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PreSonus Audiobox 1818VSL

1. 5 3 5 4 5 5 6 0 6 1 7 0 7 1 7 2 5 2 2 Types of Dynamic Processing 67 5 2 3 Compression Settings Some Starting Points 72 Equalizers 74 5 3 1 Whatisan EQ 74 5 3 2 Equalization Settings How to Find the Best and Leave the Rest 76 5 3 3 General EQ Suggestions 79 Aux Bus Mixing 82 5 4 1 Monitor Mixing 82 5 4 2 Effects Processing 82 Digital Effects 83 5 5 1 Reverb 83 5 5 2 Delay 84 5 4 3 Modulation Effects 84 Technical Information 85 Specifications 85 Troubleshooting and Warranty 87 Troubleshooting 87 PreSonus Limited Warranty 88 Index 90 Owner s Manual Overview 1 Introduction 1 1 1 1 Introduction Thank you for purchasing the PreSonus AudioBox 1818VSL PreSonus Audio Electronics has designed the AudioBox 1818VSL utilizing high grade components to ensure optimum performance that will last a lifetime Loaded with 8 high headroom Class A XMAX microphone preamplifiers a built in 18x18 USB 2 0 recording and playback engine MIDI I O S PDIF I O ADAT I O BNC word clock output Fat Channel processing with 3 band EQs compressors limiters and downward expanders delay and reverb effects and more AudioBox 1818VSL breaks new boundaries for music performance and production All you need is a computer with a USB 2
2. S Installation for Windows The AudioBox installer requires that your AudioBox 1818VSL be J connected to your computer Connect your AudioBox 1818VSL to an T available USB 2 0 port and insert the Installation CD into your disc drive The AudioBox installer will auto launch and take you through each step of the installation process Please read each message carefully It is recommended that you quit all applications before you start the installation Windows Vista Users If you see any Windows Security alerts click Install this driver software anyway Windows can t verify the publisher of this driver software MA an e e Ses pc EUR g gt w gt Don t install this driver software You should check your manufacturer s website for updated driver software for your device Install this driver software anyway Only install driver software obtained from your manufacturer s website or disc Unsigned software from other sources may harm your computer or steal information r A 1 The installer will open to the Welcome screen UN Welcome to the AudioBox Setup Click Next Wizard This will install AudioBox version 1 2 on your computer J Itis recommended that you dose all other applications before continuing N Click Next to continue or Cancel to exit Setup x E we 2 You will be asked if you would like the installer to automat
3. se S 22e S PENES w cO Nn am zz S 4 cS EET e N NOTE You can only have one AudioBox 1818VSL connected you network at a time 7 o 4 2 3 AB1818VSL Remote Overview Page The Overview page in AB1818VSL Remote corresponds directly with most of the controls on the Overview page in VSL The following E parameters can be viewed and controlled from this page e Channel and Main Volume e Channel and Main Select Ne e Channel Mute a e Channel and Master Metering e Channel Panning M e Channel Post e Channel and Main Gate Compressor and EQ overview e Channel and Main Gate Compression and EO zoom POWER USER TIP Because AB1818VSL Remote is a wireless controller for Virtual StudioLive the fastest way to get comfortable with AB1818VSL Remote is to get well acquainted with VSL 37 ev 2 joy N et iem e a a gt a ca e Jow ISA8L8LIY AITOIPNIS JENA 9JeM3JOG 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 2 AB1818VSL Remote iPad gt 33 AM Start Page Overview Master Bus Page PhaseReverse Reverse m T ra lt m s lt RB Compressor Microview o cam Lad B oso B o5 m B B oa B a gp ip B oso 4 d ITI TIE 8 a BE nni amp l a amp ly e a a np Lr EE E
4. ON PEAK 15 HI MID HI MID HI MID HI MID MN EET on kHz Leva D Lt s SM Her eo m 80 Owner s Manual Tutorials Equalizer Distorted Electric Guitar LOW MID LOW MID LOW MID LOW MID ae a a Hz EN ow m FREQ ON Peak 32 HI MID HI MID HI MID HI MID ON OFF LO HI FREQ GAIN mm TE e TUN Lom 35 ON SHEF Keyboards Piano LOW MID LOW MID LOW MID LOW MID Tu EE n Hz E a FREQ GAIN 665 ON shef 108 HI MID HI MID HI MID HI MID WEE ied Love n me Low PEAK 5 5 3 a a r j 81 E e ay ev nN 5 Tutorials PreSonus AudioBox 1818VSL 5 4 Aux Bus Mixing 82 5 4 Aux Bus Mixing The Aux bus provides outputs to create auxiliary mixes that are separate from the main mixes VSL for AudioBox 1818VSL is equipped with 4 stereo aux buses to create a separate mix for Outputs 3 4 5 6 and 7 8 as well as two more buses for internal effects buses FX A and B Aux buses can be used for many applications the two most common of which are creating monitor mixes and inserting external effects processors into the mix 5 4 1 Monitor Mixing Creating custom monitor mixes for your musicians is critical If musicians can t hear themselves or their bandmates their performance will suffer A moni
5. 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 Prev Next Changes View to Previous or Next Channel o cowPREssoR xdi Compressor Controls Compressor Functions T Channel Scroll Bar im din ia CEEE EEEE PEE PEE PEE PE PE OE PEREPERE PEPEES FRPP FREE PPT PEE Ty HPF Control High Pass Filter Frequency Limiter Controls Limiter Functions Phase Inverts Channel Phase Post Engages Aux Sends Pans Post DSP Set send and pan levels recording for selected channel Input Channels in each Aux mix only Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Studio One Artist Quick Start 4 3 4 3 Studio One Artist Quick Start ALARME wre Seep ace reggae wn he XQ m varu ee aD 2 69 73 77 81 85 89 93 97 gt J FX Chains 4 Celemony Software GmbH B Melodyne gt J Native Instruments gt J Native Instruments GmbH 4 V PreSonus gt g Ampire z Disci gt gj Analog Delay HHTHH b GJ Autofilter gt g Beat Delay gt gj Binaural Pan i i gt J Channel Strip Analog Delay Sse NUS E vun fcm TEE
6. aS aaah e from which you will audition audio files prior to mix 4 2 3 4 5 6 A EE mine 3 a mm importing them into Studio One Artist In general m A c C led you will want this to be the main output bus E 13 If you would like this output configuration available every time you launch Studio One Artist click the Make Default button Audion mamout 14 Now that you ve configured your MIDI and audio I O and created a new Song let s go through some of the basics of Studio One Artist so you can start recording e v gt 2 vn sk e g gt gt Emm EQUUS RS 3AI 0Ipnig JENIN 9JeM1JOS 4 3 5 Creating Audio Tracks 1 In the upper left corner of the Arrange window you will notice several buttons The third button from the left is J the Add Tracks button Click this button to bring up the E Add Tracks window mco hii eee 2 Inthe Add Tracks window you can select the number Jj and type of tracks you d like to create Mono Audio Stereo Audio Folder Instrument or Automation 4 and can customize the track name and color as Format Mono well as add a preset rack of effects to the track Preset No Preset y Color WE Auto Color 3 Once you have added your tracks you can assign the input by simply clicking on the input to which a track is u r currently assigned This will bring up the inputs list You can also ac
7. Tutorials 5 A Brief Tutorial on Dynamics Processing 5 2 Noise Gating Noise gating is the process of removing unwanted sounds from a signal by attenuating all signals below a set threshold As described the gate works independently of the audio signal after being triggered by the signal crossing the gate threshold The gate will remain open as long as the signal is above the threshold How fast the gate opens to let the good signal through is determined by the attack time How long the gate stays open after the signal has gone below the threshold is determined by the hold time How fast the gate closes is determined by the release How much the gate attenuates the unwanted signal while closed is determined by the range Noise gates were originally designed to help eliminate extraneous noise and unwanted artifacts from a recording such as hiss rumble or transients from other instruments in the room Since hiss and noise are not as loud as the instrument being recorded a properly set 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
8. ev nN 68 PreSonus AudioBox 1818VSL A Brief Tutorial on Dynamics Processing How severely the compressor reduces the signal is determined by the compression ratio and compression threshold A ratio of 2 1 or less is considered mild compression reducing the output by a factor of two for signals that exceed the compression threshold Ratios above 10 1 are considered hard limiting As the compression threshold is lowered more of the input signal is compressed assuming a nominal input signal level Care must be taken not to overcompress a signal as too much compression destroys the acoustic dynamic response of a performance That said overcompression is used by some engineers as an effect with killer results Limiting refers to the processing that prevents the signal from getting any louder that is it prevents any increase in the signal s amplitude at the output Compressor limiters are commonly used for many audio 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 it to punch through without having to crank the level way up A vocal performance usually has a wide dynamic range Transients normally the loudest portions of the signal can be far outside the average level of the vocal signal Because the level can cha
9. pm i oa ge re E gt a cree Y Tricomp K di I Eus n MP IC k Sood gt GJ Flanger gt gj Gate GJ Level Meter Gd Limiter 1 Discipline Piano Jazz Jazz Jazz Jazz Jazz jazz jazz Jazz Jaza P jazz Jazz Jazz Jazz Jazz Jazz Jazz ra momen bpm gt d Mere 8 ____sushesistiansieiiaiietan y z Phase Mot 4 Phaser moros AMIE input Lok Input eR Input sR Input sR 2 ed FERE 3 default Presence Main Main is 1 nm CEET Bus 1 gt L Guitar Drum Loop Equigen AB1818VSL Remote and Studio One Artist w 5 WY nz a CE e WY gt F Bs Extreme ln re Hollow Bassline 6 Oxynox B E d Phasari BM W F Ee ooo 44 1 kHz 00 01 18 545 J 110 00 formance 2 0 ms 00 03 38 164 00 01 18 545 4 s 2 Discip Bass Browse Your AudioBox 1818VSL comes with Studio One Artist recording a 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 a discount upgrade to Studio One Producer or Studio One Professional For more details on the Studio One upgrade program for PreSonus customers please visit http studi
10. 0 ms H ung To close the Fat Channel Zoom tap on the x in the upper right hand corner This will display the normal Overview page Channel Controls Phase Controls the Phase Reverse for Each Channel To reverse the phase on a channel tap its Phase button The Phase button will illuminate indicating that the channel s phase has been reversed Channel Controls Post Controls the Post DSP function for Each Channel To record the Dynamics and EQ on a channel tap its Post button The Post button will illuminate indicating that the channel s Fat Channel effects will be recorded Channel Controls Select CHO1 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 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 Channel Controls Pan 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 AudioBox 1818VSL POWER USER TIP The Pan control supports off axis movement Once you have pressed a Pan field
11. AudioBox 1818VSL 2 1 Front Panel Connections Line level Inputs Channels 3 8 of the AudioBox 1818VSL have a inch balanced TRS connection for line level input When these inputs are engaged the microphone preamp circuit is bypassed Typical examples of line level connections are synthesizer outputs CD DVD player outputs and with exceptions signal processor outputs Input Gain Trim Control These knobs provide the following gain structure e XLR Microphone TS inch Instrument inputs 80 dB of variable gain 15 30 dB to 65 50 dB e TRS inch Line Level inputs 40 dB of variable gain 20 dB to 20 dB a Clip Indicator All channels feature clip LEDs next to the trim controls The red clip indicator LED will illuminate when the channel s input signal reaches 0 dBFS At this level your mic preamp line trim signal will exhibit signs of clipping distortion Power User Tip Never run your input levels higher than the channel inputs can handle If you overdrive the analog to digital converters it will cause digital distortion digital clipping which sounds terrible The XMAX preamps in your AudioBox 1818 VSL provide plenty of headroom take advantage of it ud Phones The Phones knob controls the volume of the headphone output on the front of the unit The headphone amplifier is quite powerful and the volume goes to 11 so use the maximum setting with extreme caution S
12. E ru T l ALEAREN TREES TRAEN pru il Ty FR FO EUT I ls lu ls OF Hii Ul dd Mil lu Hd ibrppbpoan d un E d Wiper c LL p ae E ur Lu gd lg dnd abd ud TT t gl Displays a Microview of the Gate Compressor and EQ Tap to open the zoomed view and make changes Fat Channel Microviews and Fat Channel Zooms Each channel and bus features a Microview of the Fat Channel 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 for example 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 s COMP 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 38 Owner s Manual O ESSI LICET Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 AB1818VSL Remote 4 2 x RATIO e LIMITER 20 e RELEASE 20 0
13. 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 an AudioBox input then connect the AudioBox s audio outputs to a sound system You also can listen on headphones using the headphone output When you are ready to mix your Song you must convert the recorded MIDI data to an audio waveform by recording a new audio track Adding Virtual Instruments and Plug in Effects to Your Song You can add plug ins and instruments to your Song by dragging and dropping from the browser You can also drag an effect or group of effects from one channel to another drag in customized effects chains and instantly load your favorite virtual instrument patch without ever scrolling through a menu 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 gt J Effects e tem Browse and Instrument buttons to open the Div ERG instrument browser Select the instrument o
14. If you disable this button you will no longer see these channels in the mixer however any changes or routing that have been made will still be active and these channels will still be heard in your mixes Please Note From VSL you only have access to DAW Returns 1 8 The ADAT and S PDIF output streams can only be accessed from your DAW 23 ev 2 er cn e SL a a gt p ct ca et EQUUS E AITOIPNIS JENA 9JeM3JOG 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 1 Virtual StudioLive Show Hide Outputs Button Displays Removes Output Channels from the Mix When this button is enabled the stereo output channels will be displayed in the mixer If you disable this button you will no longer see the stereo outputs in the mixer however any changes or routing that have been made will still be active and you will still be able to hear your monitor mixes through all eight outputs This button will not remove the Main Output from the mixer This output is always visible Please Note From VSL you can create and send mixes to all eight Line Outputs on your AudioBox 1818VSL Outputs 1 and 2 share a mix with the Main Outputs so the mix you create for your Main Outputs will be heard through both pairs of outputs Outputs 7 and 8 share a mix with the headphone output so creating a mix for Outputs 7 and 8 w
15. 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 les limites applicables aux appareils num riques de classe A de classe B selon le cas prescrites dans le r glement sur le brouillage radio lectrique dict par le minist re des communications du Canada J A e 7257 Florida Boulevard Baton Rouge j e onus Louisiana 70806 USA 1 225 216 7887 WWW presonus com Parti 820 AB0003 C
16. You will be asked if you d like to relaunch Logic Click try reJlaunch Your AudioBox 1818VSL features custom I O labels for faster workflow To enable these labels for use in Logic go to Options Audio I O Labels The second column in the pop up window will be named Provided by Driver Activate each of these labels for your AudioBox 1818VSL When you are done close this window You are now ready to use your AudioBox 1818VSL Launch Cubase Go to Devices Device Setup Select VST Audio System from the Devices column in the Device Setup Select PreSonus AudioBox 1818VSL from the ASIO Driver dropdown list Click Switch to begin using the AudioBox 1818VSL driver Once you have successfully changed the driver go to Devices VST Connections to enable your input and output buses 15 cn 2 S w g Bos v o c t o o e y 3 Connecting to a Computer PreSonus AudioBox 1818VSL 3 4 Using the AudioBox 1818VSL with Popular Audio Applications Cakewalk Sonar 6 fam an e e Ses Se ce EUR o 5 Cas Ableton Live 5 S ProTools 10 16 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 t
17. a library of Channel Strip presets Section 4 1 5 discusses how to load these presets onto a channel or bus and how to create your own presets For an idea of where to start check out the following generic pe EQ settings for several different instruments As with the compression settings in Section 5 2 3 the right EQ setting for any given instrument will depend upon the room and the tonality of the instrument CON 7 Vocals Pop Female Vocals ks LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID ON OFF PEAK SHELF FREO Hz GAIN ON OFF HI LOW Q FREO Hz GAIN ON ON PEAK HI HI N HI MID HI MID HI MID HI MID HI HI ON OFF LO HI FREQ kHz GAIN ON OFF PEAK SHELF FREQ kHz GAIN 8 oN to 24 2 ON PEak p WP ll L Rock Female Vocals V ON LO OW 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 4 a r oN sHir 175 ON j iow 465 6 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 14 PEAK Pop Male Vocals C 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 PAK 25 2 ON m 960 0 C HI MID HI MID HI MID HI MID HI HI HI HI ON OFF LO HI FREQ kHz GAIN ON OFF PEAK SHELF FREQ kHz GAIN PEAK Rock Male Vocals LOW LOW LOW LOW
18. active The Low EQ band is available for all input and output buses 28 Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Virtual StudioLive 4 1 Low EQ Frequency Control Sets the Center Frequency for the Low EQ Band The center frequency is the middle of the passband the mean between the lower and upper cutoff frequencies that define the limits of the band You can adjust the center frequency from 36 to 465 Hz Sets the Gain Attenuation or Boost of the Center Frequency TN This control sets the gain cut or boost at the center frequency for the d Low band The level of the center frequency can be set between 15 and 15 dB k 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 a band of low frequencies at and below a user selected shelving frequency it aU Jmm otc e o v cc amp En No ae OWN cao o Power User Tip A low shelving EQ is like a bass control knob on a consumer audio device In this mode the Center Frequency control selects the shelving frequency P e TO p WN n E x p pus GU e YN z Mid EQ On Off Button Activates Controls for the Mid EQ for the Selected Input o
19. doubled events if the same port is the manufacturer and device names New Instrument K ice E MU used by a Keyboard device Edirol Evolution 5 Specify which MIDI channels will be used to presse communicate with this keyboard For most ik purposes you should select all MIDI channels If apg gl AE Eas you are unsure of which MIDI channels to select we suggest you select all 16 7 Send MIDI Clock 7 Use MIDI Clock Start Send MIDI Timecode e E ox 55 w gt O DA ORT O S BET avgr ees c e PA 50 Gael fuz Vow am zz S cS Ces o gt WY sti fev 2 e t WGN me a fa gt Emm mt 92 EQUUS RS 3AITOIPNIS JENIN 9JeM1og 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 3 Studio One Artist Quick Start Send To Mobile 2 MIDI PreSonus AudioBox 1818VSL 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 this case via the AudioBox 1818VSL In the Receive From drop down menu select the MIDI interface output AudioBox 1818VSL from which Studio One Artist will receive sound module MIDI data 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
