onto the channel or mixer overview You can load Fat Channel presets as a complete channel strip or as individual gate compressor and EQ presets You can even drag presets out of the browser and exchange them with other AudioBox 22 44 1818VSL owners 4 1 1 Virtual StudioLive Setup Meter Decay Meter Decay ter Peak Hold ler Post Fader Meter Peak Hold Meter Peak Hold Meter Post Fader Meter Post Fader _ 16 The VSL Setup tab lets you set basic driver parameters such as buffer size and sample rate and enables you to adjust the user preferences in VSL To access the Setup options click on the Setup Tab button at the top of the VSL window Sets the Response Time for the Meters in the Device Window VSL gives you the option to set the response time for for the channel meters By default this is set to Normal Enable Slow Meter decay to more accurately meter the peaks and falls of the signal Enable Fast Metering to monitor your signal in real time Sets the Clip Indicator to Remain Illuminated When this option is enabled the clip indicator on any given channel meter in VSL will remain illuminated until manually cleared even if the signal is no longer clipping The meters will also display the last peak value until a new peak is established To clear the clip
50. 7 8 This done by using channel sends that enable you to set the levels for each channel that is routed to a specific output bus For any given channel you can create one mix for your Main and Line 1 and 2 outputs and create entirely separate mixes for Outputs 3 4 5 6 and 7 8 and the headphone outputs It is important to mention that each of these outputs are stereo linked so you will have one send level for each channel but a given channel s level will be the same at both outputs in the pair The top slider for each pair sets the level for each channel while the lower slider is the pan control for each channel STEP 3 Adding Fat Channel Dynamics COMP 30 The AudioBox 1818VSL provides a Fat Channel to process each input and DAW channel the two effects buses and the analog outputs in VSL Each Fat Channel consists of a Downward Expander a Compressor a 3 band semi parametric EQ and a Limiter For more information on how these dynamics processors effect audio please review Sections 5 2 and 5 3 The Overview tab in VSL provides Microviews of the Gate Compressor and Limiter To make changes to one of these processors double click on its Microview This will open the Fat Channel tab and focus on the chosen dynamics processor Owner s Manual Software Virtual StudioLive and Studio One Artist 4 Virtual StudioLive From the Fat Channel tab you will see a zoomed in view of all the Fat Channel controls ooo
51. AudioBox 1818VSL Owner s Manual og 6 6 qe 9797 a i A a dm a 2 J 6 e A PreSonus www presonus com sti if aati us CA E Important Safety Instructions The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance servicing instructions in this manual The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to humans CAUTION REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE THE COVER NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL CAUTION To reduce the risk of electric shock do not expose this appliance to rain and moisture The apparatus shall not be exposed to dripping or splashing liquids and no object filled with liquids such as vases shall be placed on the apparatus CAUTION These service instructions are for use by qualified service personnel only To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions Repairs must be performed by qualified service personnel 1 Readthese instructions 2 Keepthese instructions 3 Heed all warnings 4 Follow all instructions 5 Dono
52. AudioBox Will Not Connect to Computer Verify that the USB cable is properly connected both to the AudioBox V and to your computer Disconnect unnecessary peripheral USB devices Verify that your AudioBox is connected to a USB 2 0 connection AudioBox VSL Will Not Launch AudioBox VSL will not launch if the AudioBox is not connected and synced to your computer Verify that the sync light on the front of your AudioBox is solid blue and your USB cable is connected both to your computer and to your AudioBox VSL Has No Effect On Audio Make sure that the VSL enable button is illuminated in AudioBox VSL Lem Ons lt gt v I Se No Effects the Outputs Verify that the FXA and FXB routing buttons on the desired bus are enabled These buttons patch each of the effects bus to that output No Audio in Headphones Verify that the Output 7 8 channels sends have been raised for each channels and that the fader for Output 7 8 in VSL is raised Distortion or Noise when using ADAT I O Verify that you have the correct ADAT mode set for the sample rate being used If you are clocking the AudioBox 1818VSL externally verify that the AudioBox is set to the same sample rate as your external clock 69 7 Troubleshooting and Warranty PreSonus AudioBox 1818VSL 7 2 PreSonus Limited Warranty PreSonus Limited Warranty PreSonus Audio Electronics Inc warrants this product t
53. E kHz E rc m 2 Rock Male Vocals LOW MID LOW MID LOW MID LOW MID nee T Hz EM EUN 53 FREO Hz GAIN 265 16 ON PEAK 15 HI MID HI MID HI MID HI MID 1 kHz Lower E KEIN s an SHELF 61 Percussion Snare LOW LOW LOW LOW 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 TR E Ma GAIN oN 6 ON SHF 42 Left Right Stereo Overheads LOW MID LOW MID LOW MID LOW MID ser ws 2 _ 385 HI MID HI MID HI MID HI MID HI HI HI HI ov 29 ON sHF 8 4 Kick Drum LOW LOW LOW LOW 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 ss TE oe ee an 0 ON ser 60 Fretted Instruments Electric Bass LOW MID LOW MID LOW MID LOW MID owore E 2 M FREQ GAIN SHELF 130 HI MID HI MID HI MID HI MID ON OFF LO HI a E mU T 20 SHELF Acoustic Guitar LOW MID LOW MID LOW MID LOW MID De pi med Hz EM Ow a FREQ GAIN 665 ON PEAK 155 HI MID HI MID HI MID HI MID
54. HK mx 112 3 4 5 6 1 iei Acc Mono Stereo Remove Make Default 4 25 Creating Audio Tracks Add Tracks Count 4 Preset No Preset Color Auto Color 40 PreSonus AudioBox 1818VSL 10 If you would like the same inputs to be available every time you launch Studio One Artist click the Make Default button 11 Click on the Outputs tab and you will see all of the available outputs on your AudioBox 1818VSL At this time you can add the number of output buses to which you would like to have access and can give them names 12 We recommend that you create stereo outputs for the Main outputs on your AudioBox 1818VSL and for Outputs 3 4 5 6 7 8 In the lower right corner you will see the Audition select menu This allows you to choose the output from which you will audition audio files prior to importing them into Studio One Artist In general you will want this to be the main output bus 13 If you would like this output configuration available every time you launch Studio One Artist click the Make Default button 14 Now that you ve configured your MIDI and audio and created a new Song let s go through some of the basics of Studio One Artist so you can start recording In the upper left corner of the Arrange window you will notice several buttons The middle button is the Add Tracks button Click this button to bring up the Add
55. MIDI files can be quickly located auditioned and imported into your Song by dragging them from the file browser into the Arrange view If you drag the file to an empty space a new track will be created with that file placed at the position to which you dragged it If you drag the file to an existing track the file will be placed as a new part on the track 43 w m ed gt me 5 WY 5 E p m pus de gt N and Studio One Artist 5 Tutorials PreSonus AudioBox 1818VSL 5 1 Microphone Types 5 0 Tutorials 5 1 The AudioBox 1818VSL works with most types of microphones including dynamic ribbon and condenser microphones MEE 5 1 1 Condenser Condenser microphones generally capture sound with excellent fidelity and are among the most popular microphone choices for studio recording and increasingly Jl 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 Phantom power is sent over the same mic cable that carries the audio signal the term derives from the fact that there is no visible power cord and the voltage is not perceptible in the audio path The AudioBox 1818VSL sends 48 VDC phantom power from the XLR inputs only 5 1
56. an be mono or stereo Most often an individual live monitor mix is mono and is sent to a floor wedge or sidefill monitor The obvious exception is in ear monitor systems A studio monitor mix is usually stereo and is sent to a headphone amplifier so it requires both a left and a right channel input In both cases the function of the aux bus is the same As an example let s create a mono monitor mix on Aux 1 To begin click on the Overview tab in VSL Below the Fat Channel Microviews you will see the send level for this aux bus from each of the 16 channels Keep in mind that the aux mix is completely independent of the Main output The sliders on each channel control the channel send level to Aux 1 Use these sliders the same way that you use the faders to set the output level to your main mix Ask your musicians what they would like in their monitor mix and use their requests as a starting point 5 4 2 Effects Processing VSL features two internal effects buses These are used much in the same way the aux buses are used to create monitor mixes as described in the previous section There are several advantages to using an aux bus for an effects processor By using an aux bus to create an effects mix several channels can be sent to a single processor This allows you to use exactly the same reverb on every drum in a kit or for the entire band A reverb is designed to emulate the psycho acoustic properties of a space and by using the same
57. and brown 3 Donotremove from pot Add diced onions celery and bell peppers 1 can Rotel Original diced tomatoes w chilies 3 oz concentrate chicken stock teaspoon of Cajun seasoning 1 teaspoon of Tabasco hot sauce or more maybe lots more Cook until onions are translucent Add chicken and cook until it turns white Add diced green onions 1 tsp salt V gallon water and bring to a boil Cook covered on low for 10 minutes stirring only once 4 5 6 7 Addrice and bring to a boil Cook on high for 8 minutes covered stirring every 2 minutes 8 9 Turn off and let sit for 30 minutes 1 0 Serve enjoy Serves 20 2011 PreSonus Audio Electronics Inc All Rights Reserved PreSonus StudioLive QMix and AudioBox are trademarks of PreSonus Audio Electronics Inc Studio One and Capture are trademarks of PreSonus Software Ltd Macintosh is a trademark of Apple Inc in the U S and other countries Windows is a registered trademark of Microsoft Inc in the U S and other countries Other product names mentioned herein may be trademarks of their respective companies All specifications subject to change without notice except the jambalaya recipe which is a classic 73 AudioBox 1818VSL Owner s Manual EMC Statement NOTE This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to part 15 of the FCC Rules These limits are designed to provide re
