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1. 2 4 1 Metering Controls Below the System section of the StudioLive you will find the Meters section Each of these buttons are toggle switches meaning you can turn them on or off by simply pressing them and then pressing them again The meter state can also be changed by pressing another button in the Meter section any Select button on the StudioLive or a Mix or Mix Pan button in the Aux section It is important to mention that the meters simply overlay on the previously selected Fat Channel state For instance if you have Channel 16 selected and then press the Output button in the Meter section the knobs and buttons in the Fat Channel section will still be active and any changes made will be applied even though they will not be reflected in the Meter section The advantage of this is that you can make adjustments in the Fat Channel press a Meter button and monitor your entire mix then press the same button to return to setting up your Fat Channel selection Input Metering Button Turns PFL Input Metering On and Off Switches the meters to display the pre dynamics pre fader level of the input bus Meters are one to one Meter 1 shows the level of Channel 1 etc Output Metering Button Turns Post Fader Output Metering On and Off Switches the meters to display the post dynamics post 5 fader level of the Input bus Meters are one to one Meter 1 shows the level of Channel 1 etc Gain Reduction Meter Butt
2. Troubleshooting At the time of the publication of this manual PreSonus only recommends the following Express cards e ADS Pyro 1394a e StarTech EC13942 Known Incompatible Hardware e ATI RADEON 9000 9001 IGP video chipset Symptoms are consistent click and pops during audio playback This video chipset is only found in PC laptops and is entirely integrated as the computer s only video controller PreSonus strongly recommends that users do not purchase a system with this chipset as there is currently no workaround for this incompatibility e USB FireWire and s400 s800 combo cards Symptoms usually include no audio recording playback even though the device will install and sync as well as erratic audio performance Rarely combo cards will prevent the device from installing or achieving a stable sync We recommend FireWire cards that have s400 FireWire connections only e FireWire cards with NEC chipsets Symptoms include installation issues erratic audio and extraneous static and noise e Motherboards with nForce4 chipsets Symptoms include reduced or very poor performance especially if using the onboard FireWire connection Installing a PCle not PCI FireWire 400 only card with an approved chipset is a known workaround but may not allow full performance StudioLive Control Panel will not launch The StudioLive Control Panel will not launch if the StudioLive is not connected and synced to your computer Verify that your
3. e e XLR Connector Wiring for Phantom Power e Pin1 GND e Pin 2 48V e Pin 3 48V S e Ge S k f 1S e9 e 22 dBu Headroom The StudioLive microphone preamplifier has 22 dBu headroom This gives you wide dynamic range and excellent transient response characteristics e Line Level Input Each channel of the StudioLive has a 1 4 inch balanced TRS connection for line level input When these inputs are engaged the microphone preamp circuit is bypassed Please Note As with any mixer plugging in a microphone or a line level input device as well as turning phantom power on or off will create a momentary spike in the audio output of your StudioLive Because of this it is highly recommended that you mute or turn down the trim of any channel before changing any connections or turning phantom power on or off This simple step will add years to life of your audio equipment e Insert Each channel of the StudioLive has a direct insert point These unbalanced 1 4 connectors can be used to connect external processors such as compressors EQs de essers and filters with your StudioLive s preamps and line inputs The insert s send is after the channel s gain control but before the digital bus The return goes straight to the digital bus In other words if you insert a de esser on your vocalist s channel you will be sending an unprocessed amplified signal to the de esser the processed sig
4. 125 Overview fe ie U o 2 E Y amp ie U Recording Multiple S e Ge S k f 1S cB nections Mixers e Tutorials Oo Overview Tutorials Digital Effects or O1 N o 5 8 Level Setting Procedure 5 7 2 Digital Delay Controls amp Con nections Setting the proper levels is an important part of getting the right sound The following steps will A digital delay emulates an analog tape echo unit A tape echo is a special type of tape recording assist you in quickly setting your levels It uses one head to record a signal and up to four heads to replay it The delay time is set by the tape speed and the space between the heads A digital delay essentially performs exactly the same function as a tape echo but offers more refinements and adjustments than its mechanical counterpart 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 D D O S i oc 1 Turn each of the 16 trims to 0 20 occurred Multiple Mixers Delay time Delay time is the time between the source 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 distinc
5. The Channel Preset Load menu always displays the selected channel into which the preset will Channel Preset Page 1 Load be loaded Use the Value encoder to locate the Memory DRM Punchy Kick preset you would like to use Once you have made your selection press the Recall button If at any time you would like to cancel this operation simply press the Load button again If you have created a channel strip setting in the Fat Channel that you would like to save to the Channel Preset library press the Fat Channel s Save button You will notice that the LCD will display the Channel Preset Save menu Load To Channel Strip 1 Fush Recall To begin use the Value encoder to scroll to an empty position in the Channel Preset Channel Preset E library Press the Next button to navigate to Memoru all DRM Punchy Kick the category location Create the category in Name DRM Punchy Kick which your preset would fit DRM VOX GTR etc Press the Next button again to navigate to the first letter of the preset name Turn the Value Encoder clockwise or counter clockwise to change the letter The StudioLive allows you to customize the name with uppercase and lowercase letters as well as a selection of numerals and punctuation marks You can insert a space by simply pressing the Tap button Once you are satisfied with your changes press the Store button It will illuminate while the Channel preset is being written to the StudioLive
6. cccceccseccseceeeeeeeeeeeeeeeseeeseeenaes 64 3 3 Using your StudioLive as an Audio Interface ccccseeeeeeees 65 3 3 1 FireWire Sends amp Returns cccccceccsecceeeeeeseeseeeseeenees 66 3 3 2 Using Plug in Effects as Inserts ccceceesseeseeeeeeeeeee 67 3 39 Unversal CONVO sissen nn e E 69 3 3 4 Advanced WDM Features PC Only c cecceeeeeeeeees 74 3 3 5 Configuring Your StudioLive for Core Audio Mac Only 75 3 3 6 Enabling and Using Lockout MOde sccseceeeeeeeeeeees 76 3 4 Hook up Diagram In the Studio with the StudioLive T1 4 Multiple Mixers 4 1 Getting Started spacscds puectocasieccireseteucaintocsane EE Rn OEE E ISESE rai 78 4 1 1 Configuring Multiple Units cc ceceeeeeeeseeeeseeeeeenees 78 4 1 2 Aux Mixing With Cascaded Mixers ccseccseeeeeeseeenees 79 4 1 3 Internal Effects Buses siicdicsicacscnctetaieeersneceunbaneneccstieendsastens 80 4 1 4 Subgroups To Merge or Not To Merge csccseeeeeeenees 80 4 1 7 Scene Store and Recall cccccccsseceeseeeeeeeseeesseeseeenees 81 4 1 6 Copy and Load sncsedcsavensdeatenocsasecectesscncadeceneanasesatonnceddeciecies 81 4 17 Universal Control and Multiple Mixers cccccseeeeeees 81 4 2 Local Versus Merged Buses and INPUuts ccceeeeeeeeeeneeneeeaes 82 Table of Contents 5 Tutorials 5 1 Studio One Artist QUICK Start 2 0 0 eee ceeeeeeseeeeeeseee
7. 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 Drag and Drop Virtual Instruments To add a virtual instrument to your session click the Browse and Instrument buttons to open the Instrument Browser Select the instrument or one of its patches from the Instrument Browser and drag it into the Arrange view Studio One Artist will automatically create a new track and load the Instrument as the input 95 94 Microphones The StudioLive works with most types of microphones including dynamic ribbon and condenser microphones Condenser Condenser microphones generally capture sound with excellent fidelity and are one of the most popular microphone choices for studio recording and increasingly for live performance as well Condenser microphones require a power source which can be provided by a small battery an external power supply or phantom power which is usually provided by a mixer preamplifier or direct DI box 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 StudioLive sends 48 VDC phantom power from the XLR inputs only Dynamic Dynamic microphones are possibly the most widely used mic
8. press the Solo buttons on the channels and subgroups you want to monitor Turn the Cue knob in the Solo section to about 12 o clock Finally select the Solo button in your monitor bus and dial in a comfortable listening volume for you headphones or monitors You can increase the overall volume of the Solo bus using the Cue knob in the Solo section This feature can also be used to listen in on a monitor mix that is being routed to an aux send Let s say your vocalist on stage is complaining that there is too much bass in his monitor but you are confident that no bass is being sent to that particular aux send You could be mistaken but most likely an open microphone on stage is picking up the bass signal To determine the cause solo only the aux send in question and again select the Solo button for the monitors headphones You can now listen to exactly the same mix as your troubled vocalist and fix his monitor mix quickly This application is also useful in heading off a feedback problem 129 Overview fe ie U e E Y amp ie U Recording Multiple S e Ge S k f 1S cB nections Mixers e Destructive Soloing Destructive Soloing or Solo in Place SIP is a great way to tune each channel s dynamics individually in live mix situations or do some surgical editing in the studio SIP mode mutes every Channel and Bus that is not soloed in the main bus i e if Channel 3
9. 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 particular 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 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 s
10. Modulation Autofilter Chorus Flange Phaser X Trem Reverb MixVerb Room Reverb Utility Binaural Pan Mixtool Phase Meter Spectrum Meter Tuner e 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 e Innovative and intuitive MIDI mapping e Powerful drag and drop functionality for faster workflow e Mac OS X and Windows compatible Controls amp Con Tutorials Multiple Technical Infor nections N O U i oc Mixers mation What is in the Box Always turn the Main fader and both the Monitor and Phones knobs in the Monitor section down before making connections Befo re plugging or unplugging a microphone while other channels are active mute the ggoogoopopoogggg erns krh l AEFI channel to which you are connecting 1 Your faders should be set on or near the 9 U mark whenever possible The U 3 indicates unity gain meaning the signal 4 is neither boosted nor attenuated If the main output of you Studiolive is too high 3 or too low when your faders are at or near 6 unity you can use the output level knob on the rear panel of your StudioLive to la adjust the level up or down until you have 8 achieved your optimal volume 9 10 11 12 Rack Ear Installation Kit WO Presonus Getting Started Mixin
11. Recording TTT Overview i Mixers e 5 Tutorials 9 2 Microphones 5 2 4 Microphone Placement Electric Guitar Place a dynamic microphone an inch or two away from the speaker of the guitar amplifier Experiment with exact location If you are recor ding an amp with multiple speakers experiment with each one to see if one sounds better than the others Place a condenser microphone ap proximately 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 select the fuller sounding position To use this technique in a live application omit the condenser microphone Acoustic Guitar Place a small diaphragm condenser microphone pointed 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 Bass Guitar Direct and Speaker 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 StudioLive microphone input Connect the line output f
12. and internal effects parameters if you do not wish to recall a certain set of parameters simply use the Next and Prev buttons to navigate through the screen When the parameter that you wish to disable is selected turn the Value Encoder counter clockwise to move it to the No off position Once you have disabled the parameters you do not wish to recall press the Recall button The StudioLive s recallable parameters are grouped as follows e Mute All channel and bus mutes Channels 1 16 Subgroups 1 4 FXA FXB e FX All parameters for the internal effects assigned to FXA and FXB e Assigns All output and bus routing Mains Subgroups Stereo Linking Solo and Monitor bus assignments and Internal Effects to Aux Bus routing e EQ amp Dyn All Fat Channel dynamics processing and filter parameters Phase High Pass Noise Gate Compressor EQ and Limiter for every channel and bus e Aux Mix All aux mixes analog Aux Mixes 1 6 as well as FXA and FXB mixes e Faders All fader positions e Pots All Knob positions Aux 1 6 Outputs FXA and EFXB Levels Cue 2 Track In Phones Monitor and Aux Input A and Aux Input B knobs e GEQ Graphic EQ settings 56 Creating amp Recalling a Scene If you enable Fader positions as a part of your Scene recall the StudioLive will automatically Faders put the meters in Fader Locate mode after you press the Recall button The Fader Locate button will illuminate and the meter
13. so o ae eee ON OFF PEAK SHELF FREQ Hz GAIN ON OFF FREQ GAIN 265 0 PEAK 108 Technical Infor mation HI MID HI MID HI MID HI MID ON OFF LO HI FREQ a a owore Penner eatin ee an 20 PEK HI MID HI MID HI MID HI MID HI HI oN m NEN kHz EE T E recone es an SHELF 116 117 gt A D gt General EQ Setting Suggestions Subgroup Mixing Fretted Instruments A subgroup allows you to combine multiple channels in a single bus so that the overall level for 5 the entire group is controlled by a single fader In addition to level control the StudioLive allows Electric Bass you to apply the Fat Channel s noise gate limiter compression and EQ to the group as a whole in addition to the processing available for each channel Subgroups can also be soloed and muted LOW MID LOW MID LOW MID LOW MID owore Pesner Emea ma Hz aan EE HI LOW FREQ a GAIN You will find many uses for subgroups nearly all of them make mixing more convenient and provide SHELF aooo better control of your mix In this section we will explore two different ways in which subgroups can help you to create a more efficient mixing environment and a more successful live mix ON OFF LO HI FREQ o s EN o FREQ kHz GAIN 20 o ser 42 o Instrument groups Recording Multiple Mixers Acoustic Guitar as hep POESIE f Grouping individual instruments that create a section in your mix has o
14. so wsincetesaieresicvctarcsnuctuneiaduneaselenietdvuustinnbuechysuhasnsudecewdreddsisiedcesieaNeads 90 dBu Adjacent Channels Ref 4dBu 20 20 KHZ UNWt ccccceccecceceeceeceeeeeaeeeeceeseeseeaecaeceseeseeaeseeseeseeseeaeeueeass 87 dBu Noise Gate Expander MIMS VON CA ANC areire E TEE E iai Ei 84 dB to 0 dB ARAC PIE er E e e a A 0 5 ms Pe eee INS E A E T E T A E E A E A A E E 0 05s to 2s Expander Attenuation aN GS iicccccscnssebantsnedandanetndoddacdeiedasasinntncesetanadaaetieneasnubabsdendacetenetatetasdeadcamasisedudausiendaeratattedenoddees 2 1 Noise Gale Alera ION Range seriens aa aaa a aa oo Compressor TOPS SVL FS sarriena aA E AA ache mere tists ete AAAA AA a a a Ea ENOR 56 dB to 0 dB eL o AES eee tag E EE E TEE A E EE AE EE vad A EE te dase E A E S E EEA E N 1 1 to 14 1 ANICE MAI VS eee E E REA AEREAS 0 2 ms to 150 ms Release TIME arerioaren aa SETAE a aaa eiai ia iira kendi ierann 40 ms to 1000 ms Auto Attack and Rel aSe annsannnnnnnnsnnnnnnnnnnnnnrrnnnnrnnnnrrrnnrrrnnnrrn nanenane rnanera annen anneer Attack 10 ms Release 150 ms CS E E E E E E E cass ne E E E E E ensue Maumnanentechass hard and soft knee EQ TD estes ater E erie ahaha dds dalam siatinloncaneatedagadudae atten ei suatayee 2 order shelving filter Q 0 55 Low L owpass r Bandpass speed nw pradcdecsen econ eE AAA ENE AEREN ERARA TRE 36 to 465 Hz 15 dB LI cine EE a E E 90 Hz to 1 2 kHz 15 dB ielai o e E EE EEE A A EEE EE
15. Click OK If you have a sound module 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 5 1 4 Setting up an external MIDI sound module from the Start page Step 3 Mobile 2 MIDI 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 In the 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 In most cases your sound module will not need to send information to Studio One so you can leave this unspecified Click OK and close the External Devices window You are now ready to start recording in Studio One Artist The rest of Section 5 1 will go over how to set up a Song and will discuss some general workflow tips for navigating through the Studio One Artist enviroment e2 ge V 0 a Multiple Technical Infor ma
16. Make sure that you only have Solo selected in the Monitor Section of your StudioLive 133 Overview Controls amp Con nections D Oo O U i a Multiple Mixers Tutorials Specifications Microphone Preamp I ceca stip E T E AET E E E A I CE E E E TE EE EE E XLR Female balanced Frequency Response to Direct Output at unity gain cee ec cece ec cee eeeeeceeseeseeaeceeceeseeseeeeeeas 20 40 kHz 0 0 5 dBu Frequency Response to Main Output at unity gain cece eccecceeceee eee eceeceeseeeeceeceeseeseeaeeeeeaes 20 20 kHz 0 5 dBu dae ralan e e nE otros ox sree E TE E E A E git N A E A A E E gests E E E 1 kQ THD to Direct Output 1 kHz at unity gain anananananannnnnnnnnnnnnnnnnnn lt 0 005 4 dBu 20 20 kHz unity gain unwtd THD to Main Output 1 kHz at unity gain sicccadsucsssendaveissevakeetenededucasaen lt 0 005 4 dBu 20 20 kHz unity gain unwtd EIN to Direct OUMU en ceeter ecnersereeed cneaeanesududduacuesshenssnandecausacneuicuctetanemmnrnnensesamenaeouonencs 125 dB unwtd 130 dB A wtd S N Ratio to Direct Output Ref 4 dB 20 kHz BW unity gain A wtd 97 dB S N Ratio to Main Output Ref 4 dB 20 kHz BW unity gain A wtd 94 dB Common Mode Rejection Ratio 1 kHz at unity Gain cece cecceececeeeeeceeceeceeeeeeeceeseeseeeeceeceseeaeeaeseeseeseeaeeaeeass 65 dB Gain Control Range 1G ccarscietccatacastiendeaiticadiiactomintemindaadinaiatinamiun
17. Studio One Reference Manual which is located on your Studio One Artist Installation DVD Creating MIDI Tracks Step 1 Click on the Add Tracks button When the Add Tracks window launches select Instrument as the Track Format and click the OK button To assign your MIDI input click on the MIDI Inputs list and select your external sound module If you have added Virtual Inputs to your session you will also see them as available inputs If you selected your MIDI keyboard controller as the default keyboard it will already be selected If not choose your MIDI controller from Output menu directly below To the left of the Add Track button you will find the Inspector button Click it to display more parameters for the selected track 93 Overview fe re U a pe G O U 1 O Ga S Z U H nections 5 Tutorials 5 Tutorials 5 1 Studio One Artist Quick Start 5 1 Studio One Artist Quick Start 3 2 5 1 5 Creating a Song 5 1 5 Creating a Song Step 4 To add a plug in effect to a track click the Effects button and select it or one of its presets in the Effects Browser then drag it over the track to which you would like to add it At the bottom of the Inspector menu you will see your Program Bank and Program selections From here you can remotely change the patch on your sound module sok Fe os Recording Multiple Please Note MIDI data does not contain
18. Thee Tiet ali biure u g 2 Click on the Configure Speakers button Configure Speakers 3 Deselect Stream 1 and select Stream 2 instead The PreSonus FireStudio has 18 channels in 2 streams Ci Stream 1 has 16 channels 1 16 4 Stream 2 has 2 channels 17 18 4 Inthe same window click on Multichannel and select E nirnbinnans ils your Speaker Configuration from the pull down menu a i e Stereo 5 Choose Channel 17 for the left speaker and Channel peal ae ayn AEEA A TA O EEE hata rece bert 18 for the right speaker connection cick a ipaaher 10 play a sound te When you are finished click Apply and then Done Your StudioLive will now monitor the Main Output for your Mac through the FireWire return buttons in the 2 Track In and Monitor Sections 75 3 Recording 3 3 Using Your StudioLive as an Audio Interface 3 3 6 Enabling and Using Lockout Mode As mentioned in Section 2 10 4 your StudioLive features a lock out mode which allows you to temporarily disable nearly every feature on the StudioLive It is important to mention that analog portions i e input trim knobs faders and cue tape input and monitor levels can all still be adjusted Because of this it is recommended that you take a quick glance over your input trims and output levels prior to resuming your mix after you unlock your StudioLive If you have set your fader position to be locked you will be able to r
19. a mono source Pre delay Pre delay is the time between the end of the initial sound and the beginning of the first reflections being 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 a surface and bouncing back There are closer surfaces of course notably the floor and the ceiling just in front of the sta ge but only a small part of the direct sound will go there so those reflections will be much less noticeable Adjusting the pre delay 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 HF and LF decay The types of surfaces in 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
20. access the effects library and adjust each parameter press the FX button in the Master Control section The first page of the FX menu is the QuickView screen It displays both of the effects assigned Page 1 QuickView to the internal effects buses as well as the main HFE Vocal Candy AMBIANCE 1 68 Aus 123456 parameter for each and to which Aux buses the Decayls effect is being routed Effect A is assigned to e Be EFX A bus and Effect B is assigned to EFX B eer es eee bus Use the Next and Prev buttons to navigate through the screen To change a parameter use the Value encoder directly beneath the LCD screen The color will invert for each parameter when it is selected for modification The Next button will scroll through this screen in the following order FX A library selection FX A main parameter FX B library selection FX B main parameter When choosing your effects preset use the Value encoder to scroll through the library When you have arrived at your selection press the Recall button to load it Press the Page Down button to move to the next page of the FX menu Pages 2 and 3 of the FX menu display the rest of the parameters for Fa Type HMBIANCE FX A and FX B respectively These parameters a Uecayls 1 68 PreDly ms 16 6 will change depending on what type of effect Erly Reflde 12 0 you have chosen Again use the Next and Prev buttons to navigate through the screen and use the Value encoder to cha
21. alone or with another FireStudio family interface the 96 KHz maximum Sample Rate that can be selected is 48kHz A higher sample rate will increase the fidelity of the recording It will also increase the file size and the amount of system resources necessary to process the audio Please Note To ensure the safety of the audio equipment connected to it the StudioLive will mute all post converter outputs for two seconds when the sample rate is changed or when the mixer is connecting to a computer This includes the main and the control room outputs as well as the aux and subgroup outputs While this offers a good measure of protection to your sound system it could put the brakes on a live show Because of this it very important that the sample rate be selected and locked in prior to beginning any recording or performance 69 Overview c ie U o a E e Multiple Tutorials Technical Infor nections mation 5 59 Recording Using your StudioLive as an Audio Interface Universal Control Buffer Size Selector PC only Operation Mode sth E Clocksource Stadbol hee Int ermal Device Window Button Changes the StudioLive Buffer Size You can set the buffer size from 64 to 4 096 samples The buffer size or latency determines the roundtrip time it takes audio data to be converted from analog to digital and back to analog As a general rule the higher
22. and Provides Quick Links to Configure Audio and MIDI Start Page Setup Area 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 ProSonua Fire Siuda 4 hrg If you do not see PreSonus FireStudio on the Start page when you launch Studio One click on the Configure Audio Devices link in the Setup area to open the Audio PreSonue FireStudba Setup Options window 4 REZ In the Audio Device menu select PreSonus FireStudio Click the Apply button and then OK After you have verified that the PreSonus FireStudio Universal driver has been detected please continue to Section 5 1 3 to set up your external MIDI devices If you do not have any MIDI devices to connect at this time please skip to Section 5 1 4 86 From the External Devices window in Studio One Artist you can configure your MIDI keyboard controller sound modules and control surfaces This section will take you through setting up your MIDI keyboard controller and sound module Please consult the Reference Manual located on your Studio One Artist installation DVD for complete setup instructions for other MIDI devices Before beginning this section you must first install the drivers for your MIDI interface or USB MIDI Controller keyboard Please consult the documentation that came with y