20. easier placement in the mix Threshold Ratio Attack Release 3 3 dB 50 ms E 9 T Stereo Limiter Just as the name implies this is a hard limiter or brickwall setting ideal for controlling the level to a two track mixdown deck or stereo output Threshold Ratio Attack Release 5 5 dB 7 1 1 0 001 ms 98 ms Contour This setting fattens up the main mix Threshold Ratio Attack Release 13 4 dB 0 002 ms 182 ms Squeeze This is dynamic compression for solo work especially electric guitar It gives you that glassy Tele Strat sound It is a true classic Threshold Ratio Attack Release 4 6 dB 93 ms Pump This is a setting for making the compressor pump in a desirable way This effect is good for snare drums to increase the length of the transient by bringing the signal up after the initial spike Threshold Ratio Attack Release 0 dB 191 0 001 ms 73 a 5 Tutorials 5 3 Equalizers PreSonus AudioBox 1818VSL z 5 3 Equalizers The Fat Channels in VSL are equipped with a 3 band semi parametric Jj equalizer for every analog input and playback stream Here s a brief explanation of how an EQ functions as well as some charts to help you navigate the frequency ranges of various instruments so you can quickly choose the best EQ settings for your recordings and live mixes 5 3 1 Whatis an EQ An e
21. in the monitor mix The pan control sets the channel s relative position in the left right stereo mix When a pair of channels is stereo linked the pan control sets the spread of the channels in the left right stereo mix The top control for each output pair is the send level and the lower control is the pan control Sets the Level of Each Channel in the FX Mixes The FXA and FXB Send controls sets the level of each channel in the FX Buses The higher the level the wetter the processed signal will be Sets the Panning of Each Channel in the Main Mix The pan control sets the channel s relative positions in the stereo main mix When a pair of channels is stereo linked the pan control sets the spread of the channels in the left right mix Controls the Overall Level of the Channel or Bus Each input channel features a fader for accurate level adjustment Unity gain 0 dB is denoted by a U 25 AB1818VSL Remote and Studio One Artist P TO WY n E x p E e WY 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 1 Virtual StudioLive SN Meter Displays the Pre fader Level of Each Channel Each channel features a fader for accurate level monitoring Each meter J displays the pre fader pre Fat Channel signal If the Post button is MEME engaged the meter will display the post Fat Chan
22. or Preset Just below the Browser tabs you will see the Add New button Clicking this button will immediately create a new Scene or preset Deletes a Stored Scene or Preset Right next to the Add New button you will find the Remove button Clicking this button will delete the currently selected stored Scenes or presets 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 Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Virtual StudioLive 4 1 7 SEE 4 1 3 Virtual StudioLive Overview and Fat Channel Tab VSL provides you with two ways to look at your mix and to dial in FX settings The Overview and Fat Channel Tabs The Overview Tab provides you with a complete graphical representation of your Virtual StudioLive mix environment The Fat Channel Tab opens a detailed overview of the Fat Channel CN parameters for the currently selected channel The Fat Channel Tab can be opened either from the tab button at the top of the VSL window or by simply double clicking on any of the microviews From either tab you can e Adjust levels for all analog and digital inputs all eight playback streams both effects buses the main output
23. the Selected Channel or Bus m This button engages and disengages the gate for the selected channel It E SE O NOISE GATE will illuminate to indicate that the gate has been enabled es The gate is available for all inout and output buses S35 EET Gate Threshold Sets the Threshold of the Gate for the Selected Channel or Bus S The Gate Threshold determines the level at which the gate will open z Essentially all signals above the threshold setting are passed unaffected You can set the threshold from 0 to 84 dB The gate can be controlled either via the Threshold knob or from the Gate Graph assum Compressor On Off Turns the Compressor On and Off for the Selected Channel or Bus Y COMPRESSOR This button engages or disengages the compressor for the selected V dl aasa channel or output bus It will illuminate to indicate that the compressor has been enabled The compressor is available for all input and output buses m Auto Mode Button Enables Automatic Response Mode When Auto mode is active the Attack and Release controls become inoperative and a preprogrammed attack and release curve is used In this mode the attack is set to 10 ms and the release is set to 150 ms All other compressor parameters can still be adjusted manually Sets the Threshold of the Compressor for the Selected Channel or Bus When the signal s amplitude level exceeds the threshold setting the compressor engages Turning the knob coun
24. the driver to operate properly you must restart your computer Click Finish to automatically reboot your computer Once your computer has restarted connect your AudioBox 1818VSL Your AudioBox 1818VSL is now ready to use 13 a w C Sc vos c t e e OJ Iu Eales ay R a pc SUV ot D e Lee 3 Connecting to a Computer PreSonus AudioBox 1818VSL 3 3 Installation for Mac OS X ENS Installation for Mac OS X After inserting the Installation CD into your disc drive browse the disc and run the AudioBox 1818VSL installer which will take you through each step of the installation process Please read each message carefully and be especially careful that you do not connect your AudioBox too soon 000 Install PreSonus AudioBox VSL 1 You will be directed to the Welcome screen Click Continue and follow the onscreen instructions You will be guided through the steps necessary to software install this 200 Install PreSonus AudioBox VSL 2 You will be directed to choose the hard drive onto which you want to install the drivers and Virtual StudioLive software You must choose your system drive storage drives and partitions cannot be used as hosts for the driver This will take 24 8 MB of space on your computer Click Install to perform a standard installation of this software on the disk Macintosh HD When installat
25. the light will be blue Ch volume Value dB Mute The OOE Power User Tip When slaved to an external clock the l gt 100 0 00 0 P S 2 eG 10 500 D AudioBox will not automatically change its sample rate 3 2 100 0 00 D ppm f to match the external clock As a result it may fail to sync P ES P on to the clock source If your AudioBox is not syncing to an e ll external source make sure that both your master device and the AudioBox are set to the same sample rate Ne Main to S PDIF In Bypasses the SPDIF Input and Routes Main Mix to DAW Inputs 9 and 10 VSL gives you the option to record the Main Mix in your DAW Main to SPDIF In application This means that whatever you are listening to through your AudioBox 1818VSL Main Outputs will be recorded in your DAW by record enabling Inputs 9 and 10 S PDIF Left and Right w gt us E AA uod es comm Sars Naw c c C coe cO GLO pm cus Yow am CO zz S Ces ep YN When this option is selected you will not be able to record the signal connected to the physical SPDIF input on the back of your AudioBox 1818VSL on its own However if the S PDIF stereo input is a part of the Main Mix in VSL it will be recorded as part of the mix It should be noted that the Main Level knob on the front of the E AudioBox 1818VSL will not have any effect on the recording
26. the same sample rate as your external clock 87 7 Troubleshooting and Warranty PreSonus AudioBox 1818VSL 7 2 PreSonus Limited Warranty 72 PreSonus Limited Warranty PreSonus Audio Electronics Inc warrants this product to be free of defects in J materials and workmanship for a period of one year from the date of original retail purchase This warranty is enforceable only by the original retail purchaser To be protected by this warranty the purchaser must complete and return the enclosed warranty card within 14 days of purchase During the warranty period PreSonus shall at its sole and absolute option either repair or replace free of charge any product that proves to be defective on inspection by PreSonus or its authorized service representative To obtain warranty service the purchaser must first call or write PreSonus at the address and telephone number printed below to obtain a Return Authorization Number and instructions of where to return the unit for service E All inquiries must be accompanied by a description of the problem All authorized a 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 unautho
27. to select it you can slide your finger anywhere in the screen and make a side to side movement to control the pan position The pan position is displayed numerically in the Channel Select field while the pan control is being adjusted in AB1818VSL Remote Channel Controls Mute 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 39 w uL SQ wg IS r o j BET moe c c C z222 60 aa XD CO LA am CO zz S Ces ep NY 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 2 AB1818VSL Remote Channel Controls Controls the Level for Each Channel and Displays Each Channel s Metering Fader and Metering To control the volume of a channel tap the fader and move 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 an up down movement to control the fader The fader position is displayed numerically in the Channel Select field To the left of the fader you will see the meter for the channel The meter will follow the meter mode selected on the StudioLive or from VSL The meter mode cannot be changed from AB1818VSL Remo
28. trials sessi eati rie Your Studio One Product Key is located on d not have a Product Key you can try Studio One for a time limited demo the Studio One Artist disc wallet Username AudioBox Genius e e C Aan Click on the Activate button to finish the activation process Product Key I2xm yvwx 3hi5 c34v fgo6 nbnx ve38 Remember my credentials have purchased an upgrade of Studio One P Acivato v Activating Studio One Artist Offline So aU 2 sz o v cc amp En No ae dm ON cao o 1 If your computer is not connected to the Internet visit http www presonus com registration on an Internet connected computer to create your account P e TO p WN nz E x pus GU e WY 7 t PRESONUS REGISTRATION 2 Once you have created your user account log in and click on the Software Registration link M Software H Sohwang Regi pralon a gt PRESONUS REGISTRATION 3 Enter the Product Key located on the Studio One Artist disc wallet Software Registration Click Submit C Product Key I2xm yvwx 3hi5 c34v fgo6 nbnx ve 38 m Registration Home PRESONUS REGISTRATION 4 When the product key is registered you will be returned to the main user account page Click on the My Software link Software I Soltware Registration 2 My Sofbeare 49 4 Software Virtual StudioLive AB1818VSL Remote amp Studio
29. 0 connection a few microphones and cables powered speakers and your instruments and you are ready to record in the studio or in front of a live audience We encourage you to contact us at 225 216 7887 9 a m to 5 p m Central Time with questions or comments regarding your PreSonus AudioBox 1818VSL PreSonus Audio Electronics is committed to constant product improvement and we value your suggestions highly We believe the best way to achieve our goal of constant product improvement is by listening to the real experts our valued customers We appreciate the support you have shown us through the purchase of this product and are confident that you will enjoy your AudioBox 1818VSL ABOUT THIS MANUAL We suggest that you use this manual to familiarize yourself with the features applications and correct connection procedures for your AudioBox 1818VSL before trying to connect it to your computer This will help you avoid problems during installation and setup Throughout this manual you will find Power User Tips that can quickly make you an AudioBox 1818VSL expert In addition to the Power User Tips you will find an assortment of audio tutorials at the back of this manual These tutorials cover everything from microphone placement to equalizer and compression setting suggestions p D gt a a lt a gt a gt 1 Overview PreS
30. 00 load 20 Hz 20 kHz 0 5 dB max gain 0 01 1 kHz max gain 20 kHz BW A wtd 96 dB 1 kHz max gain 20 kHz BW A wtd 4 TRS female impedance balanced 20 Hz 22 kHz 0 25 dB 0 003 1 kHz 22 kHz BW A wtd 109 dB 1 kHz 22 kHz BW A wtd 10 dBu lt 0 5 THD 510 18 VDC 2 6A center positive Barrel 5 5 mm OD 2 1 mm ID 9 5 mm length 114 dB 48 kHz A wtd 114 dB 48 kHz A wtd USB 2 0 high speed 24 bit 44 1 kHz 48 kHz 88 2 kHz 96 kHz 6 mS analog input to analog output Toslink connectors ADAT SMUX formats RCA female connectors BNC connector 4 5 Vpp 750 load 5 pin DIN connectors Owner s Manual Troubleshooting and Warranty 7 Troubleshooting 7 1 7 0 Troubleshooting and Warranty 7 1 Troubleshooting ge Many technical issues can arise when using a standard computer as a digital audio workstation DAW PreSonus can only provide support for issues that directly relate to the AudioBox interface Studio One digital audio workstation software and AudioBox VSL mixer control software PreSonus does not provide d 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 d com regularly for software information and updates firmware updates and support documentation for frequently asked question
31. 1 000 e Dance Drums 005 140bpm wav ijj Dance Drums 006 140bpm wav e Dance Drums 007 140bpm wav e Dance Drums 008 140bpm wav ijj Dance Drums 010 140bpm wav e Dance Drums 011 140bpm wav ijj Dance Drums 012 140bpm wav ijj Dance Drums 013 140bpm wav e Dance Drums 014 140bpm wav ijj Dance Drums 015 140bpm wav e Dance Drums 016 140bpm wav ijj Dance Drums 018 140bpm wav di Dance Drums 019 140bpm wav gt J Atomic Synths gt Lj Deep Frets Electric Guitar gt J Fifty Gallon Drums gt Lj Funk Drums gt L Hip Hop Xpression gt LJ Hotbox Vol 1 gt J Icebox 10 Dance Drums 004 140bpm Dance Drums 004 140bpm 44 4 kHz 16 bitStereo 11 1 2002 10 25 48 Wave File 6 857 sec 140 00 BPM CD Ff UL o Files Poo ne 0001 01 01 000 A 41 4 120 00 0001 01 01 000 Metronome Timesig Tempo Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Studio One Artist Quick Start 4 3 To add a plug in effect to a track click the Effects button and select the plug in or one of its presets in the effects browser then drag the selection over the track to which you would like to add the effect Audio and MIDI files can be quickly located auditioned and imported into your Song by dragging them from the file browser into the Arrange view If you drag the file to an empty space a new track will be created with that file placed at the position to which you dragged it If you drag the file to an existing track the file w
32. 5 6 and 7 8 The AudioBox 1818VSL also allows you to create a separate mix for Outputs 3 4 5 6 and 7 8 This done by using channel sends that enable d you to set the levels for each channel that is routed to a specific output bus For any given channel you can create one mix for your Main and Line 1 and 2 outputs and create entirely separate mixes for Outputs 3 4 5 6 and 7 8 and the headphone outputs It is important to mention that each of these outputs are stereo linked so you will have one send level for each channel but a given channel s level will be the same at both outputs in the pair The top slider for each pair sets the level for each channel A while the lower slider is the pan control for each channel STEP 3 Adding Fat Channel Dynamics The AudioBox 1818VSL provides a Fat Channel to process each input and DAW channel the two effects buses and the analog outputs in VSL Each Fat Channel consists of a Downward Expander a Compressor a 3 band semi parametric EQ and a Limiter For more information on how these dynamics processors effect audio please review Sections 5 2 and 5 3 ev 2 N e iem e a a gt B mt N e Jow TSASLELEY IAITOIPNYS JENA 9JeM3JOS COMP The Overview tab in VSL provides Microviews of the Gate Compressor and Limiter To make changes to one of these processors double click on its Microview This will open the Fat Channel tab and focus on the chosen dynamics
33. AudioBox 1818VSL Owner s Manual WikPreSonus AudiBox wee 24507 DK USEG 0 Facording inisa Oy D 1 4 aav fe I PreSonus 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 Repairs must be performed by qualified service personnel Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not u
34. 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 Shows Active Audio Driver and Sample Rate and Provides Quick Links to Configure Audio and MIDI In the middle of the Start page you will see the Setup area Studio One Artist automatically scans your system for all available drivers and selects a driver By default it will choose a PreSonus driver if one is available Selecting a Different Audio Driver from the Start Page If you do not see PreSonus AudioBox 1818VSL on the Start page when you launch Studio One click on the Configure Audio Devices link in the Setup area to open the Audio Setup Options window In the Audio Device menu select PreSonus AudioBox Click the Apply button and then OK After you have verified that the PreSonus AudioBox driver has been detected please continue to the next section to set up your external MIDI devices If you do not have any MIDI devices to connect at this time please skip to Section 4 4 Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Studio One Artist Quick Start 4 3 4 3 3 Configuring MIDI Devices From the External Devices window in Studio One Artist you can configure your
35. IO Buffer Size ADAT In Mode ADAT Qut Made Changes Sample Rate Sets the sample rate to 44 1 48 88 2 or 96 kHz 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 Changing the sample rate will produce a momentary popping noise Because of this it is recommended that you turn the Main and Phones volumes down on your AudioBox prior to changing the sample rate On Windows systems the sample rate is set from inside your host audio application Changes VSL s Input Monitoring Buffer Size VSL offers three Performance modes for input monitoring Fastest Normal and Safe These modes allow you to adjust the VSL s buffer to either lower the input latency or increase it depending on your computer s speed e Fastest Sets VSLs input buffer to 1 millisecond e Normal Sets VSUS input buffer to 2 milliseconds e Safe Sets VSLs input buffer to 4 milliseconds For most machines Normal mode will provide excellent stability with nominal latency Changes the Buffer Size You can set the buffer size from 64 44 1 or 48 kHz or 128 88 2 or 96 kHz to 2048 samples The buffer size determines the roundtrip time it takes audio data to be converted from analog to digital and back to analog As a general rule the higher the buffer size the better the system performance but the less playable virtual
36. LOW MID LOW MID LOW MID LOW MID ON OFF PEAK SHELF FREQ Hz GAIN ON OFF HI LOW Q FREQ Hz GAIN ON 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 2 4 79 5 Tutorials PreSonus AudioBox 1818VSL 5 3 Equalizers Percussion Snare UN LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID ON OFF PEAK SHELF FREQ Hz GAIN ON OFF HI LOW Q FREQ Hz GAIN PEAK HI MID HI MID HI MID HI MID ON OFF LO HI FREQ kHz GAIN n T DE m GAIN oN to 36 ON SHF 42 Left Right Stereo Overheads J N LOW MID LOW MID LOW MID LOW MID Tm cm a Hz Lem zr ENTM FREQ EE EM GAIN ON SHELF 385 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 8 4 r Kick Drum sjernogn 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 H2 GAIN PEAK HI MID HI MID HI MID HI MID ON OFF LO HI FREQ kHz GAIN oe DR T an 0 ON SHF 60 Fretted Instruments Electric Bass LOW MID LOW MID LOW MID LOW MID owore E eama Hz ean men a FREQ GAIN SHELE 130 HI MID HI MID HI MID HI MID ON OFF LO HI FREQ E LR PA m Lom 20 SHELF Acoustic Guitar LOW MID LOW MID LOW MID LOW MID Pea n eae Hz Lem Ow a FREQ ae GAIN 665