58. asonable protection against harmful interference in a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures e Reorient or relocate the receiving antenna e Increase the separation between the equipment and the receiver e Connect the equipment into an outlet on a circuit different from that to which the receiver is connected e Consult the dealer or an experienced radio TV technician for help CAUTION Changes or modifications to this device not expressly approved by PreSonus Audio Electronics could void the user s authority to operate the equipment under FCC rules This apparatus does not exceed the Class A Class B whichever is applicable limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications ATTENTION Le pr sent appareil num rique n met pas de bruits radio lectriques d passant las limites applicables aux appareils num riques de class A de
59. ations For example A kick drum can get lost in a wall of electric guitars No matter how much the level is increased the kick drum stays lost in the mud A touch of compression can tighten up that kick drum sound allowing it to punch through without having to crank the level way up 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 A compressor limiter automatically controls gain without altering the subtleties of the performance A solo guitar can seem to be masked by the rhythm guitars Compression can make your lead soar above the track without shoving the fader through the roof Bass guitar can be difficult to record A consistent level with good attack can be achieved with proper compression Your bass doesn t have to be washed out in the low end of the mix Let the compressor limiter give your bass the punch it needs to drive the bottom of the mix Compressors Terminology Threshold The compressor threshold sets the level at which compression begins When the signal is above the threshold setting it becomes eligible for compression Basically as you turn the threshold knob counterclockwise more of the input signal becomes compressed assuming you have a ratio setting greater than
60. cOSX 10 6 2 Snow Leopard or higher including Mac OS X 10 7 e Hardware e Minimum Intel Core 1 Solo 1 5 GHz processor 1 GB RAM e Recommended Intel Core Duo or Intel Xeon processor 2 GB or more RAM Windows e Operating Systems e Windows Vista 32 bit and 64 bit e Windows 7 32 bit and 64 bit e Hardware e Minimum Intel Pentium 4 1 6 GHz processor or AMD Athlon 64 3000 Turion 1 GB RAM e Recommended Intel Pentium 4 2 8 GHz EM64T or better or AMD Athlon 64 XP 3000 or better 2 GB or more RAM NOTE The speed of your processor amount of RAM and capacity size and speed of your hard drives will greatly affect the overall performance of your recording system A faster processor and more RAM can reduce signal latency delay and improve overall performance Subject to change Check www presonus com for updates a lt B Tos Vo c e 2 190 3 Connecting to a Computer PreSonus AudioBox 1818VSL 3 2 Installation for Windows n 3 2 Installation for Windows After you insert the Installation CD into your CD ROM drive the AudioBox 1818VSL J installer will take you through each step of the installation process Please read each message carefully to ensure the AudioBox 1818VSL driver is properly installed It is especially important that you not connect your AudioBox 1818VSL too soon We made the AudioBox 1818VSL installer as simple and easy to follow as possible Bef
61. cleaning up the overall mix 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 5 2 2 Types of Dynamic Processing Compression Limiting Punch apparent loudness presence these are just three of the many terms used to describe the effects of compression limiting Compression and limiting are forms of dynamic range gain control Audio signals have very wide peak to average signal level ratios sometimes referred to as dynamic range which is the difference between the loudest level and the softest level The peak signal can cause overload in the audio recording or sound reinforcement chain resulting in signal distortion A compressor limiter is a type of amplifier in which gain is dependent on the signal level passing through it You can set the maximum level a compressor limiter allows to pass through thereby causing automatic gain reduction above some predetermined signal level or threshold Compression refers basically to the ability to reduce by a fixed ratio the amount by which a signal s output level can increase relative to the input level It is useful for lowering the dynamic range of an instrument or vocal making it easier to record without distorting the recorder It also assists in the mixing process by reducing the amou
62. completed you will find the Universal Control program in your Applications folder It is recommended that you place this in your Dock Click Install When installation is completed your computer will restart Once it has rebooted connect your AudioBox 1818VSL to your Mac with a USB cable and power it on You are now ready to use your AudioBox 1818VSL 13 amp tos gt ROS m 2 D ph ao 3 Connecting to a Computer PreSonus AudioBox 1818VSL 3 4 Using the AudioBox 1818VSL with Popular Audio Applications 3 4 Using the AudioBox 1818VSL with Popular Audio Applications Apple Logic Pro Express 7 Steinberg Cubase 4 14 Complete setup instructions for Studio One Artist and a brief tutorial on its features can be found in Section 4 2 of this manual However you can use your AudioBox 1818VSL with any audio recording application that supports Core Audio or ASIO Please consult the documentation that came with your audio application for specific instructions on how to select the AudioBox 1818VSL driver as the audio device driver for your software Below are basic driver setup instructions for four popular audio applications Launch Logic Pro Express Go to Logic Preferences Audio Click on the Devices Tab On the Core Audio tab check Enabled Select PreSonus Audi
63. cy band It gets its name from the positions of the sliders which graphically display the resulting frequency response curve The center frequency and bandwidth are fixed the level amplitude for each band is the only adjustable parameter Graphic EOs are generally used to fine tune the overall mix for a particular room For instance if you are mixing in a dead room you may want to boost high frequencies roll off some of the lows If you are mixing in a live room you might need to lower the high midrange and highest frequencies In general you should not make drastic amplitude adjustments to any particular frequency bands Instead make smaller incremental adjustments over a wider spectrum to round out your final mix To assist you with these adjustments here is an overview of which frequencies affect different sound characteristics Sub Bass 16 Hz to 60 Hz The lowest of these bass frequencies are felt rather than heard as with freeway rumbling or an earthquake These frequencies give your mix a sense of power even when they only occur occasionally However overemphasizing frequencies in this range will result in a muddy mix Bass 60 Hz to 250 Hz 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 Low Mids 250 Hz to 2 kHz In general you will want to emphasize the lower portion
64. d whereas signals below the threshold setting are reduced in level by the amount set by the range control If the threshold is set fully counterclockwise the gate is turned off always open allowing all signals to pass through unaffected Attack The gate attack time sets the rate at which the gate opens A fast attack rate is crucial for percussive instruments whereas signals such as vocals and bass guitar require a slower attack Too fast of an attack can on these slow rising signals cause an artifact in the signal which is heard as a click All gates have the ability to click when opening but a properly set gate will never click 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 very 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 Release The gate release time determines the rate at which the gate closes Release times should typically be set so that the natural decay of the instrument or vocal being gated is not affected Shorter release times help to clean up the noise in a signal but may cause chattering in percussive instruments Longer release times usually eliminate chattering and should be set by listening carefully for the most natural release of the signal Range The gate range is the amount of gain reduction that the gate produces Therefore if t
65. d delay presets designed by PreSonus In addition to these presets you can build your own nearly limitless custom effects library The factory presets can be altered renamed and overwritten Add New Button Creates a New Scene or Preset Just below the Browser tabs you will see the Add New button Clicking this button will immediately create a new Scene or preset 20 Owner s Manual Software Virtual StudioLive and Studio One Artist 4 Virtual StudioLive 4 1 Remove Button Deletes a Stored Scene or Preset Right next to the Add New button you will find the Remove button Clicking this button will delete V the currently selected stored Scenes or presets N Show Hide Browser Displays Hides the Browser Window 3 The Browser hidden from view provide more real estate for 4m Show Browser MP MA your mix Simply click on the Hide Browser button to close the Browser To reopen the Browser click on the Show Browser button in the upper right corner of your VSL window 4 1 3 Virtual StudioLive Overview and Fat Channel Tab VSL provides you with two ways to look at your mix and to dial in FX settings The Overview and Fat Channel Tabs P een mj 5 vq BS 509 w O _ 5 UNM o lt gt C lt gt N The Overview Tab provides you with a complete graphical representati
