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StudioLive™ 16.0.2

1. 31108 3 0U9Y JS J04JU0 JES19AJU 9EMIYOS eo WN SE a gt gt 10 7 Software Universal Control SL Remote Capture amp Studio One Artist 7 2 VSL Virtual StudioLive Loading an FX Preset Hide Browser SCENE FAT CH FX GEG BACKUP On The Disk ot Analog 8th Analog Slap Analog Trip Arena Bedroom Big Club Brick Club Brick House 7 2 5 WSL Setup Tab MIDI Control Mode Menu MICH COPA Moda Het Control Mode On ManOuilewel cco MiDIChammol Cht FXA0WLowel cca Scene Recall Channel Gh FXE Cut Level cote EXA Recal Channel cha Exa Mine cci FAH Recut Charmi Gha FxA Mhan CAT 72 PreSonus StudioLive 16 0 2 To load an FX preset select it from the Browser window and drag it over any part of the desired FX bus in the Master section of the Overview tab Once the preset is loaded you can use the FX Type menu to change the effect and create new presets Note At this time VSL does not transfer the name of the preset to the StudioLive All FX presets loaded from within VSL will be labled Natural in the FX menu on your StudioLive To load a graphic EQ preset select it from the Browser window and drag it over any part of the focused graphic EQ Graphic EQ presets can be loaded on the Overtab or the GEQ tab On
2. 4 Controls PreSonus StudioLive 16 0 2 4 8 Digital Effects Master Control 4 8 2 Digital Effects Library Your StudioLive contains a library of 50 custom reverb and delay presets designed by PreSonus In addition to these presets there are 50 free locations for you to build your own custom effects library The factory presets can be altered renamed and overwritten TYPE NAME TYPE NAME AMBIENCE Natural F25 LARGE HALL R Cs Live SMALL ROOM Fa Studio CI Studio F6 Bedroom te TT Fo Tile Bathroom 34 Fo Concrete Floors Fiz _ Small Club FB _ Big Cub F5 Linoleum Room Fi6 TileRoom _ Fis WoodFloors F9 Brick Club F200 HighCeilings GateVerb Short 46 2 GateVerb Med AA P23 GateVeblonc i Tm nm a aa W UI IN IN NR RO o oo NM Oo MONO DELAY FILTER DELAY ST Triplet PING PONG DELAY USER CREATED WW N E T1 Uy Un TI T1 T1 Ta T1 T1 u uy UV gt 38 STEREO DELAY T1 D NO TI E Uy T1 D I T1 TI D 7 T1 D Y TI E co T1 D O F24 GateVerb Extreme F50 99 T1 Un 33 38 Owner s Manual Scenes Presets System Menu and MIDI Control 5 Creating and Recalling a Scene 5 1 5 0 Scenes Presets the System Menu and MIDI Control 5 1 Creating and Recalling a Scene Digital Effects Master Control P KAIN s
3. SL Remote Capture amp Studio One Artist O oS U N ES w D a N go un ar SE pao a gt gt 10 a n de 3 0U9Y 1S 04JU0 PSIBAIUL DAEMIJOS 7 Software Universal Control 7 2 VSL Virtual StudioLive Settings WDM Setup Wie AENA I Vy T2 VSL Virtual Studio SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 Opens the WDM Channel Mapper The StudioLive features advanced WDM features From this menu you can MAA choose which FireWire return you d like to use for your computer s main sire e output Because FireWire returns 1 and 2 are hard coded to the FireWire Return button in the Monitor bus we suggest that you use thesereturns By default the main output for your computer is set to FireWire returns 1 and 2 so no additional effort is required Live VSL is a highly advanced editor librarian and control application that is completely integrated with the StudioLive 16 0 2 Because of the continuous bidirectional communication between StudioLive and VSL whatever you do on the StudioLive s control surface will be reflected in VSL and vice versa VSL for StudioLive 16 0 2 requires a minimum screen resolution of 1024x768 dpi Biti Hitec xz gt z AAA e ooo ooo eee ooo oo ooo o
4. un o Laem J Lor rro tn un go AN Sm as Sa CD 5 A Do gt or lt 4 101 U0 JeSIAAIUP BJEMIJOS 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 7 4 Capture Importing Audio Files h A e ths ap T iad dra Pike EE r r r Co saw SEP MI ula dw ou T m SERVIDAS ME Liaw 7 a ipo Ly Lj a nme Liaw pl MES Lae Bie biS Lie t 1 Fee AT ALO Liaw Pej eN Arts ELO LENY hiami a ELO Lhe Najim ALS FLA MO LEAT L ae hn Pee ee mi gt MAINE FF A o a Fat Ali slats Diccionaris WED LEANER ETIE di ubica Hi tet holaa Th a 1t a PE YEI a Cd Bal oe lb E E N tua Open RED LEAVES_ ET1 16 44 1 kHz 16 bit Mono 29 7 2010 15 38 06 4 09 846 min Export Audio Files NS Location UsersijwardQA Documents Capture NewS down PY Filename New Sesslon 2 Format Wave File Resolution Ssamplerate Session Each Marker Between Selected Markers 104 It is possible to import WAV and AIFF audio files into your Session To import an audio file select Import Audio File from the Session menu to open the Import File menu Browse to the desired file and click on it to select it Then click on Open to import the file into your Session An Audio Event for the imported file will be created and placed on the currently selected track in
5. Memory ORM Punohy Kick selected channel onto which the preset will be 19 BAS als 52 EMPTY LOCATION 85 EMPTY LOCATION a loaded Use the Value encoder to locate the preset 20 BAS Upright 53 EMPTY LOCATION 86 EMPTY LOCATION Load To Channel Strip 1 you would like to use Once you have made your 21 GTR Rock 1 54 EMPTY LOCATION 87 EMPTY LOCATION 7 selection press the Recall button If at any time you 22 GTR Rock 2 55 EMPTY LOCATION 88 EMPTY LOCATION y Push Recall would like to cancel this operation simply press the 23 GTR Funk 56 EMPTY LOCATION 89 EMPTY LOCATION Load button again 24 GTR Metal 57 EMPTY LOCATION 90 EMPTY LOCATION a Power User Tip Load will stay active until you press the button again to disable 7 ul e de 7 needy pict dll pls it even if you select another channel Because of this you can quickly add a preset 27 GTR Acoustic Strumming 60 EMPTY LOCATION 93 EMPTY LOCATION to every channel and give yourself a jumping off point to dial in your mix 28 GTR Acoustic Fingerstyle 61 EMPTY LOCATION 94 EMPTY LOCATION If you have created a channel strip setting in the Fat Channel that you would like to 29 KEY Piano Bright 62 EMPTY LOCATION 95 EMPTY LOCATION save to the Channel Preset library press the Fat Channel s Save button You will notice 30 KEY Piano Warm 63 EMPTY LOCATION 96 EMPTY LOCATION J that the LCD will display the Channel Preset Save menu 31 KEY Piano Jazz 64 EMPTY LOCATION 97 EMPTY LOCATION C 32 KEY Piano Electric
6. e Aux and FX Bus Compressor and EQ overview FX Mix Select and FX Bus Mixing Displays Channel Send Levels to that FX Bus ginjde aJOWaY TS J04JU0 PSIBAIUL 9EMIJOS eo un a oh oS a gt a gt oF N SL Remote Capture amp Studio One Artist e Aux and FX Bus Gate Compresson and EQ zoom o gt wW N w D S i o gt un To create an FX Mix using SL Remote tap anywhere in the FX Mix Select tab for that Aux The Select Aux Mix tab will be highlighted to alert you that its individual channel send levels will be displayed below e Edit Effects e Recall Effects e Assign Unassign Effects Press the Post button to engage post fader sends Press the Mute button to mute the effect to its assigned buses No ON The Gate Compressor and EQ Microviews function the G same for auxes as they do for channels and mains To adjust the send levels for any channel tap anywhere in its send level and move your finger up or down while maintaining e D constant contact with the iPad screen These send level displays a have been designed to emulate the StudioLive Fat Channel Meters while in Aux Mix mode so they should look very familiar 84 85 7 Software Universal Control SL Remote Capture Studio One Artist PreSonus StudioLive 16 0 2 Owner s Manual Software Universal Control SL Remote Captu
7. w w UN NY n D n w _ A wn eB lt 3 WwW NY 5 Scenes Presets System Menu and MIDI Control PreSonus StudioLive 16 0 2 Owner s Manual Scenes Presets System Menu and MIDI Control 5 5 5 Using MIDI Control Mode to Remote Control StudioLive Using MIDI Control Mode to Remote Control StudioLive 5 5 E FXA Assign Unassign to Main Bus and Main Output Level Control 5 5 4 Controlling the StudioLive 16 0 2 with a Roland FC 300 Let s create a preset to assign unassign FXA to the Main bus and to control The Roland FC 300 Patch Mode offers many flexible ways for you to control your a the Main output volume using an expression pedal on the FCB1010 StudioLive 16 0 2 Each patch allows you to assign multiple MIDI controls to any k of the four control pedals In this example we will create a patch that instantly 1 First press Pedal 6 to select Preset 6 making sure that Bank 00 is still selected recalls a Scene and we will assign to other pedals an FXA preset recall and the FXA assignment to the Main bus Finally one expression pedal will control 2 Press and hold the Down pedal to enter Preset Configuration the FXA output level while the other will control the Main output volume mode You ll see a flashing green LED va These setup instructions will enable you to quickly configure 3 Press the
8. Configuring StudioLive 16 0 2 as a MIDI Device To configure your StudioLive 16 0 2 so it can be controlled by Studio One Artist you must first add the StudioLive as an external device 1 From the Studio One Artist Start page click on the External Devices link 2 Click on the Add button 3 Select New Instrument 4 Inthe Device Name field enter StudioLive 5 From the Send To menu select PreSonus FireStudio Port 1 6 Click the All button to enable all MIDI channels 7 Click OK 8 Inthe StudioLive System menu navigate to Page 4 MIDI Presets 9 Set MIDI Control Mode to ON 10 Set MIDI Source to FireWire 126 Owner s Manual Software Universal Control SL Remote Capture amp Studio One Artist 7 Studio One Artist Quick Start 7 5 Recalling Scenes and Presets 1 For our example you have to set different MIDI channels to recall Scenes FXA Presets and FXB Presets These are the MIDI channels on which Studio One will send Program Change messages for each function 2 In Studio One create a new Song and then create an Instrument track 3 Inthe Output menu select StudioLive 4 Open the Inspector MIDI channel 1 is already selected so let s change a StudioLive Scene 5 Check the box next to Program 6 Double click on the Prog field and type in the number of the Scene you wish to recall You can recall FX presets using the same steps Don t forget to change t
9. 4 Controls PreSonus StudioLive 16 0 2 Owner s Manual Controls 4 4 7 Master Section Master Section 4 7 2 4 7 Master Section Output Select Buttons Assigns the Talkback Mic to the Aux and or Main Outs Talon 5 pane The Master section of the StudioLive controls the monitoring Talkback output and Solo bus These buttons assign the talkback mic to a specified output These buttons are 7 gt toggled on off and will illuminate indicating that the Talkback output is active The j gt talkback mic can be assigned to every output at the same time ti i Level Level Monitor 3 gt yaa Talkback Buttons Turns the Talkback Mic On and Off hold This latching button turns the talkback mic on and off It will illuminate to indicate that the talkback mic is active EN 92 e x e oO un WwW 4 7 2 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 4 7 1 Talkback System 7 adjustments For more information on using the Solo bus please review Section 8 8 eo The StudioLive features a Talkback microphone input on the back panel This can be routed to the Aux outputs and to the Mains It is important to note that the Aux outputs are grouped in this section For example i
10. When Aux 3 and Aux 4 are linked this button enabled pan control for each channel in the Aux pair When this button is enabled the 12 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 Use Aux 3 Encoder mode to set the send level of each channel to the Aux pair For more information of stereo linking please review Section 4 1 4 29 a i ES U a oS un 4 4 5 FireWire Return Mode Switch Solo Mode Switch 30 Controls Multimodes PreSonus StudioLive 16 0 2 4 5 MultiModes Each channel and Aux on the StudioLive 16 0 2 features a MultiMode button These buttons allow you to solo or mute a channel or Aux as well as engage the channel FireWire returns from the same button The function of these buttons is determined by the control buttons directly to the left of the row of the MultiMode buttons 4 5 1 MultiMode Controls and the Buttons that Love Them Turns FireWire Playback Streaming On Off When FireWire Return Mode is engaged the MultiMode buttons on each channel function as the FireWire Input buttons for each channel When a MultiMode button is engaged while in this mode it routes a playback stream from your audio software to the Studi
11. You monitor live audio input on the StudioLive mixer there is no separate monitoring capability in Capture Setting the proper input levels is critical to making a good live mix and recording The basic idea is to set the input gain on your StudioLive mixer as high as possible without overloading the input Overloading the input will cause clipping digital distortion which is particularily unpleasant and will ruin the recording This damage cannot be undone in software There is a clip indicator for each input on the StudioLive mixer for this purpose If an input channel is not clipping on your StudioLive mixer you can be sure that there it will not clip in Capture Refer to Section 8 7 for a level setting tutorial Once you have the desired tracks record enabled the next step is to record To activate recording click on the Record button in the Transport The Record button will turn red and the Play button will turn green in the Transport the Playback Cursor will start to scroll from left to right from its current position and a new Audio Event will be recorded to any record enabled tracks Recording will continue until you manually stop it by clicking on the Stop button in the Transport or press Spacebar on the keyboard Owner s Manual 7 4 7 Editing in Capture Mouse Tools Software Universal Control SL Remote Capture amp Studio One Artist 7 Capture 7 4 Capture utilizes the Broadcast Wave file format f
12. 8 2 1 Common Questions Regarding Dynamics Processing What is dynamic range Dynamic range can be defined as the ratio between the loudest possible audio level and the 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 compressor can be used in this situation to reduce compress the dynamic range
13. F laptop midi pedal Monitors Front of House Speakers Owner s Manual Hook up 3 Audio Video Business Conference 3 3 38 Audio Video Business Conference Un l microphones wireless microphones and receivers Ga UU Co a l d QO assisted listening transmitor dvd player powered speakers 4 Controls PreSonus StudioLive 16 0 2 Owner s Manual Controls 4 4 1 The Fat Channel The Fat Channel 4 1 o 40 Controls 4 1 1 Select Buttons Meters and the Fat Channel Select Buttons All around the StudioLive you will see Select buttons There is a Select button on each of the 12 channels each of the 4 analog aux sends both of the internal effects buses and the Main output bus Each of these buttons serves exactly II the same purpose to access the Fat Channel parameters for its channel or bus 4 1 The Fat Channel Gate Comp Ratio Response Gain 7 Freq in Freq Gain i Freq Selected Channel Display In the lower right corner of the Fat Channel you will find Selected an LED readout The currently selected channel will always be displayed here Channel Numbers 1 8 indicate one of the 8 mono input channels is selected 9 11 13 or 15 indicate that one of the 4 stereo input channels is selected MA indicates the Main bus A1 A4 indicates Aux 1 4 and Fa and Fb indicate EFX A and EFX B a LLIT fdlh f j i 3
14. Tapping on the Masters Overview will open the Masters Section Page The Masters Section page displays the fader meter and Fat Channel Microviews for the Mains These parameters are controlled the same way they are controlled for channels in the Overview page Tapping on any of the Fat Channel Microviews will close the Masters Section Page The Fat Channel Zoom will open with the selected parameter in focus for the selected bus To close the Masters Section page simply tap anywhere outside it 83 SL Remote Capture amp Studio One Artist 2 o gt i un w Ag de e un 7 Software Universal Control SL Remote Capture Studio One Artist PreSonus StudioLive 16 0 2 Owner s Manual Software Universal Control SL Remote Capture amp Studio One Artist 7 7 3 Using StudioLive Remote for iPad Using StudioLive Remote foriPad 7 3 7 3 3 Aux Mix Page Aux Mix Select and Aux Mixing Displays Channel Send levels to that Aux bus The Aux Mix page shows the send level for each channel on each Aux and FX bus It corresponds directly to the Aux Mix tab in VSL but has been streamlined to show only the parameters you need to control when To create an Aux Mix using StudioLive Remote tap anywhere in the Aux Mix Select tab for that Aux The Select Aux Mix tab will be highlighted to alert you that its individual channel send levels
15. lt 3 WwW NY Recalling Scenes and FX Presets Remotely FXB Assign to Mains is a simple toggle message so it is not value dependent 7 MIDI stands for Musical Instrument Digital Interface MIDI enables the bed cerca ion e fae exchange of performance information musical notes program changes f pape synth parameters and much more between electronic musical instruments AA eee SiO Piers EVIE Peds Cont ue AAA that came with your MIDI controller to learn how to send Control effects devices computers and more and it has also been adopted for Gharicesnd ProdianvCianu imescagesona Given Mill channel a wide range of other applications both musical and nonmusical l E E AEE A A T E EN pla 5 5 3 Controlling the StudioLive 16 0 2 with a Behringer FCB1010 C N MIDI terms you should understand MIDI channels Program l op Co Tangeme ades and Control nenie Es These setup instructions will enapie you to quicky configure your PTUGIOLIVE 16 0 2 so that you can control it with a Behringer FCB1010 while giving you MIDI data is sent and received on 16 channels This enables you to send the information necessary to create your own custom configuration up to 16 discrete messages to your MIDI device at exactly the same NsviasteloP 4and 5 of StudioLi i time Only one MIDI event can be sent at one time on each channel but aa ae a i gt O a a multiple messages can be streamed serially one after the other Pp OS
16. 5 5 4 Controlling the StudioLive 16 0 2 with a Roland FC 300 53 Connecting toa Computer 56 System Requirements 56 Installation for Windows 57 74 Installation for Mac OS X 58 Using the StudioLive as an Audio Interface 59 6 4 1 Using the StudioLive with Popular Audio Applications 59 6 4 2 FireWire Sends and Returns 67 6 4 3 Using Plug in Effects as Inserts 62 Software Universal Control with VSL StudioLive Remote for iPad Capture Studio One Artist 63 Universal Control 63 7 5 7 1 1 Universal Control Launch Window 64 VSL Virtual StudioLive 66 7 2 1 VSL Browser 66 7 2 2 VSL Overview Tab 69 7 2 3 VSL Channel Tab 70 7 2 4 Loading Scenes and Presets fromVSL 71 7 2 5 VSL Setup Tab 72 7 2 6 Enabling Lockout Mode 73 7 2 7 Remote Controlling StudioLive with VSL 74 PreSonus StudioLive 16 0 2 Using StudioLive Remote foriPad 75 7 3 1 Networking your iPad and Computer 75 7 3 2 Connecting to Virtual StudioLive and the StudioLive Mixer 79 7 3 2 SL Remote Overview Page 80 7 3 3 Aux Mix Page 84 7 3 4 The GEQ Page 87 7 3 5 Channel Zoom Page 90 Capture 91 7 4 1 Whatis Capture 91 7 4 2 Start Page 93 7 3 3 The Session Page 94 7 4 4 The Edit Window 95 7 4 5 Getting Started in Capture 96 7 4 6 Recording in Capture 98 7 4 7 Editing in Capture 99
17. 7 4 8 Capture Session Navigation 102 7 4 9 Mixing in Capture 103 7 4 10 Capture Key Commands 107 7 4 11 Capture Applications and Scenarios 109 Studio One Artist Quick Start 113 7 5 1 Installation and Authorization 113 7 5 2 Enabling the Audio Driver 116 7 5 3 Configuring Your MIDI Devices 116 7 5 4 Creating a New Song 120 7 5 5 Creating Audio Tracks 122 7 5 6 Creating MIDI Tracks 123 7 5 7 Adding Virtual Instruments and Plug in Effects to Your Song 124 Owner s Manual 8 0 8 1 8 2 8 3 8 4 8 5 8 6 8 7 7 5 8 Using Studio One to Remote Control StudioLive 16 0 2 126 Tutorials 130 Microphone Types 130 8 1 1 Condenser 130 8 1 2 Dynamic 130 8 1 3 USB Microphones and Other Types 130 8 1 4 Microphone Placement 131 A Brief Tutorial on Dynamics Processing 134 8 2 1 Common Questions Regarding Dynamics Processing 134 8 2 2 Types of Dynamic Processing 135 8 2 3 Compression Settings Some Starting Points 140 Equalizers 142 8 3 1 Whatis an EQ 142 8 3 2 Equalization Settings How to Find the Best and Leave the Rest 144 8 3 3 General EQ Suggestions 147 Aux Bus Mixing 150 8 4 1 Monitor Mixing 150 8 4 2 Effects Processing 150 Digital Effects 152 8 5 1 Reverb 152 Level Setting Procedure in Detail 154 The Solo Bus 155 8 7 1 Using the
18. Master Control section and navigate to Page 4 Lockout Your StudioLive cannot be locked unless this page is active If you have two StudioLive mixers linked you only need to lock the Master unit to lock both mixers in the chain 73 SL Remote Capture amp Studio One Artist oO E a un PL w gt ae h N 31108 3 0U9Y JS J04JU0 JES19AIU AIEMIJOS Qo un S j a a gt D un r 7 74 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 7 2 VSL Virtual StudioLive 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 To lock your StudioLive press the Select buttons that correspond to the 5 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
19. StudioLive 16 0 2 Owner s Manual STUDIOLIVE 16 Oe Eigjeal Porton ols Gi 5 q 4 45 PreSonus 1 1 i mm i mu B 3 i 00 Ye i y l pl z foo o ooo ooo m E n en oe ee 1 a ka ka ipis TI Aa TTE Al Main A PreSonus www presonus com 0 1 Important Safety Instructions The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance servicing instructions in this manual uN 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 appliance to rain and moisture The apparatus shall not be exposed to dripping or splashing liquids and no object filled with liquids such as vases shall be placed on the apparatus CAUTION These service instructions are for use by qualified service personnel only To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions Repair
20. To load a new effect type tap on the effects type window and then tap on the new effect type to load it To adjust a parameter simply tap on it and move your finger up or down e Zoom in for fine adjustments while maintaining constant contact with your iPad e GEQ insert assignments StudioLive 24 4 2 only amp Studio One Artist seo Un gt L j a a gt T gt e un r a1n de 3J0WY 1S J04JU0 BSJ AIUN 9EMIJOS SL Remote Capture o gt wW N w D S i o gt un e Draw the EQ curve you want rather than adjust each slider manually To close the Effects Editor tap the x in the upper right corner GEQ Select Tab Brings a pair of graphic EQs into view StudioLive 16 4 2 and 24 4 2 only To begin making changes to a particular GEQ you must first select it To o GEQ 384 do this simply tap on the GEQ pair you d like to edit A r x N a gt da 86 87 eo Un S j a a gt z un r a1n de 3J0WY JS J04JU0 JBSJ AIUN 9EMIYOS 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 7 3 Using StudioLive Remote for iPad GEQ On Off Button Turns a graphic EQ on or off By default each graphic EQ is turned off To enable a graphic EQ tap the GEQ On
21. 16 0 2 7 5 Studio One Artist Quick Start 7 5 7 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 In the lower right corner of the Arrange window are three buttons The Edit button opens or closes the audio editor or the MIDI piano roll editor depending on which type of track is selected The Mix button opens and closes the mixer window The Browse button opens the browser window which displays all of the available virtual instruments plug in effects audio files and MIDI files as well as the pool of audio files loaded into the current session To add a virtual instrument to your session click the Browse and Instrument buttons to open the Fiat Folder Category 4 Native Instruments HI Kore Player 4 4 PreSonus gt i Impact gt Fi Mojito 4 E Presence gt Bass Combinations Drum Kits Effects Guitar Keyboards Percussion Rob Lee Signature Set Strings Y Fiddle a Flanged Tamburas Y FM Strings a Legato Hall 8 Lush Strings LIV MISMA Oe YUU 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
22. 4 dBu 20 Hz 20 kHz unwtd Noise Gate Expander Threshold Range Attack Time Release Time Expander Attenuation Range Compressor Threshold Range Ratio Response Time Attack Release Auto Attack and Release Curve Types 158 PreSonus StudioLive 16 0 2 RCA Female unbalanced stereo pair 12 dBu XLR Male balanced stereo pair 1 4 TRS Female balanced stereo pair XLR Male balanced mono 24 dBu 1000 1 4 TRS Female balanced mono 18 dBu 510 1 4 TRS Female balanced stereo pair 18 dBu 510 90 dBu 87 dBu 84 dB to 0 dB Adaptive 0 2 2 5 ms 70 ms 2 1 56 dB to 0 dB 1 1 to 14 1 0 2 ms 1 0 s Tight to 180 ms 1 0 s Smooth Attack 10 ms Release 150 ms hard and soft knee Owner s Manual EQ Type Low Low pass or Bandpass Mid High High pass or Bandpass Digital Audio ADC Dynamic Range A wtd 48 kHz DAC Dynamic Range A wtd 48 kHz FireWire Internal Processing Sampling Rate A D A Bit Depth Reference Level for 0 dBFS Clock Jitter Jitter Attenuation Power Connector Input Voltage Range Power Requirements continuous Physical Length Width chassis only Maximum Height Weight Technical Information 9 Specifications 9 1 2nd order shelving filter Q 0 55 36 to 465 Hz 15 dB 260 Hz to 3 5 kHz 15 dB 1 4 kHz to 18 kHz 15 dB 118 dB 118 dB 5400 400 Mb s 32 bit floating point 44 1
23. A Quick Note About the AutoStore Feature 5 2 1 Channel Presets Library It is not necessary to create a Scene in order to preserve the StudioLive s settings Your StudioLi ith 50 Fat Ch t tom designed b when you power it down Periodically you will notice the Store button flash ee See eget nse AER E OA ina professional PreSonus users These presets can be altered renamed and C once indicating that the current settings on your StudioLive have been saved e E O to internal memory The StudioLive will take a snapshot of the current position al ION Mercal ao oe TPY ee Ora Ene CIA where you can build your custom library of channel strip settings 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 J before you power down simply wait for a few seconds until the Store button 01 DRM Kick 1 34 KEY Vibes 67 EMPTY LOCATION gt flashes This is your indication that it is now safe to turn off your StudioLive The 02 DRM Kick 2 35 HRN Trumpet 68 EMPTY LOCATION a next time you turn it on all of your settings will be recalled automatically 03 DRM Kick Funk 1 36 HRN Trombone 69 EMPTY LOCATION Please note If you make changes to a stored Scene AutoStore will not save these changes 04 DRM Kick Funk 2 37 HRN Sax 70 EMPTY LOCATION J as a permanent part of the Scene Any changes made to a Scene i
24. Electric Bass The fast attack and slow release in this setting will tighten Effects up the electric bass and give you control for a more consistent level PEA o at E 1 E Squeeze This is dynamic compression for solo work especially electric Threshold Ratio Attack Release tarita haral Tele Strat ditiat lasa 4 4 dB Pee A Threshold Ratio Attack Release Acoustic Guitar This setting accentuates the attack of the Ted me acoustic guitar and helps maintain an even signal level keeping the acoustic guitar from disappearing in the track Pump This is a setting for making the compressor pump in a desirable O way This effect is good for snare drums to increase the length of Threshold Ratio Attack Release et EEE E ea arterial canje 6 3 dB A A ES Threshold Ratio Attack Release Ko 140 141 8 Tutorials PreSonus StudioLive 16 0 2 Owner s Manual Tutorials 8 8 3 Equalizers Equalizers 8 3 8 3 Equalizers 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 The StudioLive 16 0 2 is equipped with a 3 band semi parametric equalizer on every ig Q y J bora umtbus Head abi e nbnaiono honno inion awelas with one another to achieve the desired effect Let s look at our kick drum again one charts hi hel n navigate the he uency ranges of various iasivaments SO eave gn eh Orsi
25. Every once in a while your iPad will accept an ad hoc network even though that network is not usable When this happens you will see the Wi Fi icon in the top status bar on your iPad but you will not see your StudioLive in the Devices list in SL Remote Here s what to do if this happens 1 Tap on the Settings icon in your iPhone main menu 2 Click on Wi Fi 3 Make sure a check mark is visible before your ad hoc network name 4 Click on the arrow next to your ad hoc network name 5 The IP address should begin with 169 254 xxx xxx 6 If there is no IP the field is blank that s why StudioLive Remote can t connect 7 Wait about 60 seconds on that screen and a new IP like 169 254 xxx xxx will be assigned automatically 8 Ifno IP appears click choose Static then enter IP Address 169 254 1 2 Subnet Mask 255 255 255 255 If address 169 254 1 2 is already in use by another device replace 1 and 2 with numbers of your choice between 0 and 255 If you are using StudioLive Remote in a venue with many wireless networks you can create a network on a different channel Channel 11 is the default but it s okay to use an alternative in order to ensure that your iPad s connection to your computer isn t interrupted POWER USER TIP Network connections can occasionally require troubleshooting especially when a lot of wireless networks are in use Because of this it is always a good idea to get your iPad and computer ha
26. GAIN HI MID HI MID HI MID HI MID ON Peak 320 o iw o ON OFF LO HI FREQ kHz GAIN Ae e er En ae ON ET o ss ON ser o Keyboards Piano LOW LOW LOW LOW MID LOW MID LOW MID LOW MID ON OFF PEAK SHELF FREQ Hz a ON OFF Sa Q FREQ Hz GAIN ON on see w 2 ess HI MID HI MID HI MID HI MID HI ON OFF LO HI FREQ kHz GAIN ON OFF were an a a on io 29 2 o Pea 72 4 8 8 3 149 le 3 EEE E OE PA PAS A E ar e Nn ESE 8 8 4 8 4 8 4 1 8 4 2 150 Aux Bus Mixing PreSonus StudioLive 16 0 2 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 6 aux buses Aux 1 through 4 which have physical output jacks and EFX A and B which are the internal effects buses Aux buses can be used for many applications the two most common of which are creating monitor mixes and inserting external effects processors into the mix The StudioLive allows you to add global dynamics processing and EQ to these aux buses in addition to individual channel processing Monitor Mixing Creating custom monitor mixes for your musicians is critical If musicians can t hear themselves or their bandmates their performance will suffer A monitor mix can be mono o
27. PSIBAIUL D9AEMIJOS SL Remote Capture amp Studio One Artist TS zZ Qo 5 un UU a o Y o gt E D a ann E cS eb N ee N G A K N G P Wooo 128 129 EEE E OE PA PAS A E w EJES 8 Tutorials 8 1 Microphone Types PreSonus StudioLive 16 0 2 8 0 Tutorials 8 1 8 1 1 8 1 2 8 1 3 130 Microphone Types Condenser Dynamic The StudioLive works with most types of microphones including dynamic ribbon and condenser microphones 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 microphones are possibly the most widely used microphone type especially in live shows They are relatively inexpensive resistant to physical damage and typically handle high sound pr
28. Restriction of chemicals REACh and contains none or less than 0 1 of the chemicals listed as hazardous chemicals in the REACh regulation WEEE As with the disposal of 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 Lay 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 EEC 1 0 Quick Start 7 1 1 Getting Started IMPORTANT LEVEL SETTING 1 2 0 Overview 4 2 1 Introduction 4 2 2 Summary of StudioLive 16 0 2 Hardware Features 5 2 3 Summary of Capture Software Features 6 2 4 Summary of StudioOne Artist Software Features 6 2 5 Summary of Virtual StudioLive Software Features 7 2 6 Whatisinthe Box 8 3 0 Hookup 9 3 1 Rear Panel Connections 9 3 2 Basic Hookup Diagram 12 3 3 Audio Video Business Conference 13 4 0 Controls 14 4 1 The Fat Channel 14 4 1 1 Select Buttons Meters and the Fat Channel 15 4 1 2 WhatYou Can Process with the Fat Channel and FireWire Sends 15 4 1 3 Fat Channel Dynamics Processing and EQ 15 4 1 4 Fat Channel Panning and Stereo Link 21 4 1 5 Fat Channel Digital Out 22 4 1 6
29. This device may not cause harmful interference and 2 This device must accept any interference received including interference that may cause undesired operation Note No product support is available when you call the number above Refer to your Certificate of Warranty in your User Manual for PreSonus Technical Support telephone number A PreSonus Baton Rouge USA www presonus com 165 En 1 O ocs i e O Bao S Ene e 2 _ Ss cd 166 PreSonus StudioLive 16 0 2 Owner s Manual Added bonus PreSonus previously Top Secret recipe for Jambalaya Ingredients 5 Ibs link andouille sausage 3 lbs boneless chicken 2 Ibs ground beef 3 Ibs onions yellow or purple 2 stalks of celery 1 lb bell peppers green or red 1 batch green onions 3 lbs rice Tony Chachere s Cajun Seasoning 1 bottle chicken stock concentrate or 3 cubes chicken bullion 1 can Rotel tomotoes with chilies diced regular hot Tabasco sauce Cooking Instructions 4 5 6 7 8 9 1 Ina 16 at pot or larger slice link sausage and pan fry until brown Add ground beef and brown Do not remove from pot Add diced onions celery and bell peppers 1 can Rotel Original diced tomatoes w chilies 3 oz concentrate chicken stock Y teaspoon of Cajun seasoning 1 teaspoon of Tabasco hot sauce
30. To enable the Lockout feature you must first connect and sync your StudioLive to a computer Please review Section 7 2 6 for more information on this feature Firmware Version 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 Yersion 1 4 47 and MIDI Control aB w cms un gt Un n J aB n lt B _ a n aB D tw NY PreSonus StudioLive 16 0 2 Owner s Manual Scenes Presets System Menu and MIDI Control 5 Using MIDI Control Mode to Remote Control StudioLive 5 5 5 Scenes Presets System Menu and MIDI Control 5 5 Using MIDI Control Mode to Remote Control StudioLive 5 5 Using MIDI Control Mode to Remote Control StudioLive three preset libraries allowing you to navigate through each preset library on its fev gt ap i Nuay WuaJs s S S d SIUS 48 The StudioLive 16 0 2 features a distinctive MIDI Control Mode To enable MIDI Control Mode navigate to Page 4 of the System Menu and set MIDI Control Mode to On by turning the value encoder This will enable your StudioLive 16 0 2 s MIDI features so that the mixer can b
31. UU N w D un eo WN SE a gt gt 10 a n de 3 0U9Y 1S J04JU0 JES19AIU 9IEMIYOS 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 7 4 Capture 7 4 8 Capture Session Navigation The ability to quickly navigate to certain areas of your Session is highly useful during the mixing process The following describes the ways in which you can quickly navigate throughout your Session Scrolling To scroll left and right through time in your Session click and drag the horizontal scroll bar near the bottom of the Edit window Timeline Zooming You can zoom in and out of your Session so that you can look at the entire length or just view a small region of time to make precise edits To zoom do one of the following Click and drag left or right on the Zoom scroll bar in the lower right hand corner of the Edit window to zoom in or out Press W on the keyboard to zoom out slightly Press E on the keyboard to zoom in slightly Click inside the Timeline ruler at any point in time and drag down or up to zoom in or out Using Markers In Capture the Marker Lane is used to place markers at desired places in the Timeline after which navigation to the markers is easy Markers are also helpful when exporting your Session to indivi