37. Limiter A limiter is a compressor that is set to prevent any increase in the level of a signal above the threshold For example if you have the threshold knob set at O dB and the ratio turned fully clockwise the compressor becomes a limiter at O dB so that the output signal cannot exceed 0 dB regardless of the level of the input signal Attack Attack sets the speed at which the compressor acts on the input signal A slow attack time allows the beginning envelope of a signal commonly referred to as the initial transient to pass through the Owner s Manual Expansion Tutorials 5 A Brief Tutorial on Dynamics Processing 5 2 compressor unprocessed whereas a fast attack time immediately subjects the signal to the ratio and threshold settings of the compressor Release Release sets the length of time the compressor takes to return the gain reduction back to zero no gain reduction after the signal level drops below the compression threshold Very short 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 s
38. MIDI keyboard controller sound modules and control surfaces This section will guide you through setting up your MIDI keyboard controller and sound module Please consult the Reference Manual located on your Studio One Artist installation DVD for complete setup instructions for other MIDI devices RT If you are using a third party MIDI interface or USB MIDI controller keyboard you must install the drivers for these devices before beginning this section Please consult the documentation that came with your MIDI hardware for complete installation instructions d 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 controller and tone generation functions as two different devices a MIDI keyboard controller and a sound module The MIDI controls keyboard knobs faders etc will be set up as a Keyboard The sound module will be set up as an Instrument AB1818VSL Remote and Studio One Artist P e TO WY nz E x p E e YN You can set up your external MIDI device
39. Main The Main knob controls the output level for the Main Outputs on the back of the AudioBox 1818VSL with a range of 80 dB to 0 dB A A USB Sync LED This LED will illuminate blue when the AudioBox 1818VSL is properly powered and synced to a USB 2 0 connection It will flash blue and J red when the unit is properly powered but no USB connection is detected Va inch Phones Jack This is where you connect headphones to your AudioBox 1818VSL Main Output Meters These meters display the signal level going to the Main and Line 1 2 Outputs on the back panel of the AudioBox 1818VSL The level set by the Main Output knob on the front panel has no effect on the metered level Power User Tip Because Outputs 1 and 2 share the same signal source you can use these meters to monitor that output pair as well Owner s Manual Hookup 2 Rear Panel Connections 2 2 2 2 Rear Panel Connections Line Outputs The AudioBox 1818VSL has eight line outputs to route to external devices such as headphone amps and DJ mixers Outputs 1 and 2 share their playback streams with the Main Outs Outputs 7 and 8 share their playback streams with the headphone output Outputs 3 through 6 have independent playback streams E 6 4 2 LINE OUTPUTS TRS BALANCED k Main Out These are the main outputs for the AudioBox 1818VSL The output level of d the Main Outs is controlled by the Main volume knob on the front
40. OIPNYS JENA 9JeM3JOG ev 2 er cn e SL a a gt p ct ca et 4 4 2 36 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 2 2 AB1818VSL Remote 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 AB1818VSL 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 communicating before the pressure is on and you have a singer trying to dial in a monitor mix while you re trying to mic the drum kit So while the guitarist is flirting with the bartender take a quick moment to get your iPad computer and StudioLive talking Connecting to Virtual StudioLive Once you have created your ad hoc network and joined it from your iPad you are ready
41. One Artist PreSonus AudioBox 1818VSL 4 3 Studio One Artist Quick Start STUDIO ONE Z ARTIST 5 Click on the Download License link uu Maii A file called Studio One 2 Artist license will be saved onto Jj TEE your computer You will need to copy this onto a piece Ce Activate lem Clem c Dowgload License of removable media and transfer it onto the computer D upgrade Sotware on which you want to run Studio One Artist LL 6 Launch Studio One Artist Activate Offline If your computer is not connected to the Internet please foliow the Offine Activation instructions From the Activate Studio One Menu click on the Activate Offline link P bes Studio One Activation 7 Drag the Studio One 2 Artist license file onto the Offline Activation window tudio C Offline Activation 30 to your PreSonus user account on a computer with Internet connection 2 Register the Product Key of the Studio One version you purchased EQUUS E 3Ar 0Ipnjs JENA 9JeM3JOG u can request a ev 2 er N e Sh a a gt m ct N et 3 Unlock this computer by MQJS TFRX AAAA BNFA 4 Download your personalized User License for Studio One 5 Select the User License here or just drag it onto this window E S A e e e B Installing Bundled Content for Studio One Artist 000 Studio One Installation Studio One Artist comes bundled with an array o
42. Power User Tip Do not route the track on which you are recording the Main Mix in your DAW to Outputs 1 8 This will send the Main Mix back to the DAW input channels in VSL and create a feedback loop It is highly recommended that you ither d t select tput for the Main Mi ding track i DAW either do not select an output for the Main Mix recording track in your Main to S PDIF Out Patches the Main Mix to the S PDIF Output ZEN This preference allows you to patch the Main Mix to your S PDIF C Main to SPDIF Out output This is especially useful when utilizing a studio control center with a S PDIF input like the PreSonus Central Station When this preference is enabled the Main Mix in VSL will be routed to the S PDIF output on the back of your AudioBox 1818VSL in addition to your Main Outputs and Line Outputs 1 2 Power User Tip When this preference is enabled you will not be able to patch signal from your DAW directly to the S PDIF output on your AudioBox 1818VSL 21 fev 2 e t WGN me a fa gt Emm 92 EQUUS RS 3AI 0Ipnig JENIN 9JeM1OS 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 1 Virtual StudioLive 4 1 2 Virtual StudioLive Browser Browser Tab Buttons Add New Button Remove Button Show Hide Browser 4m Show Browser Hide Browser f When you first launch VSL notice the Bro
43. PreSonus BlueMax We have included them as a jumping off point for setting up compression in VSL 71 a E r j kK 5 Tutorials PreSonus AudioBox 1818VSL 5 2 A Brief Tutorial on Dynamics Processing Vocals Me ud Percussion j ev cn Fretted Instruments 72 5 23 Compression Settings Some Starting Points Soft This is an easy compression with a low ratio setting for ballads allowing a wider dynamic range It s good for live use This setting helps the vocal sit in the track Threshold Ratio Attack Release 8 2 dB 0 002 ms 38 ms Medium This setting has more limiting than the Soft compression setting producing a narrower dynamic range It moves the vocal more up front in the mix Threshold Ratio Attack Release 3 3 dB 0 002 ms 38 ms Screamer This setting is for loud vocals It is a fairly hard compression setting for a vocalist who is on and off the microphone a lot It puts the voice in your face Threshold Ratio Attack Release 1 1 dB 0 002 ms 38 ms Snare Kick This setting allows the first transient through and compresses the rest of the signal giving a hard snap up front and a longer release Threshold Ratio Attack Release 2 1 dB 300 ms Left Right Stereo Overheads The low ratio and threshold in this setting gives a fat contour to even o
44. 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 time This will give your mix a little more transparency by leaving some space between the original sound and its reverb e HF and LF decay The types of surfaces 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 83 a E r j kK e ay ev nN 5 Tutorials 5 5 Digital Effects 9 3 2 5 4 3 Chorus Phase Flange 84 Delay PreSonus AudioBox 1818VSL A delay essentially cre
45. ab Highlight all input and output drivers begin ning with PreSonus AudioBox 1818VSL Go to Options Audio and click on the General tab Set the Playback Timing Master to PreSonus AudioBox DAW Out 1 Set the Recording Timing Master to PreSonus AudioBox Mic Inst 1 Launch Ableton Live Go to Options Preferences Audio Choose Driver Type Asio Audio Device ASIO PreSonus AudioBox 1818VSL Go to Input Config Enable and select the desired Input channels Go to Output Config Enable and select the desired Output channels You may now select the AudioBox 1818VSL inputs and outputs for each track created in Live Launch ProTools Go to Setup Hardware and select AudioBox 1818VSL from the Peripherals list Click OK Go to Setup Playback Engine and select AudioBox 1818VSL from the menu at the top of the window Click OK Owner s Manual Software Virtual StudioLive and Studio One Artist 4 Virtual StudioLive 4 1 4 0 Software Virtual StudioLive and Studio One Artist 4 1 Virtual StudioLive Your AudioBox 1818VSL comes with a powerful software bundle that provides everything you need to record produce and mix an album This software package including Virtual StudioLive VSL and Studio One Artist is designed to help you get the most from your studio Virtual StudioLive is a powerful monitoring software that essentially turns your AudioBox 1818VSL into a mini StudioLive 16 0 2 VSL pro
46. ameter controls These allow you to adjust the effect to taste NN e Reverb Predelay This is the time between the end of the initial a sound and the moment when the first reflections become audible e Reverb Room size This allows you to adjust the size of your virtual room k e Reverb Width The width control increases the stereo width of the reverb bus e Delay Delay Time This is the time between the source signal and its echo So aU Jmm si e o v cc amp En No ae On cao o e Delay Feedback Variable feedback or regeneration produces multiple decaying repeats P e TO WN n E x 4 GU e YN e Reverb amp Delay Damping This control dampens the higher frequencies in the reverb reflections g It is important to mention that both FX bus A and FX bus B must be patched to an output pair in order to hear them in the mix On each of the output buses you will see buttons labeled FXA and FXB These M buttons route the output of the FX buses to the physical outputs on your interface By default both FX buses are routed to all outputs 4 2 AB1818VSL Remote AB1818VSL Remote for iPad provides an unprecedented level of remote control over Virtual StudioLive for AudioBox 1818VSL With AB1818VSL Remote you can adjust level pan dynamics bus routing FX mixes and aux mixes from an Apple iPad via M a wir
47. andwidth accentuates or attenuates a larger band of frequencies The broad and narrow bandwidths high and low Q are usually used in conjunction with one another to achieve the desired effect Let s look at our kick drum again We have a kick drum that has a great big low end sound centered around 100 Hz and an attack hitting almost dead on at 4 kHz In this example you would use a broad bandwidth in the low frequency band centered at 100 Hz anda narrow bandwidth boosted at 4 kHz In this way you are accentuating the best and downplaying everything else this particular kick drum has to offer A shelving EQ attenuates or boost frequencies above or below a specified cutoff point Shelving equalizers come in two different varieties high pass and low pass Low pass shelving filters pass all frequencies below the specified cutoff frequency while attenuating all the frequencies above it A high pass filter does the opposite passing all frequencies above the specified cut off frequency while attenuating everything below A graphic EQ is a multiband equalizer that uses sliders to adjust the amplitude for each frequency band It gets its name from the positions of the sliders which graphically display the resulting frequency response curve The center frequency and bandwidth are fixed the level amplitude for each band is the only adjustable parameter Graphic EQs are generally used to fine tune the overall mix for a particular room For instanc
48. apon Network 3 lapon Wi Fi c Wi Fi Networks 4 Under Choose a Network you should now see your ad hoc network in the list Wi Fi spa 5 Tap on your newly created network to select it Engineering a gt paeguesta a 6 Ifyou secured your network with a password ecce 0 you will prompted to enter it Other 7 Tapon the menu arrow to the right of the desired network s name to open its network settings 8 Turn Auto Join to On You are now ready to launch Auto Join EN Eso Lea AB1818VSL Remote and remote control VSL Troubleshooting your Ad Hoc Network 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 AudioBox 1818VSL in the Devices list in AB1818VSL Remote Here s what to do if this happens 1 Tapon the Settings icon in your iPad 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 AB1818VSL Remote can t connect 35 AB1818VSL Remote and Studio One Artist P e TO WN n E x E e YN EQUUS E IAIT
49. aratus 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 product requires a repair contact supporta 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 Theapparatus 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 2011 65 EU for the Restriction ofthe use of Certain Hazardous Substances in Electrical and Electronic Equipment No lead Pb cadmium Cd mercury Hg hexavalent chromium Cr 6 PBB or PBDE is intentionally added to this device Any traces of impurities of these substances contained in the parts are below the RoHS specified threshold levels REACh This product is compliant with the European Union Directive EC1907 206 for the Registration Evaluation Authorization and Restriction of chemicals REACh and contains none or less than 0 196 of the chemicals listed as hazardous chemicals in the REACh regulation WEEEThis symbol on the produ
50. as the StudioLive 16 4 2 and 16 0 2 and the AudioBox 1818VSL have quasi parametric EQ which is semi parametric EQ with a simple switchable Q setting typically High and Low Q Q is the ratio of center frequency to bandwidth and if the center frequency is fixed then bandwidth is inversely proportional to Q meaning that as you raise the Q you narrow the bandwidth In fully parametric EQs you have continuous bandwidth control and or continuous Q control which allows you to attenuate or boost a very narrow or wide range of frequencies A narrow bandwidth higher Q has obvious benefits for removing unpleasant tones Let s say the snare drum in your mix has an annoying ring to it With a very narrow bandwidth you can isolate this one frequency usually around 1 kHz and remove or reject it This type of narrow band reject filter is also known as a notch filter By notching out the offending frequency you can remove the problem without removing the instrument from the mix A narrow bandwidth is also useful in boosting pleasant tones of an instrument such as the attack Take for instance a kick drum A kick drum resonates somewhere between 60 to 125 Hz but the attack of the kick drum is much higher at 2 to 5 kHz By setting a narrow bandwidth and boosting the attack a bit you can achieve a punchier kick drum without overpowering the rest of the mix Owner s Manual Shelving EQ Graphic EQ Tutorials 5 Equalizers 5 3 A broad b
51. ates an echo although you can often use delays to create more complex time based effects The source signal is delayed so that it is heard later than it actually occurred Delay Time Delay time is the time between the 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 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 Modulation Effects As its name indicates a Chorus effect creates copies of a single source signal to artificially create the impression that there is more than one instrument playing voice singing etc This ensemble effect is created using a series of short continuously varying delays that produce slight pitch shifts and add fullness to a sound LFO Speed and Width The copies are delayed using a low frequency oscillator Some chorus effects allow you to adjust the speed and width of the waveform being applied to modulate the source signal Depth The depth control affects how much the total delay time changes over time As
52. ave a 20 dB dynamic range for the vocal channel Problems arise when noise or instruments air conditioner loud drummer etc in the background of the vocal mic become more audible after the lower end of the dynamic range is raised You might attempt to mute the vocal between phrases in an attempt to remove the unwanted sounds however this would probably end disastrously A better method is to use a noise gate The noise gate threshold could be set at the bottom of the dynamic range of the vocal say 10 dBu such that the gate would shut out the unwanted signals between the phrases If you have ever mixed live sound you know the problems cymbals can create by bleeding through the tom mics As soon as you add some highs to get some snap out of the tom the cymbals come crashing through placing the horn drivers into a small orbit Gating those tom mics so that the cymbals no longer ring through them will give you an enormous boost in cleaning up the overall mix Dynamics processing is the process of altering the dynamic range of a signal thereby enhancing the ability of a live sound system or recording device to handle the signal without distortion or noise and aiding in placing the signal in the overall mix 5 2 2 Types of Dynamic Processing Compression Limiting Punch apparent loudness presence these are just three of the many terms used to describe the effects of compression limiting Compression and limiting are forms of dynam
53. can on these slow rising signals cause an artifact in the signal which is heard as a click All gates have the ability to click when opening but a properly set gate will never click Hold Hold time is used to keep the gate open for a fixed period after the signal drops below the gate threshold This can be very useful for effects such as gated snare where the gate remains open after the snare hit for the duration of the hold time then abruptly closes Release The gate release time determines the rate at which the gate closes Release times should typically be set so that the natural decay of the instrument or vocal being gated is not affected Shorter release times help to clean up the noise in a signal but may cause chattering in percussive instruments Longer release times usually eliminate chattering and should be set by listening carefully for the most natural release of the signal Range The gate range is the amount of gain reduction that the gate produces Therefore if 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
54. cess the audio I O setup from here 4 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 5 To begin recording create an audio track assign it to Vocal Fr Input 1 and connect a microphone to the first channel Guitar Front Right on the AudioBox 1818VSL Select Record Enable on Input 3 None your track in Studio One Artist Turn up the Channel 1 level while speaking singing into the microphone You should see the input meter in Studio One Artist react to the input Adjust the gain so the input level is near its maximum without clipping distorting Input 4 None Input 5 None 58 Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Studio One Artist Quick Start 4 3 6 Connect a set of headphones to the AudioBox headphone output If you wish to listen to your AudioBox 1818VSL with studio monitors make sure to connect them to the AudioBox s Main 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 Anatomy of an Audio Track Solo Level Mute amp ST Mono _ Mon In S1 Vocal Fr Guitar Front Right Input 3 Nona Input 4 Nona Input 5 Nona Input 6 Nona 4 3 6 Creating MIDI Tracks AO AddT