66. dioLive allows you create a monitor mix with the same sound quality and flexibility you d get from a StudioLive 16 0 2 digital mixer By adding reverb delay and Fat Channel dynamics processing and EQ to your monitor mix you can enhance the quality of the performer s recording experience and by extension the quality of their performance A monitor mix is a dedicated mix that is usually routed to a performer s headphones This mix is separate from the mix that is recorded It allows you the engineer to leave your recording mix intact while providing the artist with the mix that they need to achieve their best performance saving hours of retakes and frustration Creating a Mix for the Main and Headphone Outputs Using VSL to create a mix for your Main and Headphone outputs is like using a mixer Raise the fader for each channel to raise its volume in the mix and use the pan control to adjust the source signal s position in the stereo field To adjust the overall mix level raise or lower the Main fader in VSL or use the Main knob on the front of your AudioBox 1818VSL Power User Tip Raising a channel s volume is not always the best way to make it louder in the mix By adjusting the pan position or adding some EQ you can raise the perceived loudness of the channel without touching the fader STEP 2 Creating a Mix for Outputs 3 4 5 6 and 7 8 The AudioBox 1818VSL also allows you to create a separate mix for Outputs 3 4 5 6 and
67. e Rate 44 1 kHz Bit Depth 32 7 Clickon the Song Setup button to open the song Setup Song Setup window then click on the Audio I O Setup icon 8 Click on the Inputs tab in the Audio I O Setup di e window and you will see all of the available inputs on your AudioBox 1818VSL At this time you can General Meta Information Audio Setup add the number and type of inputs you plan to use Inputs Outputs 9 Werecommend that you create a mono input for each of the inputs on your AudioBox 1818VSL PreSonus FireStudio 6 eY 0 If you plan on recording in stereo you should 1 EAE RE T also create a stereo bus and assign it to the 3 LILI appropriate set of inputs You can remove any bus by simply selecting it and clicking the Remove l PERTH button To customize the names of your buses Ep REIR Input L double click on the default name to open a text box When you have finished typing hit Enter Add Mono Mono Add Stereo Stereo Remove Make Default Default 39 9 St WN et gt I ca et 3AITOIPNIS 9JeM3JOG 4 Software Virtual StudioLive and Studio One Artist 4 2 Studio One Artist Make Default Song Setup AN inputs PreSonus FireStudio v M o VM 5 FX 4 4 e WoW ET ET
68. e that have an internal preamp or a line level output Active instruments should be plugged into a line input rather than into an instrument input Plugging a line level source into the instrument inputs on the front of the AudioBox 1818VSL not only risks damage to these inputs but also results in a very loud and often distorted audio signal Please note As with any audio input device plugging in a microphone or an instrument or turning phantom power on or off will create a momentary spike in the audio output of your AudioBox 1818VSL Because of this we highly recommend that you turn down the channel trim before changing connections or turning phantom power on or off This simple step will add years to life of your audio equipment 2 Hookup PreSonus AudioBox 1818VSL 2 1 Front Panel Connections Line level Inputs Channels 3 8 of the AudioBox 1818VSL have a 4 inch balanced TRS connection for line level input When these inputs are engaged the microphone preamp circuit is bypassed Typical examples of line level connections are synthesizer outputs CD DVD player outputs and with exceptions signal processor outputs Input Gain Trim Control These knobs provide the following gain structure XLR Microphone 5 inch Instrument inputs 80 dB of variable gain 15 30 dB to 465 50 dB e TRS inch Line Level inputs 40 dB of variable gain 20 dB to 20 dB Clip Indicator All channels feature clip LEDs next to
69. ed with 3 semi parametric J equalizer for every analog input and playback stream Here s a brief 5s 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 settings for your recordings and live mixes P 5 3 What is an EQ An equalizer is a filter that allows you to adjust the level of a frequency or range of frequencies of an audio signal In its simplest form an EQ will let you turn the treble and bass up or down allowing you to adjust the coloration of let s say your car stereo or iPod In recording equalization is a sophisticated art Good equalization is critical to a good mix When used correctly an equalizer can provide the impression of nearness or distance fatten or thin a sound and help blend or provide separation between similar sounds in a mix allowing them to both shine through the mix Parametric EQ P 56 The parametric and semi parametric are the most common equalizers found in recording and live situations because they offer continuous control over all parameters A parametric EQ offers continuous control over the audio signal s frequency content which is divided into several bands of frequencies most commonly three to seven bands A fully parametric EO like those in the StudioLive 24 4 2 offers control over the bandwidth basically the range
70. een exposed to rain or moisture does not operate normally or has been dropped All PreSonus products in the USA 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 USA should contact their local distributor Your distributor s contact information is available at www presonus com 15 The apparatus shall be connected to a Mains power outlet with a protective grounding earthing connection 16 Where the Mains plug or an appliance coupler is used as the disconnect device the disconnect device shall remain readily operable EU Directives on the Protection of the Environment and Other Euro Stuff RoHS This product is compliant with the EU Directive 2002 95 EG for the Restriction of the use of Certain Hazardous Substances in Electrical and Electronic Equipment No lead Pb cadmium Cd mercury hexavalent chromium Cr 6 PBB or PBDE is intentionally added to this device Any traces of impurities of these substances contained in the parts are below the RoHS specified threshold levels REACh This product is compliant with the European Union Directive EC1907 206 for the Registration Evaluation Authorization and Restriction of chemicals REACh and contains none or less than 0 1 of the chemicals listed as hazardous chemicals in the REACh regulation WEEE As with the disposal of
71. em the mix On each of the output buses you will see buttons labeled FXA and FXB These buttons route the output of the FX buses to the physical outputs on your interface By default both FX buses are routed to all outputs 31 4 Software Virtual StudioLive and Studio One Artist PreSonus AudioBox 1818VSL 4 2 Studio One Artist 4 2 Studio One Artist Quick Start Vo estruments Vo 2 e E Vel asas One Vel 2 asec Jak Orura ed 123 Fr 5 bou Deep Frets Accuste Gut 4 Np rets Season Rock Gui TT TTN TETI TET r3 mu EEG TETI ves EMI TETI CET mms m Imm ms mm Imm 7 Guty 1 a a 4 9 Gute LIE 12 13 13 13 11 131 131 13 13 1 5439 05 FIM wy 24 f p m 22 Open Open Open hs Open his Open Goan Open Open Open Open bir Wii d 4 d D I AR d F R a n dh n n n d d R d R T dh E Drums 9 Drens 0 Drums 0 D Dume Cume Cume Cume Sume Cume Cums Cume Dumre Om See DINE DENS BONE SONIR DENS DENE Bees OENE UNIR DERIS o LL Ch ee 6 9
72. evel drops 5 dB below the expansion threshold the expander will reduce it to 10 dB below the threshold 51 5 Tutorials PreSonus AudioBox 1818VSL 5 2 A Brief Tutorial on Dynamics Processing Expansion Terminology Noise Gates Gar ENS gt 941 52 Commonly used for noise reduction expansion is very effective as simple noise gate The major difference between expansion and noise gating is that expansion is dependent on the signal level after the level crosses the threshold whereas a noise gate works independent of a signal s level beyond the threshold Downward Expansion Downward expansion is the most common expansion used in live sound and recording This type of expansion reduces the level of a signal when the signal falls below a set threshold level This is most common used for noise reduction Ratio The expansion ratio sets the amount of reduction applied to a signal once the signal has dropped below the expansion threshold For example a 2 1 expansion ratio attenuates a signal 2 dB for every 1 dB it drops below the threshold Ratios of 4 1 and higher act much like a noise gate but without the ability to tailor the attack hold and release times Threshold The gate threshold sets the level at which the gate opens Essentially all signals above the threshold setting are passed through unaffecte
73. find the Mode menu 18ch 24bit Channels 1 8 44 1 48 kHz 14ch 24bit Channels 1 4 88 2 96 kHz Owner s Manual Software Virtual StudioLive and Studio One Artist 4 Virtual StudioLive 4 1 Output If you are recording at 88 2 kHz or 96 kHz you must set the ADAT Input Mode 14ch 24bit in addition to setting the correct sample rate Source Default 14ch 24bit y Format 96000 0 Hz 18ch 24bit ES Input j Output Input If you are outputting audio through the optical outputs on your AudioBox 22222 eani 1818VSL at 88 2 kHz or 96 kHz you must set the ADAT Output Mode to 14ch 24bit Format 96000 0 Hz 18ch 24bit 3 14ch 24bit x Power User Tip Failure to set the correct Mode for the sample rate being used will result in audio artifacts Setting mode is not necessary when using Analog or S PDIF I O at higher sample rates X Clock Source Select Changes the Clock Source for the AudioBox 1818VSL Windows Only ue The clock source setting determines the port from which the AudioBox Clock Source internal Clock o 1818VSL is receiving word clock information This keeps the AudioBox in S PDIF Clock sync with other digital devices You can choose between Internal S PDIF ADAT Clock or ADAT w e ce 4 BS 509 O m 5 So a lt gt NY In general y
74. he Mid EQ The center frequency is the middle of the passband the mean between the lower and upper cutoff frequencies that define the limits of the band You can adjust the center frequency from 380 Hz to 5 kHz 27 w S e Ss N 5 SCO m gt 5 e UNM Cao N 4 Software Virtual StudioLive and Studio One Artist PreSonus AudioBox 1818VSL 4 1 Virtual StudioLive EE Mid EQ Gain Control Sets the Gain Attenuation or Boost of the Center Frequency of the Mid Band This control sets the Gain cut or boost at the center frequency of the Mid band The level of the center frequency can be set between 15 and 15 dB Enables a Narrow Bandwidth for the Mid Band EQ on the Selected N Input or Bus Q is the ratio of the EQ band s center frequency to its bandwidth With a constant center frequency higher Q values indicate a narrower bandwidth so is often equated with bandwidth By default the Q is set to a value of 0 55 When the Hi O button is engaged the setting will be increased to 2 0 thus narrowing the bandwidth to provide more precise control High EQ On Off Button Activates Control for the High EQ for the Selected Input or Bus 9 cos WN et gt h a gt gt et 1 et This button activates control of the High EQ band for the selected channel or bus The button w