32. and so on that are made in Capture will be preserved 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 music To install Studio One Artist insert your installation disc into your computer s DVD drive Follow the onscreen instructions to complete the installation process 113 S pa jr ove ep o _ H gt co Q amp Q A SD q Wd a Ss 9 2 UDS CY SRS ee Ga ep un Owner s Manual PreSonus StudioLive 16 0 2 Software Universal Control SL Remote Capture Studio One Artist 7 Studio One Artist Quick Start 7 5 7 Software Universal Control SL Remote Capture amp Studio One Artist 7 5 Studio One Artist Quick Start f q i l Running the Studio One Installer Activating Studio One Artist Offline To Install Studio One Artist insert your Studio One Artist installation DVD Activate Studio One e Once you have created a user account launch Studio One Artist From into your computer s DVD drive the Activate Studio One Menu click on the Activate Offline link Follow J y p 8 3 i the instructions to log in to your previously created user acco
33. decaying repeats Increasing the feedback value increases the number of echoes as well as the resonance that is created as one echo disappears into another 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 153 a r i gt EEE E E PA PAS A E i ad 19 EJES 8 Tutorials PreSonus StudioLive 16 0 2 8 6 Level Setting Procedure in Detail 8 6 Level Setting Procedure in Detail Setting the proper levels is an important part of getting the right sound The following steps will assist you in quickly setting your levels STUDIOLIVE 16 0 2 Digital Performance and Recording Mixer 1 Turn each of the 12 trims to 0 20 ae Wea Miles ine la E Ll 7 B E E 13 14 15 16 as E E v E C ges fal at ol at Mi ire Miia bow hae howe dbu las Maia dl be ba dla da p Ar CPNT T de 1 2 3 5 6 4 2 Press the Input button in the Meter section 3 Inthe Solo bus section select PFL and turn the Cue level to 12 o clock 4 Select the Solo button in the Monitor section and adjust the volume for your headphones or control room monitors 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
34. 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 your MIDI hardware for complete installation instructions at New Instrument EJ New Control Surface gt L Access gt I AKAI gt _ Behringer gt J CME gt J Doepfer gt J EMU gt L Edirol 13 Evolution J JLCooper gt LI Keyfax gt J KORG J M Audio gt J Mackie gt 1 Novation gt L Peavey J PreSonus gt J Yamaha Device Model Manufacturer Device Name My Controller Keyboard Generic MIDI Keyboard usa for unknown features MI F send port is optional MIDI Channels A TH2GSR4 ES Ese 7 fono Recaive From Mobile 3 MIDI Send To MN Default instrument input Mobile 2 MIDI None Mobile 2 MIDI 6 Fromthe menu on the left select New Keyboard At this point you can customize the name of your keyboard by entering ar This device modal the manufacturer and device names Di Learn Connecting the 7 You must specify which MIDI channels will be used to communicate with this keyboard For most ODO ca purposes you should
35. 1 1 3 hi l mn T a o E Band field in the GEQ menu the meters will flip and encoders 1 15 16 will control fev gt zZ ap i Nuay WuaJs s S S d SIUS 44 graphic EQ creates an output frequency responses that corresponds as closely as possible to the curve displayed graphically by the sliders In an analog EQ this is achieved by carefully choosing the bandwidth of the filter and deciding how or whether 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 coefficients for the first shelving filter that when subtracted from the user s curve will produce the flattest possible Names Main 2 W Use TAF for space Push Store be selected in the Show Band field for its encoder to be active All encoders have created a GEQ setting that you would like to save to the GEQ Preset library press the Sa
36. 13 Press the Up pedal once to select the highest value 3 Press the Write button so that the LCD displays Edit MIDI 14 Move Expression Pedal A to its highest position to select 127 4 Press the Write button again You will see 001 7 15 Press the Up pedal once to confirm 5 Press the left Parameter button 18 Ficssane ole ME Down DECALOGO EKI 6 Press the Value Up buttonso that the LCD displays 001 PC CH 01 PC 001 Trying Out Presets 7 The first field defaults to Program Change PC This is how the a StudioLive recalls Scenes so you can leave this field as it is o e Preset 1 recalls Scene 2 on your StudioLive e Preset 3 recalls F20 High Ceilings on FXA on your StudioLive 8 Use the left Parameter button to move to the next field MIDI channel number e Preset 6 allows you to control the Main bus assignment for FXA 9 Set the MIDI channel to 1 effectively muting and unmuting the effect in the Mains from a Pedal 6 on your FCB1010 You also can control the Main output 10 Use the left Parameter button to move to the next field Program Change volume for your StudioLive using Expression Pedal A number The number you enter will determine which Scene will be recalled e Su N 11 Use the Value Up button to set the Program Change number to 002 O 12 Press the Exit button twice Pi a 52 53 ad ap e NUW Wa sk
37. 20 30 saturation This way 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 the effect bus FXA or FXB to to add Fat Channel dynamics processing and EQ to the reverb enhanced signal The knobs for FXA and FXB controls the level of the aux mix relative to the level of your main mix 151 wa cS r i gt 8 Tutorials PreSonus StudioLive 16 0 2 8 5 Digital Effects 8 5 Digital Effects The StudioLive includes two stereo effects processors that feature the two most common type of effects is use for live sound reverb and delay 8 5 1 Reverb Reverberation or reverb as it is more commonly known is perhaps the most widely used effect Natural reverb is created by sound waves reflecting off of a surface or many surfaces For example when you walk across the wooden stage in a large hall thousands of reflections are generated almost instantaneously as the sound waves bounce off the floor walls and 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 fair
38. 2002 10 25 48 Wave File 6 857 sec 140 00 BPM CD E Sounds MC o 125 SL Remote Capture amp Studio One Artist oO E i i un PL w gt ae d un un oO ne o mD 1 gt cS DS o V 3 5 OS p 2 zo un Sr o j a gt a gt oF N 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 7 5 Studio One Artist Quick Start 7 5 8 Using Studio One to Remote Control StudioLive 16 0 2 The StudioLive 16 0 2 s MIDI Control mode enables you to control your mixer from a DAW via MIDI Even better you don t need to worry about connecting an external MIDI interface because your StudioLive 16 0 2 can receive MIDI control messages over its FireWire connection These setup instructions will enable you to quickly configure Studio One Artist to control your StudioLive while giving you the information necessary for you to create your own custom configuration You must first set up your StudioLive for MIDI control so navigate to Pages 4 and 5 of your StudioLive system menu and set each page up as shown in these images Syster Ere System Page 5 MIDI CTL MIDI Control Hode Output Levels Coc MIDI Ch HIDI Source FireWire FsA 40 Feb 41 Maine Program Change Chit s Scene 1 Mute Effect stock FHA 2 FHE 3 FA EY Fee bb
39. 48 kHz 24 bits 18 dBu lt 20 ps RMS 20 Hz 20 kHz gt 60 dB 1 ns in 1 ps out IEC 90 to 240 VAC factory configured for country of destination 100W 16 inches 406 4 mm 15 75 inches 400 mm 15 25 inches 133 4 mm 15 Lbs 6 8 kg 159 5 2 E SoS wo 10 10 1 ten J EE E atti oo La ol burooys 3 qNO4 Qo a3 ad 5 Gar lt 160 Troubleshooting amp Warranty Troubleshooting 10 1 PreSonus StudioLive 16 0 2 Owner s Manual 10 0 Troubleshooting and Warranty Troubleshooting 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 Capture audio recording software Studio One digital audio workstation software Universal Control control panel software VSL mixer control software and StudioLive Remote 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 You can get individual technical assistance by calling PreSonus
40. 65 EMPTY LOCATION 98 EMPTY LOCATION Channel Preset E Oen use the Value encoder to scroll to an empty 33 KEY Piano Electric 2 66 EMPTY LOCATION 99 EMPTY LOCATION a Memory ORM Punchy Kick position in the Channel Preset library Press the Next lt q button to navigate to the category location Create J Names DRM Punchy Kick the category in which your preset would fit DRM C x VOX GTR etc Press the Next button again to 7 Use TAF for space Push Store navigate to the first letter of the preset name Turn the Value Encoder clockwise or counter clockwise to change the letter J The StudioLive allows you to customize the name with uppercase and o SS lowercase letters as well as a selection of numerals and punctuation marks a 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 s internal memory Once the Channel preset is saved the Store button will return to its unlit state 42 43 PreSonus StudioLive 16 0 2 Owner s Manual Scenes Presets System Menu and MIDI Control 5 Graphic Equalizer 5 3 5 Scenes Presets System Menu and MIDI Control 5 3 Graphic Equalizer 53 Graphic Equalizer frequency for each band is fixed When the GEQ is first launched bands 11 22 are controlled by encoders 1 15 16 respectively When Band 10 is selected in the Show Th ioLive 16 0 2 f
41. EQ and dynamics processing 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 the signal sent via FireWire will be post trim phantom power and phase reverse if applicable Each of the StudioLive s 16 inputs are hard coded to receive their respective FireWire returns Outputs 1 through 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 through one of these outputs it will always be accessible on its channel by simply pressing its FireWire Return button As discussed in Section 4 5 1 you must first engage FireWire Return Mode before you are able to use the Multimode buttons to engage disengage a FireWire Return on a channel The FireWire returns to the stereo channels behave just as the analog inputs do So if you have Channel 11 12 unlinked only FireWire return 11 will be heard on that channel Once you engage Stereo Link for Channel 11 12 both FireWire returns 11 and 12 will be heard POWER USER TIP It is important to think of your FireWlre returns and your analog inputs the same way When a FireWire return is engaged it replaces the analog input in the mix You can process in the Fat Channel include in Au
42. Pan button in the Aux section indicating that the Fat Channel settings have been successfully pasted _ y It is important to mention that the meters simply overlay the selected Fat Channel The Load button can also be used to recall saved settings and state For instance if you have Channel 8 selected and then press the Input presets For complete recall instructions see Section 5 2 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 but the changes will You can save your Fat Channel settings for future use To store the currently selected y J PP Wp J not be displayed in the Meter section The advantage of this is that you can make channel s Fat Channel settings press the Save button For complete channel preset N i i adjustments in the Fat Channel press a Meter button and monitor your entire mix storage instructions see Section 5 2 then press the same button to return to setting up your Fat Channel selection E Input Metering Turns PFL Input Metering On and Off Button NN 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 I S A N 7 23 an j un 4 Controls PreSonus StudioLive 16 0 2 4 3 Input Channel Strip Output Met
43. Presets System Menu and MIDI Control PreSonus StudioLive 16 0 2 5 4 System Menu 5 4 System Menu In most digital console manuals the phrase System menu inspires a sense of dread However with the ere Y jic StudioLive you have nothing to fear The System menu Aud on the StudioLive serves just a few simple functions most of which have very little to do with mixing a show Digital Effects Master Control Small Clear 46 a LCD Contrast and LCD Backlight e 1 LCD Contrast g Press the System button to access the System LCD Contrast EN 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 LED Backlight Low Aux Pre Position Press the Page Down button to access the Aux Pre Ays HFrel Pre 2 Prel Position page By default all four Aux buses are set to Aux d Prel APrel B Prel Pre 1 This places the send of all 16 channels to each Aux bus before the fader limiter EQ and compressor HP Gate lt Prel gt Comp EL gt Lim lt Pre2 gt and after the phase reverse switch high pass filter and noise gate The 2 internal effects buses are set to Post which sends each of the 16 channels after all Fat Channel dynamics and EQ and the fader From this menu you can choose between three send positions for each Aux mix e Pre 1 Sends each channel to the Aux bus after the Phase R
44. Return Solo and Mute MultiMode Button This button s function is determined by the MultiMode Control Switches Depending on which mode is engaged this button will function as the FireWire Return Solo or Mute button for its input channel For more information on the MultiMode Buttons and their functions please refer to Section 4 5 Channel Fader Controls the Overall Level of the Channel Each input channel features a 60 mm fader for level adjustment Unity gain 0 dB is denoted by a U 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 25 a e h e U om j un 4 Controls PreSonus StudioLive 16 0 2 44 Aux Sends 4 4 Aux Sends The StudioLive has four analog aux buses and two internal effects buses The aux buses are mono however two aux buses can be linked to create a stereo bus Section 8 5 discusses how to use these aux buses for monitor and effects mixing 4 4 1 Analog Aux Send Controls Aux MultiMode Button Solos and or Mutes Aux Output This button s function is determined by the MultiMode Control Switches Depending on which mode is engaged this button will function as the Solo or Mute button for i
45. 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 161 E a iS oY 285 2 lt En oS Troubleshooting amp Warranty 10 2 PreSonus StudioLive 16 0 2 Limited Warranty Ut Ln SREB JL att oo La ol go ad S ad 5 lt burooys 9 qNOJ PreSonus StudioLive 16 0 2 No Internal Effects in the Main Bus Make sure the assign to Mains button is enabled in the FX section Press the FXA or FXB button in the Encoder section and verify the send levels of each channel If the levels look adequate use the FX Output knob to increase the master level for the effects mix 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 Make sure that you only have Solo selected in the Monitor section of your StudioLive PreSonus StudioLive 16 0 2 Limited Warranty 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
46. Solo mode will will display both the solos and subsequent mutes across the MultiMode buttons that is if you solo Channel 1 while in Solo In Place Channel 1 s MultiMode button will illuminate yellow all other MultiMode buttons will illuminate red However any MultiMode button you engage will solo that channel Owner s Manual Mute Button Controls 4 Main Output Bus 4 6 Turns Mutes On and Off When Mute mode is engaged the MultiMode buttons on each channel function as the the Mute buttons for each channel and Aux When a MultiMode button is engaged while in this mode it will mute its channel to the Main and Aux outputs While in Solo mode each MultiMode button that is enabled will illuminate red to alert you that the channel is muted 4 6 Main Output Bus Main Select Button Main Fader Enables Fat Channel Viewing As previously described in Section 4 1 1 the Select button routes its channel through the Fat Channel enabling you to add dynamics processing EQ panning etc Controls the Level of the Main Output The fader controls the overall level of the main stereo 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 To clean the scribble strip use a lightly damp cloth to remove the writing Spit works pretty well too 31 a e ES U
47. The Overview tab provides you with a complete graphical representation of your StudioLive As you adjust parameters on the StudioLive you will notice that the VSL overview 69 S pa jr sos Yum OW 3 H am Q amp Q A SD q WJ vu _ Ss 9 2 UDS CY SRS ee Ga ep un Software Universal Control SL Remote Capture Studio One Artist PreSonus StudioLive 16 0 2 VSL Virtual StudioLive is also updated If you use your mouse to adjust a parameter in VSL the StudioLive will be updated remotely It is important to remember that every button knob slider and fader on the VSL corresponds directly to a button knob slider or fader on your StudioLive The graphic above identifies each controller labeled with its corresponding control on the StudioLive and can be used as a map to quickly learn how to navigate the Overview tab VSL provides two views for your StudioLive Aux outputs and FX buses The Aux Send View gives you an overview of the send levels of every channel on your StudioLive to every Aux output and FX bus To quickly set up an Aux mix use your mouse to set the send level for Channel 1 Right click on the Channel 1 send level and sweep your mouse across the other channel sends for that Aux The send level VSL Channel Tab 151 Y 9UQ OIPNIS Y
48. 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 8 4 each of these effects can be routed to any of the subgroups the Aux bus or the main outputs To access the effects library and make adjustments to effect parameters 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 to the internal effects buses the main parameter for each and to which Aux buses the effect is being routed Effect A is assigned to EFX A bus and Effect B is assigned to EFX B 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 Page 1 QuickView 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 Owner s Manual FA Type AMBIANCE a Dec ayl 1 64 PreOly ms 16 6 Erly RefidB 12 6 Name Page 5 Store FH Memory Vocal Candy Vocal Candy Use TAP for space Puch Store Controls 4 Digital
49. Tool when the mouse cursor is floated over the selected range This makes quickly selecting and editing any range of an event very simple e The Range Tool can be temporarily toggled when the Arrow Tool is selected by pressing and holding Ctrl Cmd on the keyboard 100 Owner s Manual Software Universal Control SL Remote Capture amp Studio One Artist 7 Capture 7 4 Splice Tool Using the Splice Tool single Audio Events can be split into multiple Audio Events Click on the Split Tool button or press NumPad 4 on the keyboard to select the Split Tool Click on any Audio Event with the Split Tool to split the event at that position Notice that the split will occur at the leftmost edge of the Split Tool icon the scissors By splitting a single event you essentially create two events that can be edited independently If multiple events are selected across multiple tracks the Split Tool will affect all of the selected events in the same way Eraser Tool The Eraser Tool is used to delete an Audio Event Click on the Eraser Tool button or press NumPad 5 on the keyboard to select the Eraser Tool e To delete any event using the Eraser Tool simply click on the event The Eraser Tool is unaffected by the current selection and will only affect the event that is directly clicked on Common Editing Actions As with most other softwar
50. Up pedal to confirm a EUO control your StudioLive while provemg the information you need to create custom configurations A s k e 4 Press Pedal 6 so that the red LED is flashing To begin you must set up your StudioLive for this example Navigate to Pages 4 and 2 5 of your StudioLive system menu and set each page up as shown in these images 5 Press the Up pedal to assign the Control Change 6 Using Expression Pedal A select CC 64 Sus ten l Page amp MIDI CTL Re Output Levels Cec MIDI Ch 7 Press the Up pedal twice to confirm MIDI Source MIDI In FAA 40 Fab 41 Main4d a AS Mute Effectsiccl 8 Press Pedal 8 so that its red LED is flashing Proana Da e a dei b FRA bY FB bb 9 Press the Up pedal to make the Control Change assignment fev ap e Instant Scene Recall and MIDI Control 10 Using Expression Pedal A select CC 42 NUW Wa sks sjasadd SIUIIS w w Je N NY n D n w _ A n eB lt 3 WwW NY 1 Press the Mode button until the Patch Mode LED is illuminated 11 Press the Up pedal once to select the lowest value 2 Making sure the red LED is illuminated on the first row l l of pedals depress Pedal 1 6 Press the left Parameter 12 Move Expression Pedal A to its lowest position to select 00 button The LCD will display PATCH On MIDI a
51. a band of low frequencies at and below a user selected shelving frequency A low shelving EQ is like a bass control knob on a stereo In this mode the Center Frequency control selects the shelving frequency Activates Controls for the Mid EQ for the Selected Input or Output Bus This button actives the controls for the equalizer s Mid band for the selected input or output The button will illuminate to indicate control is active The Mid EQ band is available for all input and output buses Mid EQ Sets and Displays the Center Frequency Frequency of the Mid EQ Control i P fe BRARS SI 32 26 This encoder sets and the meter displays the center frequency for the Mid band You can adjust the center frequency from 260 Hz to 3 5 kHz Mid EQ Gain Control G a 5 ur nr 12 10 8 6 4 2 0 2 4 r 6 g Gain dB Mid HiQ Button High EQ On Off Button Controls 4 The Fat Channel 4 1 Sets and Displays the Gain Attenuation or Boost of the Center Frequency for the Mid Band This encoder sets and the meter displays the Gain cut or boost at the center frequency of the Mid band The level of the center frequency can be set between 15 and 15 dB Enables a Narrow Bandwidth for the Mid Band EQ on the Selected Input or Output bus Q is the ratio of the EQ band s center frequency to its bandwidth With a constant center frequency higher Q values indicate a narrower b
52. a bit you can can make midrange instruments guitar snare saxophone etc honky and too achieve a punchier kick drum without overpowering the rest of the mix much boost between 1 kHz and 2 kHz can make your mix sound thin or tinny o EEE E E PA PAS A E High Mids 2 kHz to 4 kHz The attack portion of percussive and rhythm instruments occurs in this range High mids are also responsible for the projection of midrange instruments Presence 4 kHz to 6 kHz This frequency range is partly responsible for the clarity of a mix and provides a measure of control over the perception of distance If you boost this frequency range the mix will be perceived as closer to the listener Attenuating around 5 kHz will 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 8 3 2 Equalization Settings How to Find the Best and Leave the Rest Additional advice 144 How do you find the best and worst each instrument has to offer and adjust their frequency content accordingly Here s a quick guide e First solo just the instrument with which you are working Most engineers start building their mix with the drums and work from the bottom up kick snare toms hi hat overheads Each instrument resonates primarily in a specific freque
53. all the time Because of this you can send your main mix to five speakers at the same time This can be especially useful when you need to send a mix to another room or add another set of speakers to accommodate a larger venue Main Output Trim This knob controls the maximum output level of the XLR and TRS main outputs The signal can be attenuated to 40 dB and boosted up to 0 dB Monitor Output These are the balanced control room outputs The level is controlled by the Monitor knob in the Monitor section on the top panel Owner s Manual Hook up 3 MIDI Power FireWire Rear Panel Connections 3 1 MIDI I O MIDI stands for Musical Instrument Digital Interface However the MIDI standard goes well beyond just instruments and sequencing The MIDI inputs and outputs allow connection and or communication with external MIDI equipment One function of these ports is MIDI sequencing The MIDI input can also be used to connect a MIDI footpedal to control different parameters on your StudioLive More information about MIDI Control Mode can be found in Section 5 5 NOTE MIDI is not audio but is frequently used to trigger or control an audio source such as a plug in or synthesizer When using MIDI ensure that your MIDI data is correctly sent and received by the appropriate hardware or software instruments You may also need to return those devices audio to a StudioLive input channel Please consult the User s M
54. automatically create a new track and load the instrument as the input Insert Instrument on new Instrument Track Presence Medium Orchestra BY Matrix Y Medium Orchestra a Pizzicato Strings a Section Strings M Solo Strings a Spiccato Strings a Tremolo Strings a Uni Strings gt J Synth Session 1 Synths Medium Orchestra Nee Plug in Presence Modified 22 6 2009 11 56 02 124 Owner s Manual Drag and Drop Effects 0001 01 01 000 A gt 4 4 120 00 0001 01 01 000 Metronome Timesig Tempo Software Universal Control SL Remote Capture amp Studio One Artist 7 Sort by Flat Folder gt EN PX Chains gt J Native Instruments 4 QU PreSonus gt GJ Ampire gt 5 Analog Delay 4 53 Autofiter l a default a Bassline 1 Bassline 2 s Bassline 3 sd Bassline 4 43 Bassline 5 Bassline 6 s Bassline 7 s Birds in Trees Bubbles in the Water Chained Melody 43 Chow Chow 3 Coffee Filter 3 Computer Talk 3 Dancer is a Rhythm 1 s Dancer is a Rhythm 2 a Ether Waves 43 Filter Pad a Filtricant 3 Groinky Groovariation QQ Out of Rhythm 3 Pad Hacking 1 s Pad Hacking 2 Birds in Trees Plug in Autofilter Modified 28 1 2010 16 26 04 Created by Ari Wes Effects Studio One Artist Quick Start 7 5 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 t
55. be dragged from either the On Disk or the Device Memory section of the Browser and dropped onto the Overview or the Channel tab To load a new Scene on your StudioLive select it from the Browser window and drag it over the mixer in either the Overview or the Channel tab The window will gray out indicating that a new Scene is about to be loaded Please note Only the parameters that have been enabled for recall on the StudioLive will be recalled on the mixer See Section 5 1 for more details Scribble Strip labels are stored with your Scenes You can load just the labels by selecting the Scene from the Browser window and dragging it over the row of Scribble Strips above the Channel Faders The Scribble Strips will gray out indicating that the Scribble Strip labels from the Scene are about to be loaded Loading an Entire Fat Channel Preset SCENE FAT CH BAS Electric 1 BAS Electric 2 BAS Slap BAS Upright DRM Fat Snare DRM High Hat DRM Kick 1 DRM Kick 2 To load every component in a Fat Channel preset Gate Compressor EQ select it from the Browser window and drag it over any part of the desired channel If you drag it over any of the component Quick Views it will load only that component for example if you drag a preset over the Gate Quick View only the Gate will be loaded 71 S pa jr ots 0 o co Q amp Q A TS q W o sS 5 2 SS UDS CY SRS owe Ga ep un
56. been damaged in any way such as if a power supply cord or plug is damaged or liquid has been spilled or objects have fallen into the apparatus or if the apparatus has 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
57. button in StudioLive Remote and VSL or use the GEQ menu on your StudioLive POWER USER TIP If you are making adjustments to a graphic EQ and you can t hear your changes make sure it is on GEQ Flatten Button Sets all graphic EQ band levels to 0 dB To reset a GEQ to 0 dB simply tap its Flatten button This will return each slider to 0 dB so that no frequency band is boosted or attenuated Zooming In Zooms view in to make fine adjustments Press the button to zoom in on the GEQ View Slide your finger to the left or right to access addtional bands Use the Overview Map in the bottom right corner of the GEQ page to reference your current position within the 31 bands Zooming Out Zooms view out to make fine adjustments Press the button to zoom out the GEO View If you have not zoomed all the way out so that you don t have all 31 bands on your screen you can slide your finger to the left or right to access additional bands Use the Overview Map in the bottom right corner of the GEO page to reference your current position within the 31 bands Overview Map Provides a reference point for the current bands in view All this zooming in and out provides the ultimate control when making GEQ adjustments but makes it easy to get lost and forget which bands in the GEQ you re adjusting This is where the Overview Map comes in The Overview Map is located in the bottom right corner of the GEQ page Whether y
58. connections the right RCA input will not be accessible on the mixer if the channels are not linked Aux Outputs The StudioLive is equipped with four auxiliary outputs In Section 8 4 you ll find a tutorial on creating aux mixes for monitoring and effects Aux Aux Outputs mixes are routed to these outputs Talkback Mic Input The StudioLive does not have an onboard talkback mic so an external mic must be used Phantom power is always enabled on this microphone preamp so you can use either a dynamic or a condenser microphone Warning Phantom power is only required for condenser microphones and can severely damage dynamic mics especially ribbon mics We recommend that you consult the documentation that came with your microphone to confirm that it is safe to use with phantom power before connecting a dynamic microphone to the Talkback input Talkback Mic Trim This is the trim control for your talkback microphone It adjusts the gain of the talkback input Mono Output This balanced output carries a mono summed version of the stereo signal from the main bus Mono Output Trim This knob controls the maximum level of the Mono Output signal The signal can be attenuated to 80 dB and boosted up to 6 dB Main Output The StudioLive features both XLR and TRS main outputs These outputs are parallel to each other and to the mono output Power User Tip All the main outputs XLR Stereo TRS Stereo and XLR Mono of the StudioLive are active
59. control sets the attack i input and output buses db CLIP XS advantage of it For more 0 O R for the selected channel or output and release tapers for the f information on microphones bus When the signal s amplitude Compressor simultaneously A please consult the microphone Gate Sets and Displays the Threshold of the level exceeds the threshold tight response time triggers the tutorial in Section 8 1 Threshold Gate for the Selected Channel setting the compressor engages compressor immediately and i i he gai i k Phantom power is only available on the 12 This encoder sets and the meter TERE ati a ech Vie S aed ipods paces lowers the threshold so that zero quickly when the signal drops microphone preamps of the input bus displays the gate threshold for the l i compression begins at a lower below the compressor threshold selected channel The threshold j amplitude The threshold can be A smooth response time allows the High Pass Turns the High Pass Filter On and Off determines the level at which the f 4B beainni fth Filter On Off fo the Selected Channelor Output Bus gate will open Essentially all set from 56 to 0 ab o DN ae x signals above the threshold setting io J P This button engages or disengages through uncompressed and are passed through unaffected the high pass filter for the selected a extends the time of length of time i You can set the threshold from 0 to a channel or output bu
60. expansion and noise gating is that expansion is dependent on the signal level after the level crosses the threshold whereas a noise gate works independent of a signal s level beyond the threshold Downward Expansion Downward expansion is the most common expansion used in live sound and recording This type of expansion reduces the level of a signal when the signal falls below a set threshold level This is most common used for noise reduction Ratio The expansion ratio sets the amount of reduction applied to a signal once the signal has dropped below the expansion threshold For example a 2 1 expansion ratio attenuates a signal 2 dB for every 1 dB it drops below the threshold Ratios of 4 1 and higher act much like a noise gate but without the ability to tailor the attack hold and release times Threshold The gate threshold sets the level at which the gate opens Essentially all signals above the threshold setting are passed through 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 a
61. mixer y gats J19 __ e Create presets on the road store them to the mixer then drag them to a Import export wav aiff or OpenTL files your preset pool the next time you re connected to the computer e Reorder presets in mixer memory easily order presets 2 4 Summary of StudioOne Artist Software Features j as i k to best fit your workflow for the gig All PreSonus audio interfaces include PreSonus Studio One Artist recording T i i n e Share presets with friends drag presets out of the browser and software which comes with over 4 GB of plug ins loops and samples giving o i email IM or disk swap presets with other StudioLive owners you everything you need for music recording and production The Studio One Artist Quick Start Guide is located in Section 4 1 of this manual You will Mixer Overview find a complete user manual on the Studio One Artist installation DVD e See all of the most used mixer parameters at once Unlimited track count inserts and sends e See the state of all Fat Channel settings at once 20 high quality native plug ins amp modeling Ampire delay Analog Delay B ies oo fi ty ht hak d g1 pee A om e Seeall Aux mixes at once So eat Delay distortions Re ig ist ynamics processing anne rip Compressor Gate Expander Limiter Tricomp equalizer Channel Strip Pro EQ e See the current effects and parameter settings modulation Autofilter Chorus Flange Pha
62. module will be set up as an Instrument 1 Youcan set up your external MIDI devices from the por Setup area in the Start page Before we set up a new Song for recording let s take a moment to configure Audio Setup External Devices Advanced I Notify me if devicas are unavailable when Studio One starts external devices Ck Tc In 2 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 connect it to your computer and power it on 3 Click on the Configure External Devices link in the Setup area on the Start page to launch the External Devices window 4 Click the Add button e Ga 5 The Add Device window will launch About Studio Ona Ye go AJ Zo as Sa SP 5 A Do DO or lt AD 101340 JESJ AIUN BJEMIJOS One click on the Configure Audio Devices link in the Setup area to open the Audio Setup Options window n In the Audio Device menu select PreSonus FireStudio Click the Apply button and then OK After you have verified that the PreSonus FireStudio Universal driver has been detected please continue to the next section to set up your external MIDI devices If you do not have any MIDI devices to connect at this time please skip to Section 7 4 4 Configuring Your MIDI Devices From the External Devices window in Studio One Artist you can configure your MIDI keyboard controller
63. not want to clip the analog to digital converters When all else fails remember button button knob button knob button knob 154 Owner s Manual Tutorials 8 8 8 7 1 8 7 2 The Solo Bus 8 7 The Solo Bus The StudioLive features an independent Solo bus This feature is extremely useful in setting levels for monitor mixes dialing in dynamics processing 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 AFL After Fade Listen AFL sends the channel or subgroup signal to the Solo bus post fader so that you can control the level of the soloed signal with the fader This is the StudioLive s default setting PFL Pre Fade Listen PFL sends the channel or subgroup signal to the Solo bus before it reaches the fader so the fader does not affect the soloed signal SIP Solo In Place This is also known as destructive solo When channels are soloed in this mode every channel that isn t soloed will be muted and only the soloed channels will be sent to their assigned outputs While useful in dialing in dynamics during soundcheck this mode is dangerous during a live show We recommend that this mode be turned off when mixing live events 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 T