55. ct or its packaging indicates that this product must not be disposed of with other waste Instead it is your responsibility to dispose of your waste equipment by handing it over to designated collection point for the recycling of waste electrical and electronic equipment The separate collection and recycling of your waste equipment at the time of disposal will help conserve natural resources and in ensure that it is recycled in a manner that protects human health and the environment For more information about where you can drop off your waste equipment for recycling please contact your local city recycling office or the dealer from whom you purchased the product CEThis product complies with the European Union Council Directives and Standards relating to electromagnetic compatibility EMC Directive 2006 95 EC and the Low Voltage Directive 2004 108 EC 1 0 1 1 1 2 1 3 1 4 1 5 2 0 2 1 2 2 2 3 2 4 3 0 3 1 3 2 3 3 3 4 4 0 4 1 Overview 1 Introduction 7 Summary of AudioBox 1818VSL Hardware Features 2 Summary of Studio One Artist Software Features 2 Summary of Virtual StudioLive Software Features 3 What is in the Box 4 Hookup 5 Front Panel Connections 5 Rear Panel Connections 7 Typical Band Hookup Diagram 9 Speaker Switching Hookup Diagram 10 Connecting toa Computer 11 System Requirements 11 Installation for Windows 12 I
56. d 35 Mac OS X 34 Setup Mac OS X 34 Windows 7 34 Windows Vista 34 Troubleshooting iPad 35 Vista 34 Windows 7 34 Attack 68 70 Audio Device Studio One Artist 52 Audio I O Set up Studio One Artist 57 58 Auto Mode 27 B Buffer Size see also Latency 18 C Clearing Peak Holds 17 Clocksource OS X Setup 20 Windows Setup 20 Compressor 27 Definition 67 68 Suggested Settings 72 Terminology Associated With 68 Connecting to StudioLive SL Remote 37 Creating a Monitor Mix 31 42 82 Creating an FX Mix 32 43 82 Cubase 15 D Decay 83 Delay 84 Delay Time 84 Downward Expansion 70 Dynamic Range 66 E Editing FX 44 Equalizer 90 Definition 74 Parametric 74 Shelving 75 VSL 28 Expansion Definition 69 F Fader 25 Fader Locate See Recalling Faders Fat Channel 23 Feedback Loop 21 Frequency Tables 77 78 FX Sends 25 G Gate 27 67 H Hard knee 69 High Pass Filter 27 I Import Audio Studio One 61 K Key Filter 70 Key Listen 70 L Limiter 28 68 Loading Presets Fat Channel 31 FX 31 Logic 15 M Main to S PDIF 21 Main to S PDIF Out 21 Makeup Gain 69 Masters 41 Meter Decay 17 Metering 26 Peak Hold 45 Meter Peak Hold 17 MIDI Controller 53 MIDI Sound Module 55 Monitor Sends 25 Mute 25 Muting 39 FX in Mains 41 N Noise Gate Definition 71 O Overview Tab 23 P Performance Modes 18 Phantom Power 5 62 Phase Reverse 26 39 Plugins 61 Post Button 26 Post Fade
57. d in live applications 64 Owner s Manual Tutorials 5 Microphone Types 5 1 Drum Overheads XY example Place two small diaphragm condenser microphones on an XY stereo microphone holder bar Position the microphones so that each one is at a 45 degree angle 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 ke as well xe a B E pm o 4 kK 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 d live applications 65 E e ay ev nN 5 Tutorials PreSonus AudioBox 1818VSL 5 2 A Brief Tutorial on Dynamics Processing 5 2 A Brief Tutorial on Dynamics Processing Each channel in Virtual StudioLive VSL for AudioBox 1818VSL includes a Fat Channel dynamics processing section What follows is an excerpt from a brief tutorial on dynamics processing written by PreSonus president and founder Jim Odom It is included to help you get the most out of VSL and the Fat Channel This tutor
58. d punctuation ev 2 e cn e j a fa gt mt ca e 3Jow Y ISA8L8LIY 3AITOIPNIS JENA 9JeM3JOS 6 Check Save this Network Windows 7 1 Open Start gt Control Panel 2 Click Network and Internet 3 Click Network and Sharing Center 4 Under Change your networking settings click z Set up a new connection or network S 5 Select Set up a wireless ad hoc computer to computer network 6 Clickon Next twice A 7 Enter the network name such as AudioBox 8 Select the Security WAP or WEP 9 Enter the Security key or password For the best security include letters numbers and punctuation Then click OK 10 Check Save this network 11 Click Turn on Internet connection sharing Mac OS X 10 6 1 Onthe Menu bar click on the Wireless Status icon 2 From the pull down menu select Create Network 34 Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 AB1818VSL Remote 4 2 3 Give your Network a name such as AudioBox 4 If you would like set up a password recommended check Require Password 5 Create your password within the guidelines and click OK 6 Once your network has been successfully created you will see it in your list of available networks STEP 2 Connect your iPad to your Ad Hoc Network 1 Tap on the Settings icon in your iPad 2 T
59. d skip to Section 4 3 4 54 Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Studio One Artist Quick Start 4 3 Setting up an External MIDI Sound Module from the Start Page MIDI instrument controllers keyboards MIDI guitars etc send musical information in the form of MIDI data to tone modules and virtual instruments which respond by generating sound as instructed Tone modules can be standalone sound devices or can be integrated into a MIDI instrument such as a keyboard synthesizer Studio One Artist refers to all tone generators as Instruments Once you have set up your MIDI 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 AudioBox 1818VSL or other MIDI interface eno Options 2 Inthe External Devices window click the Add i i button Audio Setup External Devices Advanced Ck Tc In EE a oe 7773 Wi Notify me if devices are unavailable when Studio One starts e E ox eno 3 The Add Device window will launch New Keyboard Device Model wit New Instrument i is New Control Surface Manufacturer 4 From the menu on the left select New gt LJ Unknown Vendor gt C Access RE n Instrument At this point you can customize Behringer iS aunir and record controler the name of your sound module by entering reuse pori be cerehd wo ard Doepfer
60. dioBox 1818VSL Windows Only The clock source setting determines the port from which the AudioBox 1818VSL is receiving word clock information This keeps the AudioBox in Performance S PDIF Clock sync with other digital devices You can choose between Internal S PDIF ADAT Clock or ADAT Clock Source Internal Clock Jow ISA8L8LIY AITOIPNIS JENA 9JeM3JOG ev 2 joy N et iem e a a gt a ca e In general you will want the AudioBox 1818VSL to be your master clock in which case you should set the clock to Internal This setting also means that your AudioBox is generating word clock and sending this information out of its digital outputs If you want the AudioBox to receive sync from an external device choose the digital input to which the external device is connected S PDIF or ADAT The AudioBox 1818VSL s sync light will flash from blue to red When the AudioBox is in sync the light will be blue E Power User Tip When slaved to an external clock the AudioBox 1818VSL will not B automatically change its sample rate to match the external clock As a result it may fail to sync to the clock source If your AudioBox is not syncing to an external source make sure that both your master device and the AudioBox 1818VSL are set to the same sample rate Setting Clock Source Using Audio MIDI Setup to Set the Clock Source for the AudioBox 1818VSL OS X The clock source se
61. e if you are mixing in a dead room you may want to boost high frequencies and roll off some of the lows If you are mixing in a live room you might need to lower the high midrange and highest frequencies In general you should not make drastic amplitude adjustments to any particular frequency bands Instead make smaller incremental adjustments over a wider spectrum to round out your final mix To assist you with these adjustments here is an overview of which frequencies affect different sound characteristics Sub Bass 16 Hz to 60 Hz The lowest of these bass frequencies are felt rather than heard as with freeway rumbling or an earthquake These frequencies give your mix a sense of power even when they only occur occasionally However overemphasizing frequencies in this range will result in a muddy mix Bass 60 Hz to 250 Hz Because this range contains the fundamental notes of the rhythm section any EQ changes will affect the balance of your mix making it fat or thin Too much emphasis will make for a boomy mix Low Mids 250 Hz to 2 kHz In general you will want to emphasize the lower portion of this range and deemphasize the upper portion Boosting the range from 250 Hz to 500 Hz will accent ambience in the studio and will add clarity to bass and lower frequency instruments The range between 500 Hz and 2 kHz can make midrange instruments guitar snare saxophone etc honky and too much boost between 1 kHz and 2 kHz can
62. e noise gate The major difference between expansion and noise gating is that expansion is dependent on the signal level after the level crosses the threshold whereas a noise gate works independent of a signal s level beyond the threshold Downward Expansion Downward expansion is the most common expansion used in live sound and recording This type of expansion reduces the level of a signal when the signal falls below a set threshold level This is most common used for noise reduction Ratio The expansion ratio sets the amount of reduction applied to a signal once the signal has dropped below the expansion threshold For example a 2 1 expansion ratio attenuates a signal 2 dB for every 1 dB it drops below the threshold Ratios of 4 1 and higher act much like a noise gate but without the ability to tailor the attack hold and release times Threshold The gate threshold sets the level at which the gate opens Essentially all signals above the threshold setting are passed through 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
63. e trademarks of their respective companies All specifications subject to change without notice except the jambalaya recipe which is a classic AudioBox 1818VSL Owner s Manual EMC Statement NOTE This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures e Reorient or relocate the receiving antenna 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
64. eam 8 channels When recording or playing back at 88 2 kHz or 96 kHz each connection will stream 4 channels The ADAT S MUX I O also allows the AudioBox to send and receive word clock to external digital devices Power User Tip Remember to select ADAT as the Clock Source and set the sample rate to correspond the external device in the AudioBox VSL Setup Tab Windows or in Audio MIDI Setup OS X when using the ADAT input for external sync 2 Hookup PreSonus AudioBox 1818VSL 2 2 Rear Panel Connections SYNC OUT BNC Sync Output This is a 75O word clock output that allows the AudioBox 1818VSL to transmit word clock information to other digital audio devices Power User Tip A 75O BNC word clock cable is required to achieve proper sync O USB 2 0 Port This is where you connect the USB cable from your AudioBox 1818VSL to your computer The AudioBox 1818VSL must be connected to a USB 2 0 port to work properly Power Input This is where you connect the power supply for your AudioBox 1818VSL The AudioBox 1818VSL cannot be bus powered Power Switch This is the On Off switch for your AudioBox 1818VSL Owner s Manual Hookup 2 Typical Band Hookup Diagram 2 3 2 3 Typical Band Hookup Diagram headphone amps drumset ERR 2 Hookup PreSonus AudioBox 1818VSL 2 4 Speaker Switch
65. eless network All you need is a computer with Wi Fi capabilities and an Apple iPad and you re ready to get started 4 2 1 Networking your iPad and Computer To use AB1818VSL Remote you must first install the AudioBox driver and Virtual StudioLive on and sync your AudioBox 1818VSL to a Windows or Mac computer that has a USB 2 0 connection and a wireless card Once you have connected and synced your AudioBox 1818VSL to 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 a local area network LAN no server or router is needed 33 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 2 AB1818VSL Remote 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 from an iPad using AB1818VSL Remote A n STEP 1 Creating an Ad Hoc Network on your Computer Windows Vista O 1 Open Start gt Connect to 2 Click Set up a connection or network P 3 Select Set up a wireless ad hoc network and click Next 4 Enter the new network name such as AudioBox 5 Enter a Security key or password For the best security include letters numbers an
66. f demo and tutorial material instruments loops samples and other third party content The Studio tuclio C pes id J One Artist bundle includes all that you need to begin producing music Studio One comes with additional content including loops samples and third party plug ins which can be installed now Upon completing the Studio One Artist y installation and activation process the Use this if you purchased a boxed version of Studio One or if the content files are available in a local folder Studio One Content Installer Will appea r Install content from DVD or local folder s 4 n E eee a 1 Click on Install content from DVD or local folder Use this if you purchased an online version of Studio One A high speed Internet connection is required w Show in web browser You can choose to skip this step and install the content any time later from the Studio One menu 50 Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Studio One Artist Quick Start 4 3 000 Studio One Installation 2 Atthetop ofthe installation menu select the source install fom Nolumes Studio One 2 DVD 1 from which the content will be installed as well as the aceon anne location where you wish to install the content The SEN 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
67. from an empty session To begin a new Song select Empty Song from the Templates list At this point you should give your Song a name and select your preferred sample rate and bit depth You can also determine the length of your Song and the type of time format you would like to use Notation Bars Seconds Samples or Frames Click the OK button when you are finished If you plan on importing loops into your Song you may want to select Stretch Audio Loops to Song Tempo so that any loop of a known BPM like those in the included content library will import at the correct tempo Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Studio One Artist Quick Start 4 3 eno Options 6 When the Song window launches launch the Audio Setup window by going to Studio One Options Windows or Studio One Preferences Mac and click on the Audio Setup button Locations Audio Setup External Devices Advanced Audio Device sane Control Panel Device Block Size 512 samples v Process Precision Single 32 Bit Ii Enable Multi Processing Use CPU Cores v Input Latency 27 30 ms 1204 samples Output Latency 15 69 ms 692 samples Sample Rate 44 1 kHz Bit Depth 32 Q Song Setup 7 Clickon the Song Setup button to open the song Setup Song Setup window then click on the Audio I O Setup icon AB1818VSL Remote and Studio One Artist aB oO WY
68. ftware Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 2 AB1818VSL Remote 4 4 24 Aux Mix Page The Aux Mix page shows the send and pan level for each E channel on each Aux and the send for both FX buses To navigate right or left touch anywhere on 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 gt 12 09 PM START PAGE Aux Mix NN Phones 7 8 Phones 7 8 P ev 2 er N et Sh a a gt gt ct ca et EQUUS E IALTOIPNYS JENA 9JeM3JOG a In5 In 6 In7 In8 SPDIFL SPDIFR ADAT 1 lixer e Channel Send 4 e Auxand FX Bus Gate Compressor and EQ Overview e Auxand FX Bus Gate Compression and EQ Zoom e Edit Effects e Recall Effects Aux Mix Select and Aux Mixing Displays Channel Send Levels to Aux Bus To create an aux mix using AB1818VSL Remote tap anywhere in the Aux Mix Select tab for that aux The selected Aux Mix tab will be highlighted to alert you that its individual channel send levels are displayed below Phones 7 8 The Gate Compressor and EQ Microviews function the 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 main
69. he On Disk or the Device Memory section of the Browser and dropped onto the Overview or the Fat Channel tab Loading a Scene To load a new Scene select it from the Browser window and drag it over the VSL mixer in either the Overview or the Fat Channel tab The window will gray out indicating that a new Scene is about to be loaded FAT CHANNEL 30 Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Virtual StudioLive 4 1 Loading an Entire Fat Channel Preset To load every component in a Fat Channel preset Gate Compressor EQ select it from the Browser window and drag it over any part of the desired channel If you drag it over any of the component Microviews it will load only that component for example if you drag a preset over the Gate Microview only the Gate will be loaded To load an FX preset select it from the Browser window and drag it over any part of the desired FX bus in the Master section of the Overview tab Once the preset is loaded you can use the FX Type menu to change the effect and create new presets l M_DEL_ChaseMe l M_DEL_Dubtastic ka M_DEL_EchoChamber ka M DEL LongDelay 4 1 6 Using VSL to Create a Monitor Mix Virtual StudioLive allows you create a monitor mix with the same sound quality and flexibility you d get from a StudioLive 16 0 2 digital mixer By adding reverb delay and Fat Channel dynam
70. ial will take you through the basics of dynamics processing and will explain the various types of dynamics processors 5 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 noise floor For example if a processor states that the maximum input level before distortion is 24 dBu and the output noise floor is 92 dBu then the processor has a total dynamic range of 24 92 116 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
71. ic range gain control Audio signals have very wide peak to average signal level ratios sometimes referred to as dynamic range which is the difference between the loudest level and the softest level The peak signal can cause overload in the audio recording or sound reinforcement chain resulting in signal distortion A compressor limiter is a type of amplifier in which gain is dependent on the signal level passing through it You can set the maximum level a compressor limiter allows to pass through thereby causing automatic gain reduction above some predetermined signal level or threshold Compression refers basically to the ability to reduce by a fixed ratio the amount by which a signal s output level can increase relative to the input level It is useful for lowering the dynamic range of an instrument or vocal making it easier to record without distorting the recorder It also assists in the mixing process by reducing the amount of level changes needed for a particular instrument Take for example a vocalist who moves around in front of the microphone while performing making the output level vary up and down unnaturally A compressor can be applied to the signal to help correct this recording problem by reducing the louder passages enough to be compatible with the overall performance 67 a E r j kK 5 5 2 e ay