75. he range is set at O dB there will be no change in the signal as it crosses the threshold If the range is set to 60 dB the signal will be gated reduced by 60 dB etc Key Listen The key listen allows the user to listen to the signal that is being filtered by the gate Frequency Key Filter Some gates offer a variable frequency control allowing the user to set a specific frequency band that the will cause the gate to open or close Owner s Manual Tutorials 5 A Brief Tutorial on Dynamics Processing 5 2 Noise Gating Noise gating is the process of removing unwanted sounds from a signal by attenuating all signals below a set threshold As described the gate works independently of the audio signal after being triggered by the signal crossing the gate threshold The gate will remain open as long as the signal is above the threshold How fast the gate opens to let the good signal through is determined by the attack time How long the gate stays open after the signal has gone below the threshold is determined by the hold time How fast the gate closes is determined by the release How much the gate attenuates the unwanted signal while closed is determined by the range Noise gates were originally designed to help eliminate extraneous noise and unwanted artifacts from a recording such as hiss rumble or transients from other instruments in the room Since hiss and noise are not as loud as the instrument being recorded a properly set
76. ill illuminate to indicate control is active IAITOIPNIS JENA 05 The High EQ band is available for all input and output buses Sets the Center Frequency of the High EQ The center frequency is the middle of the passband the mean between b the lower and upper cutoff frequencies that define the limits of the band You can adjust the center frequency from 1 4 to 18 kHz A N High EQ Gain Control Sets the Gain Attenuation or Boost at the Center Frequency of the High EQ Band This control sets the gain cut or boost at the center frequency of the High EQ band The level of the center frequency can be set between 15 and 15 Turns the High Shelving for the Selected Input or Bus When the Shelf button is not engaged the High EQ band is semi parametric Enabling the Shelf button turns the High band into a high shelving EQ that alters by a fixed amount a band of high frequencies at and above a user selected shelving frequency A high shelving EQ is like a treble control knob on a consumer audio device In this mode the Center Frequency control selects the shelving frequency 28 Owner s Manual Software Virtual StudioLive and Studio One Artist 4 Virtual StudioLive 4 1 4 1 5 Loading Scenes and Presets from VSL To load a Scene or preset from the VSL Browser window you simply select it and drag it over the mixer or channel on which you wish to load it Scenes and presets ca
77. instrument browser Select the instrument or one 4 Native Instruments ase of its patches from the instrument browser and drag it into the Arrange view Studio One Artist will jito automatically create a new track and load the instrument as the input b Lj Drum Kits gt J Effects gt J Guitar J Keyboards p Lj Percussion gt 1 Rob Lee Signature Set 4 a Strings 4 Fiddle Flanged Tamburas 98 FM Strings 4 Legato 4 Lush Strings Insert Instrument on new Instrument Track Matrix Presence Medium Orchestra Medium Orchestra 4 Pizzicato Strings 44 Section Strings 98 Solo Strings 44 Spiccato Strings 44 Tremolo Strings 42 Owner s Manual Drag and Drop Effects Sort by Flat Folder Vendor Category gt FX Chains gt J Native Instruments 4 13 PreSonus gt g Ampire gt J Analog Delay 4 J Autofitter 2 default 0 Bassline 1 Bassline 2 Bassline 3 Bassline 4 Bassline 5 gg Bassline 6 Bassline 7 Birds in Trees gg Bubbles in the Water gd Chained Melody Chow Chow Coffee Filter 0 Computer gd Dancer is a Rhythm 1 Dancer is a Rhythm 2 Ether Waves Filter Pad gg Filtricant Groinky Groovariation gg Out of Rhythm 0 Pad Hacking 1 Pad Hacking 2 Birds Trees Plug In Autofilter Modified 28 1 2010 16 26 04 Created by Ari Add FX on Track Track 3 Autofilter Bi
78. is window 33 4 Software Virtual StudioLive and Studio One Artist 4 2 Studio One Artist Installing Bundled Content for Studio One Artist Studio One Installation Install from fyolumes Studio One DVD 1 PreSonus AudioBox 1818VSL Studio One Artist comes bundled with an array of demo and tutorial material instruments loops samples and es St WN a SL a gt gt et ca et 1 JENA SJeM3JOS Install to Users wesley Documents Studio One Please select the packets you want to install Ld Studio One Demos and Tutorials 800 00 MB Studio One 1 5 DVD 1 p Studio One Instruments Vol 1 150 00 MB Studio One 1 5 DVD 1 Studio One Loops Vol 1 1 60 GB Studio One 1 5 DVD 1 Ueberschall Impact Drums 70 00 MB Studio One 1 5 DVD 1 Studio One Piano 400 00 MB Studio One 1 5 DVD 1 Synth Session 2 00 GB Studio One 1 5 DVD 1 p Studio One Expansion 40 00 MB Studio One 1 5 DVD 1 Toontrack EZdrummer Lite 180 00 MB Studio One 1 5 DVD 1 ez Toontrack EZdrummer Cocktail Kit 200 00 MB Studio One 1 5 DVD 1 Native Instruments Guitar Rig LE 300 00 MB Studio One 1 5 DVD 1 Native Instruments Kore Player 600 00 Studio 1 5 DVD 1 Space required 5 12 GB Space available 163 30 GB x other third party content The Studio One Artist bu
79. lable in the Reference Manual PDF located on the Studio One Artist installation disc The information in this tutorial covers only the basic aspects of Studio One Artist and is intended to get you set up and recording as quickly as possible Start Page Setup Area ee PreSonus FireStudio 44 1 kHz Check for Updates About Studio One Shows Active Audio Driver and Sample Rate and Provides Quick Links to Configure Audio and MIDI In the middle of the Start page you will see the Setup area Studio One Artist automatically scans your system for all available drivers and selects a driver By default it will choose a PreSonus driver if one is available Selecting a Different Audio Driver from the Start Page If you do not see PreSonus AudioBox on the Start page when you launch Studio One click on the Configure Audio Devices link in the Setup area to open the Audio Setup Options window n In the Audio Device menu select PreSonus AudioBox Click the Apply button and then OK After you have verified that the PreSonus AudioBox driver has been detected please continue to the next section to set up your external MIDI devices If you do not have any MIDI devices to connect at this time please skip to Section 4 3 4 423 Configuring MIDI Devices From the External Devices window in Studio One Artist you can configure your MIDI keyboard controller sound modules and control surfaces This
80. layer and Native Instruments Kore Sounds Vol 1 Toontrack EZdrummer Lite Copy 180 00 MB Studio One 1 5 DVD 1 EZLP DU3K EMV3 DYAB JSE7 Toontrack EZdrummer Cocktail Kit 200 00 MB Studio One 1 5 DVD 1 Native Instruments Guitar Rig LE Copy 300 00 Studio One 1 5 DVD 1 17645 05071 04741 51798 80934 Native Instruments Kore Player 600 00 MB Studio One 1 5 DVD 1 Native Instruments Kore Sounds Vol 1 1 10 GB Studio One 1 5 DVD 2 34 Notice that serial numbers are listed next to Toontrack EZdrummer Lite and Native Instruments Guitar Rig LE You will need these numbers to authorize these plug ins the first time you open them When you have finished installing content click the Done button Owner s Manual Software Virtual StudioLive and Studio One Artist 4 Studio One Artist 4 2 4 22 Enabling the Audio Driver Studio One Artist was designed with PreSonus interfaces in mind so AudioBox 1818VSL setup is quick and easy When Studio One Artist is launched by default you will be taken to the Start page On this page you will ind document management and device configuration controls as well as a customizable artist profile a news feed and links to demos and tutorials from 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 Complete information on all aspects of Studio One Artist is avai
81. ll be set up as an Instrument 1 Youcan set up your external MIDI devices from the amp Setup area in the Start page Before setting up a new Song for recording take a moment to Audio Setup External Devices Advanced configure external devices Ck Tc 2 Connectthe MIDI Out of your external MIDI controller to a MIDI In on your AudioBox 1818VSL or other MIDI interface If you are using a USB MIDI controller connect it to your computer and power it on 151 eu pue 3Ar 0Ipnjg JENA 9JeM3JOG 3 Click on the Configure External Devices link in the Setup area on the Start page to launch the External Devices window Notify me if devices are unavailable when Studio One starts 4 Clickthe Add button TheAdd Device window will launch New Keyboard Device Model gt N Inst nt 6 From the menu on the left select New 4 ae Device Name My Controller Keyboard Keyboard At this point you can customize Behringer Seek wan Ket conte the name of your keyboard by entering gt CME unknown gear This device model 21 Doepfer Iac Lawn Consi Ine the manufacturer and device names gt Lj E MU gt J Edirol 4 a 7 Youmust specify which MIDI channels will be used 1 Keyfax to communicate with this keyboard For most gt KORG MIDI All gt Cj M Audio nnanananammnmpemm purposes you sh
82. minate to indicate that the gate has been enabled The gate is available for all input and output buses Sets the Threshold of the Gate for the Selected Channel or Bus The Gate Threshold determines the level at which the gate will open Essentially all signals above the threshold setting are passed unaffected You can set the threshold from 0 to 84 dB The gate can be controlled either via the Threshold knob or from the Gate Graph Turns the Compressor On and Off for the Selected Channel or Bus This button engages or disengages the compressor for the selected channel or output bus It will illuminate to indicate that the compressor has been enabled The compressor is available for all input and output buses 25 4 3 e Ss N 5 SCO m gt 5 e UNM Cao N es S WN a gt L a gt gt et 1 et 1 JENA SJeM3JOS 4 Software Virtual StudioLive and Studio One Artist PreSonus AudioBox 1818VSL 41 Virtual StudioLive Auto Mode Button Auto Compressor Threshold pm THRESH 5 1298 Compressor Ratio Compressor Release RELEASE 4 ms Compressor Makeup Gain 26 Enables Automatic Response Mode When Auto mode is active the Attack and Release controls become inoperative and a preprogrammed at
83. n be dragged from either the On Disk or the Device Memory section of the Browser and dropped onto the Overview or the Fat Channel tab Loading a Scene To load a new Scene select it from the Browser window and drag it over the VSL mixer in either the Overview or the Fat Channel tab The window will gray out indicating that a new Scene is about to be loaded Loading an Entire Fat Channel Preset w m eo 7S um lt lt N BOS sO 5 gt UNM M dem Co Ga lt gt NY To load every component in a Fat Channel preset Gate Compressor EQ select it from the Browser window and drag it over any part of the desired channel If you drag it over any of the component Microviews it will load only that component for example if you drag a preset over the Gate Microview only the Gate will be loaded To load an FX preset select it from the Browser window and drag it over any part of the desired FX bus in the Master section of the Overview tab Once the preset is loaded you can use the FX Type menu to change the effect and create new presets 29 WN e Coh ei 25 oc Og 5 gt n 9 4 Software Virtual StudioLive and Studio One Artist PreSonus AudioBox 1818VSL 4 1 Virtual StudioLive 4 1 6 Using VSL to Create a Monitor Mix Virtual Stu