64. or nonstandard type of microphone e g USB headset laser MEMS please consult your microphone s user s manual for power requirement and compatibility information Owner s Manual Tutorials 8 Microphone Types 8 1 Regardless of the microphone type you are using we recommend reading your microphone user s manual thoroughly before engaging phantom power and if other usage questions arise 8 1 4 Microphone Placement Grand Piano 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 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 as for studio recording Place one microphone above the high strings and one microphone above the low strings Experiment with distance the farther back the more room you will capture This technique can be used for live and Studio applications Place a dynamic microphone an inch or two away from the speaker of the guitar amplifier Experiment with exact location If you are recording an amp with multiple speakers experiment with each one to see if one sounds better than the others P
65. pasted to the other channel in the pair POWER USER TIP Because this is a nondestructive paste when the Link button is disengaged the other channel s previous settings will be restored 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 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 in the Fat Channel On the StudioLive 16 0 2 s four stereo channels the stereo link will enable the right side channels 10 12 14 and 16 to be heard in your mix Each channel s fader Select button and Multimode button and each Aux Mix send controls both channels at the same time All Fat Channel settings are applied to both channels It should be noted that while Stereo Link must be enabled in order to hear the right side of each stereo channel through the StudioLive the right inputs are still sent through the FireWire bus and can be recorded by your DAW with or without Stereo Link engaged For more information on
66. pre fader E gt Every setting in the Fat Channel can be copied from one to channel to another S and can be saved and stored as a user preset that you can recall later e The gain reduction for all 16 inputs Press the Copy button to copy the settings on the selected channel or bus Every e The output volume of each of the four Aux sends Select button on the StudioLive except the button for the currently selected channel will begin to flash The Select button for the selected channel will not illuminate You can copy a Fat Channel setting from any channel or bus to any combination of channels and buses e The output volume of Main bus Finally the meters can be used to recall the fader settings for a saved Scene 22 The Load button will also start to flash 4 2 1 StudioLive Metering Controls To paste the current channel s Fat Channel setting to another channel or The Meters section of the StudioLive is located to the left of the fader bank Each of bus simply press that channel s Select button It will stop flashing and will these buttons are toggle switches you turn them on and off by pressing them The illuminate After you have selected every channel to which you want the settings meter state can also be changed by pressing another button in the Meter section or pasted press the Load button The StudioLive will return to its normal state any Select button on the StudioLive or a Mix or Mix
67. select all MIDI channels If you are unsure of which MIDI channels to select select all 16 8 Inthe Receive From drop down menu select the MIDI interface input from which Studio One Artist will receive MIDI data 117 ro pa jr s Yum 3 H gt co Q amp Q A SD q W a Ss 9 2 UDS CY SRS owe Ga ep un EA won Lem A ES Ye go AJ Zo as Sa SP 5 A Do gt Si Gene gt S AD 101 U0 JESJ AIUN BJBMIJOS 7 Software Universal Control SL Remote Capture amp Studio One Artist 7 5 Studio One Artist Quick Start IW Default Instrument Input PreSonus StudioLive 16 0 2 Inthe 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 data you must connect a MIDI cable from the MIDI Out of the MIDI interface to the MIDI In of the keyboard 9 If this is the only keyboard that you will use to control your external synthesizers and virtual instruments you should check the box next to Default Instrument Input This will automatically assign your keyboard to control all MIDI devices in Studio One Artist Click OK If you have a sound module you d like to connect leave the Exte
68. the Session page and contains Meter Bridge Peak LED style meters with clip indicators for each input into Capture from the StudioLive mixer plus an additional pair of meters for the routable Master track See Section 7 2 5 for details on how to route a bus to this track Link Button Between each meter you will find a Link button When this button is active Capture will record that track as a stereo interleaved file By default the routable bus pair 25 and 26 is link enabled Record Arm Button Below each meter you will find the Record Arm button for that track When this button is active Capture will record audio from that input AN NA MA NNN UU DO Hour min 52 09 min Remaining Time Es gt gt Jin REN gt JLe ji Mouse Tools 44 1 kHz e Arrow Tool The default tool for access to most functions e Range Tool Select the range of an Audio Event for editing e Splice Tool Splice Audio Events e Eraser Tool Erase Audio Events e Sample Rate Display Displays the current Capture StudioLive Sample Rate Transport Controls e Previous Marker Jump the playback cursor to the previous marker e Rewind Rewind for the duration this button is held down e Fast Forward Fast Forward for the duration this button is held down 94 Owner s Manual 7AA The Edit Window Software Universal Control SL Remote Capture amp Studio One Artist 7 Capture 7 4 Next Marker Jump the playback cursor to
69. the installation process Please read each message carefully and be especially careful that you do not connect your StudioLive too soon 4 Install PreSonus StudioLive Welcome to the PreSonus StudioLive Installer You will be guided through the steps necessary to install this software Continue Install PreSonus StudioLive Standard Install on Macintosh HD This will take 11 8 MB of space on your computer Click Install to perform a standard installation of this software on the volume Macintosh HD Change Install Location H Customize GoBack Install 4 Install PreSonus StudioLive Installation completed successfully Install Succeeded The software was successfully installed Close You will be directed to the Welcome screen Click Continue and follow the onscreen instructions You will be directed to choose the hard drive onto which you want to install the drivers and Universal Control software You must choose your system drive storage drives and partitions cannot be used as hosts for the driver When installation is completed you will find the Universal Control program in your Applications folder It is recommended that you place this in your Dock Click Install When installation is completed your computer will restart Once it has rebooted connect your StudioLive to your Mac with a FireWire cable and power it on You a
70. using your StudioLive as an audio interface please consult Section 6 21 a e h e U 4 Controls PreSonus StudioLive 16 0 2 Owner s Manual Controls 4 4 1 The Fat Channel Metering 4 2 ae 4 1 5 Fat Channel Digital Out 4 2 Metering The Fat Channel gives you the option of sending unprocessed audio to your Freq I Gate Comp Ratio Response Gain Y Freq Gain j computer or sending the processed signal When the Dig Out button is enabled the signal being sent to the FireWire bus is post EQ and post dynamics processing the 35 button will illuminate to indicate this signal flow When the button is disabled the 20 signal being sent to the FireWire bus is pre Fat Channel 1 96 The Dig Out button is only available when one of the channel inputs is cs selected The Main output and Aux bus automatically send their signals 46 post Fat Channel dynamics and EQ All FireWire sends are pre fader 2 except for the Aux and Main outputs For more information on using site gee ey 3 9 10 11 12 13 14 15 16 your StudioLive as an audio interface please consult Section 6 The StudioLive offers flexible metering at the touch of a button The 12 meters in the Fat Channel section can monitor S 4 1 6 Copying Loading and Storing Fat Channel Settings E 3 e e All 16 inputs post gain and pre dynamics pre EQ and
71. vocal channel Problems arise when noise or instruments air conditioner loud drummer etc in the background of the vocal mic become more audible after the lower end of the dynamic range is raised You might attempt to mute the vocal between phrases in an attempt to remove the unwanted sounds however this would probably end disastrously A better method is to use a noise gate The noise gate threshold could be set at the bottom of the dynamic range of the vocal say 10 dBu such that the gate would shut out the unwanted signals between the phrases If you have ever mixed live sound you know the problems cymbals can create by bleeding through the tom mics As soon as you add some highs to get some snap out of the tom the cymbals come crashing through placing the horn drivers into a small orbit Gating those tom mics so that the cymbals no longer ring through them will give you an enormous boost in cleaning up the overall mix Dynamics processing is the process of altering the dynamic range of a signal thereby enhancing the ability of a live sound system or recording device to handle the signal without distortion or noise and aiding in placing the signal in the overall mix 8 2 2 Types of Dynamic Processing Compression Limiting Punch apparent loudness presence these are just three of the many terms used to describe the effects of compression limiting Compression and limiting are forms of dynamic range gain control Audio Sig
72. 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 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
73. will be displayed below away from the StudioLive To navigate right or left touch anywhere on Press the Post button to engage post fader sends the screen and swipe your finger to the left or right Swiping left scrolls the screen to the left Swiping right scrolls the screen to the right The Gate Compressor and EQ Microviews function the same for Auxes as they do for channels and Mains woo iPad gt 1 42 PM 100 a O Aux Mix RARE To adjust the send levels for any channel tap anywhere in its send level and move your finger up or down while maintaining constant contact with the iPad screen These send level displays have been designed to emulate the StudioLive Fat Channel meters 5 N while in Aux Mix mode so they should look very familiar a POWER USER TIP The Aux sends support off axis movement Once you have touched a fader to select it you can slide your finger anywhere in the C reen and make an n movemen ntrol the fader screen and make an up down movement to control the fade A N kx S A po x kx E A kx Chi3 Ch14 LO Ch17 Ch18 Ch19 Mr Ch21 Ch22 Ch23 _ Aux Mixer E E E E kx kx EE kx e Channel Send a kx C E e Pre Post position O 0 py
74. window will launch Now Instrument 4 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 receive port be careful to avoid doubled events if the same port is used by a Keyboard device Receive From Send To MIDI Channeis All 5 Specify which MIDI channels will be used to communicate with this keyboard For most ae purposes you should select all MIDI channels If Mobile 3 MIDI you are unsure of which MIDI channels to select we suggest you select all 16 1H243f4M5H58H7 He Ho 108 14012819914 815016 M Send MIDI Clock M Send MIDI Timecode Sand To Mobile 2 MIDI 7 Use MIDI Clock Start 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 If your sound module will not need to send information to Studio One you can leave this unspecified Click OK and close the External Devices window You are now ready to start recording in Studio One Artist The rest of this Quick Start Guide will go over how to set up a Song and will discuss some general workflow tips for navigating through the Studio One Artist enviroment 119 ro pa jr s
75. 25 Predelay 152 Program Changes 48 Q Q Definition 142 R Range 138 Range Tool 94 100 Ratio 136 138 Recalling Faders 24 41 Recalling Groups 41 Record Enable Capture 94 98 Release 137 138 Remote Control MIDI Control Mode Roland FC300 53 Studio One Artist 126 SL Remote app for iPad 74 164 PreSonus StudioLive 16 0 2 Restoring StudioLive To Factory Default 65 Using VSL 69 Reverb 152 S Safe Modes 64 Sample Rate 64 Scenes Backing up in VSL 67 Creating in VSL 68 Recalling 40 71 Storing 39 Scribble Strip Labels 71 Select Buttons 15 25 26 27 Setting Input Levels 98 154 Sidechain 137 SIP 3 30 34 155 Soft knee 137 Solo 30 33 34 35 Monitoring the Solo Bus 35 Solo In Place See SIP Sonar 60 Splice Tool 94 101 Stereo Link 21 In Capture 94 Storing Presets Fat Channel 22 42 FX 37 Graphic EQ 45 Using VSL 67 68 Sync 47 T Talkback 32 33 Tap Tempo 37 Threshold 136 138 Time X 37 Transport 94 95 U Unity Gain 25 26 Updating Firmware 65 V Variable Feedback 153 Z Zero Out Board Reset 40 Zooming 95 102 Owner s Manual Troubleshooting amp Warranty 10 Declaration of Conformity Declaration of Conformity Responsible Party PreSonus Audio Electronics Address 7257 Florida Blvd Baton Rouge LA 70806 USA Phone 225 216 7887 StudioLive 16 0 2 complies with Part 15 of the FCC rules declares that Operation is subject to the following two conditions 1
76. 31108 3 0U9Y TS N j z ad a gt lt a Un ad au j gt will be copied to every other channel for that Aux The Channel tab provides a detailed overview of the Fat Channel parameters for the selected channel The selected channel will always be shown above the Gate section It is important to remember that you have continuous bidirectional control If you wish to grab a point in the EQ with your mouse for example you will be changing the parameters both in VSL and on your StudioLive To access the Fat Channel for FXA and FXB you will need to press its Select button on the StudioLive You can then load presets and make adjustments using VSL from within the Channel tab f EC Ce Owner s Manual Software Universal Control SL Remote Capture amp Studio One Artist 7 VSL Virtual StudioLive 7 2 7 24 Loading Scenes and Presets from VSL Loading a Scene Hide Browser SCENE FAT CH Fi GEQ BACKUP On The Disk Basic Playback geq naming test test Zero Out Board Reset Loading Scribble Strip Labels As stated in the previous section the Browser window in VSL functions much in the same way as the Browser in Studio One This means that to load a Scene or preset from the Browser window you simply select it and drag it over the mixer or channel on which you wish to load it Scenes and presets can
77. 44 1 kHz Device in the Audio Device window sy k A Creating a New Session A Session is the document type in which all recording takes place in Capture To create a new Session do e one of the following 123310 Now Sessionis From the Start page click on the New Session button __ Session Folder Users jwardQA Documents Capture am Navigate to File New Session J Press Ctrl Cmd N on the keyboard A do this you will need to engage the Post button in the Dig Out section of the Fat Channel for each channel in your StudioLive mixer This will be the title of your Session This name will be the This routes the signal post EQ and post dynamics processing Session file name Title Session as well as the name of the new folder that contains all data related to your Session pe Sz ad 2 Session Setup 2 99 o y B os When a new Session is created a setup menu It is possible to process each StudioLive mixer input channel with gS O P A with the following options will pop up the Fat Channel before the input signal is routed to Capture To As CA a E A SS Session Title 01 U0 JESIIAJUf DJEMIJOS Software Universal Control Session Location This is where new Sessions and all related data will be saved The Session location can be chosen each time you create a Session By default the new Session location will be the Capture folder in your Documents folder You can choose a differen
78. 5 Using MIDI Control Mode to Remote Control StudioLive 5 5 17 Press the Up pedal twice to confirm the change and cycle back to MIDI function 18 Repeat steps 14 17 for Pedals 7 9 19 Press and hold the Down pedal to exit Global Configuration mode Making Presets on an FCB1010 Scene Recall FXA Preset Recall In our example we will create one preset for Scene recall one for FXA assign unassign to Mains and one for Main volume control You can also use these instructions to create presets for the remaining controllable parameters We will create a StudioLive bank of presets on Bank 00 If you have presets already saved to this bank you can use any of the other nine banks instead 1 Select Bank 00 by using the Up or Down pedals 2 Press Pedal 1 to select Preset 1 3 Press and hold the Down pedal to enter Preset Configuration mode You ll see a flashing green LED 4 Press the Up pedal to confirm 5 Press Pedal 1 so that the red LED is flashing 6 Press the Up pedal to make the Program Change assignment 7 Select Scene 02 using Pedal 2 or Expression Pedal A 8 Press the Up pedal to confirm 9 Press and hold the Down pedal to exit 1 To set up pedal control of FXA preset changes press Pedal 3 so that Preset 3 is selected on your FCB1010 Make sure that Bank 00 is still selected 2 Repeat Scene Recall steps 3 9 using Expression Pedal A to select FX preset 20 51 and MIDI Control
79. Active Audio Driver and Sample Rate and Provides Quick Links to Configure Audio and MIDI In the middle of the Start page you will see the Setup area Studio One Artist automatically scans your system for all available drivers and selects a driver By default it will choose a PreSonus driver if one is available EDIAN IMAAN PreSonus FireStudio Selecting a Different Audio Driver 44 1 kHz from the Start Page Your StudioLive uses the same driver as the FireStudio family of interfaces If you do not see PreSonus FireStudio on the Start page when you launch Studio Configure Audio Devica SA EA won Lem A ES Check for Updates Owner s Manual foe Software Universal Control SL Remote Capture amp Studio One Artist 7 Studio One Artist Quick Start 7 5 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
80. Capture 7 7 4 107 SL Remote Capture amp Studio One Artist 2 o gt i un w Ag de e un gunjde aJOWaY TS 101 U0 JESJOAIUL DIEMIJOS Qo WN SE ap gt a gt gt un 7 Software Universal Control SL Remote Capture amp Studio One Artist 7 4 Capture Key Commands continued Action Navigation Focus Next Focus Previous Left Extend Selection Left Extend Selection Left Add Skip Left Right Extend Selection Right Extend Selection Right Add Skip Right U Extend Selection Up Extend Selection Up Add Skip Up Down Extend Selection Down Extend Selection Down Add Skip Down Page Up Extend Selection Page Up Extend Selection Page Up Add Skip Page Up Page Down Extend Selection Page Down Extend Selection Page Down Add Skip Page Down Start Extend Selection Start Extend Selection Start Add Skip Start End Extend Selection End Extend Selection End Add Skip End 108 Key Command Shift Tab Shift Left Arrow Cntrl Cmd Shift Left Arrow PreSonus StudioLive 16 0 2 Owner s Manual Software Universal Control SL Remote Capture amp Studio One Artist 7 Capture 7 4 Capture Applications and Scenarios When recording live most people usually make a single continuous mul
81. Channel This button engages and disengages the gate for the Owner s Manual When Auto mode is active the Response control becomes 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 Compressor manually Response Controls 4 The Fat Channel 4 1 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 Sets and Displays the Compressor Attack Setting for the Selected Input Channel or Output Bus ON e e e e e Pae ooo Phase Reverse Reverses the Phase of the Selected High Pass Adjusts the High Pass Filter s Cut off Compressor Turns the Compressor On and Off for Compression Sets and Displays the Compression Button Channel Filter Frequency On Off the Selected Channel or Output Bus Ratio Ratio for the Selected Input Channel or Output Bus j Push this button to invert the The High Pass Filter section This button engages or disengages __ phase of the selected channel s consists of an encoder and a meter the compressor for the selected This encoder sets and the meter II signal that is to alter the phase by You will notice that the there is a channel or output bus It will displays the compression ratio or 180
82. Copying Loading and Storing Fat Channel Settings 22 4 2 4 3 4 4 4 5 4 6 4 7 4 8 5 0 5 1 5 2 5 3 5 4 5 5 Metering 23 4 2 1 StudioLive Metering Controls 23 Input Channel Strip 24 4 3 1 Input Channel Controls 24 Aux Sends 26 4 4 1 Analog Aux Send Controls 26 4 4 2 Internal FX Send Controls 27 4 4 3 Creating Aux and FX Mixes 28 MultiModes 30 4 5 1 MultiMode Controls and the Buttons that Love Them 30 Main Output Bus 31 Master Section 32 4 7 1 Talkback System 32 4 7 2 SoloBus 33 4 7 3 Monitor Bus 34 Digital Effects Master Control 36 4 8 1 The Digital FX Effects Menu 36 4 8 2 Digital Effects Library 38 Scenes Presets the System Menu and MIDI Control 39 Creating and Recalling a Scene 39 Saving and Loading Channel Presets 42 5 2 1 Channel Presets Library 43 Graphic Equalizer 44 System Menu 46 Using MIDI Control Mode to Remote Control StudioLive 48 5 5 1 Recalling Scenes and FX Presets Remotely 48 6 0 6 1 6 2 6 3 6 4 7 0 7 1 7 2 5 5 2 Using Control Change Messages 7 3 to Control Volume and FX Assignments 49 5 5 3 Controlling the StudioLive 16 0 2 with a Behringer FCB1010 49
83. D LOW MID LOW MID LOW MID ON OFF PEAK SHELF FREQ Hz GAIN ON OFF HI LOW Q FREQ Hz GAIN on 4 SHELF 155 on tow 465 HI HI MID HI MID HI MID HI MID HI HI HI ON OFF LO HI FREQ kHz GAIN ON OFF PEAK SHELF FREQ kHz GAIN loo 14 ON PEAK decrease poom im guitars decrease amblence in decrease de pos to increase clarity cymbals itars coften a thin quitar decrease muddiness in vocals decrease thinn increase breathiness in amp mid range instruments bright av ertanes in quitars background vocals decrease long bass overtones disguise slightly out of in cymbals tune vocals and guitars Pop Male Vocals on to LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID ON OFF PEAK SHELF FREQ Hz GAIN ON OFF HI LOW Q FREQ Hz GAIN ON Peak 25 2 on H oo 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 too 20 ON PEAK Rock Male Vocals ON lo LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID ON OFF PEAK SHELF FREQ Hz GAIN ON OFF HI LOW Q FREQ Hz GAIN ON 2 PEAK 155 2 o om ss 6 HI MID HI MID HI MID HI MID HI H HI HI ON OFF LO HI FREQ kHz GAIN ON OFF PEAK SHELF FREQ kHz GAIN Oo ON m 24 2 o SHEL 72 4 j EEE E E PA PAS A E Ez So ad jo D un RR EJES 146 147
84. EEE E E PA PAS A E an e nN ESE 8 Tutorials 8 3 Equalizers Percussion Snare LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID ON OFF PEAK SHELF FREQ Hz GAIN ON OFF HI LOW Q FREQ Hz GAIN PEAK HI MID HI MID HI MID HI MID HI HI HI HI ON OFF LO HI FREQ kHz GAIN ON OFF PEAK SHELF FREQ kHz GAIN SHELF Left Right Stereo Overheads LOW MID LOW MID LOW MID LOW MID on mee 108 2 oN HI MID HI MID HI MID HI MID HI HI HI HI ON loo 29 o sert 8 amp 8 4 Kick Drum LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID ON OFF PEAK SHELF FREQ Hz GAIN ON OFF HI LOW Q FREQ Hz GAIN PEAK HI MID HI MID HI MID HI MID HI HI HI HI ON OFF LO HI FREQ kHz GAIN ON OFF PEAK SHELF FREQ kHz GAIN ON too 16s o o sef 60 Fretted Instruments Electric Bass LOW MID LOW MID LOW MID LOW MID Po eee co Hz att ON OFF HI LOW Q FREQ Hz GAIN ON SHELF 36 s oN wo no HI MID HI MID HI MID HI MID ON OFF LO HI FREQ mra me oorr T ie san 20 SHELF Acoustic Guitar LOW MID LOW MID LOW MID LOW MID eee ene a Hz cam ON ow a FREQ a GAIN 665 ON PEAK 155 HI MID HI MID HI MID HI MID EE m mn kHz DO vor err may ve at Her 60 148 PreSonus StudioLive 16 0 2 Owner s Manual Tutorials Equalizers Distorted Electric Guitar LOW MID LOW MID LOW MID LOW MID Bete ee mo Hz me ON OFF HI LOW Q FREQ Hz
85. Effects Master Control 4 8 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 FX A and FX B respectively These parameters will change depending on what type of effect you have chosen Again use the Next and Prev buttons to navigate through the screen and use the Value encoder to change the selected parameter For example if you would like to change the effect from 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 you choose a delay algorithm you will notice two parameters Time ms and Time X Time is the delay time discussed in Section 8 6 2 which is the time between the source sound and the echo This can 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 time You do not have to
86. Out Displays Metering Channel Meter Mode set Post Fader in VSL or on mixer Aux FX E Mut Aux FX Sendi ontrols Mutes CHIN Sets channel send levels to each Phase Aux and FX Bus Inverts Channel Phase 90 Owner s Manual 7A 74 1 Capture What is Capture Software Universal Control SL Remote Capture amp Studio One Artist 7 Capture 7 4 PreSonus Capture is an audio recording application created exclusively for use with PreSonus StudioLive series mixers To record from the StudioLive mixer into Capture you will need to install the StudioLive driver and connect the mixer to a FireWire port on your computer Once the StudioLive mixer has been connected to your computer and Capture has been installed simply launch Capture and you are ready to record This section contains general information including the basic layout and workflow of Capture and is a great place to start for new audio software users Versions There is one version of Capture which runs under the Windows and Mac OS X operating systems This manual explains both the Windows and the Mac versions Tips Several shortcuts and alternative methods or functions are mentioned in this section These tips are intended to improve your workflow and will be shown as follows Really Helpful Information If you float the mouse over most tools buttons or windows in Capture for a few seconds a Tooltip will appear that nam
87. Page 2 Store Memory EEN Empty Location Name Monday Night Gig Use TAP for space Push Store 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 sound For example in the studio saving and recalling a Scene allows you to move 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 or 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 or press the Store button to launch the Scene Store menu The memory locations will be selected Use the Value Encoder 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 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 and a selec
88. Program Change messages are sent to a device to request a patch 4 MIDI Presets Fage 5 HIDI CTL e change on a specified MIDI channel StudioLive 16 0 2 uses simple HIDI Control Mode Output Levels Cec MIDI Ch ha Program Change messages to recall Scenes and FX presets MIDI Source MIDI In Pad 40 Fabs 41 Maing dc a To begin you must first assign unique MIDI channels for FXA FXB and Scene Recall Program Change Chis is ba i pe a oe L 7 This will allow you to send a different Program Change message to each of these dido C ad ap e NUW Wa sks sjasadd SIUIIS 5 Scenes Presets System Menu and MIDI Control PreSonus StudioLive 16 0 2 5 5 Using MIDI Control Mode to Remote Control StudioLive Next you need to configure the pedals on your FCB 1010 to send information on different MIDI channels We will use Pedal 1 exclusively for Scene changes Pedals 2 and 3 for FXA recall and Pedals 4 and 5 for FXB recall You can customize your pedal to meet your needs these instructions merely provide a guideline 1 10 11 12 13 14 13 16 50 Boot your FCB1010 into Global configuration mode by holding the Down pedal while powering on the FCB1010 PreSonus recommends that you do not use Direct Select mode When your FCB1010 boots up you will see that the green LED above Direct Select is illuminated Make sur
89. 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 A high shelving EQ is like a treble control knob ona stereo In this mode the Center Frequency control selects the shelving frequency Owner s Manual Controls 4 The Fat Channel 4 1 4 1 4 Fat Channel Panning and Stereo Link 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 a stereo pan Stereo linking is also done from within the Fat Channel Input channels and aux buses can be linked to create a stereo pair The stereo pairs are predefined and cannot be changed They are as follows Channels 1 and 2 Channels 11 and 12 Channels 3 and 4 Channels 13 and 14 Channels 5 and 6 Channels 15 and 16 Channels 7 and 8 Aux 1 and Aux 2 Channels 9 and 10 Aux 3 and Aux 4 For mono channels and Aux buses a stereo link can be enabled when either channel in the pair is selected When the Stereo Link button is illuminated all dynamics settings subgroup assignments and main assignments are nondestructively
90. Solo Bus for Monitoring 155 8 7 2 Destructive Soloing 155 8 7 3 Using Solo in Place SIP to Set Up aMix 156 10 0 Troubleshooting and Warranty 160 10 1 Troubleshooting 160 10 2 PreSonus StudioLive 16 0 2 Limited Warranty 162 Owner s Manual Quick Start Level Setting 1 Quick Start 1 0 1 0 Quick Start This is a map of the StudioLive 16 0 2 You ll notice that each major section is marked with a manual section number where you can find more information Level Setting Ss w N S a STUDIOLIVE 1602 Per Pres Trims For Level Setting see Sections 1 0 amp 8 6 ANO PreSonus e O E Graphic EQ Menu Display N Section 5 3 FX Menu Section 4 8 C a o Scene Menu Section 5 1 O Creating FX Mixes Fat Channel Section 4 1 Ek nen seen D Sections 4 4 3 k E amp 8 4 2 Dynamics Section 4 3 1 R Metering Section 4 2 CO gt Creating yee Stereo Linking Section 4 1 4 D sections ee Copying Saving Section 5 2 S 4 4 3 amp 8 4 1 Dynamics Processing Tutorial Section 8 2 hol ed EQ Tutorial Section 8 3 Assighmen Ke M c FireWire Returns a H O fSections 4 5 1 amp 6 4 2 TN i 7 Solo M EfSections 4 5 1 amp 4 7 2 BL Mut
91. Sonus StudioLive 16 0 2 A Brief Tutorial on Dynamics Processing How severely the compressor reduces the signal is determined by the compression ratio and compression threshold A ratio of 2 1 or less is considered mild compression reducing the output by a factor of two for signals that exceed the compression threshold Ratios above 10 1 are considered hard limiting As the compression threshold is lowered more of the input signal is compressed assuming a nominal input signal level Care must be taken not to overcompress a signal as too much compression destroys the acoustic dynamic response of a performance That said overcompression is used by some engineers as an effect with killer results Limiting refers to the processing that prevents the signal from getting any louder that is it prevents any increase in the signal s amplitude at the output Compressor limiters are commonly used for many audio applications For example A kick drum can get lost in a wall of electric guitars No matter how much the level is increased the kick drum stays lost in the mud A touch of compression can tighten up that kick drum sound allowing itto punch through without having to crank the level way up A vocal performance usually has a wide dynamic range Transients normally the loudest portions of the signal can be far outside the average level of the vocal signal Because the level can change continuously and dramatically it is ext
92. StudioLive is Capture a digital audio multitracking JP y r application designed to make recording quick and easy to set up and Drag parts of presets directly to components in the Fat Channel operate Perfect for live recording and for mixing your audio in real time to a f P i J Jy Adjust the Fat Channel gate compressor and EQ and the graphic EQ and effects 7 stereo audio file Capture software was designed to interface perfectly with C StudioLive 16 0 2 allowing instant setup and recording of performances Quickly drop entire Scenes to the mixer for instant recall P l of all channel effects and graphic EQ settings You can arm all 16 tracks to record with the click of a single button grap pe J Please consult the Capture user manual for complete instructions Load effects quickly by simply dragging presets into the GUI 7 16x16 multitrack recording application Makes StudioLive as easy to use as Studio One i l l O Record with two mouse clicks Remote controllable with an Apple iPad running PreSonus SL Remote Essential editing suite Copy Cut Paste Splice Resize Use the mouse to quickly assign channels to multiple buses mute solo etc Peak LED style meter bridge with clip indicators Timestamped backups of the entire board Marker placement and recall Preset Management Export between marker e Store and organize presets on your computer then transfer them to your mixer for that night s gi gt Record stereo mix from StudioLive
93. The button will illuminate frequency range to the left of the illuminate to indicate that the slope for the selected channel or indicating that Phase Reverse is meter The high pass filter s cutoff compressor has been enabled output bus The ratio sets the active The Phase Reverse button frequency can be set from 24 Hz to E compression slope which is a HON The compressor is available for all input and EA can be used to correct audio 1 kHz output buses function of the output level versus signals that are out of phase and the input level For example if you llina reinfordi dh Remember that all frequencies PS ee er cancelling reinforcing each other baoa Mior pasie uto Auto Mode Enables Automatic Response Mode ave the ratio set to 2 1 any sig y Button levels above the threshold setting a e h U o Compressor Sets and Displays the Threshold of the hi h DC electric power through a selected channel It will illuminate Threshold Compressor for the Selected Channel 1 is encoder sets and the meter TZ R microphone cable Most to indicate that the gate has been or Output Bus displays the compressor s a commonly it is used to power enabled response setting for the selected condenser microphones although l This encoder sets and the meter channel or output bus The i P J The gate is available for all Comp i P some direct boxes also take a displays the compressor threshold Response
94. Timing Master to PreSonus FireStudio Mic Inst 1 Launch Ableton Live Go to Options Preferences Audio Choose Driver Type Asio Audio Device ASIO PreSonus FireStudio Go to Input Config Enable and select the desired Input channels Go to Output Config Enable and select the desired Output channels You may now select the StudioLive s inputs and outputs for each track created in Live Owner s Manual Connecting to a Computer 6 Using the StudioLive as an Audio Interface 6 4 6 4 2 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 the FireWire bus and its output return signal is hard coded to designated mixer channels Your StudioLive 16 0 2 has 16 available sends and 16 returns FireWire sends 1 through 16 are hard coded to be sent pre fader from the 16 input channels of the StudioLive Unlike the mix bus on your StudioLive the FireWire sends of the right inputs of each of the Stereo channels channels 10 12 14 and 16 are active whether or not Stereo Link is engaged for that channel Each of the 16 sends can be pre or post Fat Channel EQ and dynamics processing To record the