72. ically create an icon on your desktop for AudioBox Virtual StudioLive software 15 Setup Audio Select Additional Tasks Which additional tasks should be performed Select the additional tasks you would like Setup to perform while installing AudioBox then dick Next This software allows you to create near zero CE latency monitor mixes with dynamics and V Create a desktop icon effects Creating a desktop icon will provide you with quick access to these controls Click Next 12 Owner s Manual Presonus AudioBox Driver Install AudioBox Driver 1 56 Click Install Driver to begin driver installation This may take some time Presonus AudioBox Driver Install AudioBox Driver 1 56 Driver installed successfully Click Next to continue Install Driver Completing the AudioBox Setup Wizard To complete the installation of AudioBox Setup must restart your computer Would you like to restart now Yes restart the computer now No I will restart the computer later Connecting to a Computer 3 Installation for MacOSX 3 2 The installer will now scanned your computer you will be prompted to begin the installation If your AudioBox is not detected by the installer you will prompted to connect it Click Install Driver Once the driver has been installed successfully you will be alerted Click Next to finish the installation In order for
73. ics processing and EQ to your monitor mix you can enhance the quality of the performer s recording experience and by extension the quality of their performance A monitor mix is a dedicated mix that is usually routed to a performer s headphones This mix is separate from the mix that is recorded It allows you the engineer to leave your recording mix intact while providing the artist with the mix that they need to achieve their best performance saving hours of retakes and frustration Creating a Mix for the Main and Headphone Outputs Using VSL to create a mix for your Main and Headphone outputs is like using a mixer Raise the fader for each channel to raise its volume in the mix and use the pan control to adjust the source signal s position in the stereo field To adjust the overall mix level raise or lower the Main fader in VSL or use the Main knob on the front of your AudioBox 1818VSL Power User Tip Raising a channel s volume is not always the best way to make it louder in the mix By adjusting the pan position or adding some EQ you can raise the perceived loudness of the channel without touching the fader 31 w gt O DA ORT o BET pl ec c e 22 2 6 0 ks F Vow am zz S 4 on a WY 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 1 Virtual StudioLive STEP 2 Creating a Mix for Outputs 3 4
74. ill be placed as a new part on the track 61 AB1818VSL Remote and Studio One Artist aB oO d WY n p a d up WY 5 Tutorials PreSonus AudioBox 1818VSL 5 1 Microphone Types T 5 0 Tutorials d 5 1 Microphone Types n The AudioBox 1818VSL works with most types of microphones including dynamic ribbon and condenser microphones O x 5 1 1 Condenser Condenser microphones generally capture sound with excellent fidelity and are among the most popular microphone choices for studio recording and increasingly A for live performance as well Condenser microphones require a power source which E can be provided by a small battery an external power supply or phantom power which is usually provided by a mixer preamplifier or direct DI box Phantom power is sent over the same mic cable that carries the audio signal the term derives from the fact that there is no visible power cord and the voltage is not perceptible in the audio path The AudioBox 1818VSL sends 48 VDC phantom power from the XLR inputs only 5 1 2 Dynamic A Dynamic microphones are possibly the most widely used microphone type especially in live shows They are relatively inexpensive resistant to physical damage and typically handle high sound pressure levels SPL very well Unlike condenser microphones most dynamic microphones do not require a power so
75. ill send an identical mix stream to the headphone output on the front panel of the AudioBox 1818VSL 4 1 4 VSL Controls Definitions and Uses VSL is a powerful application that allows you to create monitor mixes using all of the processing features of a StudioLive 16 0 2 digital mixer These monitor mixes are not recorded in your host application It is vital to remember that lowering the channel fader in VSL will not lower the signal in your host application so it is possible to clip the recording without clipping the monitor mix You must set the level for the recording using the trim knobs on the face of the AudioBox 1818VSL A quick note on playback streams The channels labeled DAW in VSL carry a playback stream from your host application DAW Traditionally if you wanted to route a track in your DAW to a physical output on your interface you assigned this output in your host application Because the Virtual StudioLive application provides much more flexible routing you can now route this same track to one output or every output by itself or as part of a mix Enables Disables VSL Mixing VSL On Off 2a ILE Select Button When the VSL On Off button is disengaged your AudioBox 1818VSL functions as a simple 18x18 audio interface with no monitor mix or DSP capability If you plan on mixing exclusively in your DAW or do not need to create monitor mixes using your computer disabling VSL can greatly simplify your wor
76. ing Hookup Diagram 2 4 Speaker Switching Hookup Diagram studio monitors studio monitors T qb PreSonus l E 18Vz En LINE OUTPUTS TRS BALANCED Owner s Manual Connecting to a Computer 3 System Requirements 3 1 3 0 Connecting to a Computer Your AudioBox 1818VSL is a rugged USB 2 0 audio interface with flexible monitoring control and professional audio tools 3 1 System Requirements Below are the minimum computer system requirements for PreSonus Studio One Artist and Virtual StudioLive software Sp iS Mac SS e Operating Systems a e MacOSX 10 6 or higher e Hardware e Minimum Intel Core Duo Processor 2 GB RAM e Recommended Intel Core 2 Duo or Intel iCore processor or better 2 GB or more RAM g Windows e Operating Systems 32 or 64 bit e Windows 7 Vista M e Hardware e Minimum Intel Core Duo or AMD Athlon X2 processor 2 GB RAM e Recommended Intel Core 2 Duo or AMD Athlon X4 or better 4 GB or more RAM S NOTE The speed of your processor amount of RAM and capacity size and speed of your hard drives will greatly affect the overall performance of your recording system A faster processor and more RAM can reduce signal latency delay and improve overall performance ES Subject to change Check www presonus com for updates 11 3 Connecting to a Computer PreSonus AudioBox 1818VSL 3 2 Installation for Windows
77. instruments and the like become In general 512 samples 11 to 12 milliseconds will provide you with a large enough buffer for optimum system performance but low enough to be unobtrusive You should set your buffer size and sample rate prior to launching your host application On the Mac the buffer size is set from inside your host application Power User Tip The buffer size you set in VSL Windows or in your audio application Mac OS X applies only to the driver s performance in your ASIO or Core Audio application 18 Owner s Manual ADAT Mode Windows Only ADAT In Mode ADAT Out Mode ADAT SMUX 4x4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Virtual StudioLive 4 1 Sets ADAT 1 0 to ADAT or S MUX Mode When recording or playing back at 44 1 kHz or 48 kHz the ADAT I O on the AudioBox 1818VSL will provide 8 audio channels over the optical inputs and outputs When recording or playing back at 88 2 kHz or 96 kHz these connections will provide 4 audio channels In order to record or playback at 88 2 kHz or 96 kHz over ADAT you must set the correct Input and Output ADAT Modes AudioBox VSL provides two modes ADAT 8x8 Channels 1 8 44 1 48 kHz ADAT SMUX 4x4 Channels 1 4 88 2 96 kHz If you are recording at 88 2 kHz or 96 kHz you must set the ADAT In Mode to ADAT SMUX 4x4 in addition to setting the correct sample rate If you are outputting audio th
78. ion back to zero no gain reduction after crossing below the compression threshold Release can be set from 40 to 1 000 milliseconds ems Power User Tip Very short release times can produce a choppy or jittery sound especially when compressing instruments that have a lot of low frequency ii components such as bass guitar Very long release times can result in an k overcompressed or squashed sound All ranges of release can be useful however and you should experiment to become familiar with different sonic possibilities A Compressor Makeup Gain Sets the Amount of Makeup Gain for the Compressor on the Selected E Channel or Bus When compressing a signal gain reduction usually results in an overall attenuation of level The gain control allows you to restore this loss in y level and readjust the volume to the precompression level You can adjust Makeup Gain from 0 dB no gain adjustment to 28 dB Limiter On Off Turns the Limiter for the Selected Channel or Bus On or Off When the limiter is engaged this button will illuminate The threshold for Limit the limiter is set to 0 dBFS The ratio is 00 1 The limiter is available for all input and output buses Low EQ On Off Button Activates Control for the Low Band EQ for the Selected Channel or Bus This button activates control of the equalizer s Low band for the selected channel or bus The button will illuminate to indicate control is
79. ion 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 200 Install PreSonus AudioBox VSL 3 When installation is completed your computer will restart Once it has rebooted connect your AudioBox 1818VSL to your Mac with a USB cable and power it on You are now ready to use your AudioBox 1818VSL The installation was successful The software was installed Click Restart to finish installing the software 14 Owner s Manual Connecting to a Computer 3 Using the AudioBox 1818VSL with Popular Audio Applications 3 4 3 4 Using the AudioBox 1818VSL with Popular Audio Applications Apple Logic Pro Express 7 Steinberg Cubase 4 Complete setup instructions for Studio One Artist and a brief tutorial on its features can be found in Section 4 3 of this manual However you can use your AudioBox 1818VSL with any audio recording application that supports Core Audio or ASIO Please consult the documentation that came with your audio application for specific instructions on how to select the AudioBox 1818VSL driver as the audio device driver for your software Below are basic driver setup instructions for four popular audio applications Launch Logic Pro Express Go to Logic Preferences Audio Click on the Devices Tab On the Core Audio tab check Enabled Select PreSonus AudioBox 1818VSL from the device menu
80. is no longer clipping The meters will also display the last peak value until a new peak is established To clear the clip indicator click on it with your mouse Sets the Channel Metering to Post Fader Signal When this option is enabled the channel meters in VSL will display the signal level after it has been boosted or attenuated by the channel fader By default all metering in VSL is pre fader 17 AB1818VSL Remote and Studio One Artist P TO WY n E x p E e YN Jow TSASLELEY IALTOIPNYS JENA 9JeM3JOS ev 2 N e iem e a a gt m N e 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 0 0 WutcenC udiSkistton Run at Startup Windows Only Run at startup Launches the Virtual StudioLive Application Automatically on Startup When this is enabled VSL will automatically launch each time you boot your Windows On the Mac you can set this up first by dragging VSL to your dock then by right clicking it and selecting Options Open at Login Please Note VSL is disabled when it is not launched and all audio routing must be made either in your DAW or in your system preferences Sample Rate Selector OS X Only Performance OS X only Performance Buffer Size Selector Windows only AS
81. ited demo period A PreSonus user account is required Run the free version Use this if you want to run the free version of Studio One with a limited set of features No further registration is required More Information Studio One Activation 2 tudio C To authorize this computer for the use of Studio One please take the following steps Create New jocount If you do not already have a PreSonus user account click here to create a new account Studio One Activation 3 tudio C User Registration Please enter your contact data to start the registration An E Mail will be send to you with a link to activate your account Activation of your account is required before you can activate Studio One Username AudioBox Genius Password MIIIITTITIT Repeat Password IITIITIIIIIITI E Mail rockergiri hotmall com First Name Jane Show in web browser Last Name Studio One Thank You An E Mail has been sent to you with a link to activate your account 48 PreSonus AudioBox 1818VSL After installing Studio One Artist launch the program and the Activate Studio One menu will appear Click on the Activate or Upgrade link to begin If you are a new Studio One user you will need to create a user account Click on the Create New Account link if your computer is connected to the Internet e If your computer is not connected to the Internet skip to Activating Studio One Artist Offline e If
82. ity 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 Owner s Manual Tutorials 5 Equalizers 5 3 Instrument What to Cut Why to Cut What to Boost Why to Boost ELITTITTNNNEEC CIN NNNM Electric Guitar 1 2 kHz Shrill Clarity 80 Hz and below Muddy 125 Hz Bottom end 125 Hz 80 Hz and below Bottom end String Bass 600 Hz 2 5 kHz Sharp attack 200 Hz 125 Hz and below Bottom end 150 200 Hz Full Toms Sharp attack 120 Hz and below Muddy 400 600 Hz Lush and full 77 Tutorialsl 5 Tutorials 5 3 Equalizers Table 2 adds harder bass to low p frequency nstrurn rts adds fullness to guitar amp snare adds warmth to plana amp horns adds fullness to low frequency instruments kick tom bass guitar adds fullness to vocals adds clarity to bass lines especially at softer playback volumes p to bass lines adds clarity amp punch to bass limes harder hitting snare amp PreSonus AudioBox 1818VSL more vocal presence more attack on kick amp tom more finger sound on bass mare attack on plano and acoustic guita
83. k environment When VSL is turned on you will have access to all its mixing capability on your computer VSL is automatically disabled when you quit the application Accesses the Fat Channel SELECT 24 Above each fader in VSL you will see Select buttons There is a Select button on each of the analog and digital inputs each DAW return on both effects buses and on the Main output bus Each of these buttons serves exactly the same purpose to access the Fat Channel parameters for its channel or bus Owner s Manual Solo Button SOLO Mute Button MUTE Monitor Sends and Pan Controls FX Sends Controls Channel Pan Control Fader itil EOP ELLE EF T Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Virtual StudioLive 4 1 Turns Soloing On and Off This button will solo its channel to the outputs so that only the soloed channel will be audible When a Solo button is enabled that channel or bus will automatically be selected and its Select button will illuminate Turns Muting On and Off This button mutes its channel It will illuminate red when the channel is muted When a mute button is engaged its channel will be muted in all outputs Sets the Level and Panning of Each Channel in the Monitor Mixes Above each channel are channel sends and pans for each output pair A channel send is just like a fader on a mixer It sets the volume level of its channel
84. level of the entire mix and the output levels of each monitor mix e Adjust the panning for the analog and digital inputs and playback streams So aU Jmm st e o v cc amp En No ae ON cao o e Adjust the send level for both the analog and digital inputs and playback streams to each FX bus w e TO p WN nz E x pus GU e WY e Adjust the send level for each channel to outputs 3 and 4 5 and 6 and 7 and 8 i e Adjust the parameters for the FX preset on each FX bus e Solo and mute each analog input and playback stream M I e Meter the inputs and outputs From either the Overview or the Fat Channel tab you can access the show hide channel buttons to help keep your mix organized You can hide the following channel groups z from your mix ADAT DAW Returns and Outputs Show Hide ADAT Inputs Button Displays Removes ADAT Input Channels from the Mix W l When this button is enabled the ADAT input channels will Adat be displayed in the mixer If you disable this button you will no longer see the ADAT channels in the mixer however any changes or routing that have been made will still be active and these channels will still be heard in your mixes Show Hide DAW Returns Button Displays Removes DAW Playback Streams from the Mix When this button is enabled DAW Playback Streams 1 through Daw 8 will be displayed in the mixer
85. make your mix sound thin or tinny 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 5 E 9 T j e ay ev nN 5 Tutorials 5 3 Equalizers PreSonus AudioBox 1818VSL 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 5 3 2 Equalization Settings How to Find the Best and Leave the Rest Additional advice Table 1 76 How do you find the best and worst each instrument has to offer and adjust their frequency content accordingly Here s a quick guide First solo just the instrument with which you are working Most engineers start building their mix with the drums and work from the bottom up kick snare toms hi hat overheads Each instrument resonates primarily in a specific frequency band so if y
86. n a p GU WY 8 Goto Song gt Song Setup menu and click on Audio T d I O Setup General Meta Information Audio I O Setup 9 Werecommend that you create a mono input for M Inputs Rar each of the inputs on your AudioBox 1818VSL If you plan on recording in stereo you should Emm also create a stereo bus and assign it to the PreSonus FireStudio PEPE IS SH appropriate set of inputs You can remove any bus aisle T FT T TS by simply selecting it and clicking the Remove PE button To customize the names of your buses double click on the default name to open a text box When you have finished typing hit Enter I i Jw LLL I rw LIII I i5 JJ wp Jp p LII 9 E Frare m 10 Lj L i L E 10 If you would like the same inputs to be available every time you launch Studio One Orton DESEE Artist click the Make Default button 57 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 3 Studio One Artist Quick Start UN gt e ANDO Song Setup 11 Click on the Outputs tab and you will see all of the available outputs on your AudioBox 1818VSL We recommend that you create stereo outputs for the Main outputs on your AudioBox 1818VSL n 12 In the lower right corner you will see the Audition nas select menu This allows you to choose the output J PreSonus Firestudio
87. nd compatibility information 62 Owner s Manual Tutorials 5 Microphone Types 5 1 Regardless of the microphone type you are using we recommend reading your microphone s user s manual thoroughly before engaging phantom power and in case other usage questions arise ke 5 1 4 Microphone Placement The following are a few recording applications to help you get started with your AudioBox 1818VSL These are by no means the only ways to record these h instruments Microphone selection and placement is an art For more information d visit your library or local bookstore as there are many books and magazines about recording techniques The Internet is also a great source of recording information as are instructional videos Some of these microphone placement d suggestions can be used in live applications as well as for studio recording p Grand Piano Place one microphone above the high strings and one microphone above the low strings Experiment with distance the farther back the more room you will capture This technique can be used for live and studio applications C E 9 T j Place a dynamic microphone an inch or two away from the speaker of the guitar amplifier Experiment with exact location If you are recording an amp with multiple speakers experiment with each one to see if M one sounds better than the others Place a condenser microphone approximately six feet awa