84. ndle includes all that you need to begin producing music Upon completing the Studio One Artist installation and activation process the Studio One Content Installer will appear If it does not appear navigate to Help Studio One Installation e At the top of the installation menu select the source from which the content will be installed as well as the location where you wish to install the content The source of the content will be the same DVD from which you installed Studio One Artist By default Studio One Artist will point to your DVD drive as the content source Listed in the installation menu are separate entries for each available item Click the E checkbox next to each item you wish to install then Click on the Install Packets button at the bottom left of the menu to install the selected content Copy EZLP 4W2D MTGU REJU E3NX When finished installing content click on the Done button to exit the menu Studio One Artist content can be installed at any time by accessing the Help Studio One Installation menu If you choose not to install any portion of the content you can install it at a later time Installing Third Party Content J To Install any of the third party content click on the arrow button next to its name in the content list Toontrack EZdrummer Lite Toontrack EZdrummer Cocktail Kit Native Instruments Guitar Rig LE Native Instruments Kore P
85. new Song select Empty Song from the Templates list At this point you should give your Song Title ME Song a name and select your preferred sample rate 7 and bit depth You can also determine the length of FireBox M RUE your Song and the type of time format you would Mp like to use Notation Bars Seconds Samples or udio pipe 5 Recording session for uu Frames Click the OK button when you are finished ty rnc ee Song Length 0151 01 01 000 d FireStudio Mobile multitrac ROGER 5 Ifyou plan on importing loops into your RIT v Song you may want to select Stretch Audio Loops to Song Tempo so that any loop of a known BPM like those in the included content library will import at the correct tempo 6 When the Song window launches launch the Audio Setup window by going to Studio One Options Windows or Studio One Preferences Mac and click on the Audio Setup button Audio Setup External Devices Advanced E A lt L w gt WY TO cS Control Panel w m ed gt me 5 WY 5 p m pus gt N Device Block Size 512 samples v Process Precision Single 32 Bit II Enable Multi Processing Use CPU Cores v Input Latency 27 30 ms 1204 samples Output Latency 15 69 ms 692 samples Js Sampl
86. nt of level changes needed for a particular instrument Take for example a vocalist who moves around in front of the microphone while performing making the output level vary up and down unnaturally A compressor can be applied to the signal to help correct this recording problem by reducing the louder passages enough to be compatible with the overall performance 49 5 5 2 Gar ENS gt 941 50 PreSonus AudioBox 1818VSL A Brief Tutorial on Dynamics Processing How severely the compressor reduces the signal is determined by the compression ratio and compression threshold A ratio of 2 1 or less is considered mild compression reducing the output by a factor of two for signals that exceed the compression threshold Ratios above 10 1 are considered hard limiting As the compression threshold is lowered more of the input signal is compressed assuming a nominal input signal level Care must be taken not to overcompress a signal as too much compression destroys the acoustic dynamic response of a performance That said overcompression is used by some engineers as an effect with killer results Limiting refers to the processing that prevents the signal from getting any louder that is it prevents any increase in the signal s amplitude at the output Compressor limiters are commonly used for many audio applic
87. o be free of defects in J materials and workmanship for a period of one year from the date of original retail S purchase This warranty is enforceable only by the original retail purchaser To be protected by this warranty the purchaser must complete and return the enclosed warranty card within 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 To obtain warranty service the purchaser must first call or write PreSonus at the address and telephone number printed below to obtain a Return Authorization Number and instructions of where to return the unit for service 2i All inquiries must be accompanied by a description of the problem All authorized returns must be sent to the PreSonus repair facility postage prepaid insured and properly packaged PreSonus reserves the right to update any unit returned for repair PreSonus reserves the right to change or improve the design of the product at any time without prior notice This warranty does not cover claims for damage due to abuse neglect alteration or attempted repair by unauthorized personnel and is limited to failures arising during normal use that are due to defects in material or workmanship in the product Any implied warranties including implied warranties of merchantability and fitness for a partic
88. oBox 1818VSL from the device menu You will be asked if you d like to relaunch Logic Click try re launch Your AudioBox 1818VSL features custom I O labels for faster workflow To enable these labels for use in Logic go to Options Audio I O Labels The second column in the pop up window will be named Provided by Driver Activate each of these labels for your AudioBox 1818VSL When you are done close this window You are now ready to use your AudioBox 1818VSL Launch Cubase Go to Devices Device Setup Select VST Audio System from the Devices column in the Device Setup Select PreSonus AudioBox 1818VSL from the ASIO Driver dropdown list Click Switch to begin using the AudioBox 1818VSL driver Once you have successfully changed the driver go to Devices VST Connections to enable your input and output buses Owner s Manual Cakewalk Sonar 6 Ableton Live 5 10 Connecting to a Computer Using the AudioBox 1818VSL with Popular Audio Applications Launch Sonar Go to Options Audio and click on the Advanced tab Change the Driver Mode ASIO Using WDM rather than ASIO for pro audio applications is not recommended Click the OK button Restart Sonar Go to Options Audio and click on the Drivers tab Highlight all input and output drivers begin ning with PreSonus AudioBox 1818VSL Go to Options Audio and click on the General tab Set the Playback
89. of frequencies affected the center frequency of the band and the level boost cut of the designated frequency band It also offers separate control over the which is the ratio of the center frequency to the bandwidth A semi parametric EO provides control over most of these parameters but the Q is fixed Some devices such as the StudioLive 16 4 2 and 16 0 2 and the AudioBox 1818VSL have quasi parametric EQ which is semi parametric with a simple switchable setting typically High and Low Q Q is the ratio of center frequency to bandwidth and if the center frequency is fixed then bandwidth is inversely proportional to Q meaning that as you raise the Q you narrow the bandwidth In fully parametric EOs you have continuous bandwidth control and or continuous Q control which allows you to attenuate or boost a very narrow or wide range of frequencies A narrow bandwidth higher has obvious benefits for removing unpleasant tones Let s say the snare drum in your mix has an annoying ring to it With a very narrow bandwidth you can isolate this one frequency usually around 1 kHz and remove or reject it This type of narrow band reject filter is also known as a notch filter By notching out the offending frequency you can remove the problem without removing the instrument from the mix A narrow bandwidth is also useful in boosting pleasant tones of an instrument such as the attack Take for instance a kick drum A kick drum
90. on of your Virtual StudioLive mix environment The Fat Channel Tab opens a detailed overview of the Fat Channel parameters for the currently selected channel The Fat Channel Tab can be opened either from the tab button at the top of the VSL window or by simply double clicking on any of the microviews From either tab you can e Adjust levels for all analog and digital inputs all eight playback streams both effects buses the main output level of the entire mix and the output levels of each monitor mix e Adjust the panning for the analog and digital inputs and playback streams e Adjust the send level for both the analog and digital V inputs and playback streams to each FX bus e Adjust the send level for each channel to outputs 3 and 4 5 and 6 and 7 and 8 e Adjust the parameters for the FX preset on each FX bus Solo and mute each analog input and playback stream e Meter the inputs and outputs From either the Overview or the Fat Channel tab you can access the show hide channel buttons to help keep your mix organized You can hide the following channel groups from your mix ADAT DAW Returns and Outputs 21 4 Software Virtual StudioLive and Studio One Artist PreSonus 1818VSL 4 1 Virtual StudioLive EE Show Hide ADAT Inputs Button Displays Removes ADAT Input Channels from the Mix When this button is enabled the ADAT input channels will Adat be di
91. ore beginning the installation setup please close all applications including antivirus software Do not connect your AudioBox 1818VSL to your computer until prompted to do so by the installer After the installation is successfully completed don t forget to reenable your antivirus protection 3 5 ZV Windows Vista Users If you see any Windows Security alerts click Install this driver software anyway 52 Windows can t verify the publisher of this driver software Follow the onscreen instructions to complete You should check your manufacturer s website for updated driver software i i fov dnm it will prompt you to reboot your computer Install this driver software anyway Click Finish to automatically restart your PC Only install driver software obtained from your manufacturer s website or disc Unsigned software from other sources may harm your computer or steal Once your com puter has rebooted the Fou nd inf ion EOE New Hardware wizard will launch Follow the 7 recommended steps Your AudioBox 1818VSL is UN now synced to your computer and ready to use 2 E 7 p 12 Owner s Manual 3 3 Installation for Mac OS X M3 AaupioBox O Introduction Destination Select nstallation Type nstallation Summary M3 AaupioBox O Introduction Destination Select O Installation Type nstallation Summary M3 AaupioBox O Introduction