95. To connect to your mixer tap on the StudioLive device icon The text will change color to alert you that it has been selected Tap the Connect to Mixer button in the upper left hand corner to open SL Remote and control your mixer from your iPad 79 SL Remote Capture amp Studio One Artist O U N ES w D a N 31n1de gt 3J0U93Y TS J04JU0 J2S19AIU 9EMIJOS zo Un a a j a gt a gt gt oF N 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 7 3 Using StudioLive Remote for iPad 7 3 2 SL Remote Overview Page The Overview page in StudioLive Remote corresponds directly with most of the controls on the Overview Page in VSL The following parameters can be controlled and or viewed from this page e Channel and Main Volume e Channel and Main Select e Channel Mute e Channel and Master Metering e Channel Panning e Channel FireWire Return e Channel and Main Gate Compressor and EQ overview e Channel and Main Gate Compresson and EQ zoom If you have labeled your channels using the Scribble Strip on the Overview Tab in VSL you will also be able to see your channel names POWER USER TIP Because StudioLive Remote is a wireless controller for Virtual StudioLive the fastest wa
96. Unlocked and you will be able to resume your mix 7 2 7 Remote Controlling StudioLive with VSL Virtual StudioLive allows you to control almost every parameter in your StudioLive remotely from your desktop or laptop computer Your StudioLive will reflect every change made in VSL including fader movements This means that if you move Channel 11 12 s fader in VSL you will hear the level set in VSL in your mix rather than the level represented by the current physical position of the Channel 11 12 fader on your StudioLive To sync the faders on your StudioLive with the faders in VSL simply press the Locate button on your StudioLive The Fat Channel meters on your StudioLive will reflect the current position of each fader in VSL While in Locate Mode the faders on your StudioLive will not control the level of each channel so you will not hear level changes while you recall each fader position Once you exit Locate mode your StudioLive faders will reactivate You also can use a wireless device such as a laptop iPad or iPhone to control VSL It is important to note that your StudioLive must be connected and synced to a computer with a FireWire 400 connection Once you establish a wireless network between this computer and your wireless device you can use a VPN application to remotely control VSL Please contact your computer s and or wireless device s supporting documentation or manufacturer to learn more about VPN and wireless networ
97. Yum 3 H gt co Q amp Q A SD q Wd a Ss 9 2 UDS CY SRS ee Ga ep un 7 Software Universal Control SL Remote Capture Studio One Artist PreSonus StudioLive 16 0 2 Owner s Manual Software Universal Control SL Remote Capture Studio One Artist 7 7 5 Studio One Artist Quick Start Studio One Artist Quick Start 7 5 e 7 54 Creating a New Song 7 Click on the Song Setup button to open the song Setup Song Setup window then click on the Audio Now that you ve configured your MIDI devices let s create a _ Song Setup _ j p i E I O Setup icon new Song We ll start by setting up your default audio I O 1 5 8 Click on the Inputs tab in the Audio I O Setu 1 From the Start page select Create a new Song Pong Sete p P y a d window and you will see all of the available inputs SA Create a new Song z on your StudioLive At this time you can add the d General Meta Information Audio VO Setup A number and type of inputs you plan to use inputs ernst E E E EEE PE PEE EE EE 9 We recommend that you create a mono input for o i a a ma 9 ero each of the 16 inputs on your StudioLive If you are choose the directory in which youd like it saved Bader calles eee ume auld alto cesta ng Title i E Create an empty You ll notice a list of templates on the left The i 9 a 4 e PS lUsers weslay Documents StudioO on
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99. afe Mode Y Normal Safe Mode 1 Safe Mode 2 Safe Mode 3 64 Changes StudioLive Sample Rate Set the sample rate to 44 1 or 48 kHz from the Launcher window when your StudioLive is connected to a computer 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 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 Changes the Clock Source for Chained FireStudio family Devices The StudioLive cannot slave to an external clock However if you are cascading it with FireStudio family products that do feature digital inputs the clock source becomes selectable The clock source setting will determine where the device chain is receiving word clock information This keeps the chained devices 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 wi
100. age the FireWire return by pressing each channel s FireWire Return button so that it illuminates This will route the output of the tracks in Capture to their respective input channels on the StudioLive mixer Start playback in Capture The output from each track in Capture will play through their respective input channels on the StudioLive mixer Capture Track 1 on StudioLive Channel 1 etc At this point link Aux 1 and 2 on the StudioLive mixer and create a mix for the linked Aux1 2 by adjusting the level for each input channel that has playback coming from Capture This is a stereo aux mix so you can also access the pan for each input channel in the mix by pressing the Mix Pan button for Aux 2 For details on how to set aux mixes see Section 4 4 3 Now you can plug the guitar or guitar amp mic into an input channel on the StudioLive mixer and set the input level as you normally would Then add the guitar input channel to the Aux 1 2 mix that the guitarist will listen to so he can hear himself If you record enable the Audio Track that corresponds to the guitar input channel in Capture you should see that track s level meter showing live input in the meter bridge With the Aux 1 2 mix set so that the guitarist can hear his live guitar playing and the tracks from Capture you are ready to record the lead guitar You can position the playback cursor to any point in the Timeline so that recording starts there or just start recording fr
101. allows you to monitor the main outputs Solo bus and the main FireWire return from your computer Because the Monitor bus is a summing amp you can even monitor the World Series on your headphones while running sound at a show Adjusts the Overall Level of the Headphone Output This knob adjusts the overall level for the headphone output Owner s Manual Controls 4 Monitor Output Level Control Monitor Master Section 4 7 Adjusts the Overall Level of the Monitor Output This knob adjusts the overall level of the control room monitor outputs FireWire Monitor Button Assigns FireWire Returns 1 and 2 to the Monitor Bus Solo Bus Monitor Button Solo Main Mix Monitor Button The FireWire Monitor button patches FireWire returns 1 and 2 to the monitor bus The level for this input is controlled by the level set from the computer application such as Studio One Artist that is playing the audio Assigns the Solo Bus to the Monitor Outputs The Solo Bus Monitor button patches any soloed channel or Aux send to the Monitor bus This can be useful in any number of ways For example e Auditioning an Aux send monitor mix e Dialing in the dynamics processing and EQ on a subgroup e Creating a better blend for instrumental sections horns strings etc Assigns the Main Mix to the Monitor Bus The Main Mix Monitor button routes the same signal that is being sent from the main outputs to the Monitor bus This signal i
102. amics Processing 8 2 Noise Gating Noise gating is the process of removing unwanted sounds from a signal by attenuating all signals below a set threshold As described the gate works independently of the audio signal after being triggered by the signal crossing the gate threshold The gate will remain open as long as the signal is above the threshold How fast the gate opens to let the good signal through is determined by the attack time How long the gate stays open after the signal has gone below the threshold is determined by the hold time How fast the gate closes is determined by the release How much the gate attenuates the unwanted signal while closed is determined by the range Noise gates were originally designed to help eliminate extraneous noise and unwanted artifacts from a recording such as hiss rumble or transients from other instruments in the room Since hiss and noise are not as loud as the instrument being recorded a properly set gate will only allow the intended sound to pass through the volume of everything else is lowered Not only will this strip away unwanted artifacts like hiss it will add definition and clarity to the desired sound This is a very popular application for noise gates especially with percussion instruments as it will add punch or tighten the percussive sound and make it more pronounced The following are the compression presets that were used in the PreSonus BlueMax We have include
103. andwidth 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 Activates Control for the High 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 active The High EQ band is available for all input and output buses 19 a e h U om i un 4 Controls 4 1 The Fat Channel High EQ Frequency Control Freq kHz High EQ Gain Control A ATA ET E bd e d way Ci e 3 r Tin Gain aa 20 Sets and Displays the Center High Shelving Frequency of the High EQ EQ Button 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 Sets and Displays the Gain Attenuation or Boost at the Center Frequency of the High EQ Band This encoder sets and the meter displays the gain cut or boost at the center frequency of the High EQ band The level of the center frequency can be set between 15 and 15 dB PreSonus StudioLive 16 0 2 Turns on the High Shelving EQ for the
104. another audio program can reconstruct your Session automatically This makes it possible for you to open your Capture Session and work as you normally do in your favorite recording application To save an Open TL version of your Session select Save Session As in the File menu of Capture Name the file as usual and choose Open TL tl in the Save As Type selection box Click on Save to save your Session as an Open TL document and confirm the command by clicking Yes in the confirmation window This file will be placed by default in your Session folder and will not overwrite the original Capture Session file Note that the Open TL format will not save your markers 105 TS y os Yum 0 o _ gt co Q amp Q A TS q W vu _ Ss 9 02 voz X nN SRS Patt oS Ca ginyde 910W9Y 1S J04JU0 PSIBAIUL DAEMIJOS zo un a oh a a gt gt Sr N 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 7 4 Capture Session Each Marker M Between Selected Markers Cancel 106 Import Capture Session Audio Files Directly Some audio editing applications e g digital audio workstations or DAWs do not support the Open TL format which makes the options somewhat limited when importing sessions created in other
105. ansion 138 Dynamic Range 134 Troubleshooting amp Warranty 10 Index A L E Edit Window 95 Equalizer 18 38 Definition 142 Graphic 44 143 Parametric 142 Shelving 143 Eraser Tool 94 101 Expansion Definition 137 Export Audio 104 F Fader Locate 24 See also Recalling Faders FireWire Returns 30 35 61 FireWire Sends 61 Firmware Version 47 65 Frequency Tables 145 146 FX Bus 36 G Gate 16 135 GEQ 44 H Hard knee 137 High Pass Filter 16 I Import Audio Capture 104 Studio One 125 K Key Filter 138 Key Listen 138 L LCD Contrast 46 Limiter 18 136 Loading Presets Fat Channel 42 71 FX 36 72 Graphic EQ 45 72 Lockout Mode 47 73 Logic 59 Loop 95 103 163 oS eve amp _ i y oY Ene e 2 a Kn oS ten J EE E atti oo La ol Burnooys 9 qNOJ go ad ad gt nF lt 10 Troubleshooting amp Warranty M Z Index M Makeup Gain 137 Markers Adding 95 102 110 Navigating 94 102 Meter Bridge 94 Metering Gain Reduction 24 Input Levels 23 Output Levels 24 MIDI Controller 117 MIDI Control Mode 48 126 MIDI Sound Module 118 Monitoring 34 34 35 MultiMode Button 25 26 30 31 Muting 31 FX in Mains 27 FX to Auxes 27 N Noise Gate Definition 139 O Open TL Export 105 Overdubbing 111 112 P Pan 21 PFL 33 155 Phantom Power 9 16 25 130 Phase Reverse 16 Plugins 62 1
106. anual of your MIDI devices for help with MIDI setup and usage FireWire Ports There are two standard 6 pin FireWire 400 ports on the back of the StudioLive Either port can be used to connect the 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 adapter or cable These adapters and cables can be found at your local computer supply store The FireWire 400 ports are compatible with FireWire 800 connections found on Apple computers A FW400 FW400 and a FW800 FW400 cable have been included for your convenience You can use the second FireWire port to connect additional FireWire devices such as external hard drives to your computer or to daisy chain a PreSonus FireStudio family interface for additional recording inputs 2 Amp Fuse This is the StudioLive s fuse housing Your StudioLive uses a 5 mm x 20 mm 250 VAC fast acting fuse Power 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 11 3 Hook up PreSonus StudioLive 16 0 2 3 2 Basic Hookup Diagram 32 Basic Hookup Diagram DIAS Ai ES keyboard rhythm guitar and amp bass guitar drumset
107. are satisfied bring the fader back down and press the Solo button again Next press the Multimode button on the snare mic channel and repeat this procedure In this way continue with each drum mic and then move on to the other instruments that are connected to your StudioLive When you have finished with all the instruments press the SIP button again and slowly bring up your faders to set up your mix Level Setting SS cS un S gt oa 2 Overview PreSonus StudioLive 16 0 2 Owner s Manual Overview 2 2 1 Introduction Summary of StudioLive 16 0 2 Hardware Features 2 2 p The StudioLive performance and recording digital mixer is a fully loaded 2 0 Overview professional digital mixer combined with a complete 16x16 FireWire recording system Racks of processing effects including compressor limiter downward expander three band semi parametric EQ reverb and delay 2 1 Introduction are available on every channel aux and main mix delivering total control E SS 5 in a compact rugged steel chassis StudioLive includes Capture a fully 2 lt 2 STUDIOLIVE 1802 osraretomao recorre integrated live recording software by PreSonus allowing you to record E 000000000000 Presonus e every performa
108. at 225 216 7887 Monday through Friday between the hours of 9 a m and 5 p m Central Time PreSonus technical support is available via email during the same hours at techsupport presonus com 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 Universal Control console and optimizing your operating system for audio Other known causes of this issue are wireless networks and running other FireWire devices FireWire 400 or FireWire 800 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 disabling the wireless network on your computer s built in wireless card resolves the issue we recommended that you purchase an external USB wireless adapter and use this to create a wireless network instead If other FireWire devices such as 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 periphera
109. ce it is loaded you can use the sliders in VSL or the encoders on the StudioLive to make adjustments Note that in order to use the encoders on your StudioLive to control a graphic EQ in VSL you must be in the GEQ menu page for the graphic EQ you wish to control See next section for details The Setup Tab provides access to key system parameters From the Setup tab you can define which Recalling Filters are enabled set all parameters for MIDI Control Mode and create a password with which to lock your StudioLive MIDI Control Mode is a powerful feature that allows you to control key StudioLive parameters remotely using a MIDI Controller See Section 5 5 for complete details Owner s Manual Software Universal Control SL Remote Capture amp Studio One Artist 7 VSL Virtual StudioLive 7 2 Scene Recall Menu As discussed in Section 5 1 your StudioLive allows you to decide which group of parameters you would like to recall with a Scene The Scene Recall menu on the Setup tab corresponds directly with the Scene Recall Scene Recall Assigns Wes EQ amp Dyn ves gt Aux Mix Yes Faders No Mute Wes Fx Yes Pots Mo 7 2 6 Enabling Lockout Mode 2 Lock Out Device Password NS a M Device is Lockable Using Password Device passwords must be 5 digits 1 9 no characters Cancel Apply System Page Lockout Panel Status Unlocked Lockable Faders Yes Masters Au
110. components These Microviews allow you to see whether a particular channel or bus has dynamics processing enabled If any of the dynamics processors in the Fat Channel are turned off its Microview will be grayed out To make changes to the Fat Channel dynamics processing tap on any of the Microviews This will launch the Fat Channel zoomed view with that component in focus that is if you tap on the EQ Microview the Fat Channel zoom will open with the EQ in focus The zoomed Fat Channel view corresponds directly to the Channel Tab in VSL You can switch between the dynamics components in the zoomed Fat Channel view by swiping your finger to the left or right For example if you launch the Gate Zoom and swipe your finger to the left the Fat Channel Zoom will focus on the Compressor swiping to the left again focuses the EQ 11 30 AM 100 E gt Overview MASTERS il 9 LIMITER THRESH 5 12 dB ae RELEASE To close the Fat Channel Zoom tap on the x in the upper left hand corner This will display the normal Overview page 81 SL Remote Capture amp Studio One Artist 2 o gt i un w Ag de e un 31n1de gt 3J0U93Y TS 04JU0 PSIBAIUL 9AEMIJOS SIV IQ OIPNIS 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus Stu
111. ct bus in the Main output simply unassign it Assigns Unassigns FX bus to Aux 1 4 This button will route its internal effects EFX bus to all four Aux outputs It will illuminate yellow when the bus is patched to the Aux buses To mute the effect bus in the Auxes simply unassign it Adjusts the Master Level of the Effects Bus This knob controls the overall output level of the effects mix return 27 a e h e U i E e ar 4 Controls 44 Aux Sends PreSonus StudioLive 16 0 2 4 4 3 Creating Aux and FX Mixes FXA Encoder Mode Button Le J FXB Encoder Mode Button gt gt Aux 1 Encoder Mode Button Aux 2 Encoder Mode Button 28 In addition to setting the dynamics for each channel and bus and metering each channel and output the Fat Channel also allows you to create Aux mixes and quickly view the send level for each channel The Encoder Mode buttons to the left of the Fat Channel are used for just this purpose Each one of these buttons allow you to view and set the send level for each channel to that Aux or FX mix Enables FXA Mixing and Metering in the Fat Channel When this button is enabled the 12 encoders in the Fat Channel become the FX send level controls for each of their respective input channels to FXA The meters will display the s
112. d in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures e Reorient or relocate the receiving antenna e Increase the separation between the equipment and the receiver e Connect the equipment into an outlet on a circuit different from that to which the receiver is connected e Consult the dealer or an experienced radio TV technician for help CAUTION Changes or modifications to this device not expressly approved by PreSonus Audio Electronics could void the user s authority to operate the equipment under FCC rules This apparatus does not exceed the Class A Class B whichever is applicable limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications ATTENTION Le pr sent appareil num rique n met pas de bruits radio lectriques d passant las limites applicables aux appareils num riques de class A de class B selon le cas prescrites dans le r glement sur le brouillage radio lectrique dict par les ministere des communications du Canada A PreSonus 7257 Florid
113. d them as a jumping off point for setting up compression on your StudioLive 139 ee cS r i gt Q Tiitar ale D A a lt F_ ia e C TE Je Po oe Va TM q a A r 8 lutorlals PreSonus StudioLive 16 0 2 x 0 0 os ad Lusnawe Alana Thitariale Ywner s Manual Tutorials Dri A T IFA rin AA My ina A rYA m ra D VIAxr ace 1 ma AN A Brief Tutorial on D ynamics Processing A 8 2 3 Compression Settings Some Starting Points Electric Guitar This is a setting for crunch electric rhythm guitar A slow attack helps to get the electric rhythm guitar up Vocals close and personal and gives punch to your crunch gt Threshold Ratio Attack Release A Soft This is an easy compression with a low ratio setting for ballads allowing a wider dynamic range It s good for live use This setting helps the vocal sit in the track Threshold Ratio Attack Release Keyboards 8 2 dB 0 002 ms 38 ms r Piano This is a special setting for an even level across the keyboard It is Medium This setting has more limiting than the Soft compression setting designed to help even up the top and bottom of an acoustic piano In other producing a narrower dynamic range It moves the vocal more up front in the mix words it helps the left hand to be heard along with the right hand Threshold Ratio Attack Release Threshold Ratio Attack Release 3 3 dB 0 002 m
114. danger of being overdriven Overdriving the converters will cause digital distortion which sounds terrible 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 A Sound sources keyboards direct boxes microphones etc connected to the StudioLive inputs B StudioLive 16 0 2 C Computer if applicable D 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 i ZS 4 SZ Right 1 0 Ry Re i lic ic Zz ic es hi Li Level Grab a microphone and a mic cable and plug them 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 to the setting Make sure that the Trim knob on Channel 1 is all the way counter clockwise Plug your StudioLive into a power outlet and turn it on If your microphone requires phantom power press the Select button on Channel 1 of your StudioLive and engage the 48V button Turn on your amplifier or powered monitors Press the Input button in the Meter section Speak or sing into your micr
115. ding to the stored fader position not the current location of the physical fader 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 FXA and FXB levels Solo bus output Phones and Monitor will remain at their stored position until they are moved manually Once a knob is turned its value will jump to the value of its current physical position Therefore if you intend to save a Scene and recall it later with knob position recalling enabled 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 It is important to note that the recalling groups have no effect on what parameters are stored with a Scene All storable parameters are saved with a Scene regardless of what recalling groups are enabled 41 a and MIDI Control 2 w eS un a 09 un w un w _ mE Nn w w w 5 Scenes Presets System Menu and MIDI Control PreSonus StudioLive 16 0 2 Owner s Manual Scenes Presets System Menu and MIDI Control 5 5 2 Saving and Loading Channel Presets Saving and Loading Channel Presets 5 2
116. dio One Artist 2 o gt i un w Ag de e un Studio One Artist content can be installed at any time by accessing the Help Studio One Installation menu If you choose not to install any portion of the content you can install it at a later time W G A k N T E lt 114 115 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 7 5 Studio One Artist Quick Start 7 5 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 basic aspects of Studio One Artist and is intended to get you set up and recording as quickly as possible Start Page Setup Area Shows
117. dioLive 16 0 2 7 3 Using StudioLive Remote for iPad Channel Controls Select CHO1 Channel Controls Pan Selects channel for Fat Channel Zoom and Portrait view When no Microview has been selected for Fat Channel Zoom the channel Select buttons merely display the channel number or name if one has been entered into the Scribble Strip in VSL See Section 7 2 4 Once Fat Channel Zoom is launched the channel Select buttons become active and you can use them to select another channel so that you can view its zoomed Fat Channel settings Controls the panning for each channel To pan a channel tap and hold anywhere on the Pan control and then slide your finger right or left while maintaining constant contact with the iPad screen These controls correspond directly to those in VSL and on the StudioLive POWER USER TIP The Pan control supports off axis movement Once you have pressed a pan field to select it you can slide your finger anywhere in the screen and make a side to side movement to control the pan position Channel Controls Mute Channel Controls Fader and Metering The pan position is displayed in the Channel Select field Controls the mute for each channel To Mute a channel tap its Mute button The Mute button will turn red indicating that the channel has been muted Controls the level for each channel and displays each channel s metering To control the volume of a channel tap the fader and mo
118. done There is no limit to how far back actions can be undone and how far forward undone actions can be redone Because of this feel free to explore without worrying that you will permanently alter anything In fact just pressing buttons might be the quickest way to learn High Quality Audio Like StudioLive Capture features a 32 bit floating point audio engine An audio engine is the number cruncher that does the math required to record and play back digital audio Capture records with state of the art accuracy all you have to do is make great music Owner s Manual 7 4 2 Start Page Software Universal Control SL Remote Capture amp Studio One Artist 7 Capture 7 4 When Capture is launched by default you will be taken to the Start page Create and Open Session At the upper left of the Start Page are two buttons Create Session and Open Session A Session is a document in which you record and edit audio and MIDI Click on the Create Session button to create a new Session or click on the Open Session button to browse for and open an existing Session Recent Files To the right of the Start Page menu section the Recent Files list includes links to the most recently opened documents Click on any of these links to quickly open the Session Audio Device and Sample Rate Capture was specifically created for use with PreSonus StudioLive series mixers It is not possible to configure any other audio device for us
119. dual mixes or to work in another recording application The Marker Lane is always visible just below the Timeline Inserting Markers To insert a new Marker into the Marker Lane with playback running or Marker stopped click on the Add Marker button or press Insert on the keyboard Each new marker will be numbered sequentially by default 1 2 3 To rename a marker double click on the marker in the Marker Lane type in anew name and then press Enter on the keyboard Navigating Markers It is possible to quickly jump the Playback Cursor between markers in the 4 lt lt CN Marker Lane Click on the Previous Marker button in the Transport or press B on the keyboard to jump to the previous marker Click on the Next Marker button in the Transport or press N on the keyboard to jump to the next marker Jumping to markers during playback allows quick comparisons between different sections of your Session 102 Owner s Manual Looping 74 9 Mixing in Capture Software Universal Control SL Remote Capture amp Studio One Artist 7 Capture 7 4 To Loop the playback of any range of a Capture session do one of the following e Select an Event with the Arrow Tool or select a Range with the Range Tool that you wish to loop Press P on the keyboard to set the loop range to your selection The range will be indicated by a bar drawn in the timeline with a left and right flag on either end e Mo
120. e ES Section 4 5 1 Stereo Link Section 4 1 4 METERING CONTROLS Section 4 2 1 Input Metering Aux Faders r Output Metering i t Section 4 4 fe o Channel Faders Section 4 3 Gain Reducion Metering Fader Locate Section 5 1 NE Y Main Output Section 4 6 1 1 Getting Started IMPORTANT LEVEL SETTING Before you begin there are a few general rules of thumb that we recommend you follow C e Always turn the Main fader and both the Monitor and Phones knobs in the Monitor section down before making connections Before plugging or unplugging a microphone while other channels are active mute the channel to which you are connecting C e Your faders should be set on or near the U mark whenever possible The U a indicates unity gain meaning the signal is neither boosted nor attenuated If the main output of your StudioLive is too high or too low when your faders are at or near unity you can use the output level knob on the rear panel of the StudioLive a to adjust the level up or down until you have achieved the optimal volume a a Un Do D a PULA Lo BIS IND 1 Quick Start Level Setting PreSonus StudioLive 16 0 2 1 1 Geting Started IMPORTANT LEVEL SETTING 48V 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
121. e 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 4 3 1 Input Channel Controls Trim Control Adjusts the Input Gain Level The Trim control adjusts the gain of the channel s analog input It is very important to properly adjust this control in order to minimize noise and avoid overload distortion Follow the Quick Start level setting instructions on page 5 before operating a channel a te 2015 65 20 Mic Line 24 Owner s Manual Controls 4 Input Channel Strip 4 3 Turns Phantom Power On Off Phantom Power Button The StudioLive is equipped with individual phantom power for every microphone input As previously described in Section 4 1 3 the 48V button is accessible via the Fat Channel when an input channel is selected It will illuminate when phantom power is activated For more information on phantom power and the microphones that require it please review Section 8 1 Input Channel Select Enables Fat Channel Processing and Routing Button As previously described in Section 4 1 1 the Select button routes its channel through the Fat Channel allowing you to add dynamics processing EQ and panning and more Input Channel Engages FireWire
122. e applications Capture supports basic Cut Copy and Paste actions Once a selection of events or a range of events has been made these actions can be performed as follows Cut Press Ctrl Cmd X on the keyboard to cut the current selection Copy Press Ctrl Cmd C on the keyboard to copy the current selection Paste Once a selection is cut or copied press Ctrl Cmd V on the keyboard to paste the selection The selection will be pasted to the current Playback Cursor position or to the beginning of the track from which the selection originated ifthe Playback Cursor is not currently set anywhere Power User Tip Listen While Editing In audio production the editing process can be particularly unforgiving Small inaccuracies when splitting moving or performing other actions on recorded audio can lead to unwanted results As simple as it may seem the act of listening while editing is often overlooked For instance when sizing the edges of a vocal part to remove unwanted sounds between words it is tempting to make the edits based on the visual representation of the waveform While this may work sometimes it is a much better idea to listen as you size the events to be sure you are not removing any critical part of the vocals Listening to your edits as you make them will save time and frustration in nearly every case 101 a SL Remote Capture amp Studio One Artist cS
123. e controlled by any standard MIDI controller Your StudioLive can be controlled with an MIDI controller connected to the MIDI In jack on the back of your StudioLive or with a MIDI signal transmitted over FireWire from a computer In this section we will discuss using a hardware MIDI controller to change the controllable parameters on your StudioLive Once you have enabled MIDI Control Mode set the MIDI Source to MIDI In and connect your MIDI controller s MIDI Out jack to the MIDI In jack on your StudioLive 16 0 2 For information on using Studio One Artist or another DAW to control your StudioLive please review Section 7 5 8 own Using the Next and Prev buttons navigate to each channel field and set a MIDI channel using the value encoder You can choose any channel from 1 to 16 assign a unique MIDI channel on which to transmit CC messages to your StudioLive Use the Next and Prev buttons to navigate to the FXA FXB and Main Output Level fields and set the Control Change message number you wish to use to control the output volume for each bus You can choose any number from 0 to 127 Next navigate to the Mute Effects fields and choose a CC message number to assign unassign FXA and FXB to the Main bus When you are finished each parameter on this page should have a different CC message number next to it With this accomplished you simply need to send one of the assigned Control Change messages to your StudioLive on the designat
124. e that the red LED on pedal 10 is not illuminated Press the Up pedal to select MIDI Function Press Pedal 1 so that its red LED is flashing Press the Up pedal again to select the MIDI channel for Pedal 1 For our purposes Scene recall is assigned to MIDI channel 1 Press Pedal 1 so that the LED readout displays 1 Press the Up pedal twice to confirm the change and cycle back to MIDI Function Next you ll assign the MIDI channel for FXA Recall Press Pedal 2 so that its red LED is flashing Press the Up pedal again to select the MIDI channel for Pedal 2 This time you will select MIDI channel 2 Press Pedal 2 so that the LED readout displays 2 Press the Up pedal twice to confirm the change and cycle back to MIDI Function Repeat steps 8 11 for Pedal 3 Repeat steps 8 11 for Pedals 4 and 5 selecting MIDI channel 3 for each You re almost done Now you need to set the global MIDI channel on which your FCB1010 will control FXA and FXB output levels assign unassign FX to Mains and control the Main output level Press Pedal 6 so that its red LED is flashing Press the Up pedal to select the MIDI channel for Pedal 6 In our example the global MIDI functions are set to MIDI channel 4 But you can assign global MIDI functions to the same channel as any of the recall functions if you prefer Press Pedal 4 so that the LED readout displays 4 Owner s Manual Scenes Presets System Menu and MIDI Control
125. e with Capture The Audio Device window will either display PreSonus FireStudio or No Audio Device the former indicates that your StudioLive mixer is connected to the computer correctly and is ready to use with Capture The Sample Rate window displays the currently configured sample rate as set on the StudioLive mixer About Capture To view information about Capture including your version number and acknowledgements choose About Capture from the Help file menu 93 SL Remote Capture amp Studio One Artist oO E i i un PL w gt ae un go WN S a gt a gt gt un r Un m JJ g gt 3 j ar m a ad pa mj y O 101310 JESJ AIUN BJEMIJOS 7 Software Universal Control SL Remote Capture Studio One Artist PreSonus StudioLive 16 0 2 74 Capture 7 3 3 The Session Page Capture features a single window user interface so you don t need to manage multiple windows and views When a new Session is created or an existing Session is opened you will be taken to the Session page This page contains all of the necessary tools to record and edit multitrack audio The following are diagrams and descriptions of the Session interface 4 1 khz amare Ye ef a at at ot a at at Sat a Ot at aS we DEGGIE Eee Transport The Transport is at the top of