23. and a stereo track of sampled drum beats can be included in each musician s monitor mix It should be noted that in this diagram the control room monitors are shown as connected to the main outputs This is only one way of connecting them You can also use a pair of subgroup outputs or the Control Room Monitor outputs Each has benefits and drawbacks We suggest you experiment to find the best setup for your mixing style 77 Overview fe ie U o 2 E amp fe U Multiple Tutorials Technical Infor nections mation Getting Started Firmware version 1 10 and above enables you to use multiple StudioLives cascaded together by a FireWire connection Multiple units can be connected together with or without a computer connected Standalone up to four units can be connected together Two units can be connected to a computer for 32 channels of recording and channel playback This section will guide you through the syncing process and explain some of the features Configuring Multiple Units Firmware version 1 10 or higher is required in order to cascade multiple units The latest firmware is available at www presonus com technical support StudioLive firmware is user updatable and it is recommended that you check the PreSonus website periodically for driver and firmware updates The driver must be installed on your Mac or PC and your StudioLive must be connected and synced before you can run the firmware updater Once a
24. and while it is connecting to a computer This includes the main and the control room outputs as well as the aux and subgroup outputs While this offers a good measure of protection to your sound system it could put the brakes on a live show Because of this it very important that the sample rate be selected and locked in prior to beginning any recording or performance 59 Overview D D O S i oc Multiple Tutorials Technical Infor Mixers mation The System Menu Press the Page Down button again to access the Gate Type menu The StudioLive lets you choose between an Expander and a Noise Gate Ch 24 Expander Ch 11 12 Expander for each pair of Channels In practice expanders Ch 5 6 Expander Ch 13 14 Expander and noise gates are used almost identically The Ch 7 9 Expander Ch 15 16 Expander main difference is that an expander is smoother and more gradual so that it is easier to set the attack and release times correctly Because of this the global default setting for the StudioLive is the expander Any changes made to this page are stored with custom scenes When you recall as scene the gate type that you have chosen for each stereo pair of channels will also be recalled For more information on expanders and noise gates please review Section 5 3 2 Page 4 Gate Type Ch 1 2 BREE Ch 3 10 Expander Your StudioLive features a lockout mode that System allows you to create a password and lock the
25. as simple and E jire Inetalber 1 a easy to follow as possible Please read each message Wii PreSonus i te tA carefully to ensure the StudioLive driver is properly installed iiid Gigi Before beginning the StudioLive Installation Setup please close all applications including anti virus software and disconnect your StudioLive from your computer After the installation is successfully completed don t foget to re enable your anti virus protection 2 If you see any Windows Security alerts click Install this driver software anyway Vista or Continue anyway XP Don t install this driver software Vou taad check yoo munulscharer s verbete for updated dow poite lot yout device A retell this driver software nay Drby matali drae saliare ebrhemed tron ye muanulecherer i verha ot dpt Unmgned totaan irom offer poet may hinm your cengester or rham ee i 5 3 You installation disc contains the installers for UIS PreSonus the StudioLive audio drivers Capture and a Capture demo session that will help you to quickly familiarize yourself with both the functions of your StudioLive and Capture Each installer must be run SNEEN a separately digital mixer with 23218 FireWire recording system instalis the StudioLive drivers and mete Select StudioLive from the menu on the left of the installer window 4 Follow the onscreen instructions to complete the ET ree installation When the installer has finis
26. audio signals To hear your sound module you must connect the audio output of the sound module to a FireStudio Project audio input then connect the FireStudio Project s audio outputs to a sound system You also can listen on headphones using the FireStudio Project s headphone output When you are ready to mix your Song you must convert the recorded MIDI data to an audio waveform by recording a new audio track Audio and MIDI files can also 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 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 a O q Sec r bo YS G gE U oD ke 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 what type of track is selected The Mix button opens and closes the
27. example we will use Aux 3 to feed an external effects processor To begin connect your external effects processor to your StudioLive as detailed in the hookup diagram below Poel Peon Drape ae StudioLive Back External Effects Front 123 Overview Controls amp Con nections ge iS i a Multiple Technical Infor mation Turn the Output knob in the Aux 1 section to 12 o clock and press the Select button In Aux Input A the Fat Channel assign Aux 1 to the Main a E outputs Press the Mix button for Aux 3 The meter section of the StudioLive will now show the output levels of each of the 16 channels Mt The encoders below each meter control the Post output level of each channel into Aux 3 You will use these encoders to set the send levels from the aux bus to the effects processor the same way you used them to create a monitor mix only in this case you will decide which channels will be sent to the external multi effects processor and how much will be sent Control Freq Gate Release Comp Ratio Attack Release Gain Freq Gain V Fre a ci a IF ih i i wii a filer vA i Ya LIM T 150 ia mi ES us 4 Wki is rj 25 8 i E 525 i i H i et i 2 F bi See SRRPSESRRERR 2 Bira eT p DRAGER HEE i z m e Ei Tevausseeeseas amp Busse seeaee a Sr ie a oe n o De te pa D a e a D Eii Reo o i
28. for the selected band in the Show Band field is inverted meaning that all LEDs will be illuminated except the LED displaying the current gain position for that band The band does not have to be selected in the Show Band field for its encoder to be active All encoders are active so you can make changes to 16 of the 31 bands at one time The StudioLive Graphic EQ features an innovative design that sets it apart from traditional graphic EQs Traditionally a31 band graphic EQ uses 31 second order shelving filters with fixed frequencies in order to simulate a curve set by the user via 31 front panel sliders A well designed graphic EQ creates an output frequency responses that corresponds as closely as possible to the curve displayed graphically by the sliders 60 The System Menu In an analog EQ this is achieved by carefully choosing the bandwidth of the filter and deciding how or if it varies with the gain and how the filters are summed or cascaded In general narrower bandwidth signifies a higher quality EQ But in traditional graphic EQ designs the center frequency of each band is fixed PreSonus took a different approach with the StudioLive The StudioLive Graphic EQ is a pool of shelving filters from which coefficients like cutoff frequency bandwidth and gain are extracted through a process of curve fitting The curve entered by the user is first oversampled The system then works with an internal Curve made up of 128 bands to find coeffi
29. from the auxiliary inputs and buses assigned to the second bank of 16 FireWire sends At the same time it is receiving signals back from the 18 FireWire returns Because the FireWire returns always come back to their respective channels on the StudioLive you can quickly insert a plug in from your recording application into any channel strip and monitor it in real time In this example we will insert a Mono Delay TE plug in from Apple s Logic 8 application onto Input 16 A Channel 16 of the StudioLive To begin create komnan uai a mono audio track Assign its input to Channel 16 and its output to Output 16 Note because Logic does not offer mono output buses in this case we are routing this stream to channels 15 16 and panning the channel all the way to the right so that it will only be sent to output 16 Several other applications use this type of bus routing as well Please consult your software s user manual for specific instructions P Audio 16 MRTE fe e ese Once you have the routing set up in Logic record arm the track and insert the desired plug in Iens me FireWire Return input button ee ae EE on your StudioLive You can now monitor your IC IC m analog signal with your inserted effect as you OE record A Quick Note on Printing Fat Channel Dynamics and EQ Using the Fat Channel dynamics processing and EQ during post production is obviousl
30. 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 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 Expanders Downward Expansion Downward expansion is the most common expansion used in pro audio 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 ap
31. mix Threshold Attack Release 3 3 dB 2 8 1 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 Attack Release 1 1 dB 3 8 1 0 002 ms 38 ms Percussion 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 Attack Release 2 4 dB 3 5 300 ms Left Right Stereo Overheads The low ratio and threshold in this setting gives a 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 Attack Release 13 7 dB 128 ms 107 Overview fe ie U e E Y S ie U Recording Multiple 3 e P f k f 1S e9 nections Mixers e General Compressing Setting Suggestions Fretted Instruments Electric Bass The fast attack and slow release in this setting will tighten up the electric bass and give you control for a more consistent level Threshold Ratio Attack Release 4 4 dB 26 1 189 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 Ratio Attack Rel
32. mix Ask your musicians what they would like in their monitor mix and use their requests as a Starting point to create the best mix for them By pressing the Select button for Aux 1 you can add in some dynamic processing and EQ to the overall monitor mix These are especially useful in eliminating feedback in a monitor Keep in mind an EQ can also be used to increase the presence of an instrument by boosting that particular frequency range without necessarily boosting the volume in the mix This is great for getting the lead guitar to cut through in the guitarist s monitor mix and to provide that extra rumble in the bassist s mix You can listen to the mix you are creating in any of the auxes in either your headphones or your control room monitor by simply soloing the aux and selecting Solo as the source in the Monitor section 122 5 Tutorials 5 6 Aux Bus mixing 5 6 2 Effects Processing There are at least two advantages to using an aux bus for an effects processor rather than using a channel insert several channels can be sent to a single processor and you can vary the level sent from each channel to the processor allowing you to create an effects mix The StudioLive 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 This section will detail how to utilize an external effects processor with your StudioLive mixes In this
33. mix you must link the Aux channels on each of the mixers in the chain in order to control panning for the channels on the slaved mixers 79 gt A D gt Recording Controls amp Con E Tutorials S e Ge S k f 1S cB nections e Internal Effects Buses Unlike the 6 Aux buses the two Internal Effects buses on each mixer are independent Using the same example as the previous section Channels 1 16 can only be routed to EFXA and EFXB on Slave 2 Channels 17 32 are routed to Slave 1 s EFXA and EFXB buses and Channels 33 48 are processed using the Master unit s two internal effects buses The advantage is that you get twice the effects buses as you have mixers in the chain Of course if you d like to send all channels to the same effect you can simply load the same effect on every mixer But with some careful patching you can take advantage of the extra effects buses at you disposal The Internal Effects buses on each mixer can be assigned to the Master Unit s Main output or to a Subgroup as usual Simply select the Effects bus and press the desired assignment button in the Fat Channel Subgroups To Merge Or Not To Merge On Page 3 Digital in the System menu you will find the SubGroup Merge field The Subgroups on each on the mixers in the chain can either be B SubGroup Merge On merged together or local only This is determined areata ani bed ec on each m
34. mix to a subgroup the front of house engineer can become in effect a member of the band This is especially useful when employing specialty or signature effects What would an electronic band sound like if the vocal mix didn t dramatically trail of in a wash of reverb or a reggae band without delay on theirs The StudioLive allows you to assign either or both of the onboard effects buses to a subgroup So let s take the example of the reggae band In this example we will assign the delay on EFX A effects bus A to Subgroup 3 Press the FX button in the Master Control section to access the Effects menu In the EFX A parameters use the Value Encoder to scroll through the effects library until you find a suitable delay and adjust its parameters according to taste See Section 2 10 1 for complete operation instructions Next decide which channels should be sent to the effects bus In dub and reggae music the vocals are most commonly sent to a delay so let s send our two vocalists on channels 10 and 11 to that delay To assign the vocals select the Mix button on EFX A Using your meter section locate the send encoders for channels 10 and 11 and turn them to a little more than 50 Press the Select button for EFX A and assign this bus to Subgroup 3 and to the main outputs If you like you can also add some dynamics processing and EQ at this point as well Press the Select button for Subgroup 3 and assign the group to the main output Becau
35. 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 cleaning up the overall mix 101 Overview fe ie U e E Y S ie U Multiple S e Ge S k f 1S cB nections Recording Mixers e Types of Dynamics Processing Dynamics processing is the process of altering the dynamic range of a signal thereby enhancing the ability of a live sound system or recording device to handle the signal without distortion or noise and aiding in placing the signal in the overall mix Compression Limiting Punch apparent loudness presence these are just three of the many terms used
36. of the instruments you are grouping LOW MID LOW MID LOW MID LOW MID together in this case the drums With the ON SHELF ges dynamics for each drum separately As you select and solo each channel assign each channel to be routed to Subgroup 1 HI MID HI MID HI MID HI MID HI HI HI HI a ON OFF LO HI FREQ a ce PEASE FREQ GAIN After you have gone through the entire kit and 29 PEAK 7 are satisfied with each channel s level EQ and dynamics unsolo your final channel Have the drummer play the entire kit and set the relative 118 119 Instrument Groups volume and panning for each mic in the mix Choose the Select button above Subgroup 1 In the Fat Channel s Stereo section to the right of the Pan display enable Link and turn the Pan knob all the way clockwise to set the stereo pan to hard left and right Now Subgroups 1 and 2 are linked with Sub 1 panned hard left and Sub 2 panned hard right The channel panning is preserved Now assign Subgroup 1 to the Main outputs since Subgroup 2 is linked to Sub 1 it is automatically assigned to the Main outs as well You can now use the Fat Channel section to add dynamics processing and EQ to the stereo drum group Subgroup 1 s fader controls the level for the left side of your drum mix and Subgroup 2 s fader controls the right side 120 Effects Group This is perhaps one of the most creative ways in which a subgroup can be used By assigning an effects
37. personnel 1 Read these instructions Keep these instructions Heed all warnings Do not use this apparatus near water 2 3 4 Follow all instructions 5 6 Clean only with dry a cloth 7 Do not 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 Do not 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 s
38. s settings will be copied onto Channel 8 Because the settings are copied nondestructively it is possible to A B dynamics settings with the touch of two buttons Whichever channel is selected when the link button is engaged will be the Link Master When either channel in the stereo link is selected both channels Select buttons will illuminate but the Link Master s ID number will be displayed in the Selected Channel LED read out n the Fat Channel 32 9 Cantro c 8 Cnnnacrtinne L UU LI Uio a UU f I ISOL l U I IO Q he Fat Channel 2 3 4 Output Assignments Output assignments are set within the Fat Channel It should be noted that the StudioLive will prevent you from creating a feedback loop Subgroups can only be assigned to the main outs and the six aux sends cannot be assigned to a subgroup or to the main outputs Any channel on the input bus can be assigned to any or all of the subgroup outputs as well as the Main Assign main outputs This includes the 16 main inputs and the 2 auxiliary inputs The internal effects returns can also be assigned to any or all of the subgroups and the main outputs The Fat Channel also gives you the option of sending just the unprocessed audio to your computer or including the Fat Channel settings in the recorded signal When the Dig Out button is enabled the signal being sent to the FireWire bus is post EQ and post dynamics processing the button will illuminate
39. sound applications For example in the studio saving and recalling a scene allows you to move on to another song or project and come back to the current mix later For live shows with multiple bands you can set up custom mixes for each band at sound check and recall the mix when that band goes onstage You also can save custom mixes for each venue that a band plays repeatedly To save a scene press the Scene button and Page Down to the second screen The memory TEET locations will be selected Use the Value Encoder Memory Empty Locat ion to scroll to a free location in the Scene library Now name your scene Press the Next button to navigate to the first letter of the preset name and Use TAP for space Push Store turn the Value Encoder clockwise or counter clockwise to change the letter The StudioLive allows you to customize the name with uppercase and lowercase letters as well as a selection of numerals and punctuation marks Press the Tap button to quickly insert a space Continue this process until you are satisfied with your changes then press the Store button It will illuminate while the Scene is being written to the StudioLive s internal memory Once the Scene is saved the Store button will return to its unlit status Name Monday Night Gig Located at position S1 is a scene named Zero Out Board Reset This scene cannot be overwritten and returns your StudioLive to its factory settings All you have to do it lower th
40. 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 the range is set at 0 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 106 General Compressing Setting Suggestions The following are the compression presets that were used in the PreSonus BlueMax We have included them as a jumping off point for setting up compression on your StudioLive Vocals Soft This is an easy compression with a low ratio setting for ballads allowing a wider dynamic range It s good for live use This setting helps the vocal sit in the track Threshold Attack Release 8 2 dB 1 8 1 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
41. 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 P N 820 PG10001 C 142 143 StudioLive 16 4 2 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 reasonable 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 CAUTI
42. 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 Macintosh the buffer size is set from inside your host application Changes How the StudioLive Driver s Buffer Size is Set e Normal Mode Input and Output buffers are both identical to the Buffer Size setting e Safe Mode 1 3 Increases the output buffer size for added stability Changes the Clocksource for Chained FireStudio family devices The StudioLive cannot slave to an external clock however if you are cascading additional FireStudio family products that do feature digital inputs this becomes selectable The clock source setting will determine where the device chain is receiving word clock information This keeps the device chain in sync with other digital devices and with each other The menu options are determined by the available digital inputs in the chain In general you will want the StudioLive to be your Master Clock so you will set the clock to StudioLive Internal Opens the Device Window Click on this button to open the Auxiliary Inputs Router To give your StudioLive a custom name double click on the default label StudioLive to open a text
43. you create on any of the mixers will be transmitted to the entire chain For example if you store a scene named 3 Mixer Show on the Master unit the name is broadcasted to the slaved units so when you press the Scene and Store buttons on either Slave the name you just created on the Master unit is already entered all you have to do is scroll to an empty location and press the Store button again Copy and Load Channel strip settings from any channel or bus on any mixer in the chain can be copied to any other channel or bus on any other mixer in the chain For example if you select Channel 4 on Slave 2 and press the Copy button every Select button on every mixer in the chain will begin to flash To paste the Channel 4 settings to any other channel simply press that channel s Select button it will stop flashing and will illuminate Press the Load button to paste the Fat Channel setting Universal Control amp Multiple Mixers Because of FireWire limitations you can only record additional buses from the Master unit when two mixers are connected to a computer While the Launcher Window will show a Device Window Button for each or the two StudioLives connected only the Master Unit s Auxiliary Input Router will open when either button is clicked 81 gt A D gt Recording Controls amp Con Tutorials S e Ge S k f 1S cB nections e Local Versus Merged Buse
44. CAEN San l l Lockable Faders Yes controls your StudioLive This is especially Master Yes l Aus Mikes ZA useful in situations where several people will Geene Fan ala Mi be running sound but only one or two are Status Unlocked knowledgeable enough to set up dynamics and the like Right out of the box the StudioLive cannot be locked so don t worry about hitting the wrong button To enable the Lockout feature you must first connect and sync your StudioLive to a computer Please review Sections 3 3 6 for more information on this feature StudioLive 16 4 2 firmware version 1 10 and higher features a 31 band 1 3 octave graphic System Page 6 Main GEC EQ that can be inserted on the Main output bus Show Band When Page 6 of the System menu is active the meters and encoders of the Fat Channel become the controls for the Graphic EQ As you touch a knob you will notice that its band number frequency and gain are displayed in the System Menu The 31 bands range from 20Hz to 20 kHz Freg Ha 26 Gain dBi 15 9 E Status On Push Recall to Flatten The frequency for each band is fixed Bands 1 16 are controlled by encoders 1 16 respectively When channel 16 is selected in the Show Band field in the System Menu the meters will flip Bands 16 31 will then be controlled by encoders 1 16 respectively You will notice that all meters have one LED illuminated to display the current gain position for each band the meter
45. ES A E A E AE A E 380 Hz to 5 kHz 15 dB High Highpass r Bandpass seasea a E A A E A a 1 4 kHz to 18 kHz 15 dB 135 Overview nections fe fe U gt e g S fe U i Recording Mixers Multiple Tutorials Specifications Digital Audio ADC Dynamic Range A wtd 48 KAZ secccectudeatansccetereiansanteentnaniededvareedendetecnts sedeceseadadudedancingauraniadacanceaniadiaedeaeerss 118 dB DAG Dynamic Range A wWid 48 KAZ csscscsececevevatanteatdecevicnassnddarcevesbhensbubendcedestonatenitentudsansbandindstceicunsenouventeeabeipes 118 dB FreEWIle er e steerer eect ne Simran opm ten stereo ce Sh Sate eesti de Sere etna st eeetone acd dene aeons at ee ewan S400 400Mb s WITS FOC CS SIN raae AEE E E O AAEE a a a aA 32 bit floating point ON Wal AEP ATA E E E E E E E E T A E T E aaeacatenanas 44 1 48 kHz ADARI DEDI eriei i E T E E E E EN 24 PROTOS SSI Or 0 Ce aporcar E e R aE EEES 18 dBu Clock ST et eae E AE et elie area E E A AE SE N E A A A A A EE lt 20 ps RMS 20 Hz 20 kHz diler ANenUAUON seere EE EA E EEEE gt 60 dB 1 ns in 1 ps out Power CON O e E T tacuavereetetenesti as IEC Input Voltage RaNgG sisisosisisiiniiseriinernrnrninianaraneananina 90 to 240 VAC factory configured for country of destination Power Requirements COMUNUOUS vcs srtctessanencancantaneraitatsxacdicanseuraueecadaetnciunceaeasuensateweushedsetcottaddnecamerdetencdetweneeaad 100 W Physical EEI enaa T E A 22 35 inches 568 06 mm Widt