92. ou ve done So be honest with yourself Sometimes that EQ setting you ve been working on for 15 minutes is not the right choice so move on e Never be afraid of taking a risk The best EO tricks were found by mad scientists of sound With every instrument there are frequencies that can be attenuated or boosted to add clarity or fullness Altering 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 These are just suggestions the frequencies may need to be adjusted up or down depending on the instrument room and microphone 58 Table 1 Instrument What to Cut Why to Cut What to Boost Why to Boost stand above tty _ Re LLL LL LLL eee o domomen LLL 2 2 entier ens rene LLL eene M Me de 120 Hz and below Muddy 400 600 Hz Lush and full 59 12110 5 Tutorials 5 3 Equalizers Table 2 adds harder bass to low frequency ASstruments adds fullness to guitar amp snare adds clarity to bass lines adds warmth to piano especially at sof
93. ou will want the AudioBox 1818VSL to be your master clock in which case you should set the clock to Internal This setting also means that your AudioBox is generating word clock and sending this information out of its digital outputs If you want the AudioBox to receive sync from an external device choose the digital input to which the external device is connected S PDIF or The AudioBox 1818VSL s sync light will flash from blue to red When the AudioBox is in sync the light will be blue Power User Tip When slaved to an external clock the AudioBox 1818VSL will not automatically change its sample rate to match the external clock As a result it may fail to V sync to the clock source If your AudioBox is not syncing to an external source make sure that both your master device and the AudioBox 1818VSL are set to the same sample rate Setting Clock Source Using Audio MIDI Setup to Set the Clock Source for the AudioBox 1818VSL ig OS X The clock source setting determines the port from which the AudioBox 1818VSL is receiving word clock information This keeps the AudioBox in sync with other digital devices You can choose between Internal S PDIF or ADAT In general you will want the AudioBox 1818VSL to be your master clock in which case you should set the clock to Internal This setting also means that your AudioBox is generating word clock and sending this information out
94. ould select all MIDI channels If you p J Mackie Ca Novalion Receive Prom Mobile 3 MIDI are unsure of which MIDI channels to select select L Peavey PreSonus Send To None all 16 gt L Yamaha Default Instrument Input Mobile 2 MIDI 8 Inthe Receive From drop down select the MIDI interface input from which Studio One Artist will receive MIDI data 36 Owner s Manual Software Virtual StudioLive and Studio One Artist 4 Studio One Artist 4 2 In the Send To drop down menu select the MIDI interface output from which Studio One Artist will send MIDI data to your keyboard If your keyboard controller does not need to receive MIDI data from Studio One you can leave this unselected If your keyboard does N need to receive MIDI data you must connect a MIDI cable from the MIDI Out of the MIDI interface to the MIDI In of the keyboard 9 If this is the only keyboard that you will use to control your external Default Instrument Input dini 4 CN synthesizers and virtual instruments you should check the box next to Default Instrument Input This will automatically assign your keyboard to control all MIDI devices in Studio One Artist Click OK C If you have a sound module that you d like to connect leave the External Devices window open and proceed to the next part of this section If not you can close this window and skip to Section 7 4 4
95. overcompressed sound is likely to be an improper adjustment on a particular instrument unless of course it is done intentionally for effect Owner s Manual Tutorials 5 A Brief Tutorial on Dynamics Processing 5 2 Why do the best consoles in the world put compressors on every channel The answer is simply that most instruments need some form of compression often very subtle to be properly heard in a mix Why do we need noise gates Consider the compressed vocal example discussed earlier you now have a 20 dB dynamic range for the vocal channel Problems arise when noise or instruments air conditioner loud drummer etc in the background of the vocal mic become more audible after the lower end of the dynamic range is raised You might attempt to mute the vocal between phrases in an attempt to remove the unwanted sounds however this would probably end disastrously A better method is to use a noise gate The noise gate threshold could be set at the bottom of the dynamic range of the vocal say 10 dBu such that the gate would shut out the unwanted signals between the phrases If you have ever mixed live sound you know the problems cymbals can create by bleeding through the tom mics As soon as you add some highs to get some snap out of the tom the cymbals come crashing through placing the horn drivers into a small orbit Gating those tom mics so that the cymbals no longer ring through them will give you an enormous boost in
96. rds in Trees Du E Effects EST MEE ee 0001 01 01 000 A 41 4 120 00 Metronome Tempo gt 3 Studio One Expansion 8 Studio One Instruments Vol 1 4 8 Studio One Loops Vol 1 4 Atomic Beats gt J 120bpm gt J 130bpm 4 140bpm ijj Dance Drums 002 140bpm wav ey Dance Drums 003 140bpm wav if Dance Drums 004 140bpm wav e Dance Drums 005 140bpm wav ei Dance Drums 006 140bpm wav 5 Dance Drums 007 140bpm wav ei Dance Drums 008 140bpm wav ijj Dance Drums 010 140bpm wav ijj Dance Drums 011 140bpm wav ijj Dance Drums 012 140bpm wav di Dance Drums 013 140bpm wav Dance Drums 014 140bpm wav di Dance Drums 015 140bpm wav Dance Drums 016 140bpm wav ff Dance Drums 018 140bpm wav Dance Drums 019 140bpm wav Lj Atomic Synths gt LJ Deep Frets Electric Guitar gt LJ Fifty Gallon Drums gt Lj Funk Drums gt J Hip Hop Xpression b J Hotbox Vol 1 gt 1 Icebox i 10 Dance Drums 004 140bpm Dance Drums 004 140bpm 44 1 kHz 16 bit Stereo 11 1 2002 10 25 48 Wave File 6 857 sec 140 00 BPM Nen Instruments Effects Sounds 41 4 120 00 Metronome Timesig Tempo 0001 01 01 000 0001 01 01 000 Software Virtual StudioLive and Studio One Artist 4 Studio One Artist 4 2 To add a plug in effect to a track click the Effects button and select the plug in or one of its presets in the effects browser then drag the selection over the track to which you would like to add it Audio and
97. reverb for a band you are putting the band in the same room This makes for a more cohesive sound In addition by using an aux mix you can vary the level sent from each channel to the processor allowing you to create an effects mix Let s say that you are using a reverb to liven up a relatively dead room You might send a little bit of each input to the reverb but you probably will not want much of the drums and bass to be processed as too much reverb could reduce their impact and leave your mix without a sturdy foundation So rather than turning the aux send level for the kick drum channel all the way up turn it so that the meter reads between 20 and 30 saturation This way only a small portion of the kick drum input will be affected by the reverb The faders for FXA and FXB control the level of the aux mix relative to the level of your main mix Owner s Manual 5 5 1 Digital Effects Reverb Tutorials 5 Digital Effects 5 5 VSL includes two stereo effects processors that feature the two most common type of effects in use for live sound reverb and delay Reverberation or reverb as it is more commonly known is perhaps the most widely used effect Natural reverb is created by sound waves reflecting off of a surface or many surfaces For example when you walk across the wooden stage in a large hall thousands of reflections are generated almost instantaneously as the sound waves bounce off the floor walls and
98. rofessional dynamics processing EQ and effects to your monitor mixes e Easy drag and drop workflow e Drag presets directly to channels e Drag parts of presets directly to components in the Fat Channel e StudioLive 16 0 2 Fat Channel with High pass Filter e Downward Expander e Compressor 3 band semi parametric EQ e Limiter e Two effects buses with 32 bit floating point reverbs and delays e Quickly drop entire Scenes to the mixer for instant recall of all channel and effects settings V e Load effects quickly by simply dragging and dropping Mixer overview See all of the most used mixer parameters at once C e See the state of all Fat Channel settings at once Seeall Aux mixes at once See the current effects and parameter settings 1 Overview PreSonus AudioBox 1818VSL 1 5 What is in the Box 1 5 What is in the Box In addition to this manual your AudioBox 1818VSL package contains the following ep lt lt a gt m a gt PreSonus AudioBox 1818VSL USB 2 0 recording interface v 9 9 9 99 2 6 1 8 USB cable External power supply Software library containing PreSonus Studio One Artist program DVD plus gigabytes of third party content PreSonus Virtual StudioLive and AudioBox driver CD is sse si Owner s Manual Hookup 2 Front Panel Connections 2 1 2 0 Hook
99. rough the purchase of this product and are confident that you will enjoy your AudioBox 1818VSL ABOUT THIS MANUAL We suggest that you use this manual to familiarize yourself with the features applications and correct connection procedures for your AudioBox 1818VSL before trying to connect it to your computer This will help you avoid problems during installation and setup Throughout this manual you will find Power User Tips that can quickly make you an AudioBox 1818VSL expert In addition to the Power User Tips you will find an assortment of audio tutorials at the back of this manual These tutorials cover everything from microphone placement to equalizer and compression setting suggestions lt 4 a gt 1 Overview PreSonus AudioBox 1818VSL 1 2 Summary of AudioBox 1818VSL Hardware Features 1 2 Summary of AudioBox 1818VSL Hardware Features 24 bit 96 kHz sampling rate 8 Class XMAX microphone preamplifiers 2 Instrument inputs 6 Line inputs MIDI I O S PDIF I O ADAT I O BNC word clock output High definition analog to digital converters 114 dB dynamic range 18x18 USB 2 0 audio interface Headphone output Rugged steel chassis Virtual StudioLive monitor mixing software Studio One Artist Compatible with Cubase Digital Performer Logic Nuendo Sonar Studio One and other audio recording software Mac OS X Windows