126. e you can add the number of output buses to which 7 ocording session tor Fire ee Frames Click the OK button when you are finished you would like to have access and can give them y FireStudio Mobile Song Length DA di FireStudio Mobile multitrac i names e sr ss 5 Ifyou plan on importing loops into your 2 Song you may want to select Stretch Audio el OK eA y ers 12 We recommend that you create a mono output for S LVF Loops to Song Tempo so that any loop of a EF ee i Eo as PreSonus FireStudio o aS each of the 16 FireWire returns on your StudioLive Ses 2500 known BPM like those in the included content ae CCCs ne a3c fie emos a ele ld as well as one stereo output assigned to FireWire A Sa SS library will import at the correct tempo Se tt i o S CMs returns 17 18 to use for your stereo main output A oy HA In the lower right corner you will see the Audition gt ES a 6 When the Song window launches launch the Audio ee ame i E select menu This allows you to choose the output Ss G a O Setup window by going to File Options ee E S from which you will audition audio files prior to 2 Windows or Studio One Preferences Mac and l l Audio Setup External Davices Advanced dikenine sudio ewp Punon importing them into Studio One Artist In general crit mecha you will want this to be the main output bus Audio Device Mi Control Panel Control Panel Options Song Setup ppl Canc
127. ed MIDI channel using your hardware MIDI controller or DAW In order to set the correct volume for FXA FXB and Main output level your Volume Control Change messages must include values from 0 to 127 FXA and 49 y which once enabled allows you to remote control the following C StudioLive parameters from a MIDI device or DAW Once you have assigned different MIDI channels for FXA FXB and p Scene Recall you simply need to send a Program Change message Scene Recall l on one of those channels using your external MIDI controller FXA Preset Recall z 7 5 5 2 Using Control Change Messages to Control Volume and FX Assignments gt FXB Preset Recall a The oth f MIDI ioLive 16 0 2 is th Ch EXA Assign to Mains e other type of MIDI message your StudioLive 16 0 2 uses is the cone Change CC message A MIDI Control Change message can be used for many things p FXB Assign to Mains including Volume Pan Sustain On Off and Modulation Your StudioLive uses CC messages to control Main and FX Output Volume and FX Assign Unassign to Mains FXA Output O Although the MIDI Detailed Specification assigns particular controls to specified CC FXB Output message numbers you can use any CC message number for these parameters Main Output Level To begin navigate to page 5 of the System Menu and use the value encoder to C and MIDI Control w w Je N a NY n D n w A n eB
128. el OK e o 13 If you would like this output configuration ce ITT available every time you launch Studio One SE Artist click the Make Default button Va Use CPU Cores Z 14 Now that you ve configured your MIDI and Input Latency 27 30 ms 1204 samples P audio I O and created a new Song let s Output Latency 15 69 ms 692 samples C ae P go through some of the basics of Studio t Ieg One Artist so you can start recording 120 121 Bus Ye go AJ Zo as Sa SP 5 A Do DO or lt AD 101JU0 JESJ ALUN BJEMIJOS 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 7 5 Studio One Artist Quick Start 7 5 5 Creating Audio Tracks No Preset E Auto Color mis Track 1 Input L Mic 1 input A Mic 2 Input 1 Line 3 Input 2 Line 4 Input 3 Line 5 Input 4 Line 6 input 5 Line 7 Input 6 Line 8 Audio VO Setup 122 1 Inthe upper left corner of the Arrange window you will notice several buttons The middle button is the Add Tracks button Click this button to bring up the Add Tracks window 2 Inthe Add Tracks window you can select the number and type of tracks you d like to create Mono Audio Stereo Audio Instrument or Automation and can customize the track name and color 3 Once you have added your tracks you can assign the input by simply clicking on the input to which a t
129. end level of each of the input channels The encoders for the stereo channels set the send level for both the Left and Right input provided that stereo linking is enabled See 4 1 4 for details Enables FXB Mixing and Metering in the Fat Channel When this button is enabled the 12 encoders in the Fat Channel become the effects send level controls for each of their respective input channels to FXB The meters will display the send level of each of the input channels The encoders for the stereo channels set the send level for both the Left and Right input provided that stereo linking is enabled See 4 1 4 for details Enables Aux Mixing and Metering in the Fat Channel When this button is enabled the 12 encoders in the Fat Channel become the aux send level controls for each of their respective input channels to Aux 1 The meters will display the send level of each of the input channels The encoders for the stereo channels set the send level for both the Left and Right input provided that stereo linking is enabled See 4 1 4 for details Enables Aux Mixing or Pan Control Stereo Send Mode Only and Metering in the Fat Channel When this button is enabled the 12 encoders in the Fat Channel become the aux send level controls for each of their respective input channels to Aux 2 The meters will display the send level of each of the input channels The encoders for the stereo channels set the send level for both the Left and Right input provided t
130. ent way Wouldn t it be convenient if you could break up the original continuous recording of the entire set of ten songs so you could work on one song at a time With Capture you can use the markers you inserted between each song to automatically generate all the multitrack files for each individual song To do this first open the original Session If you have not already done so rename each marker to the desired name for each song Then select Export to Audio File from the Session menu In the Export to Audio File menu s Options section select Export Tracks and Each Marker and set the Format to the desired file format settings Then click OK Capture will then automatically generate separate audio files for each track in each song The names and files will be based on the name you specified in the Export to Audio File menu the names of the markers and the track names in your Session Export Name Track Name Marker Name You can then import the files for each song into a new Capture Session or into a different audio recording application to be mixed with the StudioLive mixer A few days after the original performance you have finished producing a ten song live album for the band you recorded and they could not be more impressed The studio recording process often appears very different from the live recording process However the StudioLive mixer and Capture are equally at home in the studio and in concert The following descr
131. er Ja Show Browser Hide Browser 7 2 2 Software Universal Control SL Remote Capture amp Studio One Artist 7 VSL Virtual StudioLive 7 2 Creates and Restores Backups of Your StudioLive The Backup tab allows you to create complete time stamped snapshots of your StudioLive This can be especially useful when completing a project that may need to be revisited in the future To create a backup simply click on the Backup button BACKUP To restore any backup file select it in the On the Disk portion of the Browser and click the Restore button You will be warned that any Scene or preset currently loaded in the Device Memory section of the Browser will be overwritten Once your backup is restored you can click the Send button to transfer your Scenes and presets back to the StudioLive Displays Hides the Browser Window The Browser can be hidden from view to provide more real estate for your mix Simply click on the Hide Browser button to close the Browser To reopen the Browser click on the Show Browser button in the upper right corner of your VSL window VSL Overview Tab StudioLive High Pass Fiter J Filter i sc tT kh Corry Dress Micro Ambient Y Smhi all room Small hall Bright hall Warm hall Gated all Large hall Plate Mono Delay Filter Delay Stereo Delay Pingpong Delay p At the top of the VSL window you will see four tabs Overview Channel GEQ and Setup
132. ering Turns PFL Output Metering On and Off Button Switches the meters to display the post dynamics post fader level of the Aux and Output Main buses Only the last six meters are used Meter 7 displays Aux 1 output Meter 8 displays Aux 2 output Meter 9 10 displays Aux 3 output Meter 11 12 displays Aux 4 output and Meters 13 14 and 15 16 display the left and right side respectively of the Main bus Gain Reduction Turns Gain Reduction Metering On and Off Metering Button Displays the gain reduction of the input bus Meters have a one to one relationship with channels that is Meter 1 shows the gain reduction of Channel 1 and so on 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 To recall the stored position of an Aux or Main fader simply move the fader The meters will instantly flip to display the stored position of each of the output faders The same meters that display the outputs are used for locate Power User Tip Fader Locate mode can be enabled at any time to recall the stored fader position If you ve made multiple changes after a Scene recall you can always recall your stored fader position by simply engaging Fader Locate 4 3 Input Channel Strip The StudioLive is equipped with all of the standard input controls of an analog mixer In addition th
133. es follow the recommended steps Your StudioLive is l Windowe now synced to your computer and ready to use e Operating Systems o S e Windows XP SP2 or greater 32 bit and 64 bit D gt 3 oS ZSR e Windows Vista 32 bit and 64 bit zeg E 5s e Windows 7 32 bit and 64 bit e Hardware e Minimum Intel Pentium 4 1 6 GHz processor or AMD Athlon 64 3000 Turion 1 GB RAM e Recommended Intel Pentium 4 2 8 GHz EM64T or better or AMD Athlon 64 XP 3000 or better 2 GB or more RAM NOTE The speed of your processor amount of RAM and capacity size and speed of your hard A drives will greatly affect the overall performance of your recording system A faster processor and more RAM can reduce signal latency delay and improve overall performance Subject to change Check www presonus com for updates A A N G e Na N G P ke es 56 57 J31nduo gt e 0 bulpauuo 6 Connecting to a Computer 6 3 Installation for Mac OSX 6 3 Installation for Mac OS X NI PreSonus Introduction O License Destination Select O Installation Type Summary i PreSonus Introduction License Destination Select O Installation Type O Installation O Summary Qs PreSonus 58 PreSonus StudioLive 16 0 2 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
134. es the function that the tool button or window serves 91 S jr ove ep o _ gt am Q amp Q A SD q WJ vu _ Ss 9 2 UDS Ol Y SRS aM Ga ep Un go un SE a gt gt 10 gunjde 3 0U9Y 1S J04JU0 JES19AIU AIEMIJOS 7 7 4 92 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 Capture Key Commands Many operations in Capture have associated key commands keyboard shortcuts that can be used instead of navigating menus with the mouse Several of these key commands use modifier keys some of which differ depending on the operating system Windows or Mac OS X Key commands with modifier keys are shown with the Windows modifier key first as follows Win modifier key Mac modifier key key For example Ctrl Cmd C means press Ctrl C in Windows or press Cmd C in Mac OS X Where there is no difference between the Windows and Mac version of a key command only one key command will be displayed for example F3 Menu Functions Many functions can be reached via hierarchical menus Where menu navigation is referenced it will appear as follows Menu Menu Entry Function Nondestructive Editing and Undo Redo Almost every user action in Capture can be undone and re
135. essure 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 especially higher frequencies However they often are very fragile many newer models are less so and typically cannot handle high sound pressure levels Most ribbon microphones do not require phantom power In fact unless a ribbon microphone specifically calls for phantom power sending phantom power to a ribbon microphone can severely damage it usually beyond repair USB Microphones and Other Types Many microphone types are available and as technology evolves it is likely that more will be developed One type of microphone to emerge recently is the USB microphone These may be dynamic or condenser mics but many of them have built in preamps and need drivers to work with computers 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
136. et you would like to use EQ might feel wrong at first The curve fitting process is capable of very steep J transitions and unlike conventional analog graphic EQs what you see is what C O ie a aey on eo Stee eS de aL Once you have made your selection press the Recall button If at any time you bah ier alada bes er colas ola ln would like to cancel this operation simply press the Load button again bands closer to that band s gain and the bandwidth will change accordingly To exit the GEO press any of the other Encoder Mode or Master ad Making drastic adjustments too quickly may create an audio artifact as the Control buttons Each Master Control button will open its respective new curve is redrawn and crosses over an audio peak If you are hearing audio menu each Encode Mode button will launch the FX menu a artifacts while setting up the graphic EQ try creating a smoother curve To turn on and make changes to the graphic EQ press the GEQ Encoder Mode e GEO button The GEQ menu will open in the LCD When the GEO page is active the meters and encoders of the Fat Channel become the controls for the graphic EQ a As you touch a knob you will notice that its band number frequency and gain 7 are displayed in the GEQ menu The 31 bands range from 20 Hz to 20 kHz The C ad E CY j e NUW Wa sks sjasadd SIUIIS 5 Scenes
137. eters will be set as follows FAT CHANNEL PARAMETERS HIPASS NOISE GATE LIMITER COMPRESSOR Low L MID HIGH a POWER USER TIP 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 Scene Page 1 Recall Value encoder to scroll through the Scene library When you have found the Scene you wish to recall Recalling Assigns No Pots Ho press the Recall button By default the StudioLive will ERS Dyn No GEQ No recall all stored parameters Fat Channel settings inta ti PUR Mis No o Ea channel muting and soloing Aux mixes and internal A o Faders Ho Push Recall effects parameters except fader knob and graphic EQ positions Recall If you do not wish to recall a certain set of parameters simply set its Recalling group to No by using the Next and Prev buttons to navigate through the screen When the Recalling group 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 40 Scenes Presets System Menu and MIDI Control 5 Creating and Recalling a Scene 5 1 The StudioLive s recallable parameters are grouped as follows Mu
138. everse High Pass filter and Gate e Pre 2 Sends each channel to the aux bus after all Fat Channel parameters Phase Reverse High Pass filter Gate Compressor EQ and Limiter but before the fader e Post Sends each channel to the Aux bus after all Fat Channel parameters Phase Reverse High Pass filter Gate Compressor EQ amp Limiter and after the fader POWER USER TIP Use the Pre 2 position for headphone and in ear mixes to give your performers a polished studio sound This setting should be avoided for floor wedges as compression can cause feedback problems 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 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 readout Owner s Manual Scenes Presets System Menu and MIDI Control 5 System Menu 5 4 Sync Information Syster Page 3 Digital Sampling Rate FireWire Press the Page Down button to access the Sync Information page From here you can view your FireWire connectivity When the StudioLive is connected and synced to a computer via FireWire the Status will read Driver On and the Sample Rate will read FireWire See Section 7 1 1 for more details Status Driver On To ensure the safety of the audio equipmen
139. evice from installing or achieving a stable sync We recommend FireWire cards that have s400 FireWire connections only FireWire cards with NEC chipsets Symptoms include installation issues erratic audio and extraneous static and noise 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 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 Sample Rate reads FireWire the Link ID is set to 0 and the driver is On 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 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
140. f you are using Aux 3 as the monitor mix to the bass player s floor wedge and Aux 4 as the mix to the keyboard SE 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 Power User Tip The Talkback mic preamp is a high quality XMAX preamp the same model that the i channel inputs have If your musicians are using in ear monitoring on stage they can feel isolated from the audience and require an ambience microphone You can use the Talkback input for just this purpose without using up a channel Solo Bus Volume Adjusts the Overall Volume of the Solo Bus Control This knob adjusts the overall level for the Solo bus Talkback Mic Level Controls the Overall Level of the Talkback Mic A This knob controls the overall volume of the Talkback mic input The trim for the Talkback mic is located on the back panel next to the input See Section 3 1 for details l A a O Please Note The a me preamp does not pass through the angles to digital PFL Toggle Button Enables PEL Solo Mode converters Because of this while the Talkback function buttons assign to Aux 1 2 assign to Aux 3 4 and Talk are recalled with a scene the Talkback level is not recallable The PFL button engages Pre Fader Listening in the Solo bus Pressing Solo on any 0 PFL channel or bus routes that channel to the Solo bus and has no effect on the main or m aux mixes The Aux bus soloing is always PFL rega
141. ft Parameter button to navigate to the CC field Use the Value Up button to set the Control Change number to 64 Press the left Parameter button until the LCD reads EXP1 Assign Use the left Parameter button to navigate to the CH Tx field and press the Value Down button until the MIDI channel value is 04 Use the left Parameter button to navigate to the CC field Use the Value Up button to set the Control Change number to 40 Owner s Manual Naming and Saving Your Patch Recalling StudioLive Scenes Scenes Presets System Menu and MIDI Control 5 Using MIDI Control Mode to Remote Control StudioLive 5 5 Press the left Parameter button until the LCD reads EXP2 Assign Use the left Parameter button to navigate to the CH Tx field and press the Value Down button until the MIDI channels value is 04 Use the left Parameter button button to navigate to the CC field Use the Value Up button to set the Control Change number to 42 Press the left Parameter button until the LCD reads Patch Name Use the Value Up and Down buttons and left right Parameter buttons to enter a name such as My Preset Press the Exit button You will now be on the Main screen of the LCD Press the Write button so that the LCD displays Write to WRITE 01 In this example we will save to patch library position 01 but you can also use the Value buttons to scroll to an empty patch position Press the Write bu
142. ght will move the event backward and forward in time relative to the Timeline zoom Dragging the event up or down will move the Audio Event to the adjacent audio track Size an Audio Event Events can be thought of as windows into audio files where what you see is what you will hear Sizing is a fundamental technique Audio Events are made shorter or longer so that only a portion of the audio they contain is seen and therefore heard 99 SL Remote Capture amp Studio One Artist cS U N ES w D a N 31108 3 0U9Y JS J04JU0 JES19AIU 9EMIYOS QO un S j a a gt z un r 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 7 4 Capture To size any Audio Event using the Arrow Tool float the mouse to the left or right edge of the event to reveal the Sizing Tool When this tool appears click and drag left or right to size the event Audio Events can be sized and resized nondestructively any number of times The pictures above illustrate an Audio Event before and after it is sized Select Multiple Audio Events Multiple Audio Events can be selected at once in order to edit them all at once with a single action To select multiple Audio Events with the Arrow Tool do
143. gs MY AN a stereo bus and assign it to the appropriate set of ty StudioLive template will create a Song with a track Ai ii inputs You can remove any bus by simply selecting Jy Firebox Sample Rate for each of the 16 inputs Every track is armed for i A tr RA l it and clicking the Remove button To customize the Resolution recording and no further setup is required Select i fy FiteStudioLightpipe Ses renee eae rey names of your buses double click on the default A P l name to open a text box When you have finished lt y eee Song Length 0151 01 01 000 f P FireStudio Mobile multitrac typing hit Enter d FireStudio Project seen ru E 3 The rest of this section will guide you through creating a Song from an empty session 10 If you would like the same inputs to be 4 To begin a new Song select Empty Song from the 4 j j a available every time you launch Studio One Templates list At this point you should give your i P Song Tie Artist click the Make Default button W Cremas an empty song Song a name and select your preferred sample rate is e d bit depth Y Iso determine the length of EEE and bit depth You can also determine the length o EE Recording satun tor Audiot ae Sr E ca NN 11 Click on the Outputs tab and you will see all of the ds AAE AN y J A y fa e available outputs on your StudioLive At this time Resolution like to use Notation Bars Seconds Samples or Fr A l Jy FiteStudioLightpipe S
144. hat stereo linking is enabled When Aux 1 and Aux 2 are linked this button enabled pan control for each channel in the Aux pair When this button is enabled the 12 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 Use Aux 1 Encoder mode to set the send level of each channel to the Aux pair For more information of stereo linking please review Section 4 1 4 Owner s Manual Aux 3 Encoder Mode Button Aux 4 Encoder Mode Button Controls 4 Aux Sends 4 3 Enables Aux Mixing and Metering in the Fat Channel When this button is enabled the 12 encoders in the Fat Channel become the Aux send level controls for each of their respective input channels to Aux 3 The meters will display the send level of each of the input channels The encoders for the stereo channels set the send level for both the Left and Right input provided that stereo linking is enabled See 4 1 4 for details Enables Aux Mixing or Pan Control Stereo Send Mode Only and Metering in the Fat Channel When this button is enabled the 12 encoders in the Fat Channel become the Aux send level controls for each of their respective input channels to Aux 4 The meters will display the send level of each of the input channels The encoders for the stereo channels set the send level for both the Left and Right input provided that stereo linking is enabled
145. have purchased an upgrade of Studio One copy of Studio One Artist Launch Studio One Artist and the Activate Studio One menu will appear 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 process Studio One Expansion 40 00 MB Studio One 1 5 DVD 1 Toontrack EZdrummer Lite 180 00 MB Studio One 1 5 DVD 1 Toontrack EZdrummer Cocktail Kit 200 00 MB Studio One 1 5 DVD 1 LJ E EJ EA EJ EA EJ 2i e E Native Instruments Guitar Rig LE 300 00 MB Studio One 1 5 DVD 1 L y O Native Instruments Kore Player 600 00 MB Studio One 1 5 DVD 1 Space required 5 12GB Space available 163 30 GB Install 7 Packets Done Copy EZLP 4W2D MTGU REJU E3NX Copy 17657 08018 85943 51479 81775 The source of the content will be the same DVD from which you installed Studio One Artist By default Studio One Artist will point to your DVD drive as the content source Listed in the installation menu are separate entries for each available item Click the 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 e When finished installing content click on the Done button to exit the menu SL Remote Capture amp Stu
146. he MIDI channel Controlling FXA FXB and Main Output Levels 1 In Studio One select the Pencil tool 2 Using the Pencil tool draw a MIDI region several bars long 3 Set the MIDI channel for the Instrument track to 4 4 Inthe Track menu select Add Automation Track 127 SL Remote Capture amp Studio One Artist 2 o gt i un w Ag de e un 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 Owner s Manual Software Universal Control SL Remote Capture Studio One Artist 7 7 5 Studio One Artist Quick Start Studio One Artist Quick Start 7 5 A StudioLive 1 5 Onthe Automation track click on the parameter menu and select Add Assigning Unassigning FXA and FXB to the Main Bus Remove Follow Steps 1 7 to control FXA FXB and Main Output levels E ss w 1 Scroll through the MIDI Control Change list until you find Sustain 6 From the Automation window select External Devices 1 StudioLive MIDI Pedal On Off CC 64 and Sustenuto Pedal On Off CC 66 Unlike volume control the mute controls require On Off messages 7 Select CH 4 therefore we recommend using these two Control Change numbers AN when controlling the StudioLive 16 0 2 with Studio One Artist E 8 Scroll thro
147. he 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 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 press the Solo buttons on the channels or auxes 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
148. he track to which you would like to add it Drag and Drop Audio and MIDI Files e My First Song JET Snap A a 11 Sounds L odpm i i an Dance Drums 004 140bpm ae 8 01 01 000 0001 01 01 000 0001 01 01 000 Audio and MIDI files can be quickly located auditioned and imported into your Song by dragging r naci them from the file browser into the Arrange view o If you drag the file to an empty space a new track gt 3 Studio One Expansion Y Studio One Instruments Vol 1 4 Jo Studio One Loops Val 1 4 ar 140bpm ey Dance Drums 002 140bpm wav fj Dance Drums 003 140bpm wav HA Dance Drums 004 140bpm wav il Dance Drums 005 140bpm wav ey Dance Drums 006 140bpm wav ay Dance Drums 007 140bpm wav if Dance Drums 008 140bpm wav 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 i Dance Drums 010 140bpm wav i Dance Drums 011 140bpm wav coy Dance Drums 012 140bpm wav Dance Drums 013 140bpm wav Dance Drums 014 140bpm wav hy Dance Drums 015 140bpm wav ij Dance Drums 016 140bpm wav if Dance Drums 018 140bpm wav lil Dance Drums 019 140bpm wav gt J Atomic Synths gt 1 Deep Frets Electric Guitar gt J Fifty Galion Drums gt J Funk Drums L Hip Hop Xpression gt J Hotbox Vol 1 gt J Icebox Dance Drums 004 140bpm 44 1 kHz 16 bil Stereo 11 1
149. heading off a feedback problem 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 that is if Channel 3 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 We highly recommend that you drop out of this mode once the show has started 155 ee cS r e gt EEE E OE PA PAS A E i ad 17a EJES 8 Tutorials 8 7 The Solo Bus PreSonus StudioLive 16 0 2 8 7 3 Using Solo in Place SIP to Set Up a Mix 156 In Section 8 7 we discussed a quick and easy way to set up the input levels for your StudioLive ensuring that you have the highest possible input level without clipping your analog to digital converters The next step is to set up your mix by dialing in the dynamics EQ and fader settings for each channel Enter Solo In Place SIP As discussed earlier in Section 8 7 most engineers start with the drums and work from the bottom up To begin bring all your faders down and raise your main fader to unity gain Press and hold the SIP button in the Cue section until itilluminates and press the Solo button on your kick drum mic channel Notice that all the o
150. hem to adjust the dynamics you will need to make on your StudioLive From the Fat Channel you can processing and EQ The Fat Channel s processing section consists of five parts dni aroma to cvervinenrand auindi High Pass filter Noise Gate Compressor Limiter and parametric EQ Each can y 7 3 gene j be turned on or off and controlled separately The signal flows as follows Create sends and effects mixes for all four analog Aux sends and both internal effects buses Engage phantom power for each mic preamp Hi Pass 0 y l e Meter inputs Aux and Main outputs and gain reduction for all 16 channels e Copy save and load Fat Channel and GEQ presets e Recall your fader position for stored mixes __ A pa A NE 14 15 an j un 4 Controls 4 1 The Fat Channel Phase reverse is only available on the 16 channels of the input bus 48V Button Engages Phantom Power in the Microphone Preamp of the Selected A Channel Freq Hz Push this button to engage phantom power in the selected Gate On Off channel s microphone preamp The Button button will illuminate indicating that phantom power is active Phantom power transmits 48V of PreSonus StudioLive 16 0 2 frequency are attenuated See Section 8 3 1 for more details The slope of the High Pass Filter is 6 dB octave Turns the Gate On and Off for the Selected
151. iPad using StudioLive Remote STEP 1 Creating an Ad Hoc network on your computer Windows XP 1 Open Start gt Control Panel 2 Click Network and Internet Connections 3 Select Network Connections 4 Right click your wireless network connection and then click Properties 5 Click the Wireless Networks tab in the Wireless Network Connection Properties dialog box 6 Under Preferred Networks on the Wireless Networks tab click Add 7 On the Association tab type the name of your ad hoc wireless network in Network name SSID box For example you could name your wireless network StudioLive 8 Uncheck The key is provided for me automatically 9 Check This is a computer to computer ad hoc network 75 SL Remote Capture amp Studio One Artist O e UU N ES w D a N ginyde 910W9Y 1S 101 U0 PSIBAIUL DAEMIJOS zo un a oh a a gt gt Sr N 7 Software Universal Control SL Remote Capture amp Studio One Artist 7 3 Using StudioLive Remote for iPad n 10 11 PreSonus StudioLive 16 0 2 Create a password and type it in both the Network Key and Confirm Network Key boxes For the best security include letters numbers and punctuation Then click OK Click OK again to
152. ibes aspects of the studio recording workflow using the StudioLive mixer and Capture 111 a SL Remote Capture amp Studio One Artist ES HU J N hh D 2 a he S da Mn EA won Lem A ES Ye go AJ Zo as Sa SP 5 A Do DO Si sao AD 101 U0 JESJ AIUN BJBMIJOS 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 74 Capture Overdubbing 112 Ina studio recording session as opposed to recording live you might wish to record on only a few tracks or on a single track at a time and then record more later This process of adding to your recorded tracks later is called overdubbing Using Capture and the StudioLive mixer you can play recorded audio on any tracks through the StudioLive mixer and simultaneously record new audio to tracks in Capture To do this it is a good idea to first establish a good mix to listen to while recording Just as when creating monitor mixes for a live performance with the StudioLive mixer you can create a number of mixes to listen to For instance you might create a stereo mix of the playback from Capture on Auxes 1 and 2 for a guitarist who is about to overdub a lead guitar part To accomplish this do the following For all input channels on the StudioLive mixer on which you wish to play tracks from Capture eng
153. in FireWire 400 FireWire 800 cable IEC power cord StudioLive Software Library containing e PreSonus StudioLive Artist program DVD plus gigabytes of third party content e PreSonus Capture CD with demo Sessions e PreSonus Virtual StudioLive and Universal Control CD Owner s Manual Hook up 3 Rear Panel Connections 3 1 3 0 Hookup 3 1 Rear Panel Connections Mic 48V Level Talkback Mic 411 PreSonus a Right 15 16 13 14 Power 100 240 VAC 50 60Hz 4 5 Microphone Inputs Your StudioLive is equipped with 12 PreSonus XMAX microphone preamplifiers for use with all types of microphones The PreSonus preamplifier has a Class A input buffer followed by a dual servo gain stage This arrangement results in ultra low noise and wide gain control allowing you to boost signals without increasing unwanted background noise 48 volt Phantom Power The StudioLive provides 48V phantom power for the 48V microphone input on each channel This feature can be individually enabled for each channel using buttons on the top panel WARNING Phantom power is only required for condenser microphones and can severely damage dynamic mics especially ribbon mics Therefore switch phantom power off for all channels where it is not required XLR connector wiring for phantom power Pin 1 GND Pin 2 48V Pin 3 48V Line level Input Each channel of the StudioLive has a 1 4 inch balanced TRS connec
154. ive too soon control the mixer from a computer via Virtual StudioLive ee P We made the StudioLive installer as simple and easy to follow as J possible Before beginning the StudioLive installation setup please 4 6 1 System Requirements close all applications including antivirus software and disconnect the FI ae StudioLive from your computer After the installation is successfully Pe Hi PE O Syst ered rem ior your completed don t forget to reenable your antivirus protection Studio One Artist Virtual StudioLive and Capture software P J y P If you see any Windows Security alerts click Install k A hi f nN Vi M TE this eet software anyway Vista or Continue a anyway XP e Operating Systems Don t install this driver sofara Follow the onscreen instructions to complete A e MacOSX 10 5 2 or higher including Mac OS X 10 6 E ENOR the installation When the installer has finished y AN it will prompt you to reboot your computer fa e Hardware Install this driver software anyway Only install driver software obtained from your manufacturer s website or Click Finish to automaticall restart vour PC Once a Minimum Intel Core 1 Solo its GHz processor 1 GB RAM ee software from other sources may harm your computer or steal y y l i your computer has rebooted connect the StudioLive e Recommended Intel Core Duo or Intel Xeon processor 2 GB or more RAM Q See details When the Found New Hardware wizard launch
155. iversal Control Settings Ais UNIVERSAL Driver aeon CONTROL 25 2 8028 SVN 1581 Sample Rate Clock Source Safe Mode REN al E Gal EET IEE RE RII l gt MIRE aE SE EE SE EE ne salt Gea ie E i Haa Pl ae or Y PN g m 5 wy kE oy 7 FR a be me n e 7 oe IS T Seo o3 es s s aai e 7 lesi a ono 1m2 ETT StudioLive 16 0 2 integrates tightly with the Universal Control control panel application Universal Control includes two windows the Launcher window and the Device window For the StudioLive the Device window is the Virtual StudioLive VSL application VSL provides bidirectional control of channel Aux bus and Main bus levels Fat Channel parameters Aux mixes effects and the graphic EQ It also provides a visual overview of your StudioLive settings so that you can see adjust and organize them VSL includes a librarian allowing you to easily manage your presets and Scenes Controlling your StudioLive with VSL is as easy as drag and drop Load Fat Channel presets and scenes by simply dragging them onto the channel or mixer overview You can load Fat Channel presets as a complete channel strip or as individual gate compressor and EQ presets Through VSL you can back up all of the Scenes and presets stored on your StudioLive These stored settings can be loaded from disk or sent to and stored internally on the StudioLive You can even drag presets out of the bro