46. FireWire cable is connected both to your computer and to your StudioLive Navigate to Page 3 Digital in the StudioLive System menu and verify that the FireWire status is locked No Output on a Channel Press the Input button in the Metering section and verify that there is signal on that channel If no signal is present check the cable and the input source If signal is present press the Select button for the channel in question Make sure that the channel is assigned to the main output in the Assign section of the Fat Channel 132 Troubleshooting Fader Movements have no effect on audio Verify that your StudioLive is not locked by navigating to Page 5 Lockout in the System Menu Verify that your StudioLive is not in Fader Locate mode Select Output in the Metering Section and verify that your fader movements are affecting the output signal If so make sure your channels are assigned to the Main outputs No Internal Effects in the Main Bus Press the Aux button in the Metering section and verify the output levels of the internal EFX A and B aux buses If the level is too low use the Output knob to increase the master level for the effects mix Press the Select button for each EFX bus and make Sure it is assigned to the main output in the Assign section of the Fat Channel No output on the Solo bus while monitoring Verify that both the Cue volume and the headphone or monitor volume is at a reasonable level for comfortable listening
47. Hz In this way you are accentuating the best and downplaying everything else this particular kick drum has to offer Shelving EQ 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 Graphic EQ The StudioLive 16 4 2 features a 31 band Graphic EQ that can be inserted on the Main bus A graphic EQ is a multi band equalizer that uses sliders to adjust the amplitude for each frequency band It gets its name from the positions of the sliders graphing the resulting frequency response curve As explained in Section 2 10 4 the encoders in the Fat Channel are used to make amplitude adjustments and the meter LED s display the slider positions The center frequency and bandwidth are fixed for each band the level amplitude for each band is the only adjustable parameter Graphic EQ s are generally used to fine tune the overall mix it to a particular room For instance if you are mixing in a dead room you may want to boost high frequencies and roll off some of the lows If you are mixing in a live room you might need to lower the high midrange and highes
48. INO sssri aiin Ar E E aa 119 5 5 1 instrument GROUDS ecserin eaii 119 992 li lt 1 611s OUDS aiga a ee 121 5 6 Aux B s MIXING oo aia ie deste aceceetecescmedeocne eas nE EEE AEE 122 5 6 1 Monitor IVE s causspacuneearctateueseatdeccensatedagecen yencwsenetaca 122 5 6 2 Effects Processing ws costes casetseansccstonseescasentaoiecesenecenncinccen 123 5 7 Digital Multi Effects ccsccdicsts satecssutecnvaces ses cisacebsectneceseckeagatseds afncwsads 125 AREN ClO e a E E 125 oa DE a E E 126 Table of Contents 5 8 Level Setting Procedure ss sssssssssrsrssrrerrerrsrrrrrrrnrnnrrerrrrrenrnn 127 Od TING O BDU rrai e E E 128 5 9 1 Using the Solo Bus for MONitoring cccceceeeeeeeeeseeeees 129 5 92 DESMUICIVS SOIOING se avarensasidscomeccence acon Ek na REE 130 5 9 3 Using Solo In Place SIP to Set Up a MiX ee 130 6 Technical information 6 1 Troubleshooting cess see sree tins este eeeeenteqee eee oteanseeseceaecocua eten cece 131 6 2 SS CIC AU ONS exaat sex cutee cas Eie O EAEE E E 134 6 3 Channel Strip Library siececcsdnnccencssxdetenenesscsaceondenstenednassicansiunseccinncs Tor 24 MOC OD Ay oneei 138 6 5 Rack Ear Installation Instructions ssccsiccctenens ccs anossndseenecasiesecuntence 139 6 6 Session Data Recall Sheet cccccccsccseceeseeeeeeeeeeeeeeseeseeeseeeses 140 Introduction Thank you for purchasing the PreSonus StudioLive 16 4 2 PreSonus Audio Electronics has designed the StudioLi
49. Limiter FireWire Reverse Filter Gate send D D O S i oc Multiple Phase Reverse button Reverses the Phase of the Selected Channel Push this button to invert the phase of the selected channel s signal that is to alter the phase by 180 The D button will illuminate indicating that the phase reverse is active The Phase Reverse button can be used to correct audio signals that are out of phase and cancelling each 5 other out 5 2 Phase reverse is only available on the 16 channels of the E input bus High Pass filter Engages the High Pass Filter The High Pass filter section consists of an encoder and a meter You will notice that the there is a frequency range to the left of the meter The high pass filters threshold can be set from 24 Hz to 1 kHz When the meter is set to its lowest point the filter is off Remember that all frequencies below a high pass filter s threshold are attenuated See section 5 3 1 for more details The high pass filter is only available on the 16 channels of the input bus Gate On Off button Turns the Gate On and Off for the Selected Channel This button engages and disengages the gate for the selected channel It will illuminate to indicate that the gate has been enabled The gate is available for all input and output buses 22 23 Gate Threshold sk ee el ch i 2 E G 4 a E T amp a 4 4 a il 05 7 T i Release Com
50. ON 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 class B selon le cas prescrites dans le r glement sur le brouillage radio lectrique dict par les ministere des communications du Canada As PreSonus 7257 Florida Boulevard Baton Rouge Louisiana 70806 USA 1 225 216 7887 Www presonus com 144
51. Overview StudioLive 16 4 2 Owner s Manual Controls amp Connections S v be v v i an van u Tutorials Multiple Mixers Technical Information i PreSonus www presonus com 0 Mandatory Stuff 0 1 Important Safety Instructions PreSonus StudioLive 16 4 2 0 1 Important Safety Instructions A 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 TO 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 A 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 A 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
52. Section 2 10 for details When a Solo button is enable 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 of its assigned outputs Subgroups Mains and Aux Sends Controls the Overall Level of the Channel Each input channel features a 100 mm long throw fader for accurate level adjustment Unity gain 0 dB is denoted by a J The white area above the fader can be used as a scribble strip Use only oil pencils other types of pens or pencils cannot be wiped off To clean the scribble strip use a lightly damp cloth to remove the writing 38 The Aux Bus The StudioLive has six analog aux sends and two internal effects sends The aux sends are mono however two aux sends can be linked to create a stereo bus Section 5 6 discusses how to use these aux buses for monitor and effects mixing Analog Aux Sends Solo Button Post Fader Send Button Output Level Control 39 Turns Soloing On and Off This button will solo the aux bus to the main outputs or to the monitor outputs depending on whether PFL or SIP is selected in the Solo bus section Please review Section 5 8 for details When a Solo button is enabled that channel or bus will automatically be selected and its Select button will illuminat
53. Tutorials Technical Infor mation N9 The Pan Control for each Input or Output bus is set on the Fat Channel The LED display shows the Pan setting and the encoder to the right of the display controls panning for the selected input or output bus When two channels are linked as stereo pair the LED display will automatically change to stereo pan Stereo linking is done from within the Fat Channel Input channels aux buses or subgroups can be linked to create a stereo pair The stereo pairs are predefined and cannot be changed They are as follows e Channels 1 amp 2 Aux 1 amp Aux 2 e Channels 3 amp 4 Aux 3 amp Aux 4 e Channels 5 amp 6 Aux 5 amp Aux 6 e Channels 7 amp 8 e Subgroups 1 amp 2 e Channels 9 amp 10 e Subgroups 3 amp 4 e Channels 11 amp 12 e Channels 13 amp 14 e Channels 15 amp 16 A stereo link can be enabled when either channel in the pair is selected When the stereo link button is illuminated all the dynamics settings subgroup assignments and main assignments are pasted onto the other channel in the pair Wie Note that this is a nondestructive paste When the Link button is disengaged the other channel s settings will be restored to its previous setting For instance if Channel 8 is selected when the Stereo Link button is engaged all of Channel 8 s settings will be copied onto Channel 7 If Channel 7 is selected when the Stereo Link button is engaged Channel 7
54. a Wo j Bini ko BESS olo ojo oo oR D 7 jis 8 jes E nr l hor i E 8H GSH 0 OWES Eh CUPET TT Thank you once again for buying our product we are confident that you will enjoy your StudioLive The StudioLive performance and recording digital mixer is a fully loaded professional digital mixer combined with a complete 32x18 FireWire recording system Racks of processing effects including compressor limiter gate four band parametric EQ reverb and delay are available on every channel subgroup aux and main mix delivering total control in a compact rugged steel chassis StudioLive includes CAPTURE a fully integrated live recording software by PreSonus allowing you to record every performance and rehearsal with a few clicks of your mouse Intuitive flexible and powerful StudioLive revolutionizes music production opening endless creative possibilities Summary of features e 24 bit 48 kHz sampling rate e 16 Class A XMAX microphone preamplifiers e 16 line level inputs e 6 auxiliary buses e 4 subgroups e High definition analog to digital converters 118 dB dynamic range e Unlimited headroom 32 bit floating point digital mixing and effects processing Controls amp Con U 9 ce Multiple Tutorials Technical Infor nections mation Features 32x18 FireWire digital recording interface with two FireWire 400 IEEE 1394 ports S
55. a ge 4 Lockoyt At its lowest level of security Lockout mode allows you to freeze the current Fat Channel and Effects settings Faders Aux mixing and Scene Recall can still be enabled Each of these mix functions can be added to Lockout mode as you see fit To lock your StudioLive press the Select buttons that correspond to the five digit password you have set In this example the password is 12345 so you would press the Select buttons for Channels 1 2 3 4 and 5 in that order The Panel Status will switch to Locked indicating that Lockout mode is now active To unlock your StudioLive navigate back to Page 4 Lockout in the System menu if this page is not currently active Press the same sequence of Select buttons The Panel Status will change to Unlocked and you will be able to resume your mix 76 OO Recording 3 4 Hook up Diagram In The Studio with StudioLive Active Bass a Thru DL Lead Vox Headphone Extension Cable Headohone Extention Cable Headphone Extension Cable What you will need C LF LF cabled S pib t itadohone Exteniven Cables This diagram features a PreSonus HP60 headphone amplifier receiving two different mixes from Aux 1 amp 2 and Aux 3 amp 4 while a third monitor mix is sent from Aux 5 amp 6 to a PreSonus HP4 headphone amplifier Channels 1 4 on the StudioLive are switched to FireWire Playback so that a click track a prerecorded vocal track
56. aa tia ae AER StudioLive is synced to your computer you can route any of the 14 routable buses to the S PDIF 8 of 14 buses and inputs in addition ae EEE GISDA cased output by routing them to FireWire sends 31 and 32 In addition to being available for recording via Aux In 31 and Aux In 32 these sends are normalled to the S PDIF output Auxiliary Input Router to its 16 input channels This is done via the Device Window s Auxiliary Channels 25 26 Channels 27 28 Channels 29 30 p Channels 31 32 Input Router To route FireWire Sends 17 32 first decide which buses and Capture enables you to record a stereo mix track in addition to the 16 Channel inputs on the inputs you would like to record in StudioLive Auxiliary FireWire Inputs 17 and 18 Sub Group 1 2 addition to your input channels Once you ve determined your input pairs simply route them to are the source for this Main Track in Capture and a stereo pair of auxiliary inputs of your choice using the pull down menu beneath each Auxiliary it is user definable through the Auxiliary Input FireWire Send pair in the Universal Control Auxiliary Input Router Remember all of these buses Router Whichever source is routed to Channels and inputs are automatically set to send their signals post Fat Channel dynamics and EQ where 17 18 can be recorded as a stereo track in Capture For more details on the Main Track and Capture applicable The inputs and buses se
57. ables 3 T5 T cables Keynoard E u eon Backing Vox 1 guitar rid Lead Vow Backing Vox 2 Active Bass Thru D I Overview Recording L wa S rs a 1S fe D 2 Controls amp Connections 2 Controls amp Connections 2 3 The Fat Channel Overview 2 3 The Fat Channel 2 3 1 The Select Button Seas _ All around the StudioLive you will see Select PRs Ses Soe Se ae al ba i Poa Riina Misg buttons There is a Select button on each of Bo g Ea X the 16 inputs each of the 6 analog aux sends both of the internal effects buses each of the 4 subgroups the two auxiliary inputs and last but certainly not least the main output bus Each of these buttons serves exactly the same purpose to access the Fat Channel parameters for its channel or bus b an oo A Ba D oga f Je PI A da y D E papi Pa pas ja E m m a a a n an A 4 a iz W pinnae eesea ii ees Fi hi bo o ha i bn bopa ALLL ee bn bn hdo A oD fe 5 i as i Fa s E a a LLL eine milan ELL Roo eer oe toe i gobtseneee EEEE EEEE LLL 1 Pd 3 l 7 4 G T3 h C C C Pres i ii i In the lower right corner of the Fat Channel you a Sahod itii S E S e is pi Mid e e J fiche will find an LED read out The currently selected Selected EE ga oO o RR Avro BR sot on ro a o Bo BR on BE vio Hh a Shelf c
58. ack will not be routed directly to the Main FireWire Return buttons in the 2Tracklin E Pana EANET ner and Monitor bus in the StudioLive Master Section WOM 2 Front Aight if Studinliwe Prackin A 74 3 Recording Using Your StudioLive as an Audio Interface 3 3 5 Configuring Your StudioLive for Core Mac only Your StudioLive can be used as the main Core Audio device for you Mac and you can route the main outputs of your Mac to any of its available output streams By default these streams are routed to Channels 1 and 2 on your StudioLive The obvious limitation of this is that you will use up two input channels on your StudioLive just for Core Audio playback Channels 17 and 18 are available through the FireWire Return buttons inside the 2 Track In and Monitor Sections on your StudioLive It is recommended that you use these channels instead for Core Audio playback The following instructions will help you configure your StudioLive to be used as the main audio playback device for your Mac 1 Go to MacHD Applications Utilities and launch Audio MIDI setup 3 dudim Te l Syriam Setsings Defuse input Y Pretona FireStedio W Oefauh Output Y Prefonus FireStudic PE fyuter Gaput Y Presonus FireStudic B Propertion Por f Prolssani Fwr badio RE ioti bure ienai E Awdjo bapur Audion Output M ue I 4 i trewn L ny mre Patian Ewin H ee ee iie a E aenn E ee a md Whist dk i ne
59. active the Attack and Release controls become inoperative and a preprogrammed attack and release curve is used In this mode the attack is set to 10 ms and the release is set to 150 ms All other compressor parameters can still be adjusted manually Engages Soft Knee Compression In normal operating mode the compressor is set for hard knee compression meaning that the gain reduction applied to the signal occurs as soon as the signal exceeds the level set by the threshold When the Soft Knee button is engaged the onset of gain reduction occurs gradually after the signal has exceeded the threshold Sets and Displays the Threshold of the Compressor for the Selected Channel or Ouput Bus This encoder sets and the meter displays the threshold of the compressor for the selected channel or output bus When the signal s amplitude level exceeds the threshold setting the compressor is engaged Turning the knob counterclockwise lowers the threshold so compression begins at a lower amplitude The threshold can be set from 56 to 0 dB Sets and Displays the Compression Ratio Setting for the Selected Input Channel or Output Bus This encoder sets and the meter displays the com pression ratio or slope for the selected channel or output bus The 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 any signal levels above the threshold setti
60. adesteuiinlcnbanaatsritadantabadesneaueidsaeaeannedadacan 16 dB to 67 dB Maximum Input Level unhy GAM soc cvennceteddededduimembountacxtanndnad nade uamipamhananaicisqnunanaleerandeanohuniadeGucearnaaaneacedspebel 16 dBu Phantom Power 4 2 VDU acdecasasactesspetrecuaatvscniaadendednaehsuionncinncaietninatatedacedecenniinnsactnammaaiuaasaaierdeducestealsahimnselacduastedess 48 VDC Line Inputs MS E EE A E E E A EAT E E A N E Oona 1 4 TRS Female balanced mono Frequency Response to Direct Outputs at unity Gail ccc cecc eee ec seca eceeceeeeseeeaeseeseeseeesaeees 10 40 kHz 0 0 5 dBu Frequency Response to Main Outputs at unity gain ccc ccc cece ees ee cece eceeseeseeaeeeeseeseeseeaeeeeeaes 20 20 kHz 0 5 dBu PENT TAN SOA Es artnet te dese terete cesta eeeetca ane a E E RES 10 kQ THD to Direct Output 1 kHz at unity gain ccc ceeseesec eee eeeeeees lt 0 0007 4 dBu 20 20 kHz unity gain unwtd THD to Main Output 1 kHz at unity gain cee eec eee eeceeeeeeeeeeeeeees lt 0 005 4 dBu 20 20 kHz unity gain unwtd S N Ratio to Direct Output Ref 4dBu 20 kHz BW unity gain A wtd 105 dB S N Ratio to Main Output Ref 4dBu 20 kHz BW unity gain A wtd 94 dB Gam Control Range ee 1 OB ji eis incadsiseddasacabdeunhouss caaeeacunniniedecssntnbobiieenchssautontandedadwomminwtaradatedsiand 20 dB to 20 dB Madman MPU level ANY GAN catacraccecutanmueuecentonsnsaescieshicacsstocnv
61. al from the mixer it is on The Solo bus is a merged bus any channel on any mixer can be soloed and monitored from the Master unit When either PFL or SIP are engaged on any mixer every mixer is placed into the same mode at the same time 82 Studio One Artist Quick Start Every PreSonus interface comes complete with Studio One Artist recording software Whether you are about to record your first album or your 50th Studio One Artist provides you with all the tools necessary to capture and mix a great performance As a valued PreSonus customer you are also eligible for an upgrade discount for Studio One Pro when you are ready to master your work create a digital version for the Web or incorporate third party VST plug ins into your recording process For more details on the Studio One Pro upgrade program for PreSonus customers please visit www presonus com Studio One Artist was designed for easy integration with both the StudioLive and Capture Session recorded in Capture can simply be opened inside Studio One so export or import is needed to begin mixing Any markers edits etc made in Capture will still be there when the Capure session is opened in Studio One Installation and Authorization Once you have installed the StudioLive drivers and connected your StudioLive to your computer you can use the PreSonus Studio One Artist music production software included with your StudioLive to begin recording mixing and producing your mus
62. al reaches the desired level but don t raise it too much or the input will clip Watch the level meter Press the Select button on Channel 1 and bring the fader to unity gain Press the Main button in the Assign section of the Fat Channel so that it is illuminated This routes the channel to the main output bus Bring up the Main fader until you can 48V comfortably listen to your microphone through your speakers Controls amp Con nections D O VU i eA Multiple Mixers Tutorials R O t Sc r BS Yo f gE 1S te z od T gt The Patch Bay Getting Started Mixing 13 With Channel 1 selected you can use the Fat Channel to add dynamics pro cessing and EQ Recording For more detailed level setting procedures and techniques refer to sections 5 8 and 5 9 3 Multiple Mixers e Microphone Inputs Your StudioLive is equipped with 16 custom designed PreSonus XMAX microphone preamplifiers for use with all types of microphones including dynamics condensers and ribbons The award winning PreSonus preamplifier has a Class A input buffer followed by a dual servo gain stage This arrangement results in ultra low noise and wide gain control allowing you to boost signals without increasing unwanted background Tutorials noise e 48 Volt Phantom Power The StudioLive has 48V phantom power available for each channel individually via buttons on the top panel
63. allows the beginning envelope of a signal commonly referred to as the initial transient to pass through the compressor unprocessed whereas a fast attack time fully counterclockwise immediately subjects the signal to the ratio and threshold settings of the compressor e 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 release 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 e 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 104 Vocabulary of Dynamics Processors 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
64. alt PreSnun badaire i g eae which you want to install the drivers and Universal isis Control Panel You must choose your system drive iris a a AE aI CU ARTE Storage drives and partitions cannot be used as meretienion Tre Wii icher on Ha clos Macineaih HO hosts for the driver Once the installation is completed you will find the Universal Control program in your Applications folder ae It is recommended that you place this in your Dock a PreSonus Cube Ga Back ine Click Install ane beste PraSonusSeadiothn 4 When the Installation has completed connect your aoc cE i StudioLive to your Mac with a FireWire cable and aes power it on You are now ready to use your StudioLive a canta Type w A alia install Succeeded Summary The shwa was sunncess fully installed Wi PreSonus O or 64 Using Your StudioLive as an Audio Interface Your StudioLive features a 32x18 FireWire interface Any input and or bus with a Select button as well as the Solo bus tape input and talkback mic can be recorded with any audio recording application that supports CoreAudio or ASIO There are many such applications on the market from which to choose Please consult the documentation that came with your audio application for specific instructions on how to select the StudioLive driver as the audio device driver for your software It is important to note that your StudioLive uses the same driver as the PreSonus FireStudio family of interfaces so its d
65. an a high low Q switch This allows you to attenuate or boost a very narrow or wide range of frequencies A narrow bandwidth high Q has obvious attenuation 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 110 What is an EQ boosting pleasant tones of an instrument such as the attack Take for instance a kick drum A kick drum resonates somewhere between 60 to 125 Hz but the attack of the kick drum is much higher at 2 to 5 kHz By setting a narrow bandwidth and boosting the attack a bit you can achieve a 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 K
66. anaboad ane uidiei Ea a aaan 22 dBu Tape Inputs I NG T A E eg A AEA A NEN A E E AA E A RCA Female unbalanced stereo pair Ma AOM IPU ELEVE sere EE E EEE E TE EEF 22 dBu IN N PEE E E E A P EE E EE E E EAEE A N ATT 1 4 TRS Female balanced 2 stereo pairs MN E Sl e E a a a 22 dBu TOG AEN IET E E AEEA E ca wes en A EI S XLR Male balanced stereo pair 1 4 TRS Female balanced stereo pair XLR Male balanced mono Paler UPU LEVE a E E anes einaaciadeneaneesimendarenescetsadtaurensas 24 dBu Onur m ed MOE aeee E EE E 10 kQ Aux Outputs TS EII E ne ee eee IE A since E AE E PEN E E AE A 1 4 TRS Female balanced mono Rated Output Leyal accessio e oa aaa r ste denna io E A aaa 18 dBu CRT UN agel SAIC Scere E TEA A E E E PE E E EEI E A NI E E AAE T E TN 51 Q 134 Specifications Subgroup Outputs T e E E E E S 1 4 TRS Female balanced mono PRAT Ue Ve A E E E A O E E T E EE E at nemeasinen 18 dBu Qumurimped ane E eoin e A O ert Petree ee a i 51 Q E E AE AIEA A N E AEAT E EE AEE RCA Female unbalanced stereo pair Raed UB LOVE srera aa RAE EE E e A E A E meen Reunsdande 18 dBu UTE T E aaa E A E E TET 100 Q O ar E Cou suoeeatenaacaueet aacacaatane nes stsobamsoraueteentenacess 1 4 TRS Female balanced stereo pair Rated CUT Loval ceraian a ct nate peat btn tiotus ear eaticaaein a Ea aaa 18 dBu ORs Cie Ed a eee Cet er er eT neo er T 51 02 System Cross Talk Input to Output Ref 4dBu 20 20 KAZ UU Wtd
67. atically controls gain without altering the subtleties of the performance e 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 e 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 Expansion 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 g if a level drops 5 dB below the expansion threshold the expander will reduce it to 10 dB below the thr
68. atures the two most common type of effects is use today for live sound reverb and delay Reverb Reverberation or reverb as it is more commonly known is perhaps the most widely used effect Natural reverb is created by sound waves being reflected off of a surface or many surfaces 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 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 in a vacuum Because our brains receive cues as the nature of the space around us based partially on audio reflections a sense of space in an audio recording sounds more natural and therefore more pleasing to the listener There are several parameters that can be adjusted in a reverb effect Decay Decay is the time required for the reflections reverberation to die away In most modern music production reverb decay times 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