88. ne ceri 97257 77400 01191 55798 01035 x Notice that next to Native Instruments Komplete there is serial number listed You will need this number to authorize this plug in the first time you open it When you have finished installing content click the Done button 51 P e TO WN n E x 4 GU e YN AB1818VSL Remote and Studio One Artist 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 3 Studio One Artist Quick Start fev 2 e t WGN me a fa gt Emm 92 Start Page Setup Area EQUUS RS 3AI 0Ipnig JENIN 9JeM1JOS J PreSonus FireStudio N 44 1 kHz Configure Audio Device Configure External Devices A Check for Updates a About Studio One 52 4 3 2 Enabling the Audio Driver Studio One Artist was designed with PreSonus interfaces in mind so AudioBox 1818VSL setup is quick and easy When Studio One Artist is launched by default you will be taken to the Start page On this page you will ind document management and device configuration controls as well as a customizable artist profile a news feed and links to demos and tutorials from PreSonus If you have an Internet connection on your computer these links will be updated as new tutorials become available on the PreSonus Web site
89. nel pre fader signal In this way you will always have a visual cue to how hot your recording signal is in your monitor mix m UN P WN o 33s Doo su p ese Stereo Link Button Joins the Channel into a Stereo Pair a4 ae 2 The Link button joins two channels into a stereo pair When channels are Z oo J P fi a Um 86 linked the volume of both will be controlled with either fader A stereo link can be enabled when either channel in the pair is selected When the Stereo Link button is enabled all dynamics settings bus assignments etc are pasted to the other channel in the pair LM Phase Reverse Button Reverses the Phase of the Input Channel Push this button to invert the phase of the selected channel s signal that is to change the phase 180 The button will illuminate indicating that A Phase Reverse is active The Phase Reverse button can be used to correct E audio signals that are out of phase and cancelling reinforcing each other Phase Reverse is accessible from the Main VSL Page and from the Gate Zoom J Phase Reverse is only available on the analog input channels Power User Tip Use Phase Reverse when recording with more than one open microphone to combat phase cancellation between microphones Post Button Engages Post Fat Channel Recording Each of the analog inputs can be recorded pre or post Fat Channel EQ POST and dynamics processing To record the EQ and dynamics proces
90. nge continuously and dramatically it is extremely difficult to ride the level with a console fader A compressor limiter automatically controls gain without altering the subtleties of the performance A solo guitar can seem to be masked by the rhythm guitars Compression can make your lead soar above the track without shoving the fader through the roof Bass guitar can be difficult to record A consistent level with good attack can be achieved with proper compression Your bass doesn t have to be washed out in the low end of the mix Let the compressor limiter give your bass the punch it needs to drive the bottom of the mix Compressors Terminology Threshold The compressor threshold sets the level at which compression begins When the signal is above the threshold setting it becomes eligible for compression Basically as you turn the threshold knob counterclockwise more of the input signal becomes compressed assuming you have a ratio setting greater than 1 1 Ratio The ratio is the relationship between the output level and the input level In other words the ratio sets the compression slope For example if you have the ratio set to 2 1 any signal levels above the threshold setting will be compressed such that for every 1 dB of level increase into the compressor the output will only increase 0 5 dB This produces a compression gain reduction of 0 5 dB dB As you increase the ratio the compressor gradually becomes a limiter
91. nput Max Headroom Input Impedance Combo XLR female balanced 133 dB 20 kHz BW max gain Rs 400 A wtd 20 Hz 22 kHz 0 25 dB unity gain 0 002 4 dBu 1 kHz unity gain 22 kHz BW A wtd 97 dB 4 dBu 1 kHz unity gain 22 kHz BW A wtd 15 dB to 65 dB 16 dBu lt 0 5 THD 1 7 KQ 48 VDC 64 mA total unit Combo 4 TS female unbalanced 20 Hz 22 kHz 0 25 dB unity gain 0 003 4 dBu 1 kHz unity gain 22 kHz BW A wtd 89 dB 4 dBu 1 kHz unity gain 22 kHz BW A wtd 30 dB to 50 dB 21 dBu lt 0 5 THD 1MQ Combo 4 TRS female balanced 20 Hz 22 kHz 3 0 25 dB unity gain 0 00296 4 4 dBu 1 kHz unity gain 22 kHz BW A wtd 98 dB 4 dBu 1 kHz unity gain 22 kHz BW A wtd 20 dB to 20 dB 21 dBu 0 5 THD 10 kQ 85 e g t g ic U woo Se Z 2 A 35 a Z et 6 Technical Information 6 1 Specifications Headphone Output Connector Type Maximum Power Frequency Response THD N S N Ratio Analog Outputs Connector Type Frequency Response THD N S N Ratio Output Level Output Impedance Power External Power Adapter Connector Type Digital ADC Dynamic Range DAC Dynamic Range Host Interface Bit Depth Sample Rates Maximum Latency ADAT Optical 1 0 S PDIF 1 0 Word Clock Output MIDI 1 0 86 PreSonus AudioBox 1818VSL Ya TRS female stereo 120 mW ch 6
92. nstallation for Mac OSX 14 Using the AudioBox 1818VSL with Popular Audio Applications 15 Software Virtual StudioLive and Studio One Artist 77 Virtual StudioLive 17 4 1 1 4 1 2 Virtual StudioLive Setup 17 Virtual StudioLive Browser 22 4 1 3 Virtual StudioLive Overview and Fat Channel Tab 23 VSL Controls Definitions and Uses 24 4 2 4 3 5 0 5 1 5 2 4 1 5 Loading Scenes and Presets from VSL 30 4 1 6 Using VSL to Create a Monitor Mix 31 AB1818VSL Remote 33 4 2 1 Networking your iPad and Computer 33 4 2 2 Connecting to Virtual StudioLive 36 AB1818VSL Remote Overview Page 37 Aux Mix Page 42 4 2 3 4 2 4 4 2 5 4 2 6 Settings Page 44 Channel Zoom Page 46 Studio One Artist Quick Start 47 4 3 1 Installation and Authorization 47 4 3 2 4 3 3 4 3 4 4 3 5 4 3 6 4 3 7 Enabling the Audio Driver 52 Configuring MIDI Devices 53 Creating aNew Song 56 Creating Audio Tracks 58 Creating MIDI Tracks 59 Adding Virtual Instruments and Plug in Effects to Your Song 60 Tutorials 62 Microphone Types 62 5 1 1 5 1 2 5 1 3 Condenser 62 Dynamic 62 USB Microphones and Other Types 62 5 1 4 Microphone Placement 63 A Brief Tutorial on Dynamics Processing 66 5 2 1 Common Questions Regarding Dynamics Processing 66
93. of the unit ie MIDI I O MIDI stands for Musical Instrument Digital Interface MIDI inputs g and outputs allow connection to and communication with external MIDI equipment One function of these ports is MIDI sequencing but the MIDI protocol can be used for much more than instruments and sequencing E NOTE MIDI is not audio but is frequently used to trigger or control an audio source such as a plug in or synthesizer It s important to ensure that your MIDI data is correctly sent and received by the appropriate hardware or software devices If the devices generate audio you may also need to return the audio to an AudioBox 1818VSL input channel Please consult the User s la Manuals of your MIDI devices for help with MIDI setup and usage S PDIF In and Out Jacks The S PDIF standard allows two channels of audio to be transmitted at rates up to 24 bit 96 kHz The S PDIF I O also allows the M AudioBox 1818VSL to send and receive word clock to external digital devices T SPDIF 3 IN OUT O Power User Tip Remember to set S PDIF as the Clock Source and set the sample rate to correspond to the external device in the AudioBox VSL Setup Tab Windows AZ orin Audio MIDI Setup OS X when using the S PDIF input for external sync ADAT S MUX Input and Output These are ADAT S MUX connections for your external digital devices When recording or playing back at 44 1 kHz or 48 kHz the ADAT input and output will str
94. oll by Page Overview Mixer Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 AB1818VSL Remote 4 2 Scrolls Through Channels by Page When the Scroll by Page option is enabled the mixer Aux Mixer ron Gi will scroll to through channels by entire pages rather i than by individual channels Turning this option off CK will allow you to scroll over by a single channel for Peak Hold Metering Metering Peak Hold more granular control Scroll by Page can be enabled disabled for both the Mixer and Aux pages Displays the Last Signal Peak When Peak Hold Metering is enabled each meter in AB1818VSL Remote will continue to display the last cx signal peak This allows you to keep an eye on how loud each channel s signal is averaging 45 w gt O DA ORT O S BET avgr ees c e PA 50 Gael fuz Vow am zz S cS Ces o gt WY sti 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 2 AB1818VSL Remote TS 4 2 6 Channel Zoom Page es _ BEEN EE ul S BS Uo co CB 2 Gate ore Controls ns Gate Se Functions ae Ss ee S EQ Controls we EQ Functions Pan Controls Displays S Panning Fader Controls Output Level Metering Displays Metering Meter Mode Set in VSL or on Mixer Mute Mutes Channel 46
95. ons on the left side of the front panel WARNING Phantom power is only required for condenser microphones and can severely damage dynamic mics especially ribbon mics Therefore switch phantom power off for all channels where it is not required XLR connector wiring for phantom power Pin 1 GND Pin 2 48V Pin 3 48V f Instrument Inputs The 4 inch TS connectors on channels 1 and 2 are for use with instruments guitar bass etc When an instrument is plugged into the instrument input the mic preamp is bypassed and the AudioBox 1818VSL becomes an E instrument preamplifier 1 2 L Micsinstrument Power User Tip Active instruments are those that have an internal preamp or a line level output Active instruments should be plugged into a line input rather than into an instrument input Plugging a line level source into the instrument inputs on the front of the AudioBox 1818VSL not only risks damage to these inputs but also results in a very loud and often distorted audio signal Please note As with any audio input device plugging in a microphone or an instrument or turning phantom power on or off will create a momentary spike in the audio output of your AudioBox 1818VSL Because of this we highly recommend that you turn down the channel trim before changing connections or turning phantom power on or off This simple step will add years to life of your audio equipment 2 Hookup PreSonus
96. onus AudioBox 1818VSL 1 2 Summary of AudioBox 1818VSL Hardware Features 1 2 Summary of AudioBox 1818VSL Hardware Features 24 bit 96 kHz sampling rate 8 Class A XMAX microphone preamplifiers 2 Instrument inputs 6 Line inputs MIDI I O S PDIF I O ADAT I O BNC word clock output High definition analog to digital converters 114 dB dynamic range 18x18 USB 2 0 audio interface Headphone output Rugged steel chassis Virtual StudioLive monitor mixing software Studio One Artist Compatible with Cubase Digital Performer Logic Nuendo Pro Tools 9 Sonar Studio One and other audio recording software Mac OS X and Windows compatible 15s Summary of Studio One Artist Software Features All PreSonus audio interfaces include PreSonus Studio One Artist recording software which comes with over 4 GB of plug ins loops and samples giving you everything you need for music recording and production The Studio One Artist Quick Start Guide is located in Section 4 3 of this manual You will find a complete user manual on the Studio One Artist installation DVD Unlimited track count inserts and sends 20 high quality native plug ins amp modeling Ampire delay Analog Delay Beat Delay distortion Redlight Dist dynamics processing Channel Strip Compressor Gate Expander Limiter Tricomp equalizer Channel Strip Pro EQ modulation Autofilter Chorus Flange Phaser X Trem reverb MixVerb Room Reverb and
97. oon as the signal exceeds the level set by the threshold With soft knee compression the onset of gain reduction occurs gradually after the signal has exceeded the threshold producing a more musical response to some folks Auto Places a compressor in automatic attack and release mode The attack and release knobs become inoperative and a preprogrammed attack and release curve is used Makeup Gain When compressing a signal gain reduction usually results in an overall reduction of level The gain control allows you to restore the loss in level due to compression like readjusting the volume Compressor Sidechain The sidechain jack interrupts the signal that the compressor is using to determine the amount of gain reduction it should apply When no connector is inserted into this jack the input signal goes directly to the compressor s control circuitry When a connector is inserted into this jack the signal path is broken The control signal can then be processed 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 circuitr
98. oone presonus com 4 3 1 Installation and Authorization Once you have installed the AudioBox 1818VSL drivers and connected your AudioBox 1818VSL to your computer you can use the included PreSonus Studio One Artist music production software to begin recording mixing and producing your music To install Studio One Artist insert your installation disc into your computer s DVD drive Follow the onscreen instructions to complete the installation process Running the Studio One Installer To Install Studio One Artist insert your Studio One Artist installation DVD into your computer s DVD drive e Windows Users Launch the Studio One Artist installer and follow the onscreen instructions e Mac Users Drag the Studio One Artist application into the Applications folder on your Macintosh hard drive 47 ev 2 er N et Sh a a gt gt ct ca et Jow ISA8L8LIY 3AITOIPNIS JENIN 9JeM3JOG 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 3 Studio One Artist Quick Start Creating a User Account Studio One Activation tudio e Welcome to Studio One Please select the version of Studio One you want to use Activate or parade Welt bw Use this to activate or upgrade your purchased version of Studio One Try the demo version Use this if you want to try the full version of Studio One for a time lim
99. ou 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 Taking your time with equalization is well worth the effort Your mix will have better separation and more clarity You can only do so much Not every instrument can or should have a full rich low end and a sharp attack If every instrument is EQ d to have the same effect it will lose its identity in the mix Your goal is not individual perfection it is perfection in unity 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 Your memory is not what you think it is Comparing a flat EO and the curve that you ve created allows you to see and hear exactly what 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 Never be afraid of taking a risk The best EO tricks were found by mad scientists of sound With every instrument there are frequencies that can be attenuated or boosted to add clar
100. processor LM S From the Fat Channel tab you will see a zoomed in view of all the Fat Channel controls P A T STEP 4 Creating an Effects Mix Once you have your levels set and your Fat Channel processing dialed in for each input you can add reverb and delay to your monitor mixes To begin you must first assign an effects preset to a bus Click on the FX tab and select one of the presets To use that preset simply drag and drop it onto one of the FX buses A or B M DEL Chase Me M DEL Dubtastic M DEL Echo Chamber M DEL Single Repeat M DEL Slap Back d M DEL Medium Delay M DEL Grand Canyon ia M DEL Slight Echo m M DEL Long Delay Reverb bul Reverb hd a seal MDEL Medium Delay Pre delay Pre delay REV Bedroom Room Size 1 Hiaam Size Ka REWV C dral REV Closet Damping Damping REV Large Hall Width Width a REV Medium Hall oe QD 32 Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Virtual StudioLive 4 1 An effects mix is created by using a channel send The A and B channel sends control the volume settings for each channel to FX buses A and B respectively To control the overall amount of the effects you will hear in your mix use V the FX A and FX B faders Above each effects fader you will see the individual par
101. qualizer 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 EO will A let you turn the treble and bass up or down allowing you to adjust the E coloration of let s say your car stereo or iPod In recording equalization is a sophisticated art Good equalization is critical to a good mix When used correctly an equalizer can provide the impression of nearness or distance fatten or thin a sound and help blend or provide separation between similar sounds in a mix allowing them to both shine through the mix Parametric EQ P e ay ev nN 74 The parametric EQ and semi parametric EQ are the most common equalizers found in recording and live situations because they offer continuous control over all parameters A parametric EQ offers continuous control over the audio signal s frequency content which is divided into several bands of frequencies most commonly three to seven bands A fully parametric EQ like those in the StudioLive 24 4 2 offers control over the bandwidth basically the range of frequencies affected the center frequency of the band and the level boost cut of the designated frequency band It also offers separate control over the Q which is the ratio of the center frequency to the bandwidth A semi parametric EQ provides control over most of these parameters but the Q is fixed Some devices such
102. r adds clarity amp punch brighter rock guitar more pluck to bass more attack to acoustic amp electric guitars more attack on lower piana register more clarity to vocals more attack on kick amp tom mare attack t percussian reduce dullness an vacals more finger sound on bass add sharpness t synths brighten vocals acoustic guitar amp piano more hardness on cymbals breathier vocals brighten cymbals string instruments amp flutes makes samples amp synths sound more real TN rock guitars acaustic quitar amp piano 200 Hz 50 Hz 100 Hz 400 Hz 800Hz 1 5kHz 3kHz 5 kHz 7kHz 10kHz 15 kHz decrease dullness in kick and tom make background instruments sound mare distant decrease boom in guitars decrease ambience in decrease dullness in to increase clarity cymbals guitars reduces s sound soften a thin guitar on vocals reduces s sound on v cals decrease thinness or overly increase breathiness in bright overtones in guitars background vocals decrease mucdiness in vocals f amp mid range instruments decrease bass boom to increase qwerkones and clarity im the mix decrease long bass overtones isguise slightly out af in cymbals tune vocals and guitars s S 78 Owner s Manual Tutorials 5 Equalizers 5 3 5 3 3 General EQ Suggestions Included with VSL is
103. r Bus This button activates the controls for the equalizer s Mid band for the selected input or output The button will illuminate to indicate control is active The Mid EQ band is available for all input and output buses Mid EQ Frequency Control Sets the Center Frequency of the Mid EQ V 7 The center frequency is the middle of the passband the mean between the lower and upper cutoff frequencies that define the limits of the band You can adjust the center frequency from 380 Hz to 5 kHz Sets the Gain Attenuation or Boost of the Center Frequency of the Mid Band This control sets the Gain cut or boost at the center frequency of the Mid band The level of the center frequency can be set between 15 and 15 dB Enables a Narrow Bandwidth for the Mid Band EQ on the Selected Input or Bus Q is the ratio of the EO band s center frequency to its bandwidth With a constant center frequency higher Q values indicate a narrower bandwidth so Q is often equated with bandwidth By default the Q is set to a value of 0 55 When the Hi Q button is engaged the Q setting will be increased to 2 0 thus narrowing the bandwidth to provide more precise control 29 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 1 Virtual StudioLive High EQ On Off Button Activates Control for the High EQ for the Selected Input or Bus This button activates control of the High EQ band fo