156. ixes you are creating using your headphones or your control room monitor by simply soloing the aux and selecting Solo as the source in the Monitor section Effects Processing 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 There are several advantages to using an aux bus for an effects processor This section will describe two of them By using an aux bus to create an effects mix several channels can be sent to a single processor This allows you to use exactly the same reverb on every drum ina kit or for the entire band A reverb is designed to emulate the psycho acoustic properties of a space By using the same reverb for a band you are putting the band in the same room This makes for a more cohesive sound In addition by using an aux mix you can vary the level sent from each channel to the processor allowing you to create an effects mix Let s say that you are using a Owner s Manual Tutorials 8 Aux Bus Mixing 8 4 reverb to liven up a relatively dead room You might send a little bit of each input to the reverb but you probably will not want much of the drums and bass to be processed as too much reverb could reduce their impact and leave your mix without a sturdy foundation So rather than turning the aux send level for the kick drum channel all the way up turn it so that the meter reads between
157. k creation Owner s Manual Software Universal Control SL Remote Capture amp Studio One Artist 7 Using StudioLive Remote for iPad 7 3 7 3 Using StudioLive Remote for iPad StudioLive Remote for iPad provides an unprecedented level of remote control over your StudioLive With SL Remote you can adjust level pan dynamics bus routing FX mixes Aux mixes and GEQ setting from an Apple iPad via a wireless network All you need is a computer with Wi Fi capabilities and an Apple iPad and you re ready to get started 7 3 1 Networking your iPad and Computer To use StudioLive Remote you must first install Universal Control on and sync your StudioLive to a Windows or Apple computer that has both a FireWire connection and a wireless card Once you have connected and synced your StudioLive to VSL on your computer the next step is to create an ad hoc wireless network between your iPad and your computer An ad hoc or peer to peer network is a very simple network involving at least two systems in this case the computer to which your StudioLive is connected and an Apple iPad Unlike the usual local area network LAN that you use to connect multiple computers to the Internet or to a shared file server no server or router is needed Creating an ad hoc wireless network between your computer and your iPad is quick and easy The network will allow you to remote control VSL and hence your StudioLive from an
158. lace a condenser microphone approximately six feet away pointed at the amp Experiment with distance Also experiment with inverting the phase of the room microphone to check for phase cancellation and reinforcement Select the fuller sounding position To use this technique in a live application omit the condenser microphone 131 2 2 ie r e gt EEE E E PA PAS A E ar i ad 17a ES 8 Tutorials 8 1 Microphone Types Acoustic Guitar 132 PreSonus StudioLive 16 0 2 Point a small diaphragm condenser microphone at the 12th fret approximately 8 inches away Point a large diaphragm condenser microphone at the bridge of the guitar approximately 12 inches from the guitar Experiment with distances and microphone placement Another popular method is using an XY microphone placement with two small diaphragm condenser microphones See drum overheads photo on the next page Plug the electric bass guitar into a passive direct box Connect the instrument output from the passive direct box to a bass amplifier Place a dynamic microphone an inch or two away from the speaker and connect it to a StudioLive microphone input Connect the line output from the passive direct box to a line input on a different channel of the StudioLive For recording place these signals on separate tracks During mixing you can blend the direct and a
159. ll want the StudioLive to be your Master Clock in which case set the clock to StudioLive Internal Changes How the StudioLive Driver s Buffer Size is Set Normal Mode Input and Output buffers are both identical to the Buffer Size setting Safe Mode 1 3 Increases the output buffer size for added stability Owner s Manual Buffer Size Selector PC only Buffer Size Device Window Button pi Var bee MINT t iata ATA File Menu Show All Devices Close All Devices Quit Settings Check Firmware AA Universal Control ae Lome imate Wi GoNTROL Software Universal Control SL Remote Capture amp Studio One Artist 7 Universal Control 7 1 Changes the StudioLive Buffer Size You can set the buffer size from 64 to 4 096 samples The buffer size determines the round trip time it takes audio data to be converted from analog to digital and back to analog As a general rule the higher the buffer size the better the system performance but the less playable virtual instruments and the like become In general 512 samples 11 to 12 milliseconds will provide you with a large enough buffer for optimum system performance but low enough to be unobtrusive You should set your buffer size and sample rate prior to launching your host application On the Mac the buffer size is set from inside your host application Opens the Device Window Click on this button to open Virtual StudioLive To give your St
160. ls 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 Agere LSI FW323 06 TI TSB43AB23 VIA VT6308 Troubleshooting amp Warranty 10 Troubleshooting 10 1 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 As of the publication of this manual PreSonus only recommends the following Express cards ADS Pyro 1394a StarTech EC13942 Known Incompatible Hardware ATI Radeon 9000 9001 IGP video chipset Symptoms are consistent clicks 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 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 d
161. lumn in the pop up window will be named Provided by Driver Acti vate each of these labels for your StudioLive When you are done close this window You are now ready to use your StudioLive Launch Cubase 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 59 a D am Y g a S vos c E cS J 6 Connecting to a Computer PreSonus StudioLive 16 0 2 6 4 Using the StudioLive as an Audio Interface Cakewalk Sonar 6 Ableton Live 5 M S 2 Se SS Se So gt Ea gt a 60 Launch Sonar Go to Options Audio and click on the Advanced tab Change the Driver Mode to ASIO Using WDM rather than ASIO for pro audio applications is not recommended Click the OK button Restart Sonar Go to Options Audio and click on the Drivers tab Highlight all input and output drivers 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 Set the Recording
162. ly duck that is reduce the level of the music whenever the narrator speaks or the vocalist sings There are two basic types of expansion dynamic and downward Expansion increases the dynamic range of a signal after the signal crosses the expansion threshold Dynamic expansion is basically the opposite of compression In fact broadcasters use dynamic expansion to undo compression before transmitting the audio signal This is commonly referred to as companding or COMPression followed by expANDING By far the most common use of expansion is downward expansion In contrast to compression which decreases the level of a signal after it rises above the compression threshold expansion decreases the level of a signal after the signal goes below the expansion threshold The amount of level reduction is determined by the expansion ratio For example a 2 1 expansion ratio reduces the level of a signal by a factor of two e g if a level drops 5 dB below the expansion threshold the expander will reduce it to 10 dB below the threshold 137 a r e BEER 9 E A PAS A E ar e Nn ESE 8 Tutorials PreSonus StudioLive 16 0 2 8 2 A Brief Tutorial on Dynamics Processing Expansion Terminology Noise Gates 138 Commonly used for noise reduction expansion is very effective as a simple noise gate The major difference between
163. ly self evident human beings don t live in a vacuum Because our brains receive cues about the nature of the space around us based partially on audio reflections a sense of space makes an audio recording sound more natural and therefore more pleasing The following parameters can usually be adjusted in a reverb effect e Decay Decay is the time required for the reflections reverberation to die away In most modern music production reverb decay times of between one and three seconds are prevalent A reverb setting with strong early reflections and a quick decay are a great way to create a stereo effect from a mono source e Predelay Predelay is the time between the end of the initial sound and the moment when the first reflections become audible Imagine you re back on that stage in a large music hall This time you stand on the very edge of the stage and shout Hello world toward the center of the hall There will be a brief pause before you hear the first noticeable reflections of your voice because the sound waves can travel much further before encountering a surface and bouncing back There are closer surfaces of course notably the floor and the ceiling just in front of the stage but only a small part of the direct sound will go there so those reflections will be much less noticeable Adjusting the predelay parameter on a reverb allows you to change the apparent size of the room without having to change the overall decay
164. mplifier signal to taste This technique can also be used in live applications Owner s Manual Drum Overheads XY example Tutorials 8 Microphone Types 8 1 Place two small diaphragm condenser microphones on an XY stereo microphone holder bar Position the microphones so that each one is at a 45 degree angle pointed down at the drum kit approximately 7 or 8 feet above the floor or drum riser Experiment with height This technique can be used in live applications as well Point a dynamic microphone at the center of the snare making sure it is placed so that the drummer will not hit it Place a small diaphragm condenser microphone under the drum pointed at the snares Experiment with the placement of both microphones Also experiment with inverting the phase of the bottom microphone This technique can be used in live applications 133 a 99 r e de gt 8 Tutorials PreSonus StudioLive 16 0 2 8 2 A Brief Tutorial on Dynamics Processing 8 2 A Brief Tutorial on Dynamics Processing The heart of the StudioLive is the Fat Channel dynamics section What follows is an excerpt from brief tutorial on dynamics processing written by PreSonus president and founder Jim Odom It is included to help you get the most out of your StudioLive This tutorial will take you through the basics of dynamics processing and will explain the various types of dynamics processors
165. mputer that are not controlled by Capture This is why the StudioLive mixer has been designed to be completely independent of any computer to which it is connected The FireWire connection to the computer simply allows the computer to receive audio outputs that are completely independent from all other channels in the StudioLive mixer Even if the computer blows up during the live show your live mix will be completely unaffected You can mix and record a live performance using the StudioLive mixer and Capture with complete confidence It is highly recommended that markers be inserted during the recording of a live performance as the markers will make the rest of the production process much easier Each of the examples that follow begins with the same scenario You are mixing and recording a live show using the StudioLive mixer and Capture You start recording before the start of the actual performance and you will not stop recording until the end of the performance During the performance you insert a marker during the break between each song of the ten song set At the end of the set you stop recording and save the Session You are then ready to shut down your system Remember to shut down in the proper sequence first turn the master level down on the StudioLive mixer then turn off power amps and speakers shut down the computer and power down the StudioLive in that order Basic Example The band you recorded the previous
166. n artifact in the signal which is heard as a click All gates have the ability to click when opening but a properly set gate will never click Hold Hold time is used to keep the gate open for a fixed period after the signal drops below the gate threshold This can be very useful for effects such as gated snare where the gate remains open after the snare hit for the duration of the hold time then abruptly closes Release The gate release time determines the rate at which the gate closes Release times should typically be set so that the natural decay of the instrument or vocal being gated is not affected Shorter release times help to clean up the noise in a signal but may cause chattering in percussive instruments Longer release times usually eliminate chattering and should be set by listening carefully for the most natural release of the signal Range The gate range is the amount of gain reduction that the gate produces Therefore if the range is set at O dB there will be no change in the signal as it crosses the threshold If the range is set to 60 dB the signal will be gated reduced by 60 dB etc Key Listen The key listen allows the user to listen to the signal that is being filtered by the gate Frequency Key Filter Some gates offer a variable frequency control allowing the user to set a specific frequency band that the will cause the gate to open or close Owner s Manual Tutorials 8 A Brief Tutorial on Dyn
167. n for that band The band does not have to The StudioLive graphic EQ features an innovative design that sets it apart are active so you can make changes to 12 of the 31 bands at one time 7 f itional hic EQs Traditionally a 31 hic E 1 oo sabia oo ae omen yee oe an en i Like all other parameters on your StudioLive your second order shelving filters with fixed frequencies in order to simulate PaphicOscnings carbestormdsnciecsliect i you a a curve that you set with the 31 front panel sliders A well designed grap 9 mee T and MIDI Control 5 w w Je N a NY n D n w A n eB lt 3 WwW NY response 0 dB The resulting response is then used to find coefficients for the the GEQ preset is saved the Store button will return to its unlit state a second shelving filter through the same optimization process Coefficients Toloadarareseetorany channelon thectdiolive act for all available shelving filters are found through a recursive process i navigate to the GEO page in the System Menu From Unlike conventional designs the frequency and bandwidth of the bands the Fat Channel press the Load button Notice that depends on the curve entered by the user This allows for much tighter matching LCD now displays the GEQ Load menu Use the Value of that curve Because of this innovative design the accuracy of the StudioLive encoder to locate the pres
168. n the StudioLive s library 05 DRM Kick Hip Hop 38 HRN Sax Solo 71 EMPTY LOCATION Ko El must be saved using the Scene menu as described in the first part of this section 06 DRM Kick Jazz 39 PRC Congas 72 EMPTY LOCATION a 07 DRM Snare 1 40 PRC Bongos 73 EMPTY LOCATION 7 08 DRM Fat Snare 41 PRC Cowbell 74 EMPTY LOCATION 5 2 Saving and Loading Channel Presets 09 DRM Snare Crackalak 42 PRC Tambourine 75 EMPTY LOCATION y The StudioLive comes with a suite of channel strip presets created 10 DRM Snare Snappy 43 VOX Male 1 76 EMPTY LOCATION 5 by professional users of PreSonus products These presets provide 11 DRM Toms Mid 44 VOX Male 2 77 EMPTY LOCATION aw a great jumping off point to create a mix quickly and easily The 12 DRM Toms Low 45 VOX Male 3 78 EMPTY LOCATION a ZA StudioLive also allows you to create your own library of presets 13 DRM Toms High 46 VOX Female 1 79 EMPTY LOCATION gs a o 14 DRM Overhead Rock 47 VOX Female 2 80 EMPTY LOCATION AS 50 pa aha pa eiii par ls li ne cnn Sukon E the 15 DRM Overhead Jazz 48 VOX Female 3 81 EMPTY LOCATION EE 38 mn A Ha 16 DRM High Hat 49 VOX Speech 1 82 EMPTY LOCATION sz LCD now displays the Channel Preset Load menu 17 BAS Electric 1 50 VOX Speech 2 83 EMPTY LOCATION The Channel Preset Load menu always displays the 18 BAS Electric 2 51 EMPTY LOCATION 84 EMPTY LOCATION S Channel Preset Page 1 Load
169. nals 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 135 a 99 r e PEA A A Lane ES an e nN EJES 8 8 2 Tutorials Pre
170. nce and rehearsal with a few clicks of your mouse pea Intuitive flexible and powerful StudioLive is a next generation mixing i and recording tool that opens endless creative possibilities lia ar hi KoKo 2 2 Summary of StudioLive 16 0 2 Hardware Features r ii Cus i o 24 bit 48 kHz sampling rate Selected e 12 Class AXMAX microphone preamplifiers 16 line level input j o ine level in e level inputs e 4auxiliary buses e High definition analog to digital converters 118 dB dynamic range E e Unlimited headroom 32 bit floating point digital mixing and effects processing a a so me wa we A er e 16x16 FireWire digital recording interface with two FireWire 400 IEEE 1394 ports e Scene automation with load save recall of all settings A Thank you for purchasing the PreSonus StudioLive 16 0 2 PreSonus Audio Sears aeaa aa e Fat Channel with a Electronics has designed the StudioLive utilizing high grade components to ensure optimum performance that will last a lifetime Loaded with 12 high headroom e High pass filter XMAX microphone preamplifiers a built in 16x16 FireWire recording and playback a e Compressor J engine MIDI I O Fat Channel processing with 3 band EQs compressors limiters and NS downward expanders DSP effects 4 Aux buses extensive LED metering mixer save e Limiter recall channel strip save recall copy paste talkback and more StudioLive breaks l E e Downward expander new b
171. ncy band so if you are working on your kick drum mic start with the lowest band of the EQ Tune in the best sounding low end and move on to the attack It is not uncommon to hear an annoying ringing or a twang mixed in with your amazing sounding low end and perfect attack so your next task will be to find that offending frequency and notch it out Once you are satisfied with your kick drum mute it and move on to the next instrument e Taking your time with equalization is well worth the effort Your mix will have better separation and more clarity 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 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 and hear 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 With every instrument there are frequencies that can be attenuated o
172. ni ala glean ow ene RE AAO PA ou can quickl o the a EQ sas S e sar econ s and live mixes no NAZI amO e oO y q y J y J l use a broad bandwidth in the low frequency band centered at 100 Hz and a narrow bandwidth boosted at 4 kHz In this way you are accentuating the best What is an EQ and downplaying everything else this particular kick drum has to offer 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 Shelving EQ let you turn the treble and bass up or down allowing you to adjust the y P J y J o A shelving EQ attenuates or boost frequencies above or below a specified cutoff coloration of let s say your car stereo or iPod In recording equalization o l Sooo o S e a std point Shelving equalizers come in two different varieties high pass and low pass is a sophisticated art Good equalization is critical to a good mix Ke Low pass shelving filters pass all frequencies below the specified When used correctly an equalizer can provide the impression of nearness P J P q P i P Pan cutoff frequency while attenuating all the frequencies above it A or distance fatten or thin a sound and help blend or provide separation ae l high pass filter does the opposite passing all frequencies above the between similar sounds in a mix allowing them to both shine through the mix E k specified cut off frequency while attenua
173. night comes over the next day to check out the recordings You launch Capture open the Session and begin playback through the StudioLive mixer After half a minute of tense silence while the band wonders what went wrong you realize that the band did not start the actual performance until 20 minutes after you started recording because the lead singer took so long to get on stage It is of course traditional to blame the lead singer You click on the Next Marker button in the Capture Transport to quickly advance to the next marker which is the first song of the set and the band perks up The band thinks they played terribly during the first song and they want to skip to the next song to see if they did any better You click on the Next Marker button again and the next song starts immediately The band listens to a Owner s Manual Software Universal Control SL Remote Capture amp Studio One Artist 7 Capture 7 4 bit of each song and you skip through the whole set within a few minutes as if you were skipping through finished tracks on a CD The band is so impressed with the quality of the recording and your production skills that they hire you on the spot to mix the show and turn itinto a live performance album they can release to their adoring fans Advanced Example The day after the gig you prepare to mix the previous night s live recording in your personal studio You realize that each song will probably be mixed in a differ
174. nternet connected IO and tutorial material instruments loops samples and PE computer to create your account After you have created your Installto usera wesley Documenta Studio One other third party content The Studio One Artist bundle account skip to Activating Studio One Artist Offline ss Sli er eat is WS HGH includes all that you need to begin producing music in E e Upon completing the Studio One Artist installation PJ Studio One Instruments Vol 1 and activation process the Studio One Content 150 00 MB Studio One 1 5 DVD 1 e A Installer will appear If it does not appear navigate to E E had nahana aaea Help Studio One Installation s ig Ueberschall Impact Drums A A 70 00 MB Studio One 1 5 DVD 1 e At the top of the installation menu select the source Activating Studio One Artist Online AAA ON from which the content will be installed as well as PM Synth Session the location where you wish to install the content e Activate Studio One e Now that you have created a user account you can activate your 2 00 GB Studio One 1 5 DVD 1 31n1d8 910W9Y 7S 101 U0 PSIBAIUL D9AEMIJOS go Un E a j a a gt gt Sr N es bian ae Online Activation Please enter username and password of your PreSonus Account and the Product Key of the Studio One version you purchased Username Product Key VFHD 12KJ FJEKD 8FJ3 JFK3 92JV F Remember my credentials 1
175. o One onto Channel 1 of the StudioLive 1 To begin create a mono audio track in Studio One Assign its input to Channel 1 and its output to Output 1 Several DAW applications including Apple Logic do not offer mono output buses If this is the case you must route the output stream to Channels 1 2 and pan the channel all the way to the left so that it will only be sent to Output 1 Please consult your software s user manual for specific instructions 2 Once you have the routing set up in Studio One drag and drop the Beat Delay plug in onto your track and record enable it Software monitoring will be enabled automatically 3 Press the FireWire Return Mode button on your StudioLive and then press Channel 1 s MultiMode button of your StudioLive You can now monitor your analog signal with your inserted effect as you record from any of the output buses on the StudioLive Owner s Manual Software Universal Control SL Remote Capture amp Studio One Artist 7 Universal Control 7 1 7 0 Software Universal Control with VSL StudioLive Remote for iPad Capture Studio One Artist Your StudioLive 16 0 2 comes with a powerful software bundle that provides everything you need to record live and in the studio produce and mix an album and back up restore and organize your user Scenes and presets 7 1 Universal Control StudioLive l Basic Playback i gea a naming test W test G Zero Out Board Reset Un
176. oLive 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 audio 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 6 4 2 While in FireWire Return mode each MultiMode button that is enabled will illuminate orange to alert you that the FireWire return is engaged for that channel POWER USER TIP When a FireWire return is engaged the analog input is bypassed to the mix bus Because of this do not engage a FireWire return when your StudioLive is not connected and synced to a computer as it will mute the analog input globally Turns Soloing On and Off When Solo Mode is engaged the MultiMode buttons on each channel function as the the Solo buttons for each channel and Aux When a MultiMode button is engaged while in this mode it will solo its channel to the main outputs or to the monitor outputs depending on whether PFL AFL or SIP is selected in the Solo bus section Please review Section 8 8 for details While in Solo Mode each MultiMode button that is enabled will illuminate yellow to alert you that the channel is soloed When a channel or bus is soloed it will automatically be selected and its Select button will illuminate POWER USER TIP When Solo In Place is engaged
177. 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 PEA La A A ES 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 an e nN 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 EJES 134 Owner s Manual Tutorials 8 A Brief Tutorial on Dynamics Processing 8 2 Why do the best consoles in the world put compressors on every channel The answer is simply that most instruments need some form of compression often very subtle to be properly heard in a mix Why do we need noise gates Consider the compressed vocal example discussed earlier you now have a 20 dB dynamic range for the
178. om the beginning of the Session Once you have the lead guitar part recorded you might find a few things you would like to correct in the part This is where punching as described in the next section comes in handy Owner s Manual T3 Fal Software Universal Control SL Remote Capture amp Studio One Artist 7 Studio One Artist Quick Start 7 5 Studio One Artist Quick Start tor Wil ic E a i bl i A i iia h p P 5 e E fia s i E ema Des E DP ed ua dl rr id Ve E rara ds Gee lr Dr ee ad Pr A eee rs eee ad ers Pr Gee 5 iii PI A Your StudioLive 16 0 2 comes with Studio One Artist recording and production software Whether you are about to record your first album or your fiftieth Studio One Artist provides you with all of the tools necessary to capture and mix a great performance As a valued PreSonus customer you are also eligible for an upgrade discount for Studio One Pro when you are ready to master your work create a digital version for the Web or incorporate third party VST plug ins into your recording process For more details on the Studio One Pro upgrade program for PreSonus customers please visit www presonus com Studio One Artist was designed for easy integration with both the StudioLive and Capture Sessions recorded in Capture can be opened directly in Studio One no exporting or importing is required Any markers edits
179. ompressor 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 0 dB so that the output signal cannot exceed 0 dB regardless of the level of the input signal Attack Attack sets the speed at which the compressor acts on the input signal A slow attack time allows the beginning envelope of a signal commonly referred to as the initial transient to pass through the Owner s Manual Tutorials 8 A Brief Tutorial on Dynamics Processing 8 2 compressor unprocessed whereas a fast attack time immediately subjects the signal to the ratio and threshold settings of the compressor Release Release sets the length of time the compressor takes to return the gain reduction back to zero no gain reduction after the signal level drops below the compression threshold Very short 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 Hard Soft Knee With hard knee compression the gain reduction applied to the Signal occurs as soon as the signal exceeds the level se
180. one of the following e Click outside of the range of an Audio Event and then drag over any other events a gray box will be drawn while you drag over the targeted selection area Release the click once the box is drawn over all of the events you wish to select and these events will now all be selected and can be edited at once e Click on any event and then while holding Ctrl Cmd on the keyboard click on any other event s to select them This allows you to select multiple events that are not close in proximity to each other All selected events can now be edited at once Range Tool The Range Tool is used to select a range or area within Audio Events Click on the Range Tool button or press NumPad 3 on the keyboard to select the Range Tool To select a range within events using the Range Tool click and drag over the area to be selected a gray box will be drawn over the targeted selection area Release the click once you ve drawn the box over the range of the events you wish to select The range of the events you have selected is now treated as a single consolidated event e Acommon use of the Range Tool is to quickly select and delete a range of audio within events rather than using the Split Tool to make two splits then selecting and deleting the section with the Arrow Tool This process is shown in the pictures below e Oncearange has been selected the Range Tool will automatically become the Arrow
181. oo oo ooo eo ooo ooo ooo ooo ooo ooo i a E i Ig a a A i ila a a a a a o bial id bad del erry iamil diia aiai ELEC A api ET ia Ta MUTE WUE MUTE MITE MUTE MUTE MUTE MITE IAE H Ch Ch 2 Cha cha chs ch 4 Ha a 4 a a Dn The Lei a oe BAS Decio 1 a BAG hectic 2 Bp MaI a a ae DAS Coria F 2M Pal bee blas DEM Highs Hai as DPM kii i a DAM ce f ae OEM Rick Fink i b DEM fei Fok J ok DAM Wink jip Hop w GEM Kini aii gi DAM rija Lars B DEM Overhead Rock ba PA jarr 1 hdi DAU Snare Crackateh a DAM Grave inacey ep DEM Timm High ay Dini Toma Los 15 III Y 4 at i H CR 7 l el a i Y j u e of e e p s ali E i E Ba Pie ok y joa Lo mil bpk Mal Sa Ea l p j a a 4 AN E Si gt Lj E ar 6 gt i E 7 2 1 VSL Browser 66 When you first launch VSL notice the Browser window along the right side of the screen The Browser in VSL functions similarly to the Browser in Studio One From the Browser you can see all of the Scenes Fat Channel presets FX presets and graphic EQ settings that are saved on your StudioLive and on your computer You can also create new settings and can back up your entire library from this window Simply drag and drop a Scene or preset to load it on you
182. ophone at about the same volume as you will do during the upcoming performance Owner s Manual Quick Start Level Setting 1 Geting Started IMPORTANT LEVEL SETTING 1 1 Turn the trim knob on Channel 1 clockwise while watching the first meter in the Fat Channel Adjust the Channel 1 trim knob until a little more than half of the green LEDs are lighting up The red LED at the top of the meter should never light up Move the Channel 1 fader up until it reaches U unity gain Bring up the Main fader until you can comfortably listen to your microphone through your speakers With Channel 1 selected you can use the Fat Channel to add dynamics processing and EQ Lom Etj Hik E SAA OA OA E puw f Limit Edi Power User Tip Using SIP Solo In Place To Dial In Your Mix 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 Solo section until it illuminates red Press the Solo button and then the Multimode 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 Select button The Fat Channel will display the dynamics processing EQ output routing and pan settings for the kick drum Using the encoders and meters in the Fat Channel set up the compressor and EQ for this channel Once you
183. or more maybe lots more Cook until onions are translucent Add chicken and cook until it turns white Add diced green onions 1 tsp salt Ya 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 Turn off and let sit for 30 minutes O Serve and enjoy Serves 20 O 2011 PreSonus Audio Electronics Inc All Rights Reserved PreSonus StudioLive Studio One Capture Virtual StudioLive and FireStudio are trademarks of PreSonus Audio Electronics Inc Macintosh is a trademark of Apple Inc in the U S and other countries Windows is a registered trademark of Microsoft Inc in the U S and other countries Other product names mentioned herein may be trademarks of their respective companies All specifications subject to change without notice except the jambalaya recipe which is a classic Part 820 SLO002 A 167 a StudioLive 16 0 2 Quick Start Guide 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 use
184. or recording This is the only format supported as it is the most widely used and it contains timestamps that mark when recordings start within a Song When recorded Broadcast Wave audio files get bigger than 4 GB the RF64 file format is automatically used as the standard file format The recommended file system for the recording partition on your computer is NTFS on Windows and HFS on Mac OS X After recording the next step in production is usually editing In the editing process recorded events are manipulated in many ways to achieve a desired sound All audio that exists within the timeline of your Session will be visually represented by Audio Events which contain waveform representations of the recorded audio Audio Events can be moved and split among other possibilities Mouse Tools allow direct interaction with Audio Events using the mouse It is helpful to remember that actions done using the Mouse Tools can be undone at any time so you can feel free to explore their functions without permanently altering anything The following Mouse Tools and related functions are available This is the default selected tool Click on the Arrow Tool button or press NumPad 1 on the keyboard to select the Arrow Tool The following describes various possible functions using the Arrow Tool Move an Audio Event To move an event using the Arrow Tool click anywhere on the event and drag left right up or down Dragging the event left or ri
185. ord enable each Audio Track you would like to use or just record enable all of the Audio Tracks by clicking on the Arm All button at the top of the Track column If audio is streaming in from the StudioLive and the Audio Tracks are record enabled you should see each track s input level displayed in the track s level meter in the meter bridge You should set input levels for each input channel on the StudioLive mixer while preparing to mix the live performance If the hardware inputs on the StudioLive mixer are not clipping you do not need to worry about clipping in Capture Once the desired tracks are record enabled and you have verified input levels in Capture s meter bridge you are ready to begin recording 109 a SL Remote Capture amp Studio One Artist cS a e UU N ES w gt D a oS un 31108 3 0U9Y JS 104340 ESI9AIU DIEMIJLOS Qo WN SE a g gt gt un 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 7 4 Capture Worry Free Live Recording Insert Markers While Recording 110 Many people are concerned when a computer is involved while mixing a live show While Capture has been engineered to be remarkably stable there are many variables on any given co