69. aux that was selected when the link was created To find out which Aux is the Link Master simply select either of the Aux buses in the pair The Link Master s ID will be shown in the Select Channel LED read out Press the Page Down button to access the Digital Information page From here you can Sanplina Rate change the Sample Rate view your FireWire S PDIF Outs Main Mis LAR of A Firewire Link ID 2 connectivity assign which stereo mix you would SubGroup Nerge On like to send to the S PDIF output assign which Status No Driver Linked Slave StudioLive in a cascaded chain is the Master and merge or unmerge the Subgroups in a StudioLive chain When the StudioLive is connected and synced to a computer via FireWire the Status will read Driver On and the Sampling Rate will read FireWire Neither parameter can be adjusted fom the StudioLive while it is synced to a computer so you will need use the Universal Control Device Window to make your S PDIF assignments and change your sample rate See Section 3 3 3 for more details When two or more StudioLives are cascaded together the Status will read Linked and you will be able to see which StudioLive is the Master unit For more information on using multiple StudioLives please review Section 4 Please Note To ensure the safety of the audio equipment connected to it the StudioLive will mute all post converter outputs for two seconds when the sample rate is changed
70. bvious advantages the entire group can be muted or soloed brought up or down in a mix and faded in or out for a more ee ee Se SONNE polished intro or outro Some of the most common submix groups are drums backing vocals horn aoa E RoN Hz ean BETE HI LOW ee FREQ BETE GAIN Fon ay ges sections and string sections Drums are a classic application for subgroup mixing We will be using z a drum group in this particular example but these principles can be applied to group any type of instrument section in a live mix 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 l ST et aes a A drum group is especially useful when every piece in the drum kit has a microphone on it In this example our drums will be connected to the StudioLive as follows Distorted Electric Guitar L O we S c L Ys res ac D ke e Channel 1 Kick e Channel 2 Snare Top LOW MID LOW MID LOWMID LOW MID K a eeroes T ERE Emea ta Hz ean HI LOW owa FREQ Hz GAIN Sn oe tian ee ON PEAK o l o o o e Channel 4 Floor Tom Channel 5 Tom 1 R HI MID HI MID HIMID HIMID HI HI HI HI a ON OFF LO HI FREQ FOU oan oN rr Pausar FREQ kHz GAIN e Channel 7 Overhead Left as ser o ooo Channel 8 Overhead Righi e Channel 9 Hi Hat Keyboards We will create a stereo subgroup by linking Subgroups 1 and 2 Piano The first step in creating a subgroup is to get a good mix
71. cene automation with load save recall of all settings Fat Channel with High pass filter Compressor Limiter Expander Gate 4 band semi parametric EQ Pan Load save 2 master DSP effects reverb and delay with Load and Save 100 mm long throw faders Military grade quick touch buttons Fast acting LED meters Talkback communication system Compact 19 rack mountable rugged steel chassis PreSonus Capture multitrack recording software Compatible with Logic Cubase Nuendo Sonar Digital Performer and others PC and Mac compatible In addition to this manual your StudioLive package contains the following Before you begin there are a few general rules of thumb that we recommend you follow PreSonus StudioLive digital recording and performance mixer 6 6 pin to 6 pin FireWire 400 cable IEC power cord Software installation DVD containing PreSonus StudioLive drivers PreSonus Capture PreSonus Capture Demo Session Studio One Artist Installation DVD PreSonus Capture Reference Manual Features Included with your StudioLive is CAPTURE a digital audio multi tracking application designed to make recording quick and easy to set up and operate Perfect for live recording or mixing your audio real time to a stereo audio file CAPTURE software was designed to interface with StudioLive 16 4 2 perfectly to allow instant setup and recording of performances In addition to recording the 16 channels of the S
72. chnical Infor mation Overview To Boost or Not To Boost 5 4 4 To Boost or Not To Boost Controls amp Con nections With every instrument there are frequencies that can be attenuated or boosted to add clarity Table 2 or fullness to it in the mix And of course the wrong frequencies can make an instrument shrill muddy or just downright annoying The following two charts suggest frequency ranges that should be accentuated or downplayed for the most common instruments Remember these are just suggestions these frequencies may need to be adjusted up or down depending on the instrument room and microphone D D O S i oc Table 1 Multiple SSS ee Oo oe na ooe O E a a E e a 100 _Botomend_ a ase ra __135H2 boomy a0 Fzand bow Bottom end __ 50Hz 100Hz 200Hz 400Hz 800Hz 1 5kHz 3kHz 5 kHz 7kHz 10kHz 15 kHz Technical Infor mation 00 125 Hz and below E a T 8 12 kHz 15 khz 20 Hz and below Muda ee 120 Hz and below Muddy 400 600 Hz Lush and full 114 115 Overview General EQ Setting Suggestions General EQ Setting Suggestions Controls amp Con nections Included with your StudioLive is a library of Channel Strip presets Section 3 8 3 discusses how to Rock Male Vocals load these presets onto a channel or bus and how to create your own presets For an idea of where to start check out the following generic EQ settings for s
73. cients for the first shelving filter that when subtracted from the users curve will produce the flattest possible response O dB The resulting response is then used to find coefficients for the second shelving filter through the same optimization process Coefficients for all available shelving filters are found through a recursive process Unlike conventional designs the frequency and bandwidth of the bands depends on the curve entered by the user This allows for much tighter matching of that curve Because of this innovative design the accuracy of the StudioLive EQ might feel wrong at first The curve fitting process is capable of very steep transitions and unlike conventional analog graphic EQs what you see is what you get With a carefully drawn smooth curve the StudioLive EQ will have almost no frequency ripple The StudioLive EQ is also capable of very sharp notches To widen a notch or a bump on a particular band just bring the adjacent bands closer to that band s gain and the bandwidth will change accordingly Press the Page Down button to view the firmware version currently loaded on your StudioLive You normally will only view this screen when performing a system update in order to confirm that the new firmware was successfully loaded Firmware Wersions 61 T D gt Multiple Tutorials S e Ge S k S 1S e9 Recording Mixers e 3 1 Sys
74. 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 100 Common Questions Regarding Dynamics Does every instrument need compression This question may lead many folks to say absolutely not overcompression is horrible That statement can be qualified by defining overcompression The term itself must have been derived from the fact that you can hear the compressor working A well designed and properly adjusted compressor should not be audible Therefore the overcompressed sound is likely to be an improper adjustment on a particular instrument unless of course it is done intentionally for effect 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 you need noise gates Consider the compressed vocal example above you now have a 20 dB dynamic range for the vocal channel Problems arise when
75. e Enables and Disables Post Fader Send When this button is enabled the send levels to that aux send will be post Fat Channel and post fader and therefore are affected by fader settings If the button is disabled by default the aux buses use the Pre 1 setting and all channels on your StudioLive are sent to the aux bus after the phase reverse switch high pass filter and noise gate but before the compressor EQ limiter and fader However in the System Menu you can select the Pre 2 setting to move the send after all Fat Channel processing but before the fader Please review Section 2 10 4 for details Adjusts the Master Output Level of the Aux Send This knob adjusts the master output level of the aux send 4 T D gt Multiple Tutorials S e Ge S k f 1S e9 Recording e The Aw U I z od T gt N Analog Aux Sends 2 6 2 Internal Effects Send Controls Aux Send Select Button Enables Fat Channel Viewing Mute Button Mutes and Unmutes the Internal Effects Bus This button will mute or unmute its internal effects EFX As previously described in section 2 3 1 the Select bus It will illuminate red when the bus is muted button routes its aux send through the Fat Channel z 4 allowing you to add dynamics processing and EQ Select Recording Post Fader Send Button Enables and Disables Post Fader Send Mix Button Enable
76. e Input Gain of the Talkback Mic As previously described in section 2 3 1 the Select button routes its channel through the Fat Channel allowing you to add dynamics processing EQ and panning as well as TalkBack enable output assignments This Knob adjusts the gain of the external talkback mic n O Aux Input Level Control Controls the Signal Level of the Aux Input This knob controls the overall volume of the of the Aux Input signal Output Selector Buttons Assigns the Talkback Mic to the Aux and or Main Outs These buttons assign the talkback mic to a specified output These buttons are toggled on off and will illuminate indicating that the Talkback output is active The talkback mic can be assigned to every output at the same time Talkback Button Turns the Talkback Mic On and Off This latching button turns the talkback mic on and off It will illuminate to indicate that the talkback mic is active 46 47 2 Controls amp Connections 2 9 Master Section 2 9 3 2 Track In The StudioLive allows you to patch in an analog input or a playback stream from your recording application This enables you to compare audio sources during mixdown or patch in intermission music between bands without using any of your 16 input channels This is a summing bus so both the external tape input and the two track FireWire return can be engaged at the same time 2 Track In Volume Control 2 Track In Tape Inpu
77. e faders and return all trim knobs and output volume knobs Solo bus 2 Track In Phones and Monitor to their lowest position Your StudioLive will be zeroed out as follows SETTINGS INDUS amp Buses ASSIGN 55 E Recording 4 Overview Multiple N O Technical Infor mation Creating amp Recalling a Scene The Fat Channel will be restored to the same setting for every input and output on your StudioLive Each of the dynamics as well as the four bands of the EQ will be turned off Their parameters will be set as follows FAT CHANNEL PARAMETERS a e LE ee ee HIGH THR oB a shelf REL et EE o ow a ow FREQ 5kHz can MMRR o Before beginning any new mixing situation it is always recommended to recall the Zero Out Board Reset scene This is the easiest way to ensure that there are no lingering parameter settings that could cause you some trouble in your new mix To recall a Scene press the Scene button and use the Value encoder to scroll through the Page 1 Recall Scene library When you have found the Scene Memory EEE Monday Night Gig you wish to recall press the Recall button Recalling Assigns No Pots No By default the StudioLive will recall all of th aS O BER Ta y getault e UGIOLIVe wil recall all O e Mute Ho Aus Mis No available stored parameters Fat Channel Fie No Faders No Push Recall settings fader and knob positions channel muting and soloing aux mixes
78. e panel at some point in the future Step 2 Gently side the Ze plastic side panel toward a AA the front of your StudioLive SG aA until you hear a click Pull P the side panel toward you ok to remove it Step 3 Once the side panel is removed you will see three metal clips Remove the screw that attaches each of these clips to your StudioLive Set aside these screws You will need them to attach the rack ear to your StudioLive It is recommended that you attach the clips back to the decorative side panel using the screws you removed is Step 1 to store them Both the clips and the screws are necessary to reattach the side panel Step 4 Remove the four screws at the top These 5mm screws will be replaced with slightly longer ones Set them aside and store them with the side panel Step 5 Using the ba a b screws you removed PP aT from the metal clips in g Ii m Step 3 attach the Rack Ear labeled R to your StudioLive In your Rack Ear Installation Kit you will find four 6mm screws Thread these through the four holes at the top of the Right Rack Ear and attach them to your StudioLive Repeat these steps to attach the Left Rack Ear to your StudioLive 139 a Overview Controls amp Con nections D Oo O U i a Multiple Mixers Tutorials 6 Technical Information 6 6 Session Data Recall Sheet DAT a ARTIST m SCENE This page left intentionall
79. e pi ede ga babhpebnooeuEbea F EREA E AAE LLLI bistisidrisi Hopup A EE a T SRE REE ALLL TILLI En RS i C oO H E rn i Fre ie Gain on E r in k uj ie h 3 a a ie acm Bel Pull ub a 4 ka En 7 Freg Hd f Threshold Release i Threshold Ratio Attack Release Gain Freg im Gain aB Freq rte Gain dB Fred ee Let s say that you are inserting an external 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 to the 7 or 8 o clock position so that only a small portion of the kick drum input will be affected by the reverb Once you have determined your effects mix you can press the Select button for Aux 3 to add dynamics processing and EQ to the aux mix before it is sent to the external effects processor The effects processor s output is patched to Aux Input A so you can use the Select button for Aux Input A to add Fat Channel dynamics processing and EQ to the reverb enhanced signal The knob for Aux Input A controls the level of the aux mix relative to the level of your main mix 124 5 7 Digital Effects The StudioLive includes a stereo effects processor that fe
80. ease 3 4 1 400 ms Electric Guitar This is a setting for crunch electric rhythm guitar A slow attack helps to get the electric rhythm guitar up close and personal and gives punch to your crunch Ratio Attack Release 2 4 1 26 ms 193 ms Threshold 6 3 dB Threshold 0 1 dB Keyboards 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 Release 112 ms Attack 108 ms Ratio 1 9 1 Threshold 10 8 dB Synth The fast attack and release on this setting can be used for synthesizer horn stabs or for bass lines played on a synthesizer Ratio Attack Release 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 Ratio Attack Release 2 5 1 1 8 ms 50 ms Threshold 11 9 dB Threshold 3 3 dB 10 0 0 Overview General Compressing Setting Suggestions nections fe ie U e E Y S ie U Stereo Mix Stereo Limiter Just as the name implies this is a hard limiter or brick wall setting ideal for controlling the level to a two track mixdown deck or stereo output Threshold Attack Release 5 5 dB 0 001 ms 98 ms Contour This setting fattens up the main mix Threshold Attac
81. ecall your pre lockout fader positions using the Locate button in the meter section Until you connect your StudioLive to a computer the mixer cannot be locked so don t worry about accidentally locking yourself out With your StudioLive connected and synced to your computer launch the StudioLive Device window in Universal Control click on the Advanced button The Lockout window will launch To set your custom password click on the box next to Device is Lockable At this point a cursor will appear in the password box Enter V Device is Lockable a five digit code using any number between 1 eee and 9 and click the Set button Your password PEV IOR DESO NCS Ae DE S EIER NO ier will no longer be displayed Should you need to change your password simply click on the box next to Device is Lockable Your old password will be deleted and you will be able Using Password BEYET to enter a new password Once you have set your password the StudioLive can be locked with or without being synced to a computer Cancel Apply To lock your StudioLive press the System button in the Digital Effects Master Control Panel Status Unlocked ti E aate to P A eeeaue Vv ee a a eee Ves sec en an navigate to Page 4 Loc au Your Master A StudioLive cannot be locked unless this page a A is active If you have multiple StudioLive mixers connected you only need to lock the Master unit to lock all the mixers in the chain YSter P
82. eft Right FireWire Return to the Monitor Bus The FireWire Monitor button patches the main left right FireWire return that is the signal from your audio software s master outputs to the monitor bus Assigns the Main Mix to the Monitor Bus The Main Mix Monitor button patches the same signal that is being sent out of the main outs to the Monitor bus This signal is always pre fader 51 Overview pe e U od fel Multiple Tutorials Technical Infor Mixers mation Controls amp Connections 2 10 Digital Effects Master Control Digital Effects Master Control From the Digital Effects Master Control section you can select and change the parameters of the two internal effects processors as well as store and recall every setting on your StudioLive at the touch of a button Because almost all of the StudioLive s features are controlled from the mixing surface rather than using menus and submenus you will mainly use this section to adjust the internal effects processors and to save and recall presets and scenes 52 2 Controls amp Connections 2 10 Digital Effects Master Control 2 10 1 The FX Menu The StudioLive features two internal effects processors Each processor can access the StudioLive s selection of high quality reverbs and delays As described in Section 2 6 2 each of these effects can be routed to any of the subgroups the aux bus or the main outputs To
83. els 1 16 will reside on Slave 2 Channels 17 32 will reside on Slave 1 and Channels 33 48 will reside on the Master unit Lets say that you want to create an aux mix on Aux 3 To begin press the Aux 3 mix button The Fat Channel meters and encoders on all three mixers will be ready for you to create an Aux 3 mix you will use the Fat Channel meters and encoders on Slave 2 to set the Aux 3 send levels for Channels 1 16 and the meters and encoders on Slave 1 to set the Aux 3 send levels for Channels 17 32 Use the Fat Channel meters and encoders on the Master unit to set the Aux 3 send levels for Channels 33 48 The resulting mix is then routed from the Aux 3 output on the Master unit If you would like to add Fat Channel dynamics to the overall Aux 3 mix simply press the Aux 3 Select button on the Master unit and use the Master unit Fat Channel to dial in your dynamics and EQ settings Note that the Aux outputs on the slaved mixers are still active but they only have access to the local channels So in this example the Aux 3 mix for Channels 1 16 on Slave 2 is routed locally to the Aux 3 output and merged with the overall Aux 3 mix on the Master unit at the same time The same is true of Channels 17 32 on Slave 1 Only the Master mixer receives the merged signals from all cascaded mixers in addition to its own local channels Because Aux mixes are sent to the Master unit before the Fat Channel for obvious reasons if you wish to create a stereo Aux
84. er for every microphone input The 48V button will illuminate when phantom power is activated For more information on phantom power and the microphones that require it please review Section 5 2 Turns FireWire Playback Streaming On Off The FireWire Input button routes a playback stream from your recording software to the StudioLive s channel inputs where it is routed and processed the same way as analog input signals For example if you want a particular recorded track to play back on mixer channel 3 simply route that track in your recording software to StudioLive Output 3 This button can also be used to insert a plug in effect into the mix For more information on this feature please review section 3 3 2 Do not engage this button when your StudioLive is not connected and synced to a computer Overview D D O S i oc Multiple Tutorials Technical Infor mation Input Channel Controls Input Channel Select Button Solo Button Mute Button Channel Fader Enables Fat Channel Processing and Routing As previously described in section 2 3 1 the Select button routes its channel through the Fat Channel allowing you to add dynamics processing EQ and panning assign the output routing and more Turns Soloing On and Off This button will solo its channel to the main outputs or to the monitor outputs depending on whether PFL or SIP is selected in the Solo bus section Please review
85. er than Firewire Link ID 2 that of the Master can be used for each of the SubGroup Merge On cascaded units The unit with the lowest ID is the Status Driver On Linked Slave Master its channels will be the last bank of 16 The unit with the next lowest ID will be the second to last and so on If you will be recording with two StudioLive 16 4 2 mixers take a moment to look at the serial numbers on the bottom of each mixer The mixer with the lowest serial number will be designated as Inputs and Outputs 1 16 in your recording application Because of this it is recommended that the mixer with the lowest serial number be set as the Slave and the unit with the highest value serial number be set as the Master 78 Aux Mixing With Cascaded Mixers Every channel in the mixer chain can be sent to the six Aux outputs on the Master unit When you press the Mix button on any of the six auxes you will notice that the Mix button for the corresponding aux will illuminate on every mixer in the chain For example if you press the Mix button on Aux 1 on the Master unit the Mix button on Aux 1 on each of the slaved units will also illuminate Creating an aux mix with multiple mixers works exactly the same way as with one mixer Each of the encoder beneath the meters in the Fat Channel control the amount of send level for each of their corresponding channels on that mixer to the enabled aux For example if you have three mixers chained together Chann
86. ernet connected computer to create your account After you have created your account skip to Activating Studio One Artist Offline a S k E At the top of the installation menu select the source from Activating Studio One Artist which the conte mal be installed as well as the location Online 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 in the 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 Now that you have created a user account you can activate your copy of Studio One Artist Launch Studio One Artist and the Activate Studio One menu will appear mation Click on the Activate Online link and enter your previously created account Username Password and the Product Key you received with the Studio One Artist installation disc Click on the Activate button to finish the activation E When finished installing content click on the Done button process to exit the menu Technical Infor 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 i
87. ers Because a USB microphone is in effect an audio interface we recommended that you not use them with the StudioLive as the likelihood of conflicting drivers is great If you are using a new or nonstandard type of microphone e g USB headset laser MEMS ple ase consult your microphone s user s manual for power requirement and compatibility information Regardless of the microphone type you are using we recommend reading your microphone s user s manual thoroughly before engaging phantom power and if other usage questions arise Microphone Placement The following are a few recording applications to help you get started with your StudioLive These are by no means the only ways to record these instruments Microphone selection and placement is an art form For more information 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 suggestions can be used in live applications as well and have been noted for your convenience Piano 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 applications as well 97 fe ie U o e E Y amp ie U Multiple S e Ge S k f 1S cB
88. eshold Commonly used for noise reduction expansion is very effective as a 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 Noise Gating Noise gating is the process of removing unwanted sounds from a signal by attenuating all signals below a set threshold As described above 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 103 Multiple Controls amp Con Technical Infor Overview nections D Oo O U i oc Mixers mation Vocabulary of Dynamics Processors In scientific research it is widely accepted that if one needs to master a subject quickly one must learn the associated vocabulary and industry terms The same is true with audio recording and production Most manuals and text books assume a prior level of Knowledge We hope this sec
89. everal different instruments As with the LOW MID LOW MID LOW MID LOW MID compression settings in Section 4 2 4 the right EQ setting for any given instrument will depend owore Penner Emea ma Hz aan BETE ma FREQ Hz mm upon the room and the tonality of the instrument PEAK 155 HI MID HI MID HI MID HI MID HI HI Vocals EE e kHz EN mE e essa ee on SHELF D Oo O U i oc Multiple Mixers Pop Female Vocals Percussion LOW MID LOW MID LOW MID LOW MID owore Pennes Emea ma Hz ean a HI LOW eae FREQ a GAIN Snare 465 PEAK a30 LOW MID LOW MID LOW MID LOW MID owore Penner Perea Hz san a HI LOW a FREQ a_i GAIN 665 0 PEAK O 130 HI MID HI MID HI MID HI MID HI HI HI HI ON OFF LO HI FREQ ee EE a FREQ Par GAIN PEK ON Lo 24 HI MID HI MID HI MID HI MID HI Rock Female Vocals EN m HENI kHz EN owore E reata jee on SHELF LOW MID LOW MID LOW MID LOW MID owore Pesner Emea ma Hz ean ME HI LOW a FREQ GAIN Left Right Stereo Overheads 465 SHELF 155 LOWMID LOW MID LOWMID LOW MID HI MID HI MID HI MID HI MID owore Penner Perea Hz san a HI LOW HETE FREQ o GAIN ON OFF LO HI FREQ Ea ge sa owore Penner eatin E an SHELF 108 385 PEK ON LO O aa HI MID HI MID HI MID HI MID HI Pop Male Vocals E ME o kHz H owore m rae ice on 0 SHELF KAMME NEE ON OFF PEAK SHELF FREQ Hz GAIN ON OFF FREQ Hz GAIN Kick Drum PEAK