100. screen instructions MacUsers Drag the Studio One Artist application into the Applications folder on your Macintosh HD 32 Owner s Manual Creating a User Account Activate Studio One Ha 2 To authorize this computer for the use of Studio One please take the following steps Create an account at PreSonus Website if you do not have one yet Create Account If your computer is connected to the please follow the Online Activation instructions Activate Online If your computer is not connected to the Internet please follow the Offline Activation instructions Activate Offline Activating Studio One Artist Online Activate Studio One Software Virtual StudioLive and Studio One Artist 4 Studio One Artist 4 2 After installing Studio One Artist launch the program and the Activate Studio One menu will appear If you are a new Studio One user you will need to create a user account Follow the Create Account link if your computer is connected to the Internet Once you have created your account continue 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 Now that you have created a user account you can activate your copy of Studio One Artist Launch St
101. se times can produce a very choppy or jittery sound especially in low frequency instruments such as bass guitar Very long release times can result in an overcompressed sound this is sometimes referred to as squashing the sound All ranges of release can be useful at different times however and you should experiment to become familiar with the different sonic possibilities Hard Soft Knee With hard knee compression the gain reduction applied to the signal occurs as soon as the signal exceeds the level set by the threshold With soft knee compression the onset of gain reduction occurs gradually after the signal has exceeded the threshold producing a more musical response to some folks 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 The gain control allows you to restore the loss in level due to compression like readjusting the volume Compressor Sidechain The sidechain jack interrupts the signal that the compressor is using to determine the amount of gain reduction it should apply When no connector is inserted into this jack the input signal goes directly to the compressor s control circuitry When a connector is inserted into this jack the signal path is broken The control signal can then be processed
102. section will guide you through setting up your MIDI keyboard controller and sound module Please consult the Reference Manual located on your Studio One Artist installation DVD for complete setup instructions for other MIDI devices If you are using a third party MIDI interface or USB MIDI controller keyboard you must install the drivers for these devices before beginning this section Please consult the documentation that came with your MIDI hardware for complete installation instructions 35 w Z IESU lt o BS 509 O m 5 So UNM Gis gt NY 4 Software Virtual StudioLive and Studio One Artist PreSonus AudioBox 1818VSL 4 2 Studio One Artist UN Setting Up an External MIDI Keyboard Controller from the Start Page A MIDI keyboard controller is a hardware device that is generally used j for playing and controlling other MIDI devices virtual instruments and software parameters In Studio One Artist these devices are referred to as Keyboards and they must be configured before they are available for use In some cases your MIDI keyboard controller is also used as a tone generator Studio One Artist views the controller and tone generation functions as two different devices a MIDI keyboard controller and a sound module The MIDI controls keyboard knobs faders etc will be set up as a Keyboard The sound module wi
103. sound mare distant decrease dullness in reduces s sound guitars soften a thin guitar on vocals s or overly Ii Increase breathiness in background vocals disguise slightly out af tune vocals and guitars 5 3 3 General EQ Suggestions Included with VSL is a library of Channel Strip presets Section 4 1 5 discusses how to load these presets onto a channel or bus and how to create your V own presets For an idea of where to start check out the following generic EQ settings for several different instruments As with the compression settings in Section 5 2 3 the right EQ setting for any given instrument will depend upon the room and the tonality of the instrument Vocals Pop Female Vocals E LOW MID LOW MID LOW MID LOW MID i pea rer E Hz EM Ow GAIN 465 ON 13 HI MID HI MID HI MID HI MID HI HI HI HI ON OFF LO HI FREQ kHz GAIN ON OFF PEAK SHELF FREQ kHz GAIN PEAK 60 8 Rock Female Vocals V LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID ON OFF PEAK SHELF FREO Hz GAIN ON OFF HI LOW Q FREO Hz GAIN ON ser 15 ON iow 45 HI MID HI MID HI MID HI MID mma kHz Lower rea ie PEAK Pop Male Vocals a LOW MID LOW MID LOW MID LOW MID m m EN Hz E FREQ Hz GAIN ON PEAK 960 0 MID MID MID MID UN
104. splayed the mixer If you disable this button you will no longer see the ADAT channels in the mixer however any changes or routing that have been made will still be active and these channels will still be heard in your mixes s Show Hide DAW Returns Button Displays Removes DAW Playback Streams from the Mix When this button is enabled DAW Playback Streams 1 through Daw 8 will be displayed in the mixer If you disable this button you J will no longer see these channels in the mixer however any changes or routing that have been made will still be active and these channels will still be heard in your mixes Please Note From VSL you only have access to DAW Returns 1 8 The ADAT and S PDIF output streams can only be accessed from your DAW Show Hide Outputs Button Displays Removes Output Channels from the Mix fev E cn lt gt a gt m em ct 72 e 101 15 9JeM3JOS When this button is enabled the stereo output channels will be Outputs displayed in the mixer If you disable this button you will no longer see the stereo outputs in the mixer however any changes or routing that have been made will still be active and you will still be able to hear your monitor mixes through all eight outputs A ES This button will not remove the Main Output from the mixer This output is always visible Please Note From VSL you can create and send mixes
105. t 3AITOIPNIS 9JeM3JOG Meter Displays the Pre fader Level of Each Channel Each channel features a fader for accurate level monitoring Each meter displays the pre fader pre Fat Channel signal If the Post button is engaged the meter will display the post Fat Channel pre fader signal In this way you will always have a visual cue to how hot your recording signal is in your monitor mix Joins the Channel into a Stereo Pair The Link button joins two channels into a stereo pair When channels are linked the volume of both will be controlled with either fader A stereo link can be enabled when either channel in the pair is selected When the Stereo Link button is enabled all dynamics settings bus assignments etc are pasted to the other channel in the pair Phase Reverse Button Reverses the Phase of the Input Channel Push this button to invert the phase of the selected channel s signal that is to change the phase 180 The button will illuminate indicating that Phase Reverse is active The Phase Reverse button can be used to correct audio signals that are out of phase and cancelling reinforcing each other 24 Owner s Manual Post Button POST High Pass Filter Freq PASS FILTER Gate On Off Button NOISE GATE Gate Threshold Compressor On Off O COMPRESSOR Software Virtual StudioLive and Studio One Artist 4 Virtual StudioLive 4 1
106. tack and release curve is used In this mode the attack is set to 10 ms and the release is set to 150 ms All other compressor parameters can still be adjusted manually Sets the Threshold of the Compressor for the Selected Channel or Bus When the signal s amplitude level exceeds the threshold setting the compressor engages Turning the knob counterclockwise lowers the threshold so that compression begins at a lower amplitude The threshold can be set from 56 to 0 dB Sets the Compression Ratio for the Selected Channel or Bus Compression Ratio sets the compression slope which is a function of the output level versus the input level For example if you have the ratio set to 2 1 then for every 2 dB of level increase above the threshold the compressor s output will only increase 1 dB The ratio can be set from 1 1 to 14 1 Sets the Compressor Attack for the Selected Channel or Bus Compressor Attack sets the speed at which the compressor acts on the input signal A slow attack time fully clockwise allows the beginning component of a signal commonly referred to as the initial transient to pass through uncompressed whereas a fast attack time fully counterclockwise triggers compression immediately when a signal exceeds the threshold You can set the attack from 0 2 to 150 milliseconds Sets the Compression Release for the Selected Channel or Bus Compression Release sets the length of time the compressor
107. takes to return the gain reduction back to zero no gain reduction after crossing below the compression threshold Release can be set from 40 to 1 000 milliseconds Power User Tip Very short release times can produce a choppy or jittery sound especially when compressing instruments that have a lot of low frequency components such as bass guitar Very long release times can result in an overcompressed or squashed sound All ranges of release can be useful however and you should experiment to become familiar with different sonic possibilities Sets the Amount of Makeup Gain for the Compressor on the Selected Channel or Bus When compressing a signal gain reduction usually results in an overall attenuation of level The gain control allows you to restore this loss in level and readjust the volume to the precompression level You can adjust Makeup Gain from 0 dB no gain adjustment to 28 dB Owner s Manual Limiter On Off Limit Low EQ On Off Button Mid EQ On Off Button 49 M Mid EQ Frequency Control Software Virtual StudioLive and Studio One Artist 4 Virtual StudioLive 4 1 Turns the Limiter for the Selected Channel or Bus On or Off When the limiter is engaged this button will illuminate The threshold for the limiter is set to 0 dBFS The ratio is 00 1 The limiter is available for all input and output buses Activates Control for the Low Band EQ for the Selected Channel or Bus