186. ou ve zoomed in on a few bands or zoomed all the way out so that you can see all 31 bands on your iPad the Overview Map will highlight which bands are are currently in view and where they are in reference to the rest of the GEO POWER USER TIP The Overview Map always follows your current position So if you scroll left or right while you are zoomed in the Overview Map will scroll with you Owner s Manual Software Universal Control SL Remote Capture amp Studio One Artist 7 Using StudioLive Remote for iPad 7 3 Draw Tool GEQ Assignment ASSIGN Allows you to draw the EQ curve with your finger SL Remote provides flexible control over your graphic EQ settings You can control each band individually or several bands at once via the sliders or you can simply draw in your own EQ curve and fine tune from there To enable EQ Curve Drawing tap the Draw button and slide your finger over the graphic EQ bands to begin drawing your curve Each band s slider will snap to your finger as you pass over it Inserts each GEQ on an Aux Subgroup or Main bus output pair StudioLive 24 4 2 only Just like VSL and the StudioLive 24 4 2 SL Remote allows you to choose onto which output pair you d like to insert each graphic EQ To change an assignment simply tap on the Assign menu and then choose the output pair by tapping it StudioLive 16 4 2 users each of your g
187. oundaries for music performance and production All you need is a computer with a FireWire connection a few microphones and cables speakers and your e 3 band semi parametric EQ instruments and you are ready to record in the studio or in front of a live audience pan We encourage you to contact us at 1 225 216 7887 with any questions or sli e Phantom power comments you may have regarding your PreSonus StudioLive PreSonus J Audio Electronics is committed to constant product improvement and we e Phase reverse value your suggestions highly We believe the best way to achieve our goal of y gges one EVER y e Load save constant product improvement is by listening to the real experts our valued customers We appreciate the support you have shown us through the purchase e 2 master DSP effects reverb and delay with Load and Save of this product We are confident that you will enjoy your StudioLive P y Jovy e MIDI control over Scene and FX Recall FX to Main assign x ABOUT THIS MANUAL We suggest that you use this manual to familiarize yourself with the Main Output FX Return Level and Tap Tempo a features applications and correct connection procedures for your StudioLive before trying to ds connect it to your computer This will help you avoid problems during installation and setup e Military grade quick touch buttons J Throughout this manual you will find Power User Tips These tips provide some innovative xg q C 3 mix
188. ovides control over most of these parameters but the Q is fixed Some devices Graphic EQs are generally used to fine tune the overall mix for a particular such as the StudioLive 16 4 2 amp 16 0 2 have quasi parametric EQ which is semi room For instance if you are mixing in a dead room you may want to boost hhh parametric EQ with a simple switchable Q setting typically High and Low Q 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 highest frequencies In general you should not make drastic amplitude adjustments to any particular frequency bands Instead make smaller incremental adjustments over a wider Q is the ratio of center frequency to bandwidth and if the center frequency spectrum to round out your final mix To assist you with these adjustments here is fixed then bandwidth is inversely proportional to Q meaning that as is an overview of which frequencies affect different sound characteristics you raise the Q you narrow the bandwidth In fully parametric EQs you have Sub Bass 16 Hz to 60 Hz The lowest of these bass frequencies are felt rather continuous bandwidth control and or continuous Q control which allows q an e nN you to attenuate or boost a very narrow or wide range of frequencies A narrow bandwidth higher Q has obvious benefits for removing unpleasant tones Let s say the snare drum in yo
189. ppily communicating before the pressure is on and you have a singer trying to dial in his monitor mix while you re trying to mic up the drum kit So while the guitarist is flirting with the bartender take a quick moment to get your iPad computer and StudioLive talking Once you have created your ad hoc network and joined it from your iPad you are ready to launch StudioLive Remote Important You must connect to your computer s ad hoc network each time you plan on remote controlling your StudioLive with StudioLive Remote Apple s iPad offer two unique viewing options Landscape and Portrait PORTRAIT LANDSCAPE For the most part you will be hold your iPad in Landscape view This will allow you to use the Start Overview Aux Mix and GEQ pages Portrait view provides you with a zoomed in view of the currently selected channel and allows you to scroll quickly through every channel and bus on your StudioLive To launch StudioLive Remote tap on the SL Remote icon on your iPad When you launch StudioLive Remote for the first time on a new ad hoc network or if you have a joined a different wireless network since the last time you linked up your computer and iPad you will taken to the Start page On the Start page you will see a list of every StudioLive mixer on the network including the Offline 24 4 2 Simulation The StudioLive 24 4 2 Offline Simulation is there for you to practice your finger control away from your StudioLive
190. programs In this case you must manually import the Audio Events from your Capture Session into the audio editing application using whatever means possible in that program Refer to the documentation of your software for more information on this process Note that in some cases you may have more than one Audio Event on a given track as opposed to a single continuous Audio Event or you might have audio events that do not have the same start position In either case it is highly recommended that you first export the audio for each track before attempting to import into an audio editing program as described in the Export Audio Files section of this section Be sure to have the Export Session option selected in the Export Audio File menu as shown so that the result of the process will be a single continuous audio file for each track in the session Once you have a single continuous audio file for each track directly importing the files into an audio editor is much easier All that is required to reconstruct your Capture Session is to align each file at the same Start time Owner s Manual 7 4 10 Capture Key Commands Export to Audio File Insert Named Marker Locate Next Marker Locate Previous Marker Recall Marker 1 9 Mute Track Solo Track Arm Track Tools Select Arrow Tool Select Range Tool Select Split Tool Select Eraser Tool Transport Software Universal Control SL Remote Capture amp Studio One Artist
191. put buses Low EQ On Off Button Ko Activates Control for the Low Band EQ for the Selected Input or Output Bus This button actives control of the equalizer s Low band for the selected channel or bus The button will illuminate to indicate control is active The Low EQ band is available for all input and output buses 18 Low EQ Frequency Control Freq Hz _ Low EQ Gain Control aP La A bd de L Pa O DO OA Es PA A O E 5 Y a Gain dB PreSonus StudioLive 16 0 2 Sets and Displays the Center Frequency of the Low EQ Band This encoder sets and the meter displays the center frequency of the equalizer s 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 Owner s Manual Low Shelf EQ Button Mid EQ On Off Button M Turns on the Low Shelving EQ for the Selected Input or Output Bus When the Shelf button is not engaged the Low band is semi parametric Enabling the Shelf button turns the Low band into a low shelving EQ that alters by a fixed amount
192. r boosted to add clarity or fullness Altering the wrong frequencies can make an instrument shrill muddy or just downright annoying The following two charts suggest frequency ranges that should be accentuated or downplayed for the most common instruments These are just suggestions the frequencies may need to be adjusted up or down depending on the instrument room and microphone Table 1 Instrument What to Cut Why to Cut Sibilance What to Boost Why to Boost Popping P s IESO ANNIE muse EEE ATC AR a AAA la med AT ae otemend AAA AA SER 400 Hz 2 5 kHz Sharp attack Toms 300Hz Boomy DARA kHz Sharpattack attack 82 Botorm end Cymbals kHz Annoying A e kHz EA e aio a 28 a OOOO ommen s O ANNIE shana 145 8 Tutorials PreSonus StudioLive 16 0 2 Owner s Manual Tutorials 8 8 3 Equalizers Equalizers 8 3 PA Table 2 8 3 3 General EQ Suggestions Included with your StudioLive is a library of Channel Strip presets Section more vocal presence 4 1 6 discusses how to load these presets onto a channel or bus and how raring more attack on kick amp tom I to create your own presets For an idea of where to start check out the j ie RER a following generic EQ settings for several different instruments As with the 7 e o paiana dd po lapels compression settings in Section 8 2 3 the right EQ se
193. r StudioLive Owner s Manual Get Button Software Universal Control SL Remote Capture amp Studio One Artist 7 VSL Virtual StudioLive 7 2 Transfers All Scenes Fat Channel FX and Graphic EQ Presets Stored on the StudioLive to VSL When you first launch VSL you will need to create a link between your StudioLive s internal memory and your computer To do this click on the Get button Press transfer to receive the contents of the StudioLive memory This will replace the local cache and is not undoable Add to Disk Button a 502 Monday at Chepa Carles Ga 503 Tues at the Maple Leaf wk S04 Wednesday at Chat Noir a 505 Thursday at Chelsea s wai 506 Friday night at Le Bon Temps A dialog will open prompting you to click the Transfer button Any settings that are temporarily stored in the local cache i e settings that are currently visible in the Device Memory section of the Browser window will be overwritten Transfers all Scenes Fat Channel FX and Graphic EQ Presets from Temporary Memory to the Permanent Cache VSL allows you to back up your Scenes Fat Channel FX and graphic EQ presets and permanently store them on your computer Each type of preset can be added separately In this way you can back up only what you want when you want To move a Scene or preset from temporary memory into permanent memory simply select one preset or Scene and click the Add to Disk button To select multiple preset
194. r stereo Most often an individual live monitor mix is mono and is sent to a floor wedge or sidefill monitor The obvious exception is in ear monitor systems A studio monitor mix is usually stereo and is sent to a headphone amplifier so it requires both a left and a right channel input In both cases the function of the aux bus is the same 1 As an example let s create a mono monitor mix on Aux 1 To begin press the Aux 1 button in the Encoder Mode section The meter section of the StudioLive will 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 the Main output The encoders below each meter control the channel send level to Aux 1 Use these encoders the same way that you use the faders to set the output level to your main mix Ask your musicians what they would like in their monitor mix and use their requests as a starting point 2 By pressing the Select button for Aux 1 you can add dynamics processing and EQ to the overall monitor mix These are especially useful for eliminating feedback in a monitor Keep in mind that an equalizer 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 aux m
195. rack is currently assigned This will bring up the 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 To begin recording create an audio track assign it to input 1 and connect a microphone to the first channel on the StudioLive Select Record Enable on your track in Studio One Artist Turn up the Channel 1 fader 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 distorting Connect a set of headphones to the StudioLive headphone output and select the Main button in the Monitor section on your StudioLive You may also wish to connect monitors to the StudioLive s control room outputs You are now ready to record For complete instructions please consult the Studio One Reference Manual which is located on your Studio One Artist installation DVD Owner s Manual Creating MIDI Tracks Add Tracks Stereo Automation Impaci Majito My Hardware Synth Presence Software Universal Control SL Remote Capture amp Studio One Artist 7 Studio One Artist Quick Start 7 5 7 Click on the Add Tracks button When the Add Tracks window launches select Instrument as the track format and click the OK button To as
196. raphic EQs is already assigned to either your Main output or one of your Auxes These assignments cannot be changed StudioLive 16 0 2 users have a graphic EQ available for the Main bus only 89 SL Remote Capture amp Studio One Artist cS UU N w D un EA won Lem A ES Ye go AJ Zo a3 Si DY 5 A Do DO F ac AO 101 U0 JESJ AIUN AALMIJOS 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 7 3 Using StudioLive Remote for iPad 7 3 5 Channel Zoom Page The Channel Zoom page opens automatically when you turn your iPad to the Portrait view This page provides you with a look at every controllable parameter for a channel or bus It also allows you to quickly scroll through every channel and bus on your mixer by sliding your finger down the right side of your screen Next FW In Sub Main Bus Assigns Advances View to Engaes FireWire Return Assigns Channel Bus to Subs or Mains Next Channel Pad Start Page Compressor Controls all Compressor Gate Functions Controls all Gate Functions Channel Scroll Bar EQ Controls all EQ Functions HPF Control High Pass Filter Frequency Pan Controls Displays Panning Limiter Fader Controls all Controls Output Limiter functions Level Post Metering Engages Dig
197. rdless of whether this mode is engaged w 32 33 om i un 4 Controls 4 7 Master Section AFL Toggle Button AFL SIP Stereo In Place On Off Button PreSonus StudioLive 16 0 2 Enables AFL Solo Mode The AFL button engages After Fader Listening in the Solo bus Pressing Solo on any channel or bus routes that channel to the Solo bus and has no effect on the main or aux mixes The AFL is not available on the Aux buses Enables Solo In Place Mode SIP Solo In Place or destructive soloing mutes every unsoloed channel on the StudioLive The muted channels will be muted in the Main outputs 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 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 When SIP is engaged channel mutes will only apply to the Main bus SIP does not mute input channels in Aux Send mixes 4 7 3 Monitor Bus Phones A Level Monitor Headphone Output Level Control Phones 34 The StudioLive features a headphone output and control room outputs giving you the ability to monitor multiple sources on the StudioLive The Monitor bus on the StudioLive
198. re Studio One Artist 7 7 3 Using StudioLive Remote for iPad Using StudioLive Remote foriPad 7 3 POWER USER TIP The Aux Sends support off axis movement Once you 7 34 The GEQ Page have touched a fader to select it you can slide your finger anywhere in the screen and make an up down movement to control the fader es ues mons J DEVICES Overview MASTERS jil Il a axes a m GEQ 384 GEQ 5 amp 6 GEQ 7 amp 8 AS ae J _ SKS E 8 8 8 3 GH gml C D a EA AS a E eae A A A AS A AS A k AS kx LT kx fm Ch 1 Ch 2 Ch 7 Ch 8 8 8 3 g FX Edit Button Opens FX Editor From SL Remote you can load new FX Types and adjust their parameters To edit an effect tap on the Edit button in the FX Select Tab for FXA or FXB This will launch the FX Editor GEQ1 GEQ2 ASSIGN ib ON g toda ia pipas As with StudioLive and VSL StudioLive Remote includes a Graphic EQ 5 12 08 5 1248 5 1208 page so that you can tune the room from any listening position or dial in C a a monitor on stage while you are actually standing in front of it The GEQ ll page in StudioLive Remote corresponds directly to the GEQ tab in VSL Me From the GEQ page you can control and view the following parameters PING PONG DELAY v 5120 5 12 dB e All31 bands of each graphic EQ 1 Main Stereo for StudioLive 16 0 2 8 dual mono for StudioLive 16 4 2 and 24 4 2
199. re now ready to use your StudioLive Owner s Manual Connecting to a Computer 6 Using the StudioLive as an Audio Interface 6 4 6 4 Using the StudioLive as an Audio Interface Your StudioLive features a 16x16 FireWire interface Any input can be recorded with any audio recording application that supports Core Audio or ASIO Please consult the documentation that came with your audio application for specific instructions on how to select the StudioLive driver as the audio device driver for your software It is important to note that your StudioLive uses the same driver as the PreSonus FireStudio family of interfaces so its driver will be displayed as PreSonus FireStudio in all driver selection menus 6 4 1 Using the StudioLive with Popular Audio Applications Apple Logic Pro Express 7 Steinberg Cubase 4 Complete setup instructions for PreSonus Studio One Artist and a brief tutorial on its features are located in Section 7 0 of this manual Below are basic driver setup instructions for four popular audio applications Launch Logic Pro Express Go to Logic Preferences Audio Click on the Devices Tab On the Core Audio tab check Enabled Select PreSonus 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 workflow To enable these labels for use in Logic go to Options Audio I O Labels The second co
200. reate your password within the guidelines and click OK Once your network has been successfully created you will see it in your list of available networks Connect your iPad to your Ad Hoc Network 1 Tap on the Settings icon in your iPad 2 Tap on Network 3 Tap on Wi Fi 4 Under Choose a Network you should now see your ad hoc network in the list 5 Tap on your newly created network to select it 6 If you secured your network with a password you will prompted to enter it 7 Tap onthe menu arrow to the right of your network name to open its network settings 8 Turn Auto Join to On 9 You are now ready to launch StudioLive Remote and mix on the go 7 SL Remote Capture amp Studio One Artist 2 o gt i un w Ag de e un 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive 16 0 2 Owner s Manual Software Universal Control SL Remote Capture amp Studio One Artist 7 7 3 Using StudioLive Remote for iPad Using StudioLive Remote foriPad 7 3 Troubleshooting your Ad Hoc Network 7 3 2 Connecting to Virtual StudioLive and the StudioLive Mixer 31108 3 0U9Y JS J04JU0 JES19AIU AIEMIJOS Qo un S j a a gt z un r 78
201. remely difficult to ride the level with a console fader A compressor limiter automatically controls gain without altering the subtleties of the performance A solo guitar can seem to be masked by the rhythm guitars Compression can make your lead soar above the track without shoving the fader through the roof Bass guitar can be difficult to record A consistent level with good attack can be achieved with proper compression Your bass doesn t have to be washed out in the low end of the mix Let the compressor limiter give your bass the punch it needs to drive the bottom of the mix Compressors Terminology 136 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 Expansion Ratio The ratio is the relationship between the output level and the input level In other words the ratio sets the compression slope For example if you have the ratio set to 2 1 any signal levels above the threshold setting will be compressed such that for every 1 dB of level increase into the compressor the output will only increase 0 5 dB This produces a compression gain reduction of 0 5 dB dB As you increase the ratio the compressor gradually becomes a limiter Limiter A limiter is a c
202. rig i j orn 28 aie 26 24 2 20 18 16 14 17 10 A oe LE Pea RsS i Loon ane ES 4 1 2 What You Can Process with the Fat Channel and FireWire Sends ARAN coll ll al A AO A OA e EA As A O SILLU i i il UA B O O A Es Po co A e A O i ll el ha ER The following table provides a quick guide to the processing that is available for each bus in the StudioLive E Fa o 2 e S un WwW 9 10 11 12 I 13 14 15 16 e C o e Ta ellok o Freq Hz Threshold Threshold Re Ratio o Response G eae a er GETA kHz Gan dB inte A Freq kHz A kHz Gaina Mid High olo elo coo ole ole m oa gt Bus Phase High Pass Noise Gate Compressor Limiter FireWire Reverse Filter m AU pe fe mr 4 1 3 Fat Channel Dynamics Processing and EQ 0 ps Pas f Gate Dig Compressor Limit J TEES 7 ti it R e gt a D Channel Channel The heart of the StudioLive is the revolutionary Fat Channel The Fat Channel makes dynamics routing and panning for every input and output on the The main function of the Fat Channel is to provide dynamics processing and StudioLive available at the touch of a Select button The 12 multipurpose filtering for every input and output on the StudioLive The rotary encoders work knobs and meters located in the Fat Channel control nearly every adjustment in conjunction with the meters directly above t
203. rkers e The Export Session option will export the entire range of your Session which will be to the furthest point in time that any Audio Event on a track extends e The Export Each Marker option will export separate files for each range between the markers in the Marker Lane e The Export Between Selected Markers option will export audio files between the range of any two selected markers in the Marker Lane Mixing a Capture Session in Studio One Many users will want to use Capture strictly as a track recording tool and mix the recorded tracks later in a DAW application PreSonus has included a copy of Studio One Artist with your StudioLive for just this purpose Both Studio One Artist and Studio One Pro can open Capture Session files All markers edits track names etc are preserved no further effort is required Simply launch Studio One and open your Capture session See Section 7 4 for more details Mixing a Capture Session in a Different Recording Application For users who wish to mix their Capture Session in a DAW other than Studio One there are several ways in which to import your Capture session as described in the following Save a Capture Session as Open TL Many audio recording programs provide support for opening a document type called Open TL Open Track List An Open TL file provides a reference for all of the audio tracks and Audio Events with their corresponding positions in your Capture Session so that
204. rnal Devices window open and proceed to the next part of this section If not you can close this window and skip to Section 7 4 4 Setting up an External MIDI Sound Module from the Start Page Options 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 MIDI instrument such as 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 1 Connect the MIDI In of your external sound module to the MIDI Out of your MIDI interface Audio Setup External Devices Advanced 2 Inthe External Devices window click the Add Receive From Ck Tc In button MTI E TT oo MI Notify me if devicas are unavailable when Studio One starts 118 NEO a Owner s Manual 11 1 New Keyboard sj New Instrument d New Control Surface p J Unknown Vendor Edirol JLCooper Keyfax KORG M Audio Mackie Novation Peavey PreSonus Devica Model Manufacturer Devica Name My Hardware Synth Use to play an external MIDI Instrument and record controller movements When connecting the Software Universal Control SL Remote Capture amp Studio One Artist 7 Studio One Artist Quick Start 7 5 3 The Add Device
205. s sjasadd SIUIIS 5 Scenes Presets System Menu and MIDI Control PreSonus StudioLive 16 0 2 5 5 Using MIDI Control Mode to Remote Control StudioLive FXA Preset Recall Next we will set CTL Pedal 1 to recall a preset on FXA Press the left Parameter button until the LCD displays CTL1 On MIDI Press the Write button so that the LCD displays Edit MIDI Press the Write button again You will see 001 Press the left Parameter button Press the Value Up button so that the LCD displays 001 PC CH 01 PC 001 The first field defaults to Program Change PC This is how the StudioLive recalls FX presets so you can leave this field as it is Use the left Parameter button to move to the next field MIDI channel number Set the MIDI channel to 2 Use the left Parameter button to move to the next field Program Change number The number you enter will determine which Scene will be recalled 10 Use the Value Up button to set the Program Change number to 10 11 FXA Assign Unassign to Mains Press the Exit button twice Next we will set CTL Pedal 2 to control the Main assignment mute for FXA FXA and Main Bus Output Levels 54 Press the left Parameter button until the LCD reads CTL2 Assign Use the left Parameter button to navigate to the CH Tx field and press the Value Down button until the MIDI channel value is 04 Use the le
206. s It will 56 dB Threshold before the gain reduction returns illuminate to indicate that the l to zero 7 Pa EEEa Power User Tip In general a tighter response The high pass filter is available on the 16 time should be used for instruments with channels of the input bus the 4 Auxes and relatively few transients like drums and a both internal FX buses percussion while a smooth setting should be ha gt using for instrument with a lot of transients 4 like vocals and strings p a 16 17 om j Tr 3 un 4 Controls 4 1 The Fat Channel Compressor Makeup Gain Limiter On Off 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 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 O dBFS The Ratio is co 1 L aa t The limiter is available for all input and out
207. s hold the Shift key while making your selections Displays the Different Preset Categories on the StudioLive and on the Computer All of your Scenes and presets are contained in dedicated folders in VSL To view a specific set of presets simply click on its tab SCENE Displays stored Scenes FAT CH Displays stored Fat Channel presets FX Displays stored effects presets GEQ Displays graphic EQ presets BACKUP Displays any backup logs that have been created in VSL 67 SL Remote Capture amp Studio One Artist o E i i un PL w gt ae d un EA won Lem A ES Ye go AJ Zo as Sa SP 5 A Do gt Si Gee gt S AD 101 U0 JESJ AIUN BJBMIJOS 7 Software Universal Control SL Remote Capture Studio One Artist PreSonus StudioLive 16 0 2 7 2 VSL Virtual StudioLive Send Button Transfers Designated Scenes Fat Channel FX and Graphic EQ Presets from VSL to StudioLive Memory al P09 DRM Snare Crackalak 1 VSL makes reorganizing all the Scenes and presets stored Transtar from StudioLive mixer on your StudioLive as easy as dragging and dropping a file To load your StudioLive with new Scenes and presets simply drag any Scene or preset from the On the Disk section of the Browser to any position in the Disk Memory section of the Browser Press transfer to receive the content
208. s 38 ms 10 8 dB 112 ms Screamer This setting is for loud vocals It is a fairly hard compression setting for Synth The fast attack and release on this setting can be used for a vocalist who is on and off the microphone a lot It puts the voice in your face synthesizer horn stabs or for bass lines played on a synthesizer C Threshold Ratio Attack Release Threshold Ratio Attack Release 1 1 dB p Orchestral Use this setting for string pads and other types of synthesized orchestra emer parts It will decrease the overall dynamic range for easier placement in the mix Snare Kick This setting allows the first transient through and compresses Threshold Ratio Attack Release the rest of the signal giving a hard snap up front and a longer release Threshold Ratio Attack Release reo PES Left Right Stereo Overheads The low ratio and threshold in this Stereo Limiter Just as the name implies this is a hard limiter or brickwall setting setting gives a fat contour to even out the sound from overhead ideal for controlling the level to a two track mixdown deck or stereo output drum mics Low end is increased and the overall sound is more k dI bi Y p and less f Threshold Ratio Attack Release A O a a Threshold Ratio Attack Release 13 7 dB 128 ms Contour This setting fattens up the main mix Threshold Ratio Attack Release Fretted Instruments 13 4 dB 0 002 ms 182 ms
209. s Mies Ho Scene Recall Ho menu in your StudioLive Your StudioLive features a Lockout mode that allows you to temporarily disable nearly every feature on the StudioLive although analog features such as input trim knobs faders cue and monitor levels can still be adjusted Because of this after unlocking your StudioLive and before resuming mixing you should take a quick glance at your input trims and output levels If you have locked your fader position you will be able to recall 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 VSL and click on the Setup tab Click on the Lock Out button 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 a 5 digit code using any number between 1 and 9 and click the Set button Your password 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 to enter a new password Once you have set your password the StudioLive can be locked with or without being synced to a computer To lock your StudioLive press the System button in the Digital Effects
210. s always pre fader Power User Tip By summing the Main mix and the Solo bus you can raise the volume of the channel you re tweaking without affecting the mix the audience is hearing To do this enable both the Main mix and the Solo bus in your monitors Solo the channels you need to work on and raise the Solo Output level so that the channels are louder than the Main mix 35 Ea e h e U om i un 4 Controls 4 8 4 8 4 8 PreSonus StudioLive 16 0 2 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 and you can store and recall every setting on your StudioLive See Section 5 Scenes Presets and System Menu Because almost all ofthe 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 Digital Effects Master Control MATH AUS a4 ot ole Lo am em i ioe PG UP a gt n ao PG DN ones 1 The Digital FX Effects Menu AS Local Candy AMBIANCE 1 66 Aus 123456 Local Candy AMBIANCE 1 68 Aus 123456 Recall ei 36 Decayls Decayls
211. s must be performed by qualified service personnel 1 Read these instructions 2 Keep these instructions 3 Heed all warnings 4 Follow all instructions 5 Donotuse this apparatus near water 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
212. s of the StudioLive memory This will replace the local cache and is not undoable A dialog will open asking you to verify that you would like to overwrite the Scene or preset at the new position This will not immediately overwrite what is stored internally on your StudioLive it will merely overwrite what is stored in the VSL cache memory Transfer Cancel Once you have organized the files you wish to transfer to your StudioLive press the Send button When the transfer is complete you can disconnect your StudioLive from your computer and take your chosen Scenes and presets with you Add New Button Creates a New Scene or Preset In the On the Disk and Device Memory sections of the Browser you will see the Add New button Clicking this button will immediately create a new Scene or preset If you want this new preset to be temporarily stored in VSL and immediately sent to the StudioLive s internal memory add the new preset in the Device Memory section If you would prefer to have this new preset stored in permanent memory on your computer use the Add New button in the On the Disk section In either case the new preset can be sent to your StudioLive at any time Remove Button Deletes a Stored Scene or Preset In the On the Disk section of the Browser notice the Remove button Clicking this button will delete the currently selected stored Scenes or presets 68 Owner s Manual Backup Tab Show Hide Brows
213. save your changes Windows Vista A 6 Windows 7 10 V 76 Open Start gt Connect to Click Set up a connection or network Select Set up a wireless ad hoc network and click Next Enter the new network name such as StudioLive Enter a Security key or password For the best security include letters numbers and punctuation Check Save this Network Open Start gt Control Panel Click Network and Internet Click Network and Sharing Center Under Change your networking settings click Set up a new connection or network Select Set up a wireless ad hoc computer to computer network Click on Next twice Enter the network name such as StudioLive Select the Security WAP or WEP Enter the Security key or password For the best security include letters numbers and punctuation Then click OK Check Save this network Click Turn on Internet connection sharing Owner s Manual wit Fa Chose e MAiri Ara 1 Piejie ire WE Pa bere Software Universal Control SL Remote Capture amp Studio One Artist 7 Using StudioLive Remote foriPad 7 3 Mac OS X 10 5 10 6 1 2 On the Menu bar click on the Wireless Status Icon From the pull down menu select Create Network Give your Network a name such as StudioLive If you would like set up a password recommended check Require Password C
214. select the Time parameter in order to use the Tap button However you have to be on the Extended Parameters page 2 for FX A and page 3 for FX B or you must select the Time parameter for the desired effect on the first screen of the FX menu The Tap button does not function when any other page is active Pages 4 and 5 allow you to store your changes for FX A and FX B respectively to the same location or to a new location and to customize the name of your creation You can jump to these pages by simply pressing the Store button while FXA or FXB is selected in the FX Menu 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 uppercase and lowercase letters and a selection of numerals and punctuation marks 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 written to the StudioLive s internal memory Once the preset is saved the Store button will return to its unlit status 37 Ea e h e U om j Tr 3 0
215. ser X Trem reverb MixVerb Room Reverb and utility Binaural Pan Mixtool Phase Meter Spectrum Meter Tuner nl q J A W Over 4 GB of loops samples and instruments featuring Presence 7 virtual sample player Impact virtual drum machine SampleOne virtual sampler Mojito virtual analog modeled subtractive synthesizer e Innovative and intuitive MIDI mapping Ka Powerful drag and drop functionality for faster workflow a Mac OS X and Windows compatible P Sa en oO 2 D Overview PreSonus StudioLive 16 0 2 What is in the Box What is in the Box In addition to this manual your StudioLive package contains the following PreSonus StudioLive 16 0 2 digital recording and performance mixer STUDIOLIVE 16 0 2 t Digital Performance and Recording Mixer MIA DO DO QQ o 0 mM PreSonus e cine aine Maine ukine Mete Motie Mice MciUne Millie Mine Macilins Mic 3 4 5 6 7 8 gital Effects Master Contro 11 12 13 14 15 16 Digita E a Zneanonaenl ES SSA 5 PEPI rr SOSOTE A N w 170 z z x z gt Hiili ETE AUL 2 gt E A gt gt ANN 2 3 O gt ME zE a e F E 5 F y elf Copy Sree precited la el ES E EA lt v gt ER 15 16 MAI E A Main 6 1 8m 6 pin to 6 pin FireWire 400 cable 6 1 8m 6 pin to 9 p
216. sign 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 the 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 At the bottom of the Inspector menu you will see your Bank and Program selections From here you can remotely change the patch on your sound module MIDI data does not contain audio signals To hear your sound module you must connect the audio output of the sound module to a StudioLive input then connect the StudioLive s audio outputs to a sound system You also can listen on headphones using the 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 123 S pa JS sos Yum 3 co Q amp Q A SD q W a Ss 9 2 UDS CY SRS owe Ga ep un 15111y 9UQ OIPNYs 3 ginyde 9I0W9Y 18 N j z ad a gt lt D Un ad au j gt 7 Software Universal Control SL Remote Capture amp Studio One Artist PreSonus StudioLive