90. evice 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 87 Overview fe ie U o e E Y amp ie U Multiple S e Ge S k f 1S cB nections Recording Mixers e 5 Tutorials 5 Tutorials 5 1 Studio One Artist Quick Start 5 1 Studio One Artist Quick Start a 5 1 3 5 1 3 i Step 3 Step 2 z Wobke 2 MO Step 4 I Default Instrument Input In the Receive From drop down menu select the MIDI interface input from which Studio One Artist will receive MIDI data In the Send To drop down menu select the MIDI interface output from which Studio One Artist will send MIDI data to your keyboard If your keyboard controller does not need to receive MIDI data from Studio One say for moving motorized faders and the like you can leave this unselected If your keyboard does need to receive MIDI date you must connect a MIDI cable from the MIDI output of the MIDI breakout cable to the MIDI input of the keyboard If this is the only keyboard that you will use to control the virtual instruments and your external synthesizers in Studio One Artist 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
91. field When you have finished entering your custom name hit the Enter key 70 e Recording Using your StudioLive as an Audio Interface Universal Control Close Window etri We Show All Devices ctri T Close All Devices ctrl Y Quit ctri Q_ Settings Check Firmware Check Firmware Settings Run at Startup Run at Startup 71 Opens and Closes Launch and Device Windows From the File menu of the Launch Window you can open and close both windows as well as quit the Universal Control application e Close Window Closes just the Launch window e Show All Devices Opens the Device window for all of the connected FireStudio family interfaces e Close All Devices Closes the Device window for all of the connected FireStudio family interfaces e Quit Quits the Universal Control application Scans Your StudioLive and Updates the Firmware A firmware updater is built into the Universal Control application Periodically a driver update will require that the firmware on your StudioLive be updated Whenever you install an update for the Universal Control or add a new FireStudio family product to your system you should use this feature to ensure that the firmware is up to date If the firmware needs to be updated the update application will launch automatically Launches the Universal Control Application Automatically on Startup Windows Only When this is enabled the Universal Cont
92. flash once indicating that the current settings on your StudioLive have been saved to internal memory The StudioLive will take a snapshot of the current position of every parameter on the mixer whenever no changes have been made for ten seconds If you wish to ensure that your StudioLive will hold its current settings before you power down simply wait for a few seconds until the Store button flashes This is your indication that it is now safe to turn off your StudioLive The next time you turn it on all of your settings will be recalled automatically Please note AutoStore does not change the settings for a recalled scene that has been altered Any changes made to a Scene in the StudioLive s library must be saved using the Scene menu as described in the first part of this section 57 Overview F D i Recording Mixers Multiple Tutorials L we S c L Ys EG D ke Saving amp Loading Channel Presets The StudioLive comes with a suite of channel strip presets created by professional PreSonus users and endorsed artists and engineers These presets provide a great jumping off point to create a mix quickly and easily The StudioLive also allows you to create your own library of presets To load a preset to any channel on the StudioLive first press the Select button for the desired channel From the Fat Channel press the Load button You will notice that LCD now displays the Channel Preset Load menu
93. g Do not allow your inputs to clip Watch the level meters when the LEDs near the Clip mark the top LED will illuminate indicating that the analog to digital converters are in danger of being overdriven Overdriving the converters will cause digital distortion which sounds terri ble The XMAX preamps in your StudioLive provide plenty of headroom take advantage of it Your P A and studio equipment should be powered on in the following order 1 Sound sources keyboards direct boxes microphones etc connected to the StudioLive inputs 2 StudioLive 3 Computer if applicable 4 Power amplifiers or powered monitors When it s time to power down your system should be turned off in the reverse order Now that you know what not to do let s get some audio going Grab a microphone and a mic cable and plug it into the StudioLive s Channel 1 mic input Connect the Main Outs TRS or XLR of your Studio Live to your power amplifier or powered monitors If you re using passive speakers connect them to your power amplifier using speaker cable Bring down all the faders on your StudioLive Plug your StudioLive into a power outlet and turn it on If your microphone requires phantom power engage the 48V button on Channel 1 of your StudioLive Turn on your amplifier or powered monitors Press the Input button in the Meter section While speaking or singing into your microphone turn the trim knob on Channel 1 until the sign
94. g application will route these playback streams to their respective channels on the two StudioLives FireWire Returns 33 and 34 17 and 18 with one mixer connected are hard coded to the FireWire input buttons in the 2Track In and Monitor Sections on both the Master and the Slave mixer If the 2TrackIn FireWire Return button is enabled on both mixers the duplicated signals will both be routed to the Master unit s main output As with the Analog Tape Input it is recommended that only the Master unit s 2TracklIn is used e FireWire Sends As also discussed in Section 3 3 1 a single StudioLive has 32 available FireWire sends 16 from its channels and 16 from a selection of buses and aux inputs When two StudioLive mixers are connected to a computer each StudioLive has 16 available FireWire sends for a total of 32 As mentioned earlier FireWire sends 1 16 output from the StudioLive with the lowest serial number FireWire sends 17 32 output from the StudioLive with the highest serial number These sends cannot be changed nor can they be merged For the best workflow it is recommended that the unit with the lowest serial number be placed to the left and be set as the Slave e Monitor Bus You must use the Monitor section on the Master unit to monitor all channels in the chain by listening to the Solo bus or the the Main bus the Tape Input for the Master Main bus and the Main FireWire Return The Monitor bus on the slaved units can only receive sign
95. h Chassis Oniy serere aa aR E a A A a EEE 17 22 inches 437 40 mm Width Wih rack cars jinen A A EA Aaa E a A AEEA 19 inches 482 60 mm Plea UM ICT OME savecccenansatatesieceaicensinsinacecndcuclendeixdn ir Ria aranan N EA a TER 6 90 inches 175 26 mm AUE E p P EEE AE E T E P E ET E E E E E E E A 23 Lbs Global Warming Recommended Operating TEMpPerature cccccccccceccecceceeceeceeceeaeeaeceeceeceeeeceeseeseeseegeceeseeseesueaeseeeaeseeaes 0 to 40 Celsius 136 Channel Strip Library Your StudioLive comes with 50 Fat Channel presets custom designed by professional PreSonus users These presets can be altered renamed and overwritten however there are 50 additional empty storage locations for you to build your own custom library of channel strip settings 01 DRM Kick 1 34 KEY Vibes 67 EMPTY LOCATION 02 DRM Kick 2 35 HRN Trumpet 68 EMPTY LOCATION 03 DRM Kick Funk 1 36 HRN Trombone 69 EMPTY LOCATION 04 DRM Kick Funk 2 or HRN Sax 70 EMPTY LOCATION 05 DRM Kick Hip Hop 38 HRN Sax Solo 71 EMPTY LOCATION 06 DRM Kick Jazz 39 PRC Congas 72 EMPTY LOCATION 07 DRM Snare 1 40 PRC Bongos 73 EMPTY LOCATION 08 DRM Fat Snare 41 PRC Cowbell 74 EMPTY LOCATION 09 DRM Snare Crackalak 42 PRC Tambourine 75 EMPTY LOCATION 10 DRM Snare Snappy 43 VOX Male 1 76 EMPTY LOCATION 11 DRM Toms Mid 44 VOX Male 2 77 EMPTY LOCATION 12 DRM Toms Low 45 VOX Male 3 78 EMPTY LOCATION 13 DRM Toms High 46 VOX Female 1 79 EMPTY LOCATION 14 DRM Ove
96. hannel will always be displayed here Numbers Channel pas f 34 poas e Limit i Equalizer 1 16 indicate one of the 16 inputs channels is aa m a Selected selected S1 S4 indicates Subgroups 1 4 MA I BL ae e 5 a Se eo Channel indicates the Main bus A1 A6 indicates Aux 1 6 A7 and A8 indicate EFX A and EFX B and F1 and A E Pan Stereo oA Channe el Assign ooo F2 indicate Aux inputs A and B Selected In addition two meters part of a set of seven Channel meters located in the top right section of the LVL mixer are dedicated to displaying information about the currently selected channel The meter on the far left of this section displays the pre fader input level for the selected channel The meter to the right of it displays the gain reduction The heart of the StudioLive is the revolutionary Fat Channel The Fat Channel makes dynamics routing and panning for every input and output on the StudioLive available at the touch of a Select button The 16 multipurpose knobs and meters located in the Fat Channel control nearly every adjustment you will need to make on your StudioLive From the Fat Channel you can Technical Infor mation e Add dynamics processing and EQ to every input and output l for the selected channel It is important to e Create sends and effects mixes for all 6 analog aux sends and both internal effects buses mention that these meters are only active when e Assig
97. he Monitor bus on the StudioLive allows you to monitor the main outputs Solo bus main FireWire return from your computer and the stereo analog tape input Because the Monitor Bus is a Summing amp you can even monitor the World Series on your headphones while still running sound at a show Headphone Output Level Control Adjusts the Overall Level of the Headphone Output This Knob adjusts the overall level for the headphone output Phones Adjusts the Overall Level of the Control Room Monitor Control Room Monitor Level Control Outputs This knob adjusts the overall level of the control room monitor outputs Monitor Solo Bus Monitor Button Assigns the Solo Bus to the Monitor Outputs The Solo Bus Monitor button patches any soloed channel subgroup or aux send to the Monitor bus This can be useful is any number of ways for example Auditioning an aux send monitor mix Dialing in the dynamics processing and EQ on a subgroup Creating a better blend for instrumental sections horns strings etc Tape Input Monitor Button Assigns the Tape Input Signal to the Monitor Bus The Tape monitor button routes the signal from the tape inputs tape returns to the monitor bus The level for this input is controlled by the knob in the 2 Track In section 50 2 Controls amp Connections 2 9 Master Section 2 9 5 Monitor Bus FireWire Monitor Button o Main Mix Monitor Button Assigns the Main L
98. hed it will Setup Wizard prompt you to reboot your computer Te compte Oe raden of Prelorus Fauto Sete went mat you comate Waal pau be te wetat ro Vee weet fe corte rer iii Click Finish to automatically restart your PC Once your computer has rebooted connect the StudioLive When the Found New Hardware wizard launches follow the Recommended steps Your StudioLive is synced to your computer and ready to use 63 Overview nections fe ie U o 2 E Y E O U Multiple Tutorials Technical Infor mation Installation in Mac OS X Your Installation disc contains the installers for your StudioLive drivers Capture and a Capture demo session Each needs to be installed separately After inserting the Installation CD into your disc drive browse the disc and run the StudioLive installer which will take you through each step of the installation process Please read each message carefully ensuring especially that you do not connect your StudioLive too soon 1 To begin installing the StudioLive driver on your Mac double click on the StudioLive logo anr sk alt Prani Sado i 2 You will be directed to the Welcome screen Welcome to the PreSonus Stediolive installer You will be gated throat the sheps merestary to install tat sole a Click Continue and follow the onscreen instructions ai PreSonus s Corainue 3 You will be directed to choose the hard drive onto eo i evwt
99. ic To install Studio One Artist insert your installation disc into your computer s DVD drive Follow the onscreen instructions to complete the installation process Installing Studio One Artist To Install Studio One Artist insert your Studio One Artist installation DVD into your computer s DVD drive PC Users Launch the Studio One Artist installer and follow the onscreen instructions Mac Users Simply drag the Studio One Artist application into the Applications folder on your Macintosh HD 83 Overview Multiple Controls amp Con Technical Infor nections D O S i oc Mixers mation 5 Tutorials 5 Tutorials Dd Studio One Artist Quick Start 5 1 Studio One Artist Quick Start 3 5 5 1 1 Installation and Authorization 5 1 1 Installation and Authorization E iV BS EE Create a User Account Installing Bundled Content for Studio One z Artist ni ae a new Studio One user you will need to create a user samples and unique third party content The Studio is connected to the Internet Once you have created your producing music account continue to Activating Studio One Artist Online 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 If your computer is not connected to the Internet visit the Studio One product page at www presonus com on an Int
100. ilable for all input and output buses Sets and Displays the Center Frequency of the High Mid Band EQ This encoder sets and the meter displays the center frequency of the High Mid band You can adjust the Q from 380 Hz to 5 kHz Enables a Narrow Bandwidth for the High Mid Band EQ on the Selected Input or Output 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 By default the High Mid EQ is set to a low Q 0 55 When the Hi Q button is engaged the bandwidth will narrow to 2 0 to provide more exact control Overview D D O S i oc Multiple Tutorials Technical Infor mation NJ I mirtyprla O f AnRKRARTIARKR R Controls amp Connections T h A F CO hK a nna INe Fal UNANNEel Dynamics Processing and EQ High Mid Band EQ Gain Control 12 Gain aB High Band EQ On Off Button High Band EQ Frequency Control Sets and Displays the Gain Attenuation or Boost at the Center Frequency This encoder sets and the meter displays the gain cut or boost at the center frequency of the High Mid band The level of the center frequency can be set between 15 and 15 dB Activates Control for the High Band EQ for the Selected Input or Output Bus This button actives control of the High band for the selected channel or bus The button will illuminate to indicate control is acti
101. ined 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 and 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 applications For example e Akick 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 102 Types of Dynamics Processing e 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 autom
102. ing is enabled In either mode pressing Solo on any channel or bus routes that channel to the Solo bus and has no effect on the main or subgroup mixes PFL soloing is not available for the Subgroups The Aux bus soloing is always PFL with or without this mode enaged Enables Solo In Place Mode SIP Solo In Place or destructive soloing mutes every unsoloed channel on the StudioLive If one of the muted channels is routed to the mains or a subgroup it will be muted in those outputs This also applies to soloed channels The output routing is still active Note that while you can manually unmute a channel this mode should be used with extreme caution during a live performance Only the input channels can be placed into destructive soloing The Subgroups and Aux buses are omitted from SIP mode To enable SIP press and hold the button until it illuminates red This ensures that you cannot enter into destructive Solo mode by accident It is important to note that when SIP is engaged channel mutes will only apply to the Subgroup amp Main assignments Unlike independent muting SIP does not mute input channels in Aux Send mixes Overview D D O S i oc Tutorials Multiple Technical Infor mation 2 Controls amp Connections 2 9 Master Section 2 9 5 Monitor Bus The StudioLive features a headphone output as well as control room outputs giving you the ability to monitor multiple sources on the StudioLive T
103. ire return you must disable Dig Out 68 Universal Control mm Wrrefious Geudiallwe ie 1 ace me Supa wee ee mar iai tom ry Bet to ey M The StudioLive 16 4 2 is compatible with the Universal Control application As with all FireStudio family interfaces Universal Control includes two windows the Launcher window and the Device window For the StudioLive the Device window is the Auxiliary Inputs Router As discussed in the Section 3 3 1 the Auxiliary Inputs Router allows you the freedom to choose which additional buses to route to the eight stereo auxiliary FireWire sends as well as create a password for your StudioLive so that you can lock out unauthorized users See Section 3 3 6 for details From the Launcher window you can set basic parameters such as buffer size and sample rate In addition you can use the Launcher window to configure your WDM outputs PC only see Section 3 3 4 It should be noted that the Meter Style and Meter Decay options in the Launcher Window are not active when only a StudioLive is connected to a computer Sample Rate Selector Changes StudioLive Sample Rate You will set the sample rate to 44 1 or 48 kHz from the Launcher Window when your StudioLive is connected to a computer While higher Sample Rates are included in this menu these are only for use with FireStudio family Sample Rabe w 44 1 KHz 48 MaE products that support them When using a StudioLive 88 2 KHz
104. is featured on Channels 1 16 and can be used as an extra input when using the StudioLive as an audio interface See Section 3 3 1 for more details Talkback Mic Level This is the gain control for your talkback microphone Mono Output This balanced output carries a mono summed version of the stereo signal from the main bus The Patch Bay Mono Output Level This knob controls the maximum level of the Mono Output signal The signal can be attenuated to 80 dB and boosted up to 6 qB Main Output The StudioLive features both XLR and TRS main outputs These outputs are parallel to each other and to the mono output Main Output Level This Knob controls the maximum output level of both the XLR and TRS main outputs The signal can be attenuated to 40 dB and boosted up to 10 dB Tape In Out The StudioLive is equipped with stereo RCA coaxial inputs and outputs that can be used to connect a tape deck CD player or other consumer device The tape input level is controlled by the 2Track In knob on the top panel The main bus is routed post fader to the tape output CR Output These are the balanced control room outputs The level is controlled by the Monitor knob in the Monitor section on the top panel Out 9 16 Out 1 38 o Oe 155552558 Se Pre Insert Balanced Direct Outputs SSSR EGREE Let ee Pre Insert Balanced Direct Outputs These are the balanced direct analog outputs for the 16 channels The DB25 connectors d
105. is soloed you will only hear Channel 3 in your Mains This makes a great fine tuning tool but it can quickly destroy a live mix It is highly recommended that you drop out of this mode once the show has started Using Solo in Place SIP to Set Up a Mix In Section 5 8 we discussed a quick and easy way to set up the input levels for your StudioLive ensuring that you have the highest possible input level without clipping your analog to digital converters The next step is to set up your mix by dialing in the dynamics EQ and fader settings for each channel Enter Solo In Place SIP As discussed earlier in Section 5 5 1 most engineers start with the drums and work from the bottom up To begin bring all your faders down and raise your main fader to unity gain Press and hold the SIP button in the Cue section until it illuminates and press the Solo button on your kick drum mic channel Notice that all the other channels on your StudioLive have been muted Bring up the fader on the kick drum channel and press the channel s Select button The Fat Channel will now display the dynamics processing EQ output routing and pan settings for the kick drum Using the encoders and meters in the Fat Channel set up the compressor and EQ for this channel Once you are satisfied bring the fader back down and press the Solo button again Next press the Solo button on the snare mic channel and repeat this procedure In this way continue with each drum mic a
106. ished typing hit Enter If you would like the same inputs to be available every time you launch Studio One Artist click the Make Default button Click on the Outputs tab and you will see all of the available outputs on your StudioLive At this time you can add the number of output buses to which you would like to have access and can give them custom names We recommend that you create a mono output for each for the 16 FireWire Returns on your StudioLive as well as one Stereo Output assigned to FireWire Returns 17 18 to use for your Main Output In the lower right corner you will see the Audition select menu This allows you to choose the ouput 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 Out bus If you would like this output configuration available every time you launch Studio One Artist click the Make Default button Overview Multiple Controls amp Con Technical Infor nections D D O S i oc Mixers mation 5 Now that you ve configured your MIDI and Audio I O and created a new Song let s go through some Tutorials 1 Studio One Artist Quick Start 1 5 of the basics of Studio One Artist so you can start recording C reating Audio Tracks Step 1 Step 2 In the upper left corner of the Arrange window you will notice several buttons The middle button is the Add Tracks b
107. ivide the channels into two groups of eight Balanced DB25 fan out snakes can be obtained in various configurations at most recording and live sound retailers Common fan outs are DB25 to 8 XLRM and DB25 to 8 TRS These outputs are post gain pre insert and pre A D converter Only the microphone preamps and line level inputs are available through the direct outputs The firewire returns See Section 3 3 1 for more information cannot be patched to the direct outputs HN OO2 eaeS ED IEP SGH HE GCHGCH BGCHG CH GCHGEH H i Gc GcHeEc S CH cHe Cc Ge GoHGEAH GOHBCH EET BETE BeeGeeeee H Pre insert Balanced Direct Outputs DB25 Pinout H Hot C Cold G Ground 4 T D gt i Recording Mixers Multiple Tutorials L O we S c L Ys EG D ke 2 1 Controls amp Connections The Patch Bay Power 90 240 VAC SOGO HZ 2 Amp Fuse DIGITAL OUT o FireWire Ports There are two standard 6 pin FireWire 400 ports on the back of the StudioLive Either port can be used to connect your StudioLive to a FireWire port on your computer If your computer has a 4 pin connector commonly found on laptops you will need to purchase a 4 to 6 pin adaptor or cable These adaptors and cables can be found at your local computer supply store Use the second FireWire port to connect additional FireWire devices such as external hard drives to your comp
108. ixer for the unit with the next ID number in the chain and therefore the previous bank of channels i e if SubGroup Merge is enabled on the Master Slave 1 s Subgroups will be merged with the Master s Subgroups if SubGroup Merge is enabled on Slave 1 Slave 2 s Subgroups will be merged with Slave 1 s Subgroup The Subgroup faders on the mixer from which SubGroup Merge was enabled will control the entire group and dynamics processing can be added to the entire mix using that unit s Fat Channel Firewire Link ID 2 f TA Ta aS e h f s If Subgroup Merge is turned Off each of the four subgroups on each mixer are locally controlled Using our three mixer example Channels 1 16 can only be assigned to the Subgroup on Slave 2 Channels 17 32 can only be assigned to the Subgroups on Slave 1 and Channels 33 48 can only be assigned to the Subgroups on the Master unit Because the Subgroups on each of the mixers in the chain can still be routed to the Main output on the master unit unmerging the Subgroups is offers advantages for Effects group mixing See Section 5 5 2 for details but this can also be useful in any situation where you want 16 or fewer channels assigned to the same Subgroup just do a little careful patching 80 Scene Store and Recall Channel Strip presets Effects presets and mix Scenes are stored and recalled locally on each mixer However if you are creating a mix Scene the name that
109. k Release 13 4 dB 0 002 ms 182 ms Multiple Recording Effects Squeeze This is dynamic compression for solo work especially electric guitar It gives you that glassy Tele Strat sound It is a true classic Threshold 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 It is very contemporary Threshold Attack Release 0 dB 0 001 ms S e Ge S k f 1S cB e Equalizers The StudioLive is equipped with a 4 band semi parametric equalizer on every input and output bus Here s a brief explanation of how an EQ functions as well as some charts to help you navigate the frequency ranges of various instruments so you can quickly choose the best EQ settings for your recordings and live mixes and to help you get the most out of your StudioLive 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 an 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