108. ter playback amp horns valumes fullness to low adds fullness to vocals frequency instruments to bass lines kick tom bass harder hitting snare amp guitar decrease dullness in kick and tom decrease boom in guitars decrease ambience in to increase clarity cymbals decrease muddiness in vocals amp mid range instruments decrease bass boom to increase overtones and clarity the mix decrease long bass avertones in cymbals 60 adds clarity amp punch 50Hz 100Hz 200Hz 400Hz 800 Hz decrease thinnes bright avertanes in guitars PreSonus AudioBox 1818VSL vocal presence attack on kick amp tom finger sound on bass more attack on plano and acoustic guitar brighten vocals acoustic guitar amp piano adds clarity amp punch to bass lines brighter rock guitar more hardness on cymbals more pluck to bass more attack an kick amp tom breathier vocals brighten cymbals string instruments amp flutes more attack to acoustic attack t percussion amp electric guitars dullness on vocals makes samples amp synths sound more real more attack oe lower piana register more finger sound on bass add sharpness t synths rock guitars acaustic guitar amp piana more clarity to vocals 1 5 5 kHz 7 kHz 10 kHz 15 kHz make background instruments
109. the instrument with which you are working Most engineers start building their mix with the drums and work from the bottom up kick snare toms hi hat overheads Each instrument resonates primarily a specific frequency band so if you are working on your kick drum mic start with the lowest band of the EQ Tune in the best sounding low end and move on to the attack It is not uncommon to hear an annoying ringing or a twang mixed in with your amazing sounding low end and perfect attack so your next task will be to find that offending frequency and notch it out Once you are satisfied with your kick drum mute it and move on to the next instrument gt n e Taking your time with equalization is well worth the effort Your mix will have better separation and more clarity Additional advice Youcan only do so much Not every instrument can or should have a full rich low end and a sharp attack If every instrument is E EQ d to have the same effect it will lose its identity in the mix Your goal is not individual perfection it is perfection in unity e Step away from the mix Your ears get fatigued just like the rest of you If you are working particularly hard on one instrument your ears will be quite literally numbed to that frequency range e Your memory is not what you think it is Comparing a flat EO and the curve that you ve created allows you to see and hear exactly what y
110. together a much more tedious task Why do we need compression Consider the previous discussion You are mixing a rock performance with an average dynamic range of 20 dB You wish to add an uncompressed vocal to the mix The average dynamic range of an uncompressed vocal is around 40 dB In other words a vocal performance can go from 30 dBu to 10 dBu The passages that are 10 dBu and higher will be heard over the mix However the passages that are at 30 dBu and below will never be heard over the roar of the rest of the mix A compressor can be used in this situation to reduce compress the dynamic range of the vocal to around 10 dB The vocal can now be placed at around 5 dBu At this level the dynamic range of the vocal is from 0 dBu to 10 dBu The lower level phrases will now be well above the lower level of the mix and louder phrases will not overpower the mix allowing the vocal to sit in the track The same points can be made about any instrument in the mix Each instrument has its place and a good compressor can assist the engineer in the overall blend Does every instrument need compression 48 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 A well designed and properly adjusted compressor should not be audible Therefore the
111. tusethis apparatus near water 6 Clean only with dry a cloth 7 Donot block any ventilation openings Install in accordance with the manufacturer s instructions 8 Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat 9 Donot defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade and the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Use only attachments accessories specified by PreSonus 12 Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with this apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over 13 Unplug this apparatus during lightning storms or when unused for long periods of time 14 Servicing is required when the apparatus has been damaged in any way such as if a power supply cord or plug is damaged or liquid has been spilled or objects have fallen into the apparatus or if the apparatus has b
112. udio One Artist and the Activate Studio One menu will appear w m ed me 5 WY 5 E E I N 22 lt w oO N gt 4 7 TN Click on the Activate Online link and enter your previously created ne ee account username password and the product key you received with the Studio One Artist installation disc Click on the Activate Password button to finish the activation process y Remember my credentials have purchased an upgrade of Studio One Activate Studio Once you have created a user account launch Studio One Artist From the Activate Studio One Menu click on the Activate Offline link Follow tucli the instructions to log in to your previously created user account register the product and obtain a license file 1 Go to your PreSonus Account using computer with Internet connection 7 Next Copy the license file to the computer on which Studio One has M E been installed and locate the license file as instructed in the Activate 3 Unlock this computer by entering the following Activation Code MQJS TFRX AAAA BNFA ___ __ Studio One menu The activation process is now complete 4 Download your personalized User License for Studio One 5 Select the User License here or just drag it onto th
113. ular purpose are limited in duration to the length of this limited warranty Some states do not allow limitations on how long an implied warranty lasts so the above limitation may not apply to you In no event will PreSonus be liable for incidental consequential or other damages resulting from the breach of any express or implied warranty including among other things damage P to property damage based on inconvenience or on loss of use of the product and to the extent permitted by law damages for personal injury Some states do not allow the exclusion of limitation of incidental or consequential damages so the above limitation or exclusion may not apply to you This warranty gives you specific legal rights and you may also have other rights which vary from state to state This warranty only applies to products sold and used in the United States of America For warranty information in all other countries please refer to your local distributor PreSonus Audio Electronics Inc 7257 Florida Blvd Baton Rouge LA 70806 E se gt o 23 lt 5 70 Owner s Manual A Ableton Live 15 ADAT Mode OS X 18 Windows 18 Attack 50 52 Audio Device Studio One Artist 35 Audio I O Set up Studio One Artist 39 40 Auto Mode 26 B Buffer Size see also Latency 17 C Clearing Peak Holds 16 Clocksource OS X Setup 19 Windows Setup 19 Compressor 25
114. und module to an AudioBox input then connect the AudioBox s audio outputs to a sound system You also can listen on headphones using the headphone output When you are EE ready to mix your Song you must convert the recorded MIDI data to an audio waveform by recording a new audio track 427 Adding Virtual Instruments and Plug in Effects to Your Song You can add plug ins and instruments to your Song by dragging and dropping from the browser You can also drag an effect or group of effects from one channel to another drag in customized effects chains and instantly load your favorite virtual instrument patch without ever scrolling through a menu 9 St WN et gt I et ca et 3Ar 0Ipnjg 9JeM3JOG Opening the Browser In the lower right corner of the Arrange window are three buttons The Edit button opens or closes the audio editor or the MIDI piano roll editor depending on which type of track is selected The Mix button opens and closes the mixer window The Browse button opens the Browser window which displays all of the available virtual instruments plug in effects audio files and MIDI files as well as the pool of audio files loaded into the current session A N Drag and Drop Virtual Instruments To add a virtual instrument to your session click the Browse and Instrument buttons to open the PESE
115. up 2 1 Front Panel Connections i 224 908694 Microphone Inputs Your AudioBox 1818VSL is equipped with PreSonus XMAX microphone preamplifiers for use with all types of microphones The XMAX 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 background noise The eight analog inputs of the AudioBox 1818VSL feature combo jacks This convenient connector accepts either a 14 inch phone plug or an XLR plug 48 volt Phantom Power The AudioBox 1818VSL provides 48V phantom power for every microphone input in banks of four This feature can be individually enabled for each bank using the buttons on the left side of the front panel WARNING Phantom power is only required for condenser microphones and can severely damage dynamic mics especially ribbon mics Therefore switch phantom power off for all channels where it is not required XLR connector wiring for phantom power Pin 1 GND Pin 2 48V Pin 3 48V Instrument Inputs The 4 inch TS connectors on channels 1 and 2 are for use with instruments guitar bass etc When an instrument is plugged into the instrument input the mic preamp is bypassed and the AudioBox 1818VSL becomes an instrument preamplifier 1 2 L Mic Instrument Power User Tip Active instruments are thos
116. urce signal and its echo The simplest delay effect is a single repeat A short delay between 30 and 100 ms can be used to create slap back echo while longer delay times produce a more distant echo Delay times that are too short to hear as distinct echoes can be used to create thickening effects Whether these echoes are timed with the tempo is a matter of stylistic choice Variable Feedback Variable feedback or regeneration produces multiple decaying repeats Increasing the feedback value increases the number of echoes as well as the resonance that is created as one echo disappears into another Owner s Manual Techincal Information 6 Specifications 6 1 6 0 Technical Information 6 1 Specifications Microphone Preamp Connector Type Mic Preamp EIN Frequency Response THD N S N Ratio Gain Control Range Input Max Headroom Input Impedance Phantom Power Instrument Input channels 1 and 2 only Connector Type Frequency Response THD N S N Ratio Gain Control Range Input Max Headroom Input Impedance Line Inputs Connector Type Frequency Response THD N S N Ratio Gain Control Range Input Max Headroom Input Impedance Combo XLR female balanced 133 dB 20 kHz BW max gain Rs 400 A wtd 20 Hz 22 kHz 0 25 dB unity gain 0 00296 4 4 dBu 1 kHz unity gain 22 kHz BW A wtd 97 dB 4 dBu 1 kHz unity gain 22 kHz BW A wtd 15 dB to 65 dB 16 dBu lt 0 5 THD 1 7 48 VDC 64 mA

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