217. st PreSonus StudioLive 16 0 2 Owner s Manual Software Universal Control SL Remote Capture Studio One Artist 7 7 4 Capture Capture 7 4 l 7 4 5 Getting Started in Capture Capture Audio I O Setup There is no need to set up audio inputs and outputs in Capture Tracking is the first stage of audio production The following ae tamomoralrdscon dro pao ui EN einer chapter discusses aspects of recording tracks in Capture includin E EON dedo dis le ne aes ees J 16 0 2 16 4 2 or 24 4 2 is connected and self configures Each __ Pr input from your StudioLive mixer is represented with a mono input track in the Track column of the Session and each input Audio Device track has a corresponding level meter in the meter bridge Before recording anything in Capture please take a The following diagram illustrates the one to one relationship moment to be sure your StudioLive mixer is properly of the StudioLive and Capture input channels The input signal connected to the computer via FireWire and that into each channel on the StudioLive mixer is automatically Audio Device Capture displays the StudioLive as your audio device routed to each respective input channel in Capture Presonus FireStudio apaga a O ie gt Sas i cae Fr Pur ro j When the StudioLive mixer is not connected to the e Sample Rate computer successfully Capture will display No Audio
218. t by the threshold With soft knee compression the onset of gain reduction occurs gradually after the signal has exceeded the threshold producing a more musical response to some folks Auto Places a compressor in automatic attack and release mode The attack and release knobs become inoperative and a preprogrammed attack and release curve is used Makeup Gain When compressing a signal gain reduction usually results in an overall reduction of level The gain control allows you to restore the loss in level due to compression like readjusting the volume Compressor Sidechain The sidechain jack interrupts the signal that the compressor is using to determine the amount of gain reduction it should apply When no connector is inserted into this jack the input signal goes directly to the compressor s control circuitry When a connector is inserted into this jack the signal path is broken The control signal can then be processed 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 automatical
219. t connected to it the StudioLive will mute all post converter outputs for two seconds when the sample rate is changed and while the mixer is connecting to a computer The Main Control Room and Aux are muted 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 System Page 4 HIDI id ti MIDI Control Mode Your StudioLive 16 0 2 can be remotely controlled HIDI Source Fj reli cre by a MIDI footswitch keyboard controller or DAW SS eo Se Pages 4 and 5 of the System Menu allow you turn MIDI Control Mode on as well as select on which MIDI channels your StudioLive will be controlled as well as which MIDI Control Change messages will be used Program Change Chis Scene Fea 1 Fre The next section Section 5 5 goes through MIDI Control Mode in greater detail ee Lockout Mode Sys ade 6 Lockout Lockable Faders Your StudioLive features a Lockout mode that Master allows you to create a password and lock the Aus Mixes Yes controls This is especially useful in situations scene Recalls No where several people will be running sound but status Unlocked only one or two are knowledgeable enough to set up dynamics processing and the like Right out of the box the StudioLive cannot be locked so don t worry about hitting the wrong button
220. t file location by clicking on the Browse a button and browsing to a new location The last known save location AS N will appear as the default the next time you create a new Session a gt a 96 97 31108 3 0U93Y JS J04JU0 JES19AIU 9EMIJOS Qo Un S j a a gt D un r 7 Software Universal Control SL Remote Capture amp Studio One Artist 7 4 Capture 7 4 6 Recording in Capture Record Enabling an Audio Track Monitoring Live Audio Input Setting Input Levels Activating Recording in Capture 98 PreSonus StudioLive 16 0 2 To record to an audio track the track must be record enabled or armed Capture provides two Record Enable buttons for each input one on the track and on the meter bridge To record enable an audio track click on either the Record Enable button on the track or on the meter bridge Both buttons will turn entirely red in color when either button is enabled and the track s corresponding meter in the meter bridge should begin to move up and down if there is live audio on that channel in the StudioLive mixer Click on the Arm All button at the top of the Track column to record enable every track at once Once an audio track is record enabled you are ready to record audio to that track Refer to the Activating Recording section for more on this topic
221. te All channel and bus mutes Channels 1 15 16 Aux 1 4 FX All parameters for the internal effects assigned to FXA and FXB Assigns All output and bus routing Stereo Linking FireWire returns to inputs Solo and Monitor bus assignments FXA and FXB assignments and Master Control Monitor Solo Bus and Talkback assignments EQ and Dyn Fat Channel panning phase dynamics processing Noise Gate Compressor EQ and Limiter and High Pass Filter parameters for every channel and bus Aux Mix All aux mixes analog Aux Mixes 1 4 FXA and FXB and Pre1 Pre2 positions Faders All fader positions Pots All digital knob positions FXA and FXB Levels Solo Bus Output Phones and Monitor knobs GEQ Graphic EQ settings If you enable fader positions as a part of a Scene recall when you press the Recall button the StudioLive will automatically put the meters in Fader Locate mode The Fader Locate button will illuminate and the meter section of the Fat Channel will display the recalled fader position To recall the stored position move the faders up or down until only the center LED is illuminated in each meter To recall the Aux and Main bus faders simply move one of them The Fat Channel meters will display the recalled positions using the same meters on which each output is monitored 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 accor
222. the next marker Back to Beginning Return to the beginning of the Session Stop Stop playback Play Start playback at the current playback cursor position Record Start recording at the current playback cursor position Loop Engage Disengage Loop mode Time Display Displays the time at the current playback cursor position Remaining Time Displays the remaining time that can be recorded based on the size of the available storage left on the hard drive to which you are recording The Edit window is the main view of the Session page which provides an overview of the Session for editing The Edit Window contains the following Timeline Ruler Displays time increments in seconds Marker Lane Displays user inserted markers Arm All Click this button to arm all inputs for recording Marker Click on the plus button to add a marker at the current playback cursor position Select a marker and click on the minus button to remove the marker Track Column Contains a dedicated mono audio track for each audio input into Capture from the StudioLive mixer Vertical Zoom Increases or decreases the size of the tracks and audio files Horizontal Zoom Zooms the session in or out 95 S pa jr sos Yum OW 3 H am Q amp Q A SD q W vu _ Ss 9 2 UDS CY SRS owe Ga ep un 7 Software Universal Control SL Remote Capture Studio One Arti
223. ther channels on your StudioLive have been muted Bring up the fader on the kick drum channel and press the channel s Select button The Fat Channel will display the dynamics processing EQ output routing and pan settings for the kick drum Using the encoders and meters in the Fat Channel set up the compressor and EQ for this channel Once you are satisfied bring the fader back down and press the Solo button again Next press the Solo button on the snare mic channel and repeat this procedure In this way continue with each drum mic and then move on to the other instruments that are connected to your StudioLive When you have finished with all the instruments press the SIP button again and slowly bring up your faders to set up your mix Owner s Manual Technical Information 9 Specifications 9 1 9 0 Technical Information 9 1 Specifications Microphone Preamp Type Frequency Response to Direct Output at unity gain Frequency Response to Main Output at unity gain Input Impedance THD to Direct Output 1 kHz at unity gain THD to Main Output 1 kHz at unity gain EIN to Direct Output S N Ratio to Direct Output Ref 4 dB 20 kHz BW unity gain A wtd S N Ratio to Main Output Ref 4 dB 20 kHz BW unity gain A wtd Common Mode Rejection Ratio 1 kHz at unity gain Gain Control Range 1 dB Maximum Input Level unity gain Phantom Power 2 VDC Line Inputs Balanced Type Frequency Response to Direct Outp
224. time This will give your mix a little more transparency by leaving some space between the original sound and its reverb EEE E OE PA oon ane E e 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 ar e Nn 8 5 2 Delay A delay essentially creates an echo although you can often use delays to create more complex time based effects The source signal ESE 152 Owner s Manual Tutorials 8 Digital Effect 8 5 is delayed so that it is heard later than it actually occurred 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 as distinct echoes can be used to create thickening effects Whether these echoes are timed with the tempo is a matter of stylistic choice Variable Feedback Variable feedback or regeneration produces multiple
225. ting everything below Parametric E Q Graphic EQ The parametric EQ and semi parametric EQ are the most common equalizers P gt P Q The StudioLive 16 0 2 features a stereo 31 band graphic EQs that can be inserted found in recording and live situations because they offer continuous control i on the main bus See Section 5 3 for details A graphic EQ is a multiband over all parameters A parametric EQ offers continuous control over the audio E i ER i equalizer that uses sliders to adjust the amplitude for each frequency band It signal s frequency content which is divided into several bands of frequencies gets its name from the positions of the sliders which graphically display the most commonly three to seven bands A fully parametric EQ like those in the ae resulting frequency response curve As explained in Section 5 3 the encoders StudioLive 24 4 2 offers control over the bandwidth basically the range of in the Fat Channel are used to make amplitude adjustments and the meter PE AS frequencies affected the center frequency of the band and the level boost e i LEDs display the slider positions The center frequency and bandwidth are cut of the designated frequency band It also offers separate control over the Q e E fixed the level amplitude for each band is the only adjustable parameter which is the ratio of the center frequency to the bandwidth A semi parametric EQ pr
226. tion for line level input When these inputs are engaged the microphone preamp circuit is bypassed Typical examples of line level connections are synthesizer outputs CD DVD player outputs and with exceptions signal processor outputs Please note As with any mixer plugging in a microphone or a line level input device or 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 channel trim before changing connections or turning phantom power on or off This simple step will add years to life of your audio equipment 3 Hook up PreSonus StudioLive 16 0 2 3 1 Rear Panel Connections Mono Output Right Monitor Output 10 Stereo Inputs Channels 9 through 16 are stereo inputs Each pair of channels in controlled by a single fader solo mute and select button By default Channels 9 10 through 15 16 are set to be mono so that only the mic preamplifier or the Left mono input will be heard When these channels are unlinked the Right input is not accessible on the mixer To insert the Right input into your mix you must engage Stereo Link see Section 4 1 4 for details Channels 13 14 and 15 16 have unbalanced RCA connections in addition to the balanced TRS connections Like the TRS
227. tion 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 TAP scene is being written to the StudioLive s internal memory Once the Scene is saved the Store button will return to its unlit status 39 and MIDI Control aB w cms un gt Un n J aB n lt B _ a n aB D tw NY TENS SENTIR fav gt Su an f nu Waysks 5 Scenes Presets System Menu and MIDI Control PreSonus StudioLive 16 0 2 Owner s Manual 5 1 Creating and Recalling a Scene Located at position S1 is a Scene named Zero Out Board Reset This Scene cannot be overwritten and returns your StudioLive to its defaut factory setting All you have to do is lower the faders and return all trim knobs and output volume knobs Solo bus FXA and FXB output Phones and Monitor to their lowest position Your StudioLive will be zeroed out as follows SETTINGS AO RS IES IS IS PRE 1 POST Faders The Fat Channel will be restored to the same setting for every input and Locate output on your StudioLive Each of the dynamics processors and the three bands of the EQ will be turned off Their param
228. titrack recording This involves record enabling Audio Tracks in Capture triggering recording and continuing to record until the performance is done The following describes aspects of the live recording workflow using the StudioLive mixer and Capture StudioLive Mixing and Recording a Live Performance The StudioLive mixer is capable of mixing your live show with stunning flexibility and ease while Capture records the show to your computer This is possible because each input channel on the StudioLive mixer has a hardwired output that continuously streams audio over FireWire to your computer and Capture is designed to record this stream Once the StudioLive mixer has been set up to mix a live performance you will need to decide individually for each StudioLive channel whether to add pre or post Fat Channel dynamics processing and EQ to the signal before it is sent to the computer To switch between pre post processing press the Post button Dig Out subsection in the Fat Channel section for each input channel on the StudioLive mixer If the Post button is illuminated the channel s signal will be sent to your computer after it is processed in the Fat Channel if the Post button is not illuminated the signal will be sent without Fat Channel EQ and dynamics processing After setting the input channels on the StudioLive mixer for pre post processing the next step is to launch Capture and create a new Session Once in the new Session rec
229. tricks that are unique to the StudioLive In addition to the Power User Tips you e Fast acting LED meters z will find an assortment of audio tutorials at the back of this manual These tutorials sage i e Talkback communication system cover everything from microphone placement to equalizer and compression setting suggestions and are included to help you get the most from your StudioLive mixer e Rugged steel chassis 99 p you y y 99 2 Overview PreSonus StudioLive 16 0 2 Owner s Manual Overview 2 2 3 Summary of Capture Software Features Summary of Virtual StudioLive Software Features 2 5 e PreSonus Capture multitrack recording software 25 Summary of Virtual StudioLive Software Features Compatible with Cubase Digital Performer Logic Nuendo Sonar Studio One and others The Virtual StudioLive application is completely integrated with your StudioLive 16 0 2 VSL is a highly advanced editor librarian and control panel Because of the gt Go continuous bidirectional communication between your StudioLive and VSL whatever m PC and Mac compatible a you do on the StudioLive s control surface will be reflected in VSL and vice versa T lt D Easy drag and drop workflow S 2 3 Summary of Capture Software Features y ag j 5 e _ Drag presets directly to channels gt Included with your
230. ts input channel For more information on the MultiMode buttons and their functions please refer to Section 4 5 Please Note FireWire Returns are only available for the 16 channels of the Input bus When FireWire Return Mode is engaged only the channel multimode buttons will function Aux Output Select Button Enables Fat Channel Viewing As previously described in section 4 1 1 the Select button routes its aux bus through the Fat Channel allowing you to add dynamics processing and EQ Aux Output Fader Controls the Overall Level of the Aux Output Each Aux features a 60 mm fader for level adjustment Unity gain 0 dB is denoted by a JU 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 3 Je 26 Owner s Manual Controls 4 Aux Sends 4 4 44 2 Internal FX Send Controls Internal Effects Send Select Button Main Assign Button Aux Assign Button Output Level Knob Enables Fat Channel Viewing As described in section 4 1 1 the Select button routes its Effects bus through the Fat Channel allowing you to add dynamics processing and EQ Assigns Unassigns FX bus to Main Output This button will route its internal effects EFX bus to the Main output It will illuminate yellow when the bus is patched to the Mains To mute the effe
231. tting for any given adds warmth to plang tespecially at softer playback adds clarity punch F amp horns ios po brighter rock guitar more hardness on cymbals instrument will depend upon the room and the tonality of the instrument 7 o i _ i N adds fullness to low adds fullness to vocals adds clarity punch more pluck to bass more attack on kick amp tom breathier vocals Vocals frequency instruments to bass limes kick tom bass harder hitting snare amp more attack to acoustic more athack to percussion brighten cymbals string guitar l amp electric guitars netruments de Tubes _ reduce dullness on vocals Pop Female Vocals more attack on lower makes samples amp synths piano register more finger sound on bass sound more real KC more clarity to vocals add sharpness to synths rack quitars acoustic quitar amp piano LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID a ON OFF PEAK SHELF FREQ Hz GAIN ON OFF HI LOW Q FREQ Hz GAIN peak 130 2 o ow 45 2 100 Hz 200Hz 400Hz 800Hz 15kHz 3kHz 5kHz 7kHz 10kHz 15 kHz b HI MID HI MID HI MID HI MID HI HI HI HI GA ON OFF LO HI FREQ kHz GAIN ON OFF PEAK SHELF FREO kHz GAIN loo 24 PEAK 60 8 decrease dullness and tom make background instruments sound more distant Rock Female Vocals on o LOW LOW LOW LOW LOW MI
232. tton again to store Press the Write button again to confirm Making sure the red LED is illuminated on the first row of pedals depress Pedal 1 6 You will see that Scene 2 has been recalled on your StudioLive You are now ready to control your StudioLive as follows e CTL1 Recall Preset F10 Concrete Floors on FXA e CTL2 Assign Unassign FXA to Main bus e Expression Pedal 1 FXA Output level e Expression Pedal 2 Main Output level 55 and MIDI Control w w N NY n aB n w _ A wn aB m a5 U NY 6 Connecting to a Computer 6 1 System Requirements PreSonus StudioLive 16 0 2 Owner s Manual Connecting to a Computer 6 Installation for Windows 6 2 o 7 E A OOOK K 6 0 Connecting to a Computer 6 2 Installation for Windows After you insert the Installation CD into your CD ROM drive the StudioLive j The StudioLive 16 0 2 is more than just a mixer It s also a very installer will take you through each step of the installation process Please read powerful computer interface that allows you to record all your mixer each message carefully to ensure the StudioLive driver is properly installed AAA inputs at once as well as your main or monitor mixes You can even It is especially important that you not connect your StudioL
233. udioLive a custom name double click on the default label StudioLive to open a text field When you have finished entering your custom name hit the Enter key 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 Close Window Closes just the Launch window Show All Devices Opens the Device window for all of the connected FireStudio family interfaces Close All Devices Closes the Device window for all of the connected FireStudio family interfaces 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 The firmware updater can also be used to reset your StudioLive 16 0 2 to factory default To reset your StudioLive hold down the CTRL and ALT OPTION keys while clicking on Check Firmware This will force the Firmware updater to run Once the firmware updater has finished select Reset rather than Restore 65 a
234. ugh the MIDI Control Change list until you find Controls 40 42 2 Select each control and click Add 9 Select these controls and click Add _ 3 Click Close D 10 Click Close q 4 Select Sustain Pedal On Off from the Parameter pull 11 Select Control 42 from the parameter pull down menu on the automation track E down menu on the automation track C T A 5 Using your Pencil tool draw an ON message that lasts for several bars ST 12 Using your Pencil tool draw an automation curve 6 Note that the FXA FXB assignment to the main bus is a simple toggle so 13 Press Play to hear Studio One control the main when it receives its CC message the button will be put into the opposite of output level of your StudioLive its current state If you want the On state in Studio One to turn the button on the button will need to be in the Off state when it receives the message You can use the same steps to create volume curve automation for FXA and FXB output levels on your StudioLive mixer Just be sure 7 Press Play to watch and hear Studio One assign j to select the right Control Change number from the parameter and unassign FXA to the Main bus N pull down menu on the automation track in Studio One a These same steps can be used to control FXB assign unassign to the Main bus Just be sure to select the correct Control Change p message from the Automation track s parameter menu L ginyde 910W9Y 1S J04JU0
235. unt register i e Windows Users Launch the Studio One Artist te ee aah y 3 er the product and obtain a license file installer and follow the onscreen instructions ae era e Next copy the license file to the computer on which Studio One has e Mac Users Drag the Studio One Artist application into ERE ADAN AROS PY p l Z ode AI SIRIA A been installed and locate the license file as instructed in the Activate the Applications folder on your Macintosh HD 3 Unlock this computer by entering the following Activation Code VOISTFRXAMAADNFA MT Studio One menu The activation process is now complete Sa 5 Select the User License here or just drag it onto this window Creating a User Account Activate Studio One e After installing Studio One Artist launch the program and the t x Activate Studio One menu will appear If you are a new Studio One G S in user you will need to create a user account Follow the Create Account link if your computer is connected to the Internet Once A e fen sie as eae you have created your account continue activating Studio One C Create an account at PreSonus Website if you do not have one yet Artist online Installing Bundled Content for Studio One Artist eoa cen Os Saree re ones eer e If your computer is not connected to the Internet visit the Studio eno Studio One Installation Studio One Artist comes bundled with an array of demo SEEE A E ee Ee One product page at www presonus com on an I
236. ur mix has an annoying ring to it With a very narrow bandwidth you can isolate this one frequency usually around than heard as with freeway rumbling or an earthquake These frequencies give your mix a sense of power even when they only occur occasionally However overemphasizing frequencies in this range will result in a muddy mix Bass 60 Hz to 250 Hz Because this range contains the fundamental notes of the rhythm section any EQ changes will affect the balance of your mix 143 ee le 1 kHz and remove or reject it This type of narrow band reject filter is also Ltd _ l i making it fat or thin Too much emphasis will make for a boomy mix 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 Low Mids 250 Hz to 2 kHz In general you will want to emphasize the lower bandwidth is also useful in boosting pleasant tones of an instrument such as portion of this range and deemphasize the upper portion Boosting the range 0 the attack Take for instance a kick drum A kick drum resonates somewhere from 250 Hz to 500 Hz will accent ambience in the studio and will add clarity to between 60 to 125 Hz but the attack of the kick drum is much higher at 2 to bass and lower frequency instruments The range between 500 Hz and 2 kHz 5 kHz By setting a narrow bandwidth and boosting the attack
237. use over the gray line above the time line You will notice that your curser changes to a pencil tool and you can draw your loop range Once your loop range is set you can click on the Loop button in the Transport or press L or on the keyboard to engage Loop mode Start playback before the end of the Loop range and when the end of the range is reached playback will jump back to the beginning of the Loop range automatically for as long as Loop is engaged Engaging Record in the Transport will disable Loop mode and begin recording at the current playback cursor position It is not possible to engage Loop while recording Mixing is the part of the production process where all recorded tracks are combined to mono or stereo The goal is to balance relative volume frequency and dynamic content in order to achieve a desired cohesive sound Mixing with Capture and StudioLive No mixing is done in Capture directly Instead the individual outputs of each audio track in Capture are hardwired to the FireWire returns for each corresponding input channel on the StudioLive mixer Thus with the FireWire returns engaged for each input channel on your StudioLive mixer the output of your multitrack Capture Session is routed to the StudioLive mixer where it can be mixed just like any other audio input 103 SL Remote Capture amp Studio One Artist oO i Ta w gt a
238. uts at unity gain Frequency Response to Main Outputs at unity gain Input Impedance THD to Direct Output 1 kHz at unity gain THD to Main Output 1 kHz at unity gain S N Ratio to Direct Output Ref 4 dBu 20 kHz BW unity gain A wtd S N Ratio to Main Output Ref 4 dBu 20 kHz BW unity gain A wtd Gain Control Range 1 dB Maximum Input level unity gain XLR Female balanced 20 Hz 40 kHz 0 0 5 dBu 20 Hz 20 kHz 0 5 dBu 1k0 lt 0 005 4 dBu 20 Hz 20 kHz unity gain unwtd lt 0 005 4 dBu 20 Hz 20 kHz unity gain unwtd 125 dB unwtd 130 dB A wtd 97 dB 94 dB 65 dB 16 dB to 67 dB 16 dBu 48 VDC 1 4 TRS Female balanced mono 10 Hz 40 kHz 0 0 5 dBu 20 Hz 20 kHz 0 0 5 dBu 10k0 lt 0 0007 4 dBu 20 Hz 20 kHz unity gain unwtd lt 0 005 4 dBu 20 Hz 20 kHz unity gain unwtd 105 dB 94 dB 20 dB to 20 dB 22 dBu 157 5 2 E SoS wo RE MESS 3 ES 3 D S jed1UY da Es 9 Technical Information 9 1 Specifications Line Inputs Unbalanced Type Maximum Input Level Main Outputs Type Rated Output Level Output Impedance Aux Outputs Type Rated Output Level Output Impedance Monitor Outputs Type Rated Output Level Output Impedance System Crosstalk Input to Output Ref 4 dBu 20 Hz 20 kHz unwtd Adjacent Channels Ref
239. ve button in the Fat Channel while the GEQ is active You will notice that the LCD will display the GEQ Save menu To begin use the Value encoder to scroll to an empty position in the GEQ Preset library 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 GEO preset is being written to the StudioLive s internal memory Once 45 a Ee ian A a puree Bands 1 12 respectively When Band 23 is selected in the Show Band field in the If this were a analog graphic equalizer it would look like this GEQ menu the meters will also flip and encoders 1 15 16 will control bands 23 31 POWER USER TIP Select the Show Band field in the GEQ menu and use the Value knob to m scroll through all the bands on the graphic EQ to get a quick overview of the entire curve y E uo 5 You will notice that all meters have one LED illuminated to display the current a O gain position for each band and the meter for the selected band in the Show O Band field is inverted so that all LEDs are illuminated except for the LED that Cc _ displays the current gain positio
240. ve your finger up or down while maintaining constant contact with the iPad screen POWER USER TIP The fader supports off axis movement Once you have touched a fader to select it you can slide your finger anywhere in the screen and make a up down movement to control the fader The fader position is displayed in the Channel Select field As with VSL the fader position set in StudioLive Remote is the level that you will hear To sync the physical faders on your StudioLive with StudioLive Remote press the Locate button on your mixer While in Locate mode the physical faders on your StudioLive will not be active so you can adjust them without any changes in level To the left of the fader the user will see the meter for the channel The meter will follow the meter mode selected on the StudioLive or from VSL Meter mode cannot be changed from VSL Owner s Manual Masters Overview Masters Section Page MASTERS 1H MAIN MAIN GATE GATE Software Universal Control SL Remote Capture amp Studio One Artist 7 Using StudioLive Remote for iPad 7 3 Displays the metering for the Main bus Tap to open the Masters Section page SUB 1 SUB 2 SUB 3 SUB 4 MAIN MUTE MUTE m MUTE MUTE hi pl gt a T 1 1 i z cu se mml In the upper left hand corner of every page in StudioLive Remote Overview Aux Mixer and Graphic EQ you will find the Masters Overview This displays the metering for the Main bus
241. 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 state to state This warranty only applies to products sold and used in the United States of America For warranty information in all other countries please refer to your local distributor PreSonus Audio Electronics Inc 7257 Florida Blvd Baton Rouge LA 70806 Owner s Manual Index A Ableton Live 60 Adjusting FX Parameters 37 AFL 34 155 Arrow Tool 94 99 Assigning FX To Aux Bus 27 To Main Bus 27 Attack 136 138 Audio Device Capture 97 Studio One Artist 116 Audio I O Set up Studio One Artist 121 AutoStore 42 Aux Mixing 28 Pre Fader Send Positions 46 Stereo Aux Mix 28 B Backing Up StudioLive Library 69 Buffer Size see also Latency 65 C Changing FX Type 37 Clock Source 64 Compressor 17 Definition 135 136 Suggested Settings 140 Terminology Associated With 136 Control Change Messages 49 Copy 22 Creating a Capture Session 96 Creating a Monitor Mix 28 150 Creating an FX Mix 28 150 Cubase 59 D Decay 152 Delay 152 Delay Time 37 153 Dig Out 22 61 109 Downward Exp
242. wser and email IM or disk swap them with other StudioLive owners 63 S pa jr ove ep o et e co Q amp Q A SD q Wd a Ss 9 2 UDS Ol Y SRS aM I e Un 31108 3 0U9Y TS 04JU0 JESI9AIU AIEMIJOS Qo un S j a a gt T gt un r 7 Software Universal Control SL Remote Capture amp Studio One Artist 7 1 Universal Control PreSonus StudioLive 16 0 2 Since control is bidirectional fader moves and parameter changes made on the StudioLive are reflected in VSL So for example you can set up the StudioLive the way you want it and then save your Scene or other presets in VSL VSL also lets you create a password for your StudioLive so that you can lock out unauthorized users See Section 7 2 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 6 4 4 Note that the Meter Style and Meter Decay options in the Launcher window are not active when only a StudioLive is connected to a computer 7 1 1 Universal Control Launch Window Sample Rate Selector w 44 1 KHz 48 KHz Sample Rate Clock Source Clock Source StudioLive Internal la w StudioLive Internal Operation Mode Safe Mode S
243. x mixes and send to an FX mix To provide the most flexible mixing environment the main mix output for any application should be assigned to Outputs 1 and 2 These FireWire returns are hard coded both to Channels 1 and 2 and to the FireWire input buttons in the Monitor section 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 61 oraa Y Tos T a c E sao g S A R 5 DO SVs D gi C 6 6 4 62 Connecting to a Computer PreSonus StudioLive 16 0 2 Using the StudioLive as an Audio Interface 6 4 3 Using Plug in Effects as Inserts FireWire streaming on your StudioLive is continuously bidirectional This means that the StudioLive is always sending signals from the direct FireWire sends on all 16 input channels At the same time the StudioLive is receiving signals back from the 16 FireWire returns Because the FireWire returns always come back to their respective StudioLive channels 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 the Beat Delay plug in from PreSonus Studi
244. y to get comfortable with StudioLive Remote is to get well acquainted with VSL iPad 2 06 PM AS Overview Master Bus Page Open pam iS El TE EU TE p nil Heyy gt au O EN ES dem Bus Assignments EM CO EN ESCH EM EN ci En GATE dl Sins Gate Microview a COHP y een Compressor Microview o EQ Microview Hi Channel Meter dl 80 Owner s Manual Bus Assignments Query Bus Assign CHUS ons SUB SUEZ SUES SUBS Fat Channel Microviews and Fat Channel Zooms COMP iPad gt DEVICES COMPRESSOR CHO1 GAIN de 512dB Software Universal Control SL Remote Capture amp Studio One Artist 7 Using StudioLive Remote foriPad 7 3 Displays the bus assignments for a channel or bus Tap to open Bus Assignments Query Page and make changes Above each channel you will find the Bus Assignments view This displays the current FireWire return and stereo linking for each channel To change a particular channel s FireWire return assignments tap on the display This will open the Bus Assignments Query Page for that channel Pressing on the FireWire icon to activate the FireWire return Any selection made on this page is immediately displayed in its Bus Assignment Query To close the page press anywhere on the screen Displays a Microview of the Gate Compressor and EQ Tap to open the zoomed view and make changes Each Channel and Bus features a Microview of the Fat Channel
245. your Session at the current Playback Cursor position Preview Player Using the Preview Player you can audition audio files as you are browsing in the Import File menu Click the Play button in the Preview Player to play the currently selected audio file Click the Stop button to stop playback Click the Loop button to loop the playback of the currently selected audio file To export audio from your Capture Session navigate to Session Export to Audio File or press Ctrl Cmd E on the keyboard to open the Export to Audio File menu Location The top section of the Export to Audio File menu is where you will select a location and name for the audio file Click on the Location button to choose a file location Double click on the filename type in a new name and then press Enter to choose a name for the file Format Select the format of the mixdown audio file in the middle section of the Export to Audio File menu Choose from Wave WAV or AIFF and then choose the desired Resolution and Sample Rate If you wish to put your audio on a standard audio CD the format should be a Wave file with 16 bit resolution and a 44 1 kHz sample rate Owner s Manual Software Universal Control SL Remote Capture amp Studio One Artist 7 Capture 7 4 Options The bottom section of the Export to Audio File menu has several options that will affect how files are created Choose from Export Session Each Marker or Between Selected Ma

StudioLive™ 16.0.2

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StudioLive&trade; 16.0.2

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StudioLive™ 16.0.2