110. l Console and optimizing your operating system for audio Other known causes of this issue are wireless networks and running other FireWire devices FW400 or FW800 in parallel to your StudioLive Because of this it is recommended that PC users disable their wireless network from their System Control Panel and Mac users turn AirPort off while the StudioLive is connected to their computer If other FireWire devices like external hard drives need to be connected to your computer at the same time Connect them to the auxiliary FireWire port on the back of your StudioLive or install a dedicate FireWire bus on your computer for either the StudioLive or your FireWire peripherals Recommended FireWire Chipsets The StudioLive will work with a wide range of FireWire cards and configurations However due to the plethora of FireWire chipsets currently on the market it is not possible to thoroughly test each one for compatibility Most users will not need to alter their current PC configuration to use their StudioLive The following FireWire chipsets however have been tested and approved for use with the StudioLive e Agere LSI FW323 06 e TI TSB43AB23 e VIA VT6308 e VIA VT6306 on some older motherboards this chipset will only support a limited number of playback channels 32 channels at 44 1 or 48 kHz 16 channels at 88 2 or 96 kHz 131 Overview fe ie U e E Y S ie U Multiple Tutorials nections Recording Mixers
111. l output jacks and EFX A and B which are the internal effects buses Aux buses can be used for many applications the two most common of which are creating monitor mixes and inserting external effects processors into the mix As with the subgroup buses the StudioLive allows you to add global dynamics processing and EQ to these aux buses in addition to the individual channel processing 5 6 1 Monitor Mixing In both the live and studio environments creating custom monitor mixes for your musicians is critical If a musician can t hear themselves or their band mates their performance will suffer A monitor mix can be either mono or stereo Most often an individual live monitor mix is mono and is sent to a floor wedge 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 either case the function of the aux bus does not change As an example lets create a mono monitor mix on Aux 1 To begin press the Mix button in the Aux 1 section The meter section of the StudioLive will now display the amount of send to this aux bus from each of the 16 channels Keep in mind that the aux mix is completely independent of every other output main bus subgroups direct out etc The encoders below each meter control the channel send level to Aux 1 Use them the same way you use the faders to set the output level to your main
112. lected in the Auxiliary Input Router will be displayed in your please consult the Capture User Manual that came with your StudioLive recording application with the name of their routing For instance the routed pairs in the above picture would translate as follows in your host recording application 72 73 3 Recording 3 3 Using Your StudioLive as an Audio Interface 3 3 4 Advanced WDM Features PC only Just like the award winning FireStudio family of interfaces the StudioLive features some advanced WDM features to enhance its use as an audio interface In the upper left hand corner of the Universal Control Launcher window you will find the Settings menu from here you can configure your WDM input and output streams Mac users please skip to the next section for important information about using your StudioLive as your main Core Audio device 1 In the Launch window go to Settings WDM setup WDM Setup 2 The WDM Channel Mapper window will open By default WDM Outputs 1 and 2 are routed to StudioLive Channels 1 and 2 As previously mention it is recommended that they be set instead to Channels 17 and 18 so as not to use up input channels on your StudioLive just for WDM playback To begin check the box next to Output Click on WDM 1 Front Left and drag it down to place it next to StudioLive 2 TrackIn Left Click on WDM 2 Front Right and drag it down to place it next to StudioLvie 2Trackln Right Your stereo WDM playb
113. ll of your units have been updated connect a FireWire cable from the computer to the first StudioLive Using a standard 6 pin FireWire cable connect the remaining FireWire port on the first StudioLive to either FireWire port on the second StudioLive If you are combining multiple units to create a standalone system without a computer simply connect a FireWire cable from the first unit to the second unit another FireWire cable from the second unit to the third unit and so on Press the System button on the first unit and page down to Page 3 Digital Use the Next button to ust Fage 3 Digital Sampling Rate 45 KH2 move to the Firewire Link ID field nee the vaite S SPDIF Outs Main Mig L R encoder to set the ID to 1 Any unit in the chain Firewire Link ID SubGroup Merge On can be designated as the Master Since the entire cdl ich ei Status No Oriver Linked Master chain will function as one large console sending all channels to the Master unit s Main output Aux Sends and Subgroups optional we suggest that the unit farthest on the right be designated as the Master The unit with the lowest Firewire Link ID greater than zero is automatically set as the Master Press the System button on each of the cascaded units and page down to Page 3 Digital Use the Page 3 Digital Next button to move to Firewire Link ID field and Sampling Rate s PDIF Out Main Mis LZR give each unit a unique ID Any value larg
114. lliseconds Remember 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 and Displays the Amount of Makeup Gain for the Compressor on the Selected Input Channel or Output Bus This encoder sets and the meter displays the makeup gain setting of the compressor for the selected channel or output 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 if desired You can adjust Makeup Gain from 0 dB no gain adjustment to 28 dB 26 EQ Low Band On Off Button Low Band EQ Frequency Control Freq Hz Low Band EQ Gain Control 12 Gain aB Low Shelf EQ Button Shelf 27 Activates Control for the Low Band EQ for the Selected Input or Output Bus This button actives control of the equalizers Low band for the selected channel or bus The button will illuminate to indicate control is active The Low Band EQ is available for all input and output buses Sets and Displays the Center Frequency of the Low Band EQ This encoder
115. luminate to indicate control is active The Low Mid Band EQ is available for all input and output buses Sets and Displays the Center Frequency of the Low Mid Band EQ This encoder sets and the meter displays the center frequency for the Low Mid band You can adjust the center frequency from 90 Hz to 1 2 kHz Enables a Narrow Bandwidth for the Low Mid Band EQ on the Selected Input or Output 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 Q is often equated with bandwidth By default the Q is set to a value of 0 55 When the Hi Q button is engaged the Q setting will be increased to 2 0 thus narrowing the bandwidth to provide more precise control Sets and Displays the Gain Attenuation or Boost of the Center Frequency for the Low Mid Band This encoder sets and the meter displays the Gain cut or boost at the center frequency of the Low Mid band The level of the center frequency can be set between 15 and 15 dB 28 High Mid EQ Button High Mid Band EQ Frequency Control O Freq kHz Hi Q Button 29 23 2 Dynamics Processing and EQ Activates Controls for the High Mid Band EQ for the Selected Input or Output Bus This button actives the control for the High Mid band for the selected input or output The button will illuminate to indicate that the control is active The High Mid Band EQ is ava
116. n 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 Taking your time with equalization is well worth the effort Your mix will have better separation and more clarity when each instrument s EQ is set so that it shines through the mix Some final advice e You can only do so much Not every instrument can or should have a full rich low end and a sharp attack If every instrument is 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 EQ and the curve that you ve created allows you to see exactly what you 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 EQ tricks were found by mad scientists of sound Playing applies to engineers as well as musicians 113 Overview Controls amp Con nections D Oo O U i oc Multiple Mixers Te
117. n subgroup and main routing one of the 16 input channels or an aux bus is e Meter inputs post dynamic outputs and gain reduction for all 16 channels selected e Meter aux send outputs It should be noted that while the Noise Gate Compressor EQ and Limiter are available on every e Copy save and load mix scenes l i l mn Recall f iont aa input and bus the phase reverse and hi pass filter are only available on the 16 inputs In addition e Recall your fader position for stored mixes other inputs and buses without Select buttons are available to route to the auxiliary FireWire returns see section 3 3 1 for more details 20 21 2 Controls amp Connections 2 Controls amp Connections 2 3 Ihe Fat Channel 2 3 Ihe Fat Channel O aa yy es d 2 3 1 The Select Button 2 3 2 Dynamics Processing and EQ The following table provides a quick guide to the processing that is available for each bus in the The main function of the Fat Channel is to provide dynamics processing and filtering for every input StudioLive and output on your StudioLive The rotary encoders work in conjunction with the meters directly above them to adjust the dynamics processing and EQ The Fat Channel s processing section consists of five parts Hi Pass filter Noise Gate Compressor Limiter and semi parametric EQ Each can be turned on or off and controlled separately The signal flows as follows Phase Hi Pass Noise Compressor EQ
118. nal returned to the StudioLive will then be routed to the digital bus where it can be sent through the Fat Channel Aux and FX buses etc The Patch Bay e Insert connector wiring e Tip send output to inserted device e Ring return input from inserted device e Sleeve common ground E A 5 3 TA be ae AUX Inputs Subgroup Outputs Aux Outputs Aux Inputs The StudioLive is equipped with two auxiliary inputs effects returns In Section 5 5 2 we discuss using an aux bus to send several channels to an external effects processor the Aux inputs can be used to return the processed signal to the mixer Each input is balanced stereo The Left input is normalled to the right If you are returning a mono signal to the mix simply connect it to the Left input the signal will be routed to both sides of the stereo mix Subgroup Outputs These are balanced mono outputs for each subgroup Aux Outputs The StudioLive is equipped with six auxiliary outputs In Section 5 5 we dis cuss in detail how to create aux mixes for monitoring and effects processing Aux mixes are routed to these outputs Talkback Mic Mono Output Main Output Talkback Mic Input The StudioLive does not have an onboard talkback mic an external mic must be used Phantom power is always enabled on this microphone preamp so either a dynamic or a condenser microphone can be used This is the same high quality XMAX preamp that
119. nd then move on to the other instruments that are connected to your StudioLive When you have finished with all the instruments press the SIP button again and slowly bring up your faders to set up your mix 130 Troubleshooting Please note that 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 StudioLive interface and Capture audio recording software PreSonus does not provide 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 Individual technical assistance may be received by calling PreSonus at 225 216 7887 Monday through Friday between the hours of 9 am and 5 pm CST PreSonus Technical Support is available via email during the same hours at techsupport presonus com Pops and Clicks Pops and clicks in your audio could be caused by momentary losses of synchronization between the StudioLive and its clock source This can be due to a FireWire card that is not suited for FireWire audio devices or to a lack of CPU resources or available memory Try closing all unnecessary programs increasing the buffer size in the FireStudio Contro
120. nd thin or tinny High Mids 2 kHz to 4 kHz The attack in percussive and rhythm instruments occurs in this range High mids are also responsible for the projection of mid range instruments Presence 4 kHz to 6 KHz This frequency range is responsible for the clarity of your mix and provides a measure of control over the perception of distance If you boost this frequency ran ge the mix will be perceived as closer to the listener Attenuating around 5 kHz will 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 some clipping so keep an eye on your Main meter 112 How to Find the Best and Leave the Rest Included at the end of this section are some general frequency principles to guide you through the wonderful world of equalization but these are far from set in stone So how do you find the best and worst each instrument has to offer and adjust them accordingly Here s a quick guide First solo just the instrument with which you are working Most engineers start building their mix with the drums and work from the bottom up kick snare toms hi hat overheads Each instrument resonates the most in 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 a
121. ng will be compressed at a ratio of 2 1 This means that 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 od T gt Multiple Recording Tutorials a e we Sc L Ys fe gE U D NK Dynamics Processing and EQ Compressor Attack 5 Release Compressor Makeup Gain Sets and Displays the Compressor Attack Setting for the Selected Input Channel or Output Bus This encoder sets and the meter displays the compressor s attack setting for the selected channel or output bus Attack sets the speed at which the compressor acts on the input signal A slow attack time fully clockwise allows the beginning nonharmonic 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 excedes the threshold You can set the attack from 0 2 to 150 milliseconds Sets and Displays the Compressor Release Setting for the Selected Input Channel or Output Bus This encoder sets and the meter displays the release setting of the compressor for the selected channel or output bus Release sets the length of time the compressor 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 1000 mi
122. nge the selected parameter If you would like to change the effect from for example a Large Hall reverb to a Room Ambiance reverb press the Recall button to load the effect and then change the various parameters to taste Press the Page Up button again to move to the full parameter view of FX B When a delay algorithm is chosen you will notice two parameters Time ms and Time X Time is the delay time discussed in Section TAP 5 6 2 which is the time between the source sound and the echo This can either be adjusted manually with the Value encoder or you can use the Tap button to enter a delay time in tempo with the music being played Time X is the value of the beat you are using as a reference for the tempo The basic unit of measure is a quarter note so for example if the beats you are tapping represent quarter notes in the music you would set Time X to 1 00 If they are eighth notes you would set Time X to 0 50 half notes would be 2 00 and so on In this way you can precisely synchronize or syncopate the delay echoes to the music in real 53 z od T gt Recording Multiple Mixers Tutorials a O q Sec r bs YS Sc gE U 9 ke The FX Menu time You do not have to select the Time parameter in order to use the Tap button However you have to be on the Extended Parameters page page 2 for FX A page 3 for FX B or you must select the Time parameter for the desired effect on the first
123. nnel Viewing Select Button As described in section 2 3 1 the Select button routes its aux send through the Fat Channel allowing you to add dynamics processing and EQ as well as routing the aux send to outputs Select Mix Button Enables Aux Bus Mixing and Metering in the Fat Channel When this button is enabled the 16 encoders in the Fat Control Channel become the aux send level controls for each of their respective input channels The meters will display the send level of each of the input channels 40 41 2 Controls amp Connections 2 Controls amp Connections Overview 2 7 Subgroups 2 7 Subgroups As explained in Section 5 5 subgroup mixing is very useful for grouping channels for master level Subgroup Meters Displays the Level of the Subgroups control of a submix e g drums and for providing a fader level for effects In the upper right corner of the StudioLive are the Subgroup meters which display the levels of the SUB1 SUB2 SUB3 SUB4 subgroup outputs Subgroup Channel Select Button Enables Fat Channel Viewing e2 ge iS i a As previously described in section 2 3 1 the Select button routes its channel through the Fat Channel allowing you to add dynamics processing EQ panning etc Multiple Solo Button Turns Soloing On or Off Tutorials This button will solo its channel either to the main outputs or the monitor outputs depending on whether PFL
124. nstall it at a later time Once you have created a user account launch Studio One Artist From the Activate Studio One Menu click on the Activate Offline link Follow the instructions to log in to your previously created user account register the product and obtain a license file Next copy the license file to the computer on which Studio One has been installed and locate the license file as instructed in the Activate Studio One menu The activation process is now complete 84 85 5 1 2 Enabling the Audio Driver Studio One and Studio One Artist were designed with PreSonus interfaces in mind Your StudioLive is already integrated into Studio One Artist so 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 find 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 available in the Reference Manual PDF located on the Studio One Artist Installation disc The information in this tutorial covers only the most basic aspects of Studio One Artist and is intended to get you set up and recording as quickly as possible Shows Active Audio Driver and Sample Rate
125. on Turns Gain Reduction Metering On and Off Displays the gain reduction of the input bus Meters are one to one Meter 1 shows the gain reduction of Channel 1 etc Aux Metering Button Turns Aux Bus Master Out Metering On and Off Displays the output level of each of the aux sends Meters 1 3 5 7 9 and 11 display the output Aux levels of Aux Sends 1 6 respectively Meters 13 and 15 display the output level of EFX A and EFX B Fader Locate Button Turns Fader Recall Metering On and Off Displays the fader position of the stored scene When recalling a fader position adjust the fader until only the center LED is visible in its meter Faders 36 2 5 Input Channel Strip The StudioLive is equipped with all of the standard input controls of an analog mixer In addition the StudioLive provides the added flexibility of routing a playback stream from your audio recording software to the mixer via the FireWire bus just as if it were an analog input This lets you incorporate digital audio tracks into the main mix as well as inserting plug in effects and software instruments from your audio program Trim Control 30 e Mic Lin Phantom Power Button 48V FireWire Input Select Switch 37 Input Channel Controls Adjusts the Input Gain Level The Trim control adjusts the gain of the channel s analog input Turns Phantom Power On Off The StudioLive is equipped with individual phantom pow
126. or SIP Solo is selected in the Solo bus section Please review Section 4 8 for more details 5 When a Solo button is enable that channel or bus will LE automatically be selected and its Select button will k E illuminate Mute Button Turns Muting On or Off This button mutes its channel It will illuminate red when the channel is muted Channel Fader Controls the Level of the Subgroup Bus The fader controls the overall volume of the signal on its subgroup output The white area above the fader can be used as a scribble strip Use only oil pencils Other types of pens or pencils cannot be wiped off oe g To clean the scribble strip use a lightly damp cloth to remove the writing LA m j smr 42 43 2 Controls amp Connections 2 Controls amp Connections 2 8 Main Output Bus 2 9 Master Section Main Select Button Enables Fat Channel Viewing Aux Input A Aux Input B As previously described in section 2 3 1 the Select button aur TalkBack routes its channel through the Fat Channel allowing you l A p to add dynamics processing EQ panning etc Main Fader Controls the Level of the Main Output Phones Monitor The fader controls the overall level of the main stereo output Tape 4 The white area above the fader can be used as a scribble strip Use only oil pencils Other types of pens or pencils oy canno
127. 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 The Parametric EQ The Parametric EQ and semi Parametric EQ 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 EQ offers control over the bandwidth basically the range of frequencies affected the center frequency of the band and the level boost cut of the designated frequency band It may also offer separate control over the Q which is the ratio of the center frequency to the bandwidth A semi parametric EQ like those in the StudioLive provides control over most of these parameters but usually the bandwidth is fixed The Q Although a semi parametric EQ such as those in the StudioLive does not provide a continuous bandwidth control it offers an indirect way of switching between wide and narrow bandwidth the Hi Q switch 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 EQs you have continuous bandwidth control and or continuous Q control rather th
128. or subgroup signal to the Solo bus post fader So you can control the level of the soloed signal with the fader This is the StudioLive s default setting e PFL Pre Fade Listen PFL sends the channel or subgroup signal to the Solo PFL bus before it reaches the fader so the fader does not affect the soloed signal e SIP Solo In Place This is also known hold as destructive solo When channels SIP are soloed in this mode every channel that isn t soloed will be muted and only the soloed channel s will be sent to their assigned outputs While very useful in dialing in dynamics during sound check this mode is very dangerous during a live show situation It is highly recommended that this mode be turned off when mixing in strictly live applications 128 Using the Solo Bus for Monitoring When mixing live or when recording multiple musicians at once it is often necessary to quickly listen in on just one instrument or group The Solo and Monitor buses can be used together for this purpose It is important to note that if you wish to monitor with speakers rather than headphones it is necessary to connect the speakers to the TRS Control Room outputs on the back of your StudioLive rather than to one of the main output pairs First decide whether you want to listen to your soloed channels before or after the fader setting If you d like to monitor before the fader level press the PFL button in your Solo bus section Next
129. oups 3 4 you can create a stereo track in your recording application and assign its input to Subgroup 3 and 4 For more information on subgroup mixing please see Section 5 4 The obvious exception to this principle is the Talkback Mic input The talkback microphone input has the same high quality XMAX preamp as the channel inputs and the Universal Control Device Window allows you to assign it to one of the stereo FireWire sends In this instance the same signal will be printed on both sides of the send In your recording software you can create a mono track and assign it to either side of the stereo FireWire send to which it is routed Both FireWire sends receive the same mono signal from the talkback mic preamp Please note that you have access to both the Internal Effects Send group as well as the Return If you record an Internal Effects Send Aux Send A amp B you will be recording the unprocessed or dry mix of the channels being sent to that internal effects bus To record the processed mix you will need to choose the Internal Effects Returns FX Return A or FX Return B This is the direct output from the internal effect so it will be 100 wet Because of this you may wish to record both the dry and the wet mix so that you can blend them to taste within your session Section 3 3 3 discusses how to select the sources for these eight stereo FireWire sends as well as the other features in the Universal Control application Each of the St
130. our MIDI hardware for complete installation instructions Setting up an external MIDI keyboard controller from the Start page A MIDI keyboard controller is a hardware device that is generally used 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 two functions of these types of hardware 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 will be set up as an Instrument From the Setup area in the Start page you can also set up your external MIDI devices Before we set up a new Song for recording let s take a moment to configure external devices Connect the MIDI Out of your external MIDI controller to a MIDI In on your MIDI interface If you are using a USB MIDI controller simply connect it to your computer and power it on Click on the Configure External Devices link in the Setup area on the Start page to launch the External Devices window Click the Add button The Add Device window will launch From the menu on the left select New Keyboard At this point you can customize the name of your keyboard by entering the manufacturer and d
131. plied 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 Noise Gates Threshold The gate threshold sets the level at which the gate opens Essentially all signals above the threshold setting are passed through unaffected 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 producing an audible click All gates have the ability to click when opening but a properly set gate will never click 105 fe ie U e E Y S ie U Multiple S e Ge S k f E D 5 Overview nections Recording Mixers e Vocabulary of Dynamics Processors Hold Hold time is used to keep the gate open for a fixed period after the signal drops below the gate threshold This can be really useful for effects