104. r Metering 17 Predelay 83 Presets Adding New 22 Deleting 22 Fat Channel 22 FX 22 ProTools 16 Q Q Definition 74 R Range 70 Ratio 68 70 Release 69 70 Reverb 83 Run at Startup 18 S Sample Rate 18 Scenes 22 Creating in VSL 22 Recalling 30 Scribble Strip Labels SL Remote 39 Scroll by Page 45 Select Buttons 24 Show Hide Buttons ADAT 23 24 DAW 23 Sidechain 69 SL Remote Connecting to StudioLive 37 Landscape 37 Portrait 37 46 Soft knee 69 Solo 25 Sonar 16 Stereo Link 26 T Threshold 68 70 V Variable Feedback 84 Declaration of Conformity C Responsible Party PreSonus Audio Electronics Address 7257 Florida Blvd Baton Rouge LA 70806 USA Phone 1 225 216 7887 declares that AudioBox 1818VSL complies with Part 15 of the FCC rules Operation is subject to the following two conditions 1 This device may not cause harmful interference and 2 This device must accept any interference received including interference that may cause undesired operation Note No product support is available when you call the number above Refer to your Certificate of Warranty in your Owner s Manual for PreSonus Product Support telephone number A PreSonus Baton Rouge USA www presonus com Added bonus PreSonus previously Top Secret recipe for Jambalaya Ingredients e 5 lbs link andouille sausage e 3 lbs boneless chicken e 2lbs ground beef e 3 lbs onions
105. r one of 4 Strings e its patches from the instrument browser and drag it Flanged Tamburas e MER into the Arrange view Studio One Artist will a Legato Hall P dl Lush Stings automatically create a new track and load the a Matrix J Medium Orchestra a Pizzicato Strings Section Strings Solo Strings a Spiccato Tremolo Strings instrument as the input Strings Owner s Manual Software Drag and Drop Effects gt lJ Analog Delay 4 gd Autofitter 3 default gg Bassline 1 Bassline 2 Bassline 3 Bassline 4 Add FX on Track Track 3 Autofilter Birds in Trees Bassline 5 Bassline 6 Bassline 7 Birds in Trees Bubbles in the Water Chained Melody Chow Chow Coffee Filter Computer Talk Dancer is a Rhythm 1 Dancer is a Rhythm 2 Ether Waves Filter Pad Filtricant Groinky Groovariation Out of Rhythm Pad Hacking 1 Pad Hacking 2 rey Birds in Trees Plug In Autofilter Modified 28 1 2010 16 26 04 Created by Ari IEc E EccEkEclEcEcEEEEEEEEEEEE D GS E a eos E23 JG 0001 01 01 000 41 4 120 00 0001 01 01 000 Metronome Timesig Tempo Drag and Drop Audio and MIDI Files ne My First Song Z Studio One Expansion 7 Studio One Instruments Vol 1 4 7l Studio One Loops Vol 1 4 a Atomic Beats gt Lj 120bpm gt J 130bpm 4 a 140bpm dis Dance Drums 002 140bpm wav e Dance Drums 003 140bpm wav ijj Dance Drums 004 140bpm wav B 8 01 0
106. r 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 Sets the Center Frequency of the High EQ The center frequency is the middle of the passband the mean between the lower and upper cutoff frequencies that define the limits of the band You can adjust the center frequency from 1 4 to 18 kHz Sets the Gain Attenuation or Boost at the Center Frequency of the High EQ Band This control sets the gain cut or boost at the center frequency of the High EQ band The level of the center frequency can be set between 15 and 15 dB 1shiy eu oipnig pue EQUUS RS 3Ar 0Ipnjs JENA 9JeM3JOG Turns on the High Shelving EQ for the Selected Input or Bus When the Shelf button is not engaged the High EQ band is semi parametric Enabling the Shelf button turns the High band into a high shelving EQ that alters by a fixed amount a band of high frequencies at and above a user selected shelving frequency S Power User Tip A high shelving EQ is like a treble control knob on a consumer audio device In this mode the Center Frequency control selects the shelving frequency A P 4 1 5 Loading Scenes and Presets from VSL To load a Scene or preset from the VSL Browser window you simply select it and drag it over the mixer or channel on which y you wish to load it Scenes and presets can be dragged from either t
107. racks m 1 Clickon the Add Tracks button When the Add Tracks window launches select Instrument as the track format and click the OK button 2 Toassign your MIDI input click on the MIDI Inputs list and select your external sound module pacis e 3 Ifyou have added virtual inputs to your session Impact you will also see them as available inputs Mojito My Hardware Synth Presence 59 AB1818VSL Remote and Studio One Artist aB oO WY n a GU WY fev gt er vcn et Sh a g gt D gt un ct i2 et Jow ISA8L8LIY AITOIPNIS JENIN aeMIJOS 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 3 7 Opening the Browser Drag and Drop Virtual Instruments Insert Instrument on new Instrument Track Presence Medium Orchestra 60 P oL vum mus Studio One Artist Quick Start 4 Ifyou 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 5 Totheleft of the Add Track button you will ind the Inspector button Click it to display more parameters for the selected track 6 Atthe bottom of the Inspector menu you will see your Bank and Program selections
108. rest of the mix A compressor can be used in this situation to reduce compress the dynamic range of the vocal to around 10 dB The vocal can now be placed at around 5 dBu At this level the dynamic range of the vocal is from 0 dBu to 10 dBu The lower level phrases will now be well above the lower level of the mix and louder phrases will not overpower the mix allowing the vocal to sit in the track The same points can be made about any instrument in the mix Each instrument has its place and a good compressor can assist the engineer in the overall blend Does every instrument need compression 66 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 Owner s Manual Tutorials 5 A Brief Tutorial on Dynamics Processing 5 2 Why do the best consoles in the world put compressors on every channel The answer is simply that most instruments need some form of compression often very subtle to be properly heard in a mix Why do we need noise gates Consider the compressed vocal example discussed earlier you now h
109. rized personnel and is limited to failures arising during normal use that are due to defects in material or workmanship in the product Any implied warranties including implied warranties of merchantability and fitness for a particular purpose are limited in duration to the length of this limited warranty Some states do not allow limitations on how long an implied warranty lasts so the above limitation may not apply to you In no event will PreSonus be liable for incidental consequential or other damages resulting from the breach of any express or implied warranty including among other things damage A 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 aS 3c oon e fev z3 3 2S 2 c Ca Ce 88 A Ableton Live 16 ADAT Mode OS X 19 Windows 19 Ad Hoc Network Connecting iPa
110. rough the optical outputs on your AudioBox 1818VSL at 88 2 kHz or 96 kHz you must set the ADAT Out Mode to ADAT SMUX 4x4 By default these Modes are set to ADAT 8x8 As long as you are using your AudioBox 1818VSL at 44 1 kHz or 48 kHz you do not need to make any changes Power User Tip Failure to set the correct ADAT Mode for the sample rate being used will result in audio artifacts Setting ADAT mode is not necessary when using Analog or S PDIF I O at higher sample rates ADAT Mode OS X Only LIIS Help Show Audio Window Show MIDI Window ADO Built in Microphone Built in Input Built in Qutput Sets ADAT 1 0 to ADAT or S MUX Mode When recording or playing back at 44 1 kHz or 48 kHz the ADAT I O on the AudioBox 1818VSL will provide 8 audio channels over the optical inputs and outputs When recording or playing back at 88 2 kHz or 96 kHz these connections will provide 4 audio channels In order to record or playback at 88 2 kHz or 96 kHz over ADAT you must set the correct Input and Output ADAT Modes These settings are available in OS X s Audio MIDI Setup Utility By default these Modes are set to 18ch 24bit As long as you are using your AudioBox 1818VSL at 44 1 kHz or 48 kHz you do not need to make any changes To record or playback at 88 2 kHz or 96 kHz open the Audio MIDI Setup Utility on your Mac Applications Utilities Audio MIDI Setup Once Audio MIDI Set
111. s You can get individual technical assistance by calling PreSonus at 225 216 7887 Monday through Friday between the hours of 9 a m and 5 p m Central Time PreSonus technical support is available via email during the same hours at support presonus com AudioBox Will Not Connect to Computer Verify that the USB cable is properly connected both to the AudioBox V and to your computer Disconnect unnecessary peripheral USB devices z Verify that your AudioBox is connected to a USB 2 0 connection AudioBox VSL Will Not Launch a AudioBox VSL will not launch if the AudioBox is not connected and synced to your computer Verify that the sync light on the front of your AudioBox is solid blue and your USB cable is connected both to your computer and to your AudioBox VSL Has No Effect On Audio Make sure that the VSL enable button is illuminated in AudioBox VSL oS Oc ey XC un v Z ze gt g Oc nd No Effects in the Outputs Verify that the FXA and FXB routing buttons on the desired bus are enabled These buttons patch each of the effects bus to that output No Audio in Headphones Verify that the Output 7 8 channels sends have been raised for each channels and that the fader for Output 7 8 in VSL is raised Distortion or Noise when using ADAT I O Verify that you have the correct ADAT mode set for the sample rate being used If you are clocking the AudioBox 1818VSL externally verify that the AudioBox is set to
112. s from the Setup a area in the Start page Before setting up a new Song for recording take a moment to configure external devices 1 Connect the MIDI Out of your external MIDI controller to a MIDI In on your AudioBox 1818VSL or other MIDI interface If you are using a USB MIDI controller connect it to your computer and power it on signed bY pcm the USA 2 Click on the Configure External Devices link in the Setup area on the Start page to launch the External Devices window AudioBox USB 44 1 kHz 512 samples 53 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 3 Studio One Artist Quick Start s e nono Options Click the Add button an B Audio Setup External Devices Advanced LU BEEN Send To Receive From Ck Tc In LU UN ETCHN a NCC ooo II Notify me if devices are unavailable when Studio One starts s E ox GN e mc aos Aco m Sox faz ane Add Device 3 The Add Device window will launch rc c CU E m n New Keyboard vice I T S aly gp New Instrument pea Fes ui New Control Surface 4 Fromthe menu on the left select New nwo vice Name roller 2 2 E a Keyboard At this point you can customize D aa irka the name of your keyboard by entering iN eai Connecting the a the manufacturer and device names gt LJ Evolution gt Cj JLCooper i C Keyfax 5 You must specify which MIDI channels
113. se this apparatus near water Clean only with dry a cloth DU eS SS oe D Do not block any ventilation openings Install in accordance with the manufacturer s instructions oo Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat 9 Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade and the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Use only attachments accessories specified by PreSonus 12 Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with this apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over 13 Unplug this apparatus during lightning storms or when unused for long periods of time 14 Servicing is required when the apparatus has been damaged in any way 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 app
114. sing on any channel simply enable the Post button It will illuminate indicating that the Fat Channel signal path is being routed to your DAW s recording input If this mode is not enabled the signal recorded in your DAW will not include any of the Fat Channel processing Phase Reverse Gate Compressor EQ Limiter It should be noted that the effects buses cannot be recorded You can add reverb and delay to your recorded files later using DAW plug ins The Post button is only available on the Overview Tab and only for the analog and digital input channels 26 Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Virtual StudioLive 4 1 High Pass Filter Freq Adjust the High pass Filter s Cutoff Frequency The high pass filter s cutoff frequency can be set from 18 Hz to 1 3 kHz AS tas Remember that all frequencies below a high pass filter s cutoff lt frequency are attenuated See Section 5 3 1 for details The slope of the high pass filter is 6 dB octave em The high pass filter is accessible from either the Overview or Fat Channel m m tabs and is available on all input channels and playback streams j Power User Tip A high pass filter attenuates all frequencies below the set threshold Use this filter instead of an equalizer to remove unwanted low frequencies from your source signal k Gate On Off Button Turns the Gate On and Off for
115. source Listed in the installation menu are separate entries for each available item Click the check box next to each item you wish to install then click on the Install Packets DD ficou seront m Perret button at the bottom left of the menu to install the Mille Ore Pes QU m selected content 369 00 MB Studio One 2 DVD 1 Studio One Demos and Tutorials Installed on 450 00 MB Studio One 2 DVD 1 22 7 2010 11 16 13 Studio One Instruments Vol 1 Installed on 148 00 MB Studio One 2 DVD 1 22 7 2010 11 16 13 Ueberschall Impact Drums Installed on 65 00 MB Studio One 2 DVD 1 22 7 2010 11 16 13 r Studio One Expansion Installed on 38 00 MB Studio One 2 DVD 1 22 7 2010 11 16 13 3 Vengeance Sound 839 00 MB Studio One 2 DVD 1 When finished installing content click on Space required 2 88 GB Space available 0 bytes the Done button to exit the menu ETE oo EE Power User Tip Studio One Artist content can be installed at any time by accessing the Studio One 2 gt Studio One Installation menu Ifyou choose not to install any portion of the content you can install it at a later time Installing Third Party Content To Install any of the third party content click on the arrow button next to its name in the content list Celemony Melodyne Trial Native Instruments Komplete Player gt Celemony Melodyne Trial QU 248 00 MB Studio One 2 DVD 1 a Q Native Instruments Komplete Players Copy ae ee re
116. 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 environment 4 3 4 Creating a New Song Now that you ve configured your MIDI devices let s create a new Song We ll start by setting up your default audio O New Song Song Tithe My First Awesome Song lUsarswesley Documentaz StudioO orgs m ty Audiobox USB Recording setup for Audiobox USB FireStudio Mobile ty FiraStudio Mobile multitra e OO New Song Empty Song Hr Create an empty song Audiobox USB 7 Recording setup for Audiob IUsers wesley Documents StudioO ongs FireBox Sample Rate 7 FireBox Multitrack Recordi Resolution 9 FireStudio Lightpipe Ses Recording session for Fires Timebase ts FireStudio Mobile FireStudio Mobile multitrac Song Length 0151 01 01 000 FireStudio Project Wi Stretch Audio Loops to Song Tempo 56 From the Start page select Create a new Song In the browser window name your Song and choose the directory in which you d like it saved You ll notice a list of templates on the left The AudioBox 1818VSL template will create a Song with a track for each of the AudioBox inputs Every track is armed for recording and no further setup is required Select this template and click OK The rest of this section will guide you through creating a Song
117. taining constant contact with the iPad screen Level a POWER USER TIP The aux sends support off axis movement Once you have touched a send level control to select it you can slide your finger anywhere on the screen and make an up down movement to control the send level 42 Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 AB1818VSL Remote 4 2 U level ee ees Level a i i i MT IM TAM HH TM MM TAM TAM i TI zy I Ey an n J In 8 opdif L spdif R FX Mix Select and FX Bus Mixing Displays Channel Send Levels to FX Bus So aU Jmm SE i o v o En uia o0 e rr ON cao o To create an FX mix using AB1818VSL Remote tap anywhere in the FX Mix Select tab for that FX bus The selected FX Mix tab will be highlighted to alert you that its individual channel send levels will be displayed below w e TO p WN n x p pus GU e YN The Gate Compressor and EQ Microviews function the P same for auxes as they do for channels and mains To adjust the send levels for any channel tap anywhere C in its send level and move your finger up or down while z maintaining constant contact with the iPad screen POWER USER TIP The FX sends support off axis movement Once you have touched a send level control to select it yo
118. te EE Jon AURIS EE 3AI oIpnig JENA 9JeM3JOS ev gt WGN SL e gt g gt gt Emm 40 Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 AB1818VSL Remote 4 2 Masters Overview Displays the Metering for the Main Bus and Auxes Masters Section Page Tap to open the Masters Section page In the upper right corner of every page in AB1818VSL Remote Overview MASTERS T 1 Aux Mixer and Settings you will find the Masters Overview This displays LLL the metering for the main bus Tapping on the Masters Overview will open the Masters Section page amp The Masters Section page displays the fader meter and Fat Channel Microviews for the Mains and Auxes as well as for the FXA and FXB buses These parameters are controlled in the same way they are controlled for channels in the Overview page Master Section Tapping on any of the Fat Channel Microviews will close the Masters Section page The Fat FKA FxB oua outs fPhones e Main Channel Zoom will open with the selected l X m u arameter in focus for the selected bus EST Ee ee xe To close the Masters Section page simply tap AB1818VSL Remote and Studio One Artist aB 2 oO WY nz Py A GU a N anywhere outside it 41 4 So
119. terclockwise lowers the 5 12 dB threshold so that compression begins at a lower amplitude The threshold can be set from 56 to 0 dB NARESH 27 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 1 Virtual StudioLive EE e e e Compressor Ratio Sets the Compression Ratio for the Selected Channel or Bus Compression Ratio sets the compression slope which is a function of the J output level versus the input level For example if you have the ratio set T to 2 1 then for every 2 dB of level increase above the threshold the compressor s output will only increase 1 dB The ratio can be set from 1 1 to 14 1 LU EE Sets the Compressor Attack for the Selected Channel or Bus Compressor Attack sets the speed at which the compressor acts on the input signal A slow attack time fully clockwise allows the beginning A component of a signal commonly referred to as the initial transient to pass through uncompressed whereas a fast attack time fully counterclockwise triggers compression immediately when a signal exceeds the threshold You can set the attack from 0 2 to 150 milliseconds Compressor Release Sets the Compression Release for the Selected Channel or Bus ev 2 er N e Sh a a gt m ct N et EQUUS E IAITOIPNYS JENA 9JeM3JOG Compression Release sets the length of time the compressor takes to RELEAS return the gain reduct
120. the delay time changes slight frequency modulations can be heard Phase shifting creates a copy of the source signal and shifts the copy in time relative to the original signal creating from 0 to 360 degrees of phase difference throughout the frequency spectrum The shifted signal is blended with the source signal so that you can hear the copy moving in and out of phase with the original This creates a characteristic swoosh Flanging is a type of phase shifting It is created by splitting an audio signal into two identical signals applying a constantly varying short delay to one signal and mixing it with the unaltered signal This results in a swept swooshy effect The effect was originally created by mixing the outputs of two synchronized tape decks playing the same material By pressing a finger against the flange top of one tape reel the speed of one machine was slowed slightly creating phase shifts Owner s Manual Technical Information 6 Specifications 6 1 6 0 Technical Information 6 1 Specifications Microphone Preamp Connector Type Mic Preamp EIN Frequency Response THD N S N Ratio Gain Control Range Input Max Headroom Input Impedance Phantom Power Instrument Input channels 1 and 2 only Connector Type Frequency Response THD N S N Ratio Gain Control Range Input Max Headroom Input Impedance Line Inputs Connector Type Frequency Response THD N S N Ratio Gain Control Range I