132. pressor On Off button Sets and Displays the Threshold of the Gate for the Selected Channel This encoder sets and the meter displays the gate threshold for the selected channel The threshold deter mines the level at which the gate will open Essentially all signals above the threshold setting are passed through unaffected You can set the threshold from O0 to 84 dB Sets and Displays the Rate the Gate Closes on the Selected Channel This encoder sets and the meter displays the rate at which the gate for the selected channel closes The rate can be set from 2 to 0 05 seconds Remember gate 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 Turns the Compressor On and Off for the Selected Channel or Output 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 24 Turns the Auto Button On Soft Knee Hard Knee Toggle Button Soft Compressor Threshold 25 Enables Automatic Attack and Release Mode When Auto mode is
133. qt pot or larger slice link sausage and pan fry until brown Operation is subject to the following two conditions Add ground beef and brown 3 Do not remove from pot Add diced onions celery and bell peppers 1 This device may not cause harmful interference and 1 can Rotel Original diced tomatoes w chilies 3 oz concentrate chicken stock 2 teaspoon of Cajun seasoning 1 teaspoon of Tabasco hot sauce 2 This device must accept any interference received or more maybe lots more Cook until onions are translucent including interference that may cause undesired Add chicken and cook until it turns white operation Add diced green onions 1 tsp salt 2 gallon water and bring to a boil Add rice and bring to a boil Cook on high for 8 minutes covered stirring every 2 minutes Cook covered on low for 10 minutes stirring only once O o Po 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 Turn off and let sit for 30 minutes 10 Serve and enjoy Serves 20 As PreSonus Baton Rouge USA e www presonus com P N FCD SLO0003 2010 PreSonus Audio Electronics Inc All Rights Reserved PreSonus StudioLive Capture Virtual StudioLive and FireStudio are trademarks of PreSonus Audio Electronics Inc Studio One is a trademark of PreSonus Ltd Macintosh is a trademark of Apple Inc in
134. r Song a name and select your preferred sample rate and bit depth You can also determine the length of your Song and the type of time format you would like to use Notation Bars Seconds Samples or Frames Click the OK button when you are finished If you plan on importing loops into your 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 When the Song window launches launch the Audio Setup window by going to File Options PC or Studio One Preferences Mac and click on the Audio Setup button 90 5 1 4 Tutorials Studio One Artist Quick Start Configuring Audio I O Song Setup Step 6 Step 7 91 Click on the Song Setup button to open the Song Setup window then click on the on the Audio I O Setup icon Click on the Inputs tab in the Audio I O Setup window and you will see all of the available inputs on your StudioLive At this time you can add the number and type of inputs you plan to use We recommend that you create a mono input for each of the 16 inputs on your StudioLive If you plan on recording in stereo you should also create a stereo bus and assign it to the appropriate set of inputs You can remove any bus by simply selecting it and clicking the remove button To customize the name of your buses double click on the default name to open a text box When you have fin
135. rhead Rock 47 VOX Female 2 80 EMPTY LOCATION 15 DRM Overhead Jazz 48 VOX Female 3 81 EMPTY LOCATION 16 DRM High Hat 49 VOX Speech 1 82 EMPTY LOCATION 17 BAS Electric 1 50 VOX Speech 2 83 EMPTY LOCATION 18 BAS Electric 2 51 EMPTY LOCATION 84 EMPTY LOCATION 19 BAS Slap 52 EMPTY LOCATION 85 EMPTY LOCATION 20 BAS Upright 53 EMPTY LOCATION 86 EMPTY LOCATION 21 GTR Rock 1 54 EMPTY LOCATION 87 EMPTY LOCATION 22 GTR Rock 2 55 EMPTY LOCATION 88 EMPTY LOCATION 23 GTR Funk 56 EMPTY LOCATION 89 EMPTY LOCATION 24 GTR Metal 5 EMPTY LOCATION 90 EMPTY LOCATION 25 GTR Jazz 58 EMPTY LOCATION 91 EMPTY LOCATION 26 GTR Acoustic 59 EMPTY LOCATION 92 EMPTY LOCATION 27 GTR Acoustic Strumming 60 EMPTY LOCATION 93 EMPTY LOCATION 28 GTR Acoustic Fingerstyle 61 EMPTY LOCATION 94 EMPTY LOCATION 29 KEY Piano Bright 62 EMPTY LOCATION 95 EMPTY LOCATION 30 KEY Piano Warm 63 EMPTY LOCATION 96 EMPTY LOCATION 31 KEY Piano Jazz 64 EMPTY LOCATION 97 EMPTY LOCATION 32 KEY Piano Electric 65 EMPTY LOCATION 98 EMPTY LOCATION 33 KEY Piano Electric 2 66 EMPTY LOCATION 99 EMPTY LOCATION 137 Overview Controls amp Con nections D D O S i oc Multiple Mixers Tutorials Effects Library Your StudioLive contains a library of 50 custom Reverb and Delay presets designed by PreSonus addition to these presets there are 50 free locations for you to build your own custom effects library The Factory Presets can be altered renamed and over
136. river will be displayed as PreSonus FireStudio in all driver selection menus Below are basic driver setup instructions for three popular audio applications Launch Logic Pro Express Go to Logic Preferences Audio Click on the Devices Tab On the CoreAudio tab check Enabled Select PreSonus FireStudio from the device menu You will be asked if you d like to relaunch Logic Click try re launch Your StudioLive features custom I O labels for faster work flow 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 StudioLive When you are done close this window 9 You are now ready to use your StudioLive Apple Logic Pro Ex press 7 eee a 2 Launch Cubase 4 Go to Devices Device Setup Select VST Audio System from the Devices column in the Device Setup Select PreSonus FireStudio from the ASIO Driver dropdown list Click Switch to begin using the StudioLive Driver Once you have successfully changed the driver go to Devices VST Connections to enable your input and output buses Steinberg Cubase 4 ee Launch Sonar Go to Options Audio and click on the Advanced tab Change the Driver Mode to ASIO Click the OK button Restart Sonar Go to Options Audio and click on the Drivers tab Highlight all input and outpu
137. rol application will automatically launch each time you boot your Windows PC 3 Recording 3 Recording 3 3 Using Your StudioLive as an Audio Interface 3 3 Using Your StudioLive as an Audio Interface 3 3 3 Universal Control 3 3 3 Universal Control Settings Always on Top Allows the Launch Window to Stay in View When E Other Applications Are in Use PHYSICAL SOFTWARE Subgroup 1 Auxiliary In 17 When this is enabled the Launch window will remain in the foreground when other applications are active Subgroup 2 rather than being in the background behind the current Subgroup 3 Miers Orup eee une Subgroup 4 Aux Send 2 Aux Send 5 Aux Send 6 Auxiliary In 24 Aux Return A Aux Input A L Auxiliary In 25 Aux Return A Aux Input A R Auxiliary In 26 Settings WDM Setup Opens the WDM Channel Mapper mes LN ae ce AUKA a Aux Return B Aux Input B R Auxiliary In 28 The StudioLive features some advanced WDM features Talkback Auxiliary In 29 WDM Setup Talkback Auxiliary In 30 Main Mix Left Auxiliary In 31 Main Mix Right Auxiliary In 32 The Auxiliary Input Router also allows you to designate a specific bus to the S PDIF output as well as to select which stereo pair will be Main ES ER recorded on the Main Track in Capture When the StudioLive is not connected to a computer the As discussed in the previous section S PDIF output is routable through the System Menu see Section 2 10 4 However when your the StudioLive allows you to route any a
138. rom the passive direct box to aline input on a different channel of the StudioLive For recording place these signals on separate tracks During mixing you can blend the direct and amplifier signal to taste This same technique can be used in live applications 98 5 Tutorials 5 2 Microphones 5 2 4 Microphone Placement Drum Overheads XY example Place two small diaphragm condenser micro phones on an XY stereo microphone holder bar Position the microphones so that each one is at a 45 degree angle pointed down at the drum kit approximately 7 or 8 feet up Expe riment with height This technique can be used in live applications as well Snare Drum top and bottom 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 also be used in live applications 99 Con Controls i w 1S C Z E U A Brief Tutorial on Dynamics Processing The heart of the StudioLive is the Fat Channel dynamics section What follows is an excerpt from brief tutorial on dynamics processing written by PreSonus president and founder Jim Odom It is included to help you get the most out of your StudioLive This tutorial will take you thro
139. rophone 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 dynamic microphones typically do not require a power source In most cases phantom power has no effect on a dynamic microphone s audio quality or sensitivity Dynamic microphones especially ribbon microphones tend to generate low output voltages so they typically need more preamp gain than condenser microphones Ribbon Ribbon microphones are a special type of dynamic microphone and get their name from the thin metal ribbon used in their design Ribbon microphones capture sound with very high fidelity es pecially higher frequencies However they often are very fragile many newer models are less so and typically cannot handle high SPLs The most important thing to note about ribbon microphones is that nearly all 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 96 USB and other Types There are many microphone types available and as technology increases it is very likely more will be developed One type of microphone to emerge recently is the USB microphone These may be dynamic or condenser mics but many of them have built in preamps and need drivers to work with comput
140. s And Inputs As discussed earlier the two Internal effects buses are local only meaning they are controlled from each mixer separately and they can only accept signals from the channels on their respective mixers The following inputs and bus are local only e Talkback Microphone The Talkback Microphone on the Master unit s Master Section is the only talkback mic that can be routed to the Aux Mixes on the Master Unit and to its Main outputs While the talkback mics on the slaves are active on their respective units they cannot be patched into the Master unit Because of this you should connect your talkback mic to the Master unit and control it from there e Analog Tape Input As described in Section 2 9 3 the Analog Tape Input on the StudioLive is patched directly to the Main Output using a button in the Master Section While the Tape Input on every mixer in the chain is active this button only patches the input to the Main bus on that unit For example the Tape In button on Slave 1 patches it to the Main bus on Slave 1 only Because of this we recommend that you only use the Tape Input on the Master unit e Main FireWire Returns When two mixers are connected to a computer the StudioLive becomes a 32x34 audio interface As discussed in Section 3 3 1 just like with a single mixer connected to a computer the 32 FireWire inputs on two chained units are hard coded to receive their respective FireWire returns Outputs 1 32 in your recordin
141. s 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 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 89 336 EEC and the Low Voltage Directive 73 23 EEQ PreSonus Limited Warranty 16 Channel Digital Recording and Performance Mixer PreSonus Audio Electronics Inc warrants this product to be free of defects in material and workmanship for a period of one year from the date of original retail 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
142. s Aux Bus Mixing and Metering in the Fat By default this button is enabled and the send levels 4 Channel to the effects buses are post EQ post dynamics Z processing and post fader and therefore are affected Control When this button is enabled the 16 encoders in the Fat by fader settings If the button is disabled by default Channel become the aux send level controls for each of the EFX sends use the Pre 2 setting in which the sends their respective input channels The meters will display are post EQ and post dynamics but pre fader However 4 the send level of each of the input channels in the System Menu you can switch the EFX sends to the Pre 1 setting in which the sends are pre Fat Channel dynamics processing and EQ and pre fader Please review Section 2 10 4 for details Mix Pan Button Enables Pan Control and Metering in the Fat Channel Stereo Send Mode Only Output Level Control Adjusts the Master Level of the Effects Send J O elaliuce On Aux Sends 2 4 and 6 the Mix button becomes This knob adjusts the master level of the internal effects E the Pan control when two sends are linked When this send C button is enabled the 16 encoders in the Fat Channel become the pan controls for each of their respective input channels The meters will display the pan setting of each of the input channels For more information of stereo linking please review Section 2 3 3 Internal Effects Send Enables Fat Cha
143. s internal memory Once the Channel preset is saved the Store button will return to its unlit state Lee TAF for space Push Store 58 The System Menu In most digital consoles manuals the phrase System menu inspires a sense of dread However with the StudioLive you have nothing to fear The System menu on the StudioLive serves just a few simple functions most of which have very little to do with mixing a show Press the System button to access the System menu The first page allows you to adjust the LCD Contrast and LCD Backlight for optimal viewing in your working environment These settings are retained when the unit is powered down Fage 1 LCD Contrast LED Contrast LEO Backlight Low Press the Page Down button to access the Aux Pre Position page By default all six Aux buses are set to Pre 1 This routes all 16 channels to Aus liye 2 Prel S Prel 4 Prel each aux bus before the fader limiter EQ and Hux S Prel 6 Prel A Prel B Prel compressor and after the phase reverse switch HP gt Gate lt Pre1 gt Comp gt EQ gt Lim lt Pre2 gt high pass filter and noise gate The two internal effects buses are set to Pre 2 which routes each of the 16 channels after all Fat Channel dynamics and EQ but pre fader From this menu you can choose between these two Pre positions for each Aux mix If you have two aux buses stereo linked you only need to set the Pre position on the Link Master Remember the Link Master is the
144. screen of the FX menu The Tap button does not function when any other page is active Page 4 of the Effects menu is the Aux Assign screen This screen allows you to route the internal effects buses to any or all of your aux sends Use the Next and Prev buttons to navigate through the screen When you reach the aux bus to which you want to route the effect turn the Value encoder clockwise A down arrow will appear indicating the effect has been routed to an aux bus in addition to any routing set in the Fat Channel The Aux bus routing will be displayed for each effect on the QuickView screen Page 4 Hux Hssi Because only one mix can be created for each effect you may wish to consider dedicating one of your internal EFX buses to your monitor mixes and the other one to your main mix In cases where it is necessary for the performer to hear the same effect as the audience for example a vocalist needing to hear a tap delay so that they can interact with it in their performance you would obviously want to route the same effects chain to their monitor that you have routed to the mains In this instance you may also wish to use the subgroup mixing technique mentioned in Section 4 4 2 to control the amount of the effects being sent to the audience while using the Output knob for the internal EFX A and B buses to control the amount of the effects being sent to the monitor s Pages 5 and 6 allow you to store your changes to the same or
145. se a delay can increase the signal s volume quite dramatically you may want to experiment with the delay at its most intense setting with EFX A s output turned up and use the limiter for Subgroup 3 to keep the level under control The level of the vocal delay is now controlled by the Subgroup 3 fader and you can use it to season your reggae band s performance The Tap button allows you to go one step further and set the tempo of the delay to match the tempo of the song T Aux 1 i Output Post Select Control There are several advantages to assigning an effect like delay or reverb to a subgroup rather than simply leaving it on the effects aux bus e You can quickly add or subtract the effect by grabbing a fader e The effect can be muted or soloed e The performers on stage can have a different amount of the effect in their monitor mix than the audience hears in the main mix enabling you to reduce the possibility of feedback while providing the performers with the tools they need for the best performance possible 121 Overview fe ie U e E Y amp ie U Recording Multiple bu S e Ge S k S 1S cB nections Mixers e 5 Tutorials 5 6 Aux Bus Mixing The Aux Bus provides outputs to create auxiliary mixes that are separate from the main and subgroup mixes The StudioLive is equipped with 8 aux buses Aux 1 6 which have physica
146. section of the Fat Channel will display the recalled fader position Move the faders up or down until only the center LED is illuminated in each meter The subgroup and main meters at the top right of the StudioLive will display the recalled positions for their respective faders As long as you remain in Fader Locate mode the faders on your StudioLive will not be active The level of the audio passing through them will be set according to the stored fader position not the current location Once you have recalled each of the faders to their Scene location press the Locate button again This will take you out of Fader Locate mode and reactivate your faders so that they control the level of their channels and buses If you enable knob positions as a part of your scene recall all of the digital knobs Aux 1 6 Outputs FXA and EFXB Levels Cue 2 Track In Phones Monitor Aux Input A and Aux Input B knobs will remain at their stored position until they are moved manually Once a knob is turned its value will jump to to the value of its current physical position Therefore if you intend to save and recall a scene it is highly recommended that you use the recall sheet provided in the back of this manual to note the stored position of these controls A Quick Note About the AutoStore Feature It is not necessary to create a scene for your StudioLive in order to remember its settings when you power it down Periodically you will notice the Store button
147. seeeseeeseeees 83 5 1 1 Installation and Authorization xscsress scccertenccsnisesrdxcteneccaeeacs 83 5 1 2 Enabling the Audio Driver ciscsnccsseccsnnsancsctiecentetsceeusaecsuestns 86 5 1 3 Configuring Your MIDI Devices sssssssessesnrsesrnrrerrereenee 87 5 1 4 Configuring Audio I O sssssssssssssssrssrsnnsnreresnerrenrerrerrernnnee 90 5 S Oreating a SONG eessen e aE R RERA 92 5 2 Microphones sidnccacsacivancexcgunecninssnetuanioonduscorianeanommnnvatunesesecudtlaned 96 5 2 1 GONG SIGE accipiet EE aap e EE E D aai 96 222 OY ANN e E E A E E E E T 96 5 2 3 USB and Other Types o nannannnnnnonnnnnnnnnnnnnnnnnnnnnnnnennennnne 97 5 2 4 Microphone PlaceMent ccccceceeeeceseeeeeceeeeeeeeaees 97 5 3 A Brief Tutorial on Dynamics Processing cccccsseseeeeeeeeeneeees 100 5 3 1 Common Questions Regarding Dynamics Processing 100 5 3 2 Types of Dynamics Processing ccsccesceeeeeceeeeeeeeeeees 102 5 3 3 Vocabulary of Dynamics ProCeSSOls ccseceeeeeeeeeeees 104 5 3 4 General Compression Setting Suggestions 000 107 ee HUAN Ole tateceah E EE E ous 110 5 4 1 What is an EQ aoxc auareancienssacRvnnsaia mecteenenehisenssnebeaseneduactitas 110 5 4 2 How to Find the Best and Leave the Rest 000 113 5 4 3 To Boost or Not to BOOSt i sscicedeocinusececvessacidnwstcenucemniniencidis 114 5 4 4 General EQ Setting Suggestions cccecceeeseeeeeeeeeeeees 116 5 5 SUI CFOU M
148. sets and the meter displays the center frequency of the equalizers Low 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 and Displays the Gain Attenuation or Boost of the Center Frequency This encoder sets and the meter displays 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 Shelf EQ for the Selected Input or Output Bus When the Shelf button is not engaged the Low band is a semi parametric EQ Enabling the Shelf button turns the Low band into a low shelving EQ that alters by a fixed amount a band of low frequencies at and below a user selected shelving frequency It s like a bass control knob on a stereo In this mode the Center Frequency control selects the shelving frequency od T gt Multiple Recording Tutorials L O we S c L Ys gE U D Low Mid EQ Button Low Mid Band EQ Frequency Control Freq Hz Hi Q Button Low Mid Band EQ Gain Control Gain a 2 3 2 Dynamics Processing and EQ Activates Controls for the Low Mid Band EQ for the Selected Input or Output Bus This button actives the controls for the equalizer s Low Mid band for the selected input or output The button will il
149. sscceceeeceeceeeceeseeeeeeseeses 37 226 TNO AUX BUS ge soececat ace ceases E E E EE tucewanseees 39 2 6 1 Analog Aux SendS jcercisccstucsicsinssencdonicuncdtucwuesuerceiceweanesieenedes 39 2 6 2 Internal Effects Send Controls cccccsecsseeeeeeeeeeseeeeeeeees 41 Bl UOO UPS e E A nadine eenaiets 42 26 Main Output ENG epochs atest nee esoeneiccon case etaeaisteten esac sarees i insi ein Eana 44 29 Master SCHON sse i RAEE iN 45 2 9 1 Aux Inputs FUND smneseennacceeuieccinwiecimiebaraenncdnaioscesexwaceteadecoins 46 2 9 2 Talkback SystemM n nannnnnnnennnnennnnnnnnrnnnnrnrnnrnrenrnrerrnrrnrnnene 47 BO PACK I steseainaten calotn E EE e E E 48 2 SOONG US e E N 49 2 O MONTON BUS secre nsien e E n EEEo 50 2 10 Digital Effects Master Control ccccceeecccecsseeeeeesseeeeeeeeeees Table of Contents 2 MO The FX IVIG MU iiciaaacc ree seaecsmateesetnunceeciatestodneed vasoaieneneosares 53 2 10 2 Creating amp Recalling a SCONEC ccccecceceseeeneeeneeeneeenes 55 2 10 3 Saving amp Loading Channel Presets ccccceseeeneeeees 58 2 10 4 The System MON eas aisctececssdciecesccansinceetncaastnnescnideleedzeaseetess 59 3 Recording 3 1 System SCIEN MVS Saoirse eeteheec cease some ccetenceismantesetwadstekaodes 62 3 2 Getting Started Recording wiasccienssssteasseccaeansves cncsctcuieedeesescoxasseaens 63 3 2 1 Installation on Microsoft WINGOWS cccsceseeeeeeeeeeeeees 63 3 2 2 Installation ON Mac OS X
150. t frequencies In general you should not make drastic amplitude adjustments to any particular frequency band s 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 e Sub Bass 16Hz to 60 Hz These very low 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 111 Overview fe ie U e E Y S ie U Multiple S e Ge S k f E D nections Recording Mixers e What is an EQ Bass 60Hz to 250Hz Because this range contains the fundamental notes of the rhythm section any EQ changes will affect the balance of your mix making it fat or thin Too much emphasis will make for a boomy mix Low Mids 250Hz to 2 kHz In general you will want to emphasize the lower portion of this range and deemphasize the upper portion Boosting the range from 250Hz to 500Hz will accent ambience in the studio and will add clarity to bass and lower frequency instruments The range between 500Hz and 2 kHz can make mid range instruments guitar snare saxophone etc honky and too much boost between 1 kHz and 2 kHz will make your mix sou
151. t On Off Button FireWire Source On Off Button LS cos Adjusts the Level for the Tape Input This Knob adjusts the level for both the tape input and the main FireWire return Sends the Tape Input to the Mains This button patches the Tape input to the main outputs It will illuminate to indicate that the Tape input is being sent to the mains To disable the routing simply press the button again Sends the Master Out from the Audio Application to the Mains This button routes the main left right FireWire returns Outs 17 18 to the main outputs It will illuminate to indicate that the main FireWire return is being sent to the main outputs of the StudioLive To disable the routing simply press the button again 48 2 Controls amp Connections 2 9 Master Section 2 9 4 Solo Bus The StudioLive features a solo bus for flexible monitoring In this way you can fine tune a vocal compressor in your control room monitors or headphones while the rest of the band is warming up or audition an aux mix for more accurate adjustments For more information on using the Solo bus please review Section 5 9 Cue Mix Volume Control PFL AFL Toggle Button PFL SIP Solo In Place On Off Button 49 Adjusts the Overall Volume of the Solo Bus This Knob adjusts the overall level for the Solo bus Enables PFL Solo Mode The default setting for the Solo bus is After Fader Listen AFL by pressing PFL Pre Fader Listen
152. t be wiped off i T To clean the scribble strip use a lightly damp cloth to remove the writing j e meg MAIN Main Bus Meters Displays the Level of the Main Output In the upper right corner of the StudioLive are the Main meters which display the output levels of the main stereo bus The Master section of the StudioLive controls the monitoring talkback output solo bus and aux and tape inputs 44 45 2 Controls amp Connections 2 Controls amp Connections 2 9 Master Section 2 9 Master Section 2 9 1 Aux Inputs A and B 2 9 2 Talkback System The StudioLive features an internal effects processor that allows you to load two different effects The StudioLive features a Talkback microphone input on the back panel This can be routed to each at the same time but it also allows you to patch return processed signals from an external effects of the aux outputs as well as to the mains It is important to note that the aux outputs are in stereo processor using the Aux bus Section 5 6 2 goes into the connections and procedures in greater pairs in this section For example if you are using Aux 3 and 4 as mono monitor sends to the bass detail player s floor wedge and to the keyboard player s in ear monitors the talkback signal will be sent to both monitors so don t say anything you wouldn t want both to hear Aux Input Select Button Enables Fat Channel Viewing Talkback Mic Level Sets th
153. t drivers beginning with PreSonus FireStudio Go to Options Audio and click on the General tab Set the Playback Timing Master to PreSonus FireStudio DAW Out 1 O Set the Recording Timing Master to PreSonus FireStudio Mic Inst 1 Cakewalk Sonar 6 ae See ee a Complete setup instructions for PreSonus Studio One Artist as well as a brief tutorial on its features are located in Section 5 1 of this manual 65 Overview fe ie U o 3 E Y E O U Multiple Tutorials Technical Infor nections mation FireWire Sends and Returns When using the StudioLive as an audio interface it is important to understand the terms FireWire send and FireWire return Because the audio interface in the StudioLive is completely integrated with the other functions of the mixer the FireWire I O is designed to work as an independent bus You can route send signals from other buses to it and its output or return signal is hard coded to designated mixer channels Your StudioLive has 32 available sends and 18 total returns FireWire sends 1 16 are hardcoded to be sent pre fader from the 16 input channels of the StudioLive These sends can be pre or post Fat Channel EQ and dynamics To record the EQ and dynamics on any channel simply enable the Dig Out button It will illuminate indicating that the Fat Channel signal path is being routed to the FireWire send If this mode is not enabled
154. t echoes can be used to create thickening effects Whether these echoes are timed with the tempo is a matter of stylistic choice 3 Press the Input button in the Meter Section Variable feedback The variable feedback or regeneration produces multiple decaying re peats Increasing the feedback value increases the number of echoes as well as the resonance that is created as one echo disappears into another 3 In the Solo bus section select PFL and turn the Cue level to 12 00 Technical Infor mation Note Using the Tap button on the StudioLive you can speed up or slow down these repeats or more commonly time the repeats to occur with the tempo of the music 4 Select the Solo button in the Monitor section and adjust the volume for your headphones or control room monitors Phones Monitor om 5 Solo your first channel and turn the trim to the desired level on the meter Be careful not get the signal above 0 dBFS You do not want to clip the ADC converters When all else fails just remember button button knob button knob button knob 126 127 The Solo Bus The StudioLive features an independent Solo bus This feature is extremely useful in setting levels for monitor mixes dialing in dynamics on each channel and fixing issues during a live show without interrupting the main mix The Solo bus has three different modes AFL default PFL and SIP e AFL After Fade Listen AFL sends the channel
155. tate 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 Table of Contents 1 Overview 1t PFO HOM oscecetateacnescoascunccuecancunesenouteeseosadvacecusseesateratnecesesesesets 9 t2 FSS avatars ee secaastcet aeir a a iara EE TEE aeisi 10 1 3 What IS Mate BOX ssereressissspsini eee Ser Era 12 1 4 Getting Started MiX Ng nsenennennennnnsnesensrrseerresnrserneenrrsnenrenennes 13 2 Controls amp Connections 24 Ne PAN BAY rescrierea o aE E EE Er EENET 15 2 2 Hook up Diagram On Stage With the StudioLive 0008 19 2 3 The Fat Galil lnccunetascuaces coseeostonaeanceuscoiacainoasashcoteescexcetsmideauhons 20 2 3 1 The Select Button sossunsennenserornnrrrrenrrrrnrreresnnnrrnnrnnnnnnne 21 22 DYNAMICS A EG aresiicesisnrensinrrsdki eor nka EEE bnn 23 2 3 3 Panning amp Stereo Link s ssesssssesoennernrrsnrrrrnrrenesnnnrrnnrrnnnnnne 32 2 3 4 Output Assignments s snssneenesnenrrnrrrnerrresresnrsnenrennrrernenne 39 2 9 9 COPY SAVE EO AC savin ccintusecounGunsannanecuttneoswalannagneanoubyeecauabnecees 34 ANETO ecto tiae cineca cts ein nels E ni eene 35 2 4 1 Metering Controls ccccccceccsseceeseeeeseeeeeeeseeeseseseeeseeeneeeees 36 2 5 Input Channel SIND eee ean eeneenre near art earner et eee ie miner Enirar Era 37 2 5 1 Input Channel Controls ccccccc
156. tem Requirements Below are the minimum computer system requirements for your StudioLive and Capture software Macintosh e Operating Systems e Mac OS X 10 4 11 e Mac OS X 10 5 2 or higher e Hardware e Minimum PowerPC G4 1 25 GHz or Intel Core Solo 1 5 GHz processor 1 GB RAM e Recommended PowerPC G85 Intel Core Duo or Intel Xeon processor 2 GB or more RAM Windows e Operating Systems e Windows XP SP2 or greater 32 bit and 64 bit e Windows Vista 32 bit and 64 bit e Hardware e Minimum Intel Pentium 4 1 6 GHz processor AMD Athlon 64 3000 Turion 1 GB RAM e Recommended Intel Pentium 4 2 8 GHz EM64T or better AMD Athlon 64 XP 3000 or better 2 GB or more RAM NOTE The speed of your processor amount of RAM and capacity and size and speed of your hard drives will greatly affect the overall performance of your recording system A more powerful system faster processor with more RAM allows lower latency signal delay and better overall per formance Windows 64 bit system compatibility requires driver version 3 4 or later Subject to change check www presonus com for updates 62 Installation Windows NJ After you insert the Installation CD into your CD ROM drive the StudioLive installer will take you through each step of the installation process Please read each message carefully ensuring especially that you do not connect your StudioLive too soon 1 The StudioLive Installer was made
157. the signal sent via FireWire will be post trim and post analog insert if applicable As previously discussed in Section 2 3 4 the Dig Out button is not operable for the Subgroups Main Outputs Aux bus Internal FX Returns and Aux Inputs The Subgroups Main Outputs and Aux Inputs are also sent post fader to their FireWire sends FireWire sends 17 32 are routed in 8 stereo pairs from the Universal Control Device Window Any combination of eight of the following inputs and buses can be selected e Main Mix Left Right e Subgroup 1 amp 2 e Subgroup 3 amp 4 e Aux Send 1 amp 2 e Aux Send 3 amp 4 e Aux Send 5 amp 6 e Aux Send A amp B EFXA amp EFXB Send e Aux Return A Aux Input A e Aux Return B Aux Input B e FX Return A EFXA Return e FX Return B EFXB Return e 2 Track Left Right e Talkback Left Right e Solo Left Right 66 FireWire Sends and Returns Note that either channel of the stereo pair can still be accessed on a mono track in your host application only the routing must be assigned as a stereo pair For instance if you have a backing vocal group routed to Subgroup 1 and a guitar group routed to Subgroup 2 you would create two mono tracks in your recording application The track whose input is assigned to Subgroup 1 will record the backing vocal group and the track whose input is assigned to Subgroup 2 will record your guitar group If however you have a stereo drum group assigned to Subgr
158. tion MIDI instrument controllers keyboards MIDI guitars etc send musical information in the form of MIDI data to tone modules which respond by generating sound as instructed Tone modules can be standalone sound devices or can be integrated into a controller as with a keyboard synthesizer Studio One Artist refers to all tone generators as Instruments Once you have set up your MIDI keyboard controller take a moment to configure your sound module Step 1 Connect the MIDI In of your external sound module to the MIDI Out of your MIDI interface In the External Devices window click the Add button 88 89 5 Tutorials 5 1 Studio One Artist Quick Start 5 1 4 Configuring Audio I O Now that you ve configured your MIDI devices let s create a new Song We ll start by setting up your default Audio I O Step 1 Lraale andw sand 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 StudioLive template will create a Song with a track for each of the 16 inputs Every track is armed for recording and no further setup is required Simply select this template and click OK The rest of this section will guide you through creating a Song from an empty session To begin a new Song select Empty Song from the Templates list At this point you should give you
159. tion will help you to get the greatest benefit from your independent study in the world of music production Compressors e 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 1 1 e Ratio Ratio sets the compression slope 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 at a compression ratio of 2 1 This simply means that for every 1 dB of level increase into the compressor the output will only increase 0 5 dB thus producing a compression gain reduction of 0 5 dB dB As you increase the ratio the compressor gradually becomes a limiter e 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 0 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 e Attack Attack sets the speed at which the compressor acts on the input signal A slow attack time fully clockwise
160. to a new location and customize Fage 5 Store FRA Memory Wocal Candy the name of your creation for FX A and for FX B respectively Use the Value Encoder to change the library location to which you will store your new effects preset unless you wish to overwrite the currently selected preset location Press the Next button to navigate to the first letter of the preset name Turn the Value Encoder clockwise or counter clockwise to change the letter The StudioLive allows you to customize the name with upper and lowercase letters as well as a selection of numerals and punctuation marks You can press the Tap button to quickly insert a space Once you are satisfied with your changes press the Store button which will illuminate while the effects preset is being written to the StudioLive s internal memory Once the preset is saved the Store button will return to its unlit status Name Vogal Candy Use TAF for space Puch Store 54 Creating amp Recalling a Scene The StudioLive allows you to create and store a library of scenes A scene is like a snapshot of your mix It stores each Fat Channel parameter for every input and bus as well as each fader s position the aux and effects mixes channel mutes and solos and the input selection analog input or FireWire playback stream Creating a scene requires simply dialing in a mix that you would like to use at a later date and saving it This has obvious benefits for both studio and live
161. 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 amount 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 How severely the compressor reduces the signal is determ
162. to indicate this signal flow When the button is disabled the signal being sent to the FireWire bus is pre Fat Channel The Dig Out button is only optional when one of the 16 inputs is selected The Subgroups Main Output Aux bus Aux Ins and Internal Effects Returns automatically send their signals post Fat Channel dynamics and EQ All FireWire sends are pre fader except for the Subgroups and the Main Outputs For more information on using your StudioLive as an audio interface please consult Section 3 33 Overview D D O S i oc Multiple Tutorials Technical Infor Mixers mation 2 Controls amp Connections 2 3 The Fat Channel 2 3 5 Copy Save Load Every setting in the Fat Channel can be copied from one to channel to another and can be saved and stored as a user preset to be recalled later Press the Copy button to copy the settings on the selected channel or bus Every Select button on the StudioLive except the button for the currently selected channel will begin to flash The Select button for the selected Load channel will not illuminate You can copy a Fat Channel setting from any channel or bus to any combination of channels and buses The Load button will also start to flash To paste the current channel s Fat Channel setting to another channel or bus simply press that channel s Select button It will stop flashing and illuminate After you have selected every channel to which
163. tudioLive 16 4 2 CAPTURE also allows you to record a single stereo track from the StudioLive s Main Output one pair of Subgroup Outputs or a pair of Aux Sends giving you the option to record your Main Mix or create a separate recording mix And you can arm all 18 tracks to record with the click of a single button Please consult the User Manual that came with your StudioLive for complete instructions on using CAPTURE Summary of Capture features e 18x18 Multi track recording application e Record with two mouse clicks e Essential Editing Suite copy cut paste splice resize e Peak LED style meter bridge with clip indicators e Marker placement and recall e Export between marker e Record stereo mix of StudioLive Mixer e Import Export individual wav aiff mp3 or OpenTL All PreSonus audio interfaces now include PreSonus Studio One Artist recording software which comes with over 4 GB of plug ins loops and samples giving you everything you need for music recording and production A Quick Start Guide to using Studio One Artist is located in Section 5 1 of this manual You will find a complete User s Manual on the Studio One Artist Installation DVD Summary of Studio One Artist features e Unlimited track count inserts and sends e 20 high quality native plug ins Amp Modeling Ampire Delay Beat Delay Distortions Redlight Dist Dynamic Processing Channel Strip Compressor Limiter Tricomp Equalizer Channel Strip Pro EQ
164. uch 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 been 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 Hg 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 chemical
165. udioLive s 16 inputs are hardcoded to receive their respective FireWire returns Outs 1 16 in your recording application route these playback streams to their respective channels on the StudioLive that is the software s Output 1 always goes to StudioLive Channel 1 input and so on Once you route a track in your recording application to play back through one of these outputs it will always be accessible on its channel by simply pressing the FireWire Input button To provide you with the most flexible mixing environment the main mix output for any to application should be assigned to Outputs 17 and 18 These FireWire returns are hard coded to the FireWire input buttons in the 2 Track In and Monitor sections of the StudioLive In this way you can monitor the main output from your recording application without using two channels on your StudioLive leaving the other 16 outputs available to be routed to the Fat Channel or for inserting a plug in on a live instrument see the next section for more details 67 Overview nections fe ie U 3 E Y E O U Tutorials Multiple Technical Infor mation Toil tal are ae me Aria a eta cto AS StUCIOLIVe aS an Audio Interface CA J 339 Using Plug Ins Effects as Inserts The FireWire streaming on your StudioLive is continuously bidirectional This means that the StudioLive is always sending signals from the 16 direct FireWire sends on each input channel as well as
166. ugh the ba sics of dynamics processing and will explain the various types of dynamics processors Common Questions Regarding Dynamics Processing What is dynamic range Dynamic range can be defined as the distance between the loudest possible level to the lowest possible level 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 dB 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 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
167. uter or to daisy chain additional StudioLive mixers You can connect two StudioLive mixers to a computer for recording or you can daisy chain up to eight StudioLive mixers to creates a standalone large format mixing console 2 Amp Fuse This is the StudioLive s fuse housing Your StudioLive uses a 5 mm x 20 mm 250 VAC fast acting fuse S PDIF Output By default the S PDIF output receives the same signal as the main outputs so no activation is necessary However any of buses that can be routed to the auxiliary FireWire returns can be routed to the S PDIF output either through the System menu in the Digital Effects Master Control section or in the StudioLive Control Panel see Sections 2 10 4 and 3 3 3 for more information Because the StudioLive cannot be synced externally you will need to use it as the master clock and set your S PDIF equipped device to receive word clock externally via S PDIF Please consult the documentation for your external digital device for instructions Power Adapter Input This is where you plug in the provided IEC power cable Power Switch Push the top part of the switch to turn on your StudioLive Push the bottom part of the switch O to turn it off 2 Controls amp Connections 22 Hookup Diagram On Stage with the StudioLive Powered side Fill Drum Monitor Powered Mains with Subs What you will need 5 TRS LE UM cables 14 XLR F XLR M c
168. utton Click this button to bring up the Add 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 name and the color Once you have added your Tracks you can assign the input by simply clicking on the input to which a Track is currently assigned This will bring up your inputs list You can also access the Audio I O Setup from here If you would like to add a Track for each of the available inputs and have the routing automatically assigned simply go to Track Add Tracks for All Inputs 92 5 Tutorials 5 1 Studio One Artist Quick Start 5 1 5 Creating a Song To begin recording create an audio track assign it to Input 1 and connect a microphone to the first channel on the StudioLive Select the record enable and monitor on your track in Studio One Artist Turn up the Channel 1 gain knob on the front panel of the FireStudio Project while speaking singing into the microphone You should see the input meter in Studio One Artist react to the input Adjust the gain so the input level is near its maximum without clipping Connect a set of headphones to the StudioLive headphone output and select enable the Main button in the Monitor section on your StudioLive You may also wish to connect monitors to the StudioLive s Control Room Outs You are now ready to record For complete instructions please consult the
169. ve The High Band EQ is available for all input and output buses Sets and Displays the Center Frequency of the High Band EQ This encoder sets and the meter displays the center frequency of the High band You can adjust the center frequency from 1 4 to 18 kHz 30 he Fat Channel Onntralo LUONTrOIS l High Band EQ Gain Control High Shelf EQ Button Shelf Limiter On Off Button Connections 25 Dynamics Processing and EQ eo mw oi Sets and Displays the Gain Attenuation or Boost at the Center Frequency of the High Band EQ This encoder sets and the meter displays the gain cut or boost at the center frequency of the High Band EQ The level of the center frequency can be set between 15 and 15 dB Turns on the High Shelf EQ for the Selected Input or Output Bus When the Shelf button is not engaged the High band is a semi parametric EQ Enabling the Shelf button turns the High band into a high shelving EQ that alters by a fixed amount a band of low frequencies at and above a user selected shelving frequency It s like a treble control knob on a stereo In this mode the Center Frequency control selects the shelving frequency Turns on the Limiter for the Selected Input Channel or Output Bus When the limiter is engaged the button will illuminate The threshold for the limiter is set to 0 dBFS The Ratio is CO 1 31 Overview D D O S i oc Multiple
170. ve utilizing high grade components to ensure optimum performance that will last a lifetime Loaded with 16 high headroom XMAX microphone preamplifiers a built in 32x18 FireWire recording and playback engine Fat Channel processing with 4 band EQs compressors limiters and expander gates DSP effects 6 aux buses 4 subgroups extensive LED metering mixer save recall channel strip save recall copy paste talkback and more StudioLive breaks new boundaries for music performance and production All you need is a computer with a FireWire connection a few microphones and cables 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 1 225 216 7887 with any questions or comments you may have regarding your PreSonus StudioLive 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 through the purchase of this product We suggest that you use this manual to familiarize yourself with the features applications and correct connection procedures for your StudioLive before trying to connect it to your computer This will help you avoid problems during installation and setup 1 Overview 1 1 Features WM PreSonus Tano f a 6
171. written TYPE NAME Ne TYPE NAME 1 i i e ee fo ooo iwy ee S F3 smatLRooM Closet ess o Faf of Studio AP ps Studio BP e Bedroom re Fs Tile Floors F58 F9 Tile Bathroom F59 Fio Concrete Floors F60 m2 Small Club ma BigCub Fes Fis LinoleumRoom Fos Fis i TileRoom os S Fi7 WARMHALL LogCabin Fe Fig Wood Floors FR Fig BrickClub_ Fo o Foo i HighCeiings Fo S S O F21 GATED HALL GateVerb Short F7t Fez GatoVerbMed 2 F3 GateVerbLong 73 o O Fea GateVerb Extreme F74 F25 LARGEHALL Church Fs G Foe Cathedral S re e r Gymnasium te Fe Arena G F29 PLATE PlateVerb Shimmer F79 O F30 PlateVerb Thick F80 Plateverb Drums Pa F32 en F34 O a F32 Plateverbvox F82 F34 MONO DELAY M Shortsiap Fs F5 Mi LongSlap ea Fae M Tripet a o pes7 Mi Triplet ree F38 FILTER DELAY AnalogSlap FA Fa Analog rip eB Fao of Analog 8 F41 STEREODELAY Slap Quick FOO faa tongSlap fot fag Spacey fo Fag tong tal f fas St Tiplet e h 38 5 Rack Ear Installation Instructions Step 1 Using a Philips screwdriver remove the three screws beneath the decorative plastic side panel on the right side of your StudioLive Set these screws aside You will need them should you want to reinstall the sid
172. y blank Not because we could but for a higher greater reason having to do with printing stuff in groups A A of four pages not that you NA N were really interested Motes eet Notes PRODL JOTON NOTE Be Instrument age instrument Mic Used if pi Mic Used Notes Nee Notes Instrument Mic Used Motes eve sou c ee Ix a MOTES ei a LEW EL a Q Aux MONITOR L EFFECTS _ SEND TO ALX Aux 5 Output MONITOR L EFFECTS S EFFECTS Ll SEND TO SEND TO Dive MONITOR L EFFECTS L MONO ii J STEREO L RIC 5 SUBGROUP MAIN ASSIGNMENT ROUTING MATRIX S Sa E Cc H S E a CH CH CH CH CH CH c PE 1 mae AL 10 14 12 13 lt 1 s A 140 141 Added bonus PreSonus previously Top Secret recipe for Declaration of Jambalaya Conformity hahaa e 5 lbs link andouille sausage e 3 Ibs boneless chicken e 2 Ibs ground beef Responsible Party PreSonus Audio Electronics Sonia elo or pune 2 stalks of celery Address 7257 Florida Blvd Baton Rouge mn peppers green or red green onions LA 70806 USA e 3 lbs rice e Tony Chachere s Cajun Seasoning e 1 bottle chicken stock concentrate or 3 cubes chicken bullion Phone 225 216 7887 e 1 can Rotel tomotoes with chilies diced regular hot e Tabasco sauce declares that StudioLive 16 4 2 complies with Part 15 of the FCC rules Cooking Instructions 1 Ina16
173. y desirable The question is how to print these changes to your recording An easy way to do this is through the subgroup FireWire returns Begin by routing a playback stream to an individual channel on the StudioLive from within your recording application With the FireWire return selected as the signal source for that channel on your StudioLive press its Select button and assign it to a subgroup bus ensuring that only that channel is routed to the subgroup You can then process the playback stream through the Fat Channel for both the individual channel and for the subgroup In your recording software assign the subgroup as an input source for a new track and record it The unprocessed track can then either be removed from the session or used in tandem with the processed track as an effect The flexible routing and mixing capability of the StudioLive provides you with an arsenal of tools previously unavailable to in the box mixes Don t be afraid to test the limits of modern mixing techniques and to create a few of your own Note The Dig Out button does not function when you have a FireWire Return selected as an input source If Dig Out is enabled any Aux Subgroup and the Main bus to which it is routed will not receive the post Fat Channel signal The unprocessed signal will still be routed to these buses as well as to the FireWire bus but the Fat Channel dynamics and EQ will not If you wish to add Fat Channel dynamics to a FireW
174. you want the settings pasted press the Load button The StudioLive will return to its normal state indicating that the Fat Channel settings have been successfully pasted The Load button can also be used to recall saved settings and presets For complete recall Load instructions see Section 2 10 3 You can save your Fat Channel settings for future use To store the currently selected channel s Fat Channel settings press the Save button For complete channel preset storage instructions see Section 2 10 3 34 2 Controls amp Connections N A Metering Ratio Attack Peme Gain ial he uM ie fot 1 F TaD p Af r Th m Fs 1 T pal Seueeunee abn PREREER ESS oF BHECCEEEEEE ALLL da eth i CE Fe Pa l id e pinnas Pi AAA F tijk tktEg i Se e A F ohiki es ku m am Hopup WAH Meters appui et oi Ennn rm The StudioLive offers flexible metering at the touch of a button The 16 meters in the Fat Channel section can monitor e All 16 inputs post gain and pre dynamics pre EQ and pre fader e All 16 inputs post dynamics post EQ and post fader e The gain reduction for all 16 inputs e The output volume of each of the 6 Aux Sends Last but certainly not least the meters can be used to recall the fader settings for a saved scene 35 z od A o gt Multiple Recording Tutorials S e Ge S p f U e9 ke e E

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