121. 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 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 2096 and 3096 saturation This way only a small portion of the kick drum input will be affected by the reverb The faders for FXA and FXB control the level of the aux mix relative to the level of your main mix Owner s Manual SS Sel Tutorials 5 Digital Effects 5 5 Digital Effects Reverb VSL includes two stereo effects processors that feature the two most common type of effects in use for live sound reverb and delay Studio One Artist also includes an assortment of time based and modulation effects plug ins What follows is a brief description of how each type works 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
122. to launch AB1818VSL Remote Important You must connect to your computer s ad hoc network each time you plan on remote controlling Virtual StudioLive with AB1818VSL Remote Apple s iPad offer two viewing options Landscape and Portrait PORTRAIT LANDSCAPE Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 AB1818VSL Remote 4 2 For the most part you will hold your iPad in Landscape view This will allow you to use the Start Overview Aux Mix and Settings pages Portrait view provides you with a zoomed in look at the currently selected channel and allows you to scroll quickly through every channel and bus on your AudioBox 1818VSL To launch AB1818VSL Remote tap on the AB1818VSL Remote icon on your iPad When you launch AB1818VSL Remote you will taken to the Start page Start Page On the Devices Online tab on the Start page you will k see the AudioBox 1818VSL that is on the same d l A network as your iPad The Start Page also includes a 4 simulation so you can practice your finger control away from your AudioBox 1818VSL and Virtual d StudioLive Tap on the Demo tab to view it To connect to your mixer tap on the AudioBox 1818VSL device icon The text will change color to alert you that it has been selected Tap the Connect button to open AB1818VSL Remote and control Virtual StudioLive from your iPad w 12 Oo g 2 Gere oO zen Naw
123. tor mix can be mono or stereo Most often an individual live monitor mix is mono and is sent to a floor wedge or sidefill monitor The obvious exception is in ear monitor systems A studio monitor mix is usually stereo and is sent to a headphone amplifier so it requires both a left and a right channel input In both cases the function of the aux bus is the same As an example let s create a mono monitor mix on Aux 1 To begin click on the Overview tab in VSL Below the Fat Channel Microviews you will see the send level for this aux bus from each of the 16 channels Keep in mind that the aux mix is completely independent of the Main output The sliders on each channel control the channel send level to Aux 1 Use these sliders the same way that you use the faders to set the output level to your main mix Ask your musicians what they would like in their monitor mix and use their requests as a starting point 5 4 2 Effects Processing VSL features two internal effects buses These are used much in the same way the aux buses are used to create monitor mixes as described in the previous section There are several advantages to using an aux bus for an effects processor By using an aux bus to create an effects mix several channels can be sent to a single processor This allows you to use exactly the same reverb on every drum in a kit or for the entire band A reverb is designed to emulate the psycho acoustic properties of a space and by using
124. tting determines the port from which the AudioBox 1818VSL is receiving word clock information This keeps the AudioBox in sync with other digital devices You can choose between Internal S PDIF or ADAT In general you will want the AudioBox 1818VSL to be your master clock in which case you should set the clock to Internal This setting also means that your AudioBox is generating word clock and sending this information out of its digital outputs If you want the AudioBox to receive sync from an external device open the Audio MIDI Setup Utility on your Mac Applications Utilities Audio MIDI Setup Once Audio MIDI Setup opens click on the Audio window If the Audio window doesn t open when Audio MIDI Setup first opens go to Window and select Show Audio window LIBI Help Show Audio Window d Show MIDI Window 20 Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Virtual StudioLive 4 1 ene Audio Devices Select AudioBox 1818VSL from the audio device list eee saa a E on the left Using the Clock Source pull down menu iny Oout Clocksourc ETEEN 7 M E us eerie pete A P choose the digital input to which the external device bens uds is connected S PDIF or ADAT The AudioBox s sync lt TE T mee Source Default light will flash from blue to red When the AudioBox is Format 0 Hz 18ch 24bi 3 r 100 0 nz m aach atbi ud in sync
125. ttings e lt a gt g gt 1 Overview PreSonus AudioBox 1818VSL 1 5 What is in the Box 1 5 What is in the Box In addition to this manual your AudioBox 1818VSL package contains the following PreSonus AudioBox 1818VSL USB 2 0 recording interface Wi PreSonus Axschcx unevk eT eR Pucoirg inttace fm f t c t 6 1 8m USB cable f j External power supply Software library containing e PreSonus Studio One Artist program DVD plus gigabytes of third party content e PreSonus Virtual StudioLive and AudioBox driver CD Owner s Manual Hookup 2 Front Panel Connections 2 1 2 0 Hookup 2 1 Front Panel Connections Qi PreSonus AudieBox ies DEPT GOK USE D Recording intertace Microphone Inputs Your AudioBox 1818VSL is equipped with PreSonus XMAX microphone preamplifiers for use with all types of microphones The XMAX has a Class A input buffer followed by a dual servo gain stage This arrangement results in ultra low noise and wide gain control allowing you to boost signals without increasing background noise The eight analog inputs of the AudioBox 1818VSL feature combo jacks This convenient connector accepts either a 14 inch phone plug or an XLR plug 48 volt Phantom Power The AudioBox 1818VSL provides 48V phantom power for every microphone input in banks of four This feature can be individually enabled for each bank using the butt
126. u can slide your finger anywhere in the screen and make an up down movement to control the send level fF M ZT am e EN ZI eo 43 ev 2 er cn e SL a a gt p ct ca et EQUUS E AITOIPNIS JENA 9JeM3JOG 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 2 AB1818VSL Remote FX Edit Button Opens FX Editor From AB1818VSL 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 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 while maintaining constant contact with your iPad To close the Effects Editor tap the x in the upper right corner 4 2 5 Settings Page The Settings page allows you to set scrolling and metering functions iPad gt 2 26 PM Start Page Setti ngs Presonus AB1818 VSL rev 4980 Design Scott Harrell Graphic Design Florian Veer Software Dwayne Harder James Inkster Bob Tudor Quality Control Matt Conrad Copyright 2012 PreSonus Audio Electronics Inc Scroll by Page Overview Mixer Aux Mixer Metering A AR Peak Hold z Settings 44 Owner s Manual Scroll by Page Scr
127. up opens click on the Audio window If the Audio window doesn t open when Audio MIDI Setup first opens go to Window and select Show Audio window Select AudioBox 1818VSL from the audio device list on the left To the left of the Sample Rate selection menu you will find the ADAT Mode menu 18ch 24bit Channels 1 8 44 1 48 kHz 14ch 24bit Channels 1 4 88 2 96 kHz 19 w gt us E AA uod es comm Sars Naw c c C 22e S GLO pm 65 Yow am CO zz S Ces ep YN 4 Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist PreSonus AudioBox 1818VSL 4 1 Virtual StudioLive SE Output If you are recording at 88 2 kHz or 96 kHz you must set the ADAT Input Mode to 14ch 24bit in addition to setting the correct sample rate Source Default l ch 24bit 4 J Format 96000 0Hz M Y 18ch 24bit b n Inpu Output If you are outputting audio through the optical outputs on your AudioBox EE n 1818VSL at 88 2 kHz or 96 kHz you must set the ADAT Output Mode to 14ch 24bit M ean i Format 96000 0 Hz M Y 18ch 24bit 14ch 24bit NN Power User Tip Failure to set the correct ADAT Mode for the sample rate being used will result in audio artifacts Setting ADAT mode is not necessary when using Analog or S PDIF I O at higher sample rates P Clock Source Select Changes the Clock Source for the Au
128. urce em t o ev cn Dynamic microphones especially ribbon microphones tend to generate low output k voltages so they typically need more preamp gain than condenser microphones Ribbon A Ribbon microphones are a special type of dynamic microphone and E get their name from the thin metal ribbon used in their design Ribbon microphones capture sound with very high fidelity especially higher frequencies However they often are very fragile many newer models are less so and typically cannot handle high sound pressure levels zi Most ribbon microphones do not require phantom power In fact unless a ribbon microphone specifically calls for phantom power sending phantom power to a ribbon microphone can severely damage it usually beyond repair 5 1 3 USB Microphones and Other Types Many microphone types are available and as technology evolves it is likely that more will be developed One type of microphone to emerge recently is the USB microphone These may be dynamic or condenser mics but many of them have built in preamps and need drivers to work with computers Because a USB microphone is in effect an audio interface we recommended that you not use them with the AudioBox 1818VSL as the likelihood of conflicting drivers is great If you are using a new or nonstandard type of microphone e g USB headset laser MEMS please consult your microphone s user s manual for power requirement a
129. ut the sound from overhead drum mics Low end is increased and the overall sound is more present and less ambient You get more boom and less room Threshold Ratio Attack Release 13 7 dB 128 ms Electric Bass The fast attack and slow release in this setting will tighten up the electric bass and give you control for a more consistent level Threshold Ratio Attack Release 4 4 dB 189 ms Acoustic Guitar This setting accentuates the attack of the acoustic guitar and helps maintain an even signal level keeping the acoustic guitar from disappearing in the track Threshold Ratio Attack Release 6 3 dB 400 ms Owner s Manual Keyboards Stereo Mix Effects Tutorials 5 A Brief Tutorial on Dynamics Processing 5 2 Electric Guitar This is a setting for crunch electric rhythm guitar A slow attack helps to get the electric rhythm guitar up close and personal and gives punch to your crunch Threshold Ratio Attack Release 0 1 dB 193 ms Piano This is a special setting for an even level across the keyboard It is Threshold Attack Release Ratio 10 8 dB 112 ms Synth The fast attack and release on this setting can be used for synthesizer horn stabs or for bass lines played on a synthesizer Threshold Ratio Attack Release 11 9 dB 1 8 1 0 002 ms 85 ms Orchestral Use this setting for string pads and other types of synthesized orchestra parts It will decrease the overall dynamic range for
130. utility Binaural Pan Mixtool Phase Meter Spectrum Meter Tuner Over 4 GB of loops samples and instruments featuring Presence virtual sample player Impact virtual drum machine SampleOne virtual sampler Mojito virtual analog modeled subtractive synthesizer Innovative and intuitive MIDI mapping Powerful drag and drop functionality for faster workflow Mac OS X and Windows compatible Owner s Manual Overview 1 Summary of Virtual StudioLive Software Features 1 4 1 4 Summary of Virtual StudioLive Software Features gt E w gt Virtual StudioLive is a powerful monitor mixing application that allows you to add professional dynamics processing EQ and effects to your monitor mixes e Easy drag and drop workflow e Drag presets directly to channels e Drag parts of presets directly to components in the Fat Channel e StudioLive 16 0 2 Fat Channel with e High pass Filter e Downward Expander Ne e Compressor e 3 band semi parametric EQ e Limiter e Two effects buses with 32 bit floating point reverbs and delays e Quickly drop entire Scenes to the mixer for instant recall of all channel and effects settings C e Load effects quickly by simply dragging and dropping g e Mixer overview e See all of the most used mixer parameters at once e See the state of all Fat Channel settings at once e Seeall Aux mixes at once e See the current effects and parameter se
131. vides control of channel effects bus and Main bus levels Fat Channel parameters and effects VSL also includes a librarian allowing you to easily manage your presets and mix Scenes Controlling VSL is as easy as drag and drop Load Fat Channel presets and Scenes by simply dragging them onto the channel or mixer overview You can load Fat Channel presets as a complete channel strip or as individual gate compressor and EQ presets You can even drag presets out of the browser and exchange them with other AudioBox 22 44 1818VSL owners 4 1 1 Virtual StudioLive Setup Setup Meter Decay Meter Decay ster Peak Hold Meter Peak Hold Meter Peak Hold Meter Post Fader Meter Post Fader The VSL Setup tab lets you set basic driver parameters such as buffer size and sample rate and enables you to adjust the user preferences in VSL To access the Setup options click on the Setup Tab button at the top of the VSL window Sets the Response Time for the Meters in the Device Window VSL gives you the option to set the response time for the channel meters By default this is set to Normal Enable Slow Meter decay to more accurately meter the peaks and falls of the signal Enable Fast Metering to monitor your signal in real time Sets the Clip Indicator to Remain Illuminated When this option is enabled the clip indicator on any given channel meter in VSL will remain illuminated until manually cleared even if the signal
132. when you walk across the wooden stage in a large hall thousands of reflections are generated almost instantaneously as the sound waves bounce off the floor walls and ceilings These are known as early reflections and their pattern provides psycho acoustic indications as to the nature of the space that you are in even if you can t see it As each reflection is then reflected off of more surfaces the complexity of the sound increases while the reverb slowly decays The reason for the widespread use of reverb in audio recording is fairly self evident human beings don t live in a vacuum Because our brains receive cues 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
133. will be used gt j KORG annels e e e TE miae a i lel to communicate with this keyboard For most lg Mackie CA Nowson Receive From Mobile 3 MIDI purposes you should select all MIDI channels If you gt Lj Peavey ETE men Send To Mon are unsure of which MIDI channels to choose select C Yamaha Ii Default Instrument Input all 1 6 A E Mobile 2 MIDI 6 Inthe Receive From drop down menu select the MIDl interface input from which Studio One Artist iis will receive MIDI data In this case the AudioBox J 1818VSL In the Send To drop down menu select the MIDI interface output AudioBox 1818VSL from which Studio One Artist will send MIDI data to your keyboard If your keyboard controller does not need to receive MIDI data from Studio One you can leave this unselected If your keyboard does 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 7 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 II Default Instrument Input Click OK If you have a sound module that you d like to connect leave the External Devices window open and proceed to the next part of this section If not you can close this window an
134. wser window along the right side of the screen The Browser in VSL functions similarly to the Browser in Studio One From the Browser you can see all of your Scenes Fat Channel presets and FX presets that are saved on your computer You can also create new settings from this window Simply drag and drop a Scene or preset to load it on your AudioBox 1818VSL Displays the Different Preset Categories 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 A Scene is like a snapshot of your mix It stores all Fat Channel parameters for every input and bus as well as fader positions the aux and effects mixes FX bus settings and channel mutes and solos Creating a Scene requires simply dialing in a mix that you would like to use at a later date and saving it FAT CH Displays stored Fat Channel presets VSL comes equipped with Fat Channel presets that have been custom designed by professional audio engineers These presets can be altered renamed and overwritten you can build your own nearly limitless custom library of channel strip settings FX Displays stored effects presets VSL comes loaded with 50 custom reverb and delay presets designed by PreSonus In addition to these presets you can build your own nearly limitless custom effects library The factory presets can be altered renamed and overwritten Creates a New Scene
135. y Now the compressor will automatically duck that is reduce the level of the music whenever the narrator speaks or the vocalist sings There are two basic types of expansion dynamic and downward Expansion increases the dynamic range of a signal after the signal crosses the expansion threshold Dynamic expansion is basically the opposite of compression In fact broadcasters use dynamic expansion to undo compression before transmitting the audio signal This is commonly referred to as companding or COMPression followed by expANDING By far the most common use of expansion is downward expansion In contrast to compression which decreases the level of a signal after it rises above the compression threshold expansion decreases the level of a signal after the signal goes below the expansion threshold The amount of level reduction is determined by the expansion ratio For example a 2 1 expansion ratio reduces the level of a signal by a factor of two e g if a level drops 5 dB below the expansion threshold the expander will reduce it to 10 dB below the threshold 69 a E r j kK e ay ev nN 5 Tutorials PreSonus AudioBox 1818VSL 5 2 A Brief Tutorial on Dynamics Processing Expansion Terminology Noise Gates 70 Commonly used for noise reduction expansion is very effective as a simpl
136. y 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 63 5 Tutorials PreSonus AudioBox 1818VSL 5 1 Microphone Types Acoustic Guitar Point a small diaphragm condenser microphone at the 12th fret approximately 8 inches away Point a large diaphragm condenser microphone at the bridge of the guitar approximately 12 inches from the guitar Experiment with distances and microphone placement Another popular method is using an XY microphone placement with two small diaphragm condenser microphones See drum overheads photo on the next page Plug the electric bass guitar into a passive direct box Connect the instrument output from the passive direct box to a bass amplifier Place a dynamic microphone an inch or two away from the speaker and connect it to a AudioBox 1818VSL microphone t o ev ioa input Connect the line output from the passive direct box to the other microphone input on your AudioBox Be sure to keep the trim level for this input very low so as not to clip the converters For recording place these signals on separate tracks During mixing you can blend the direct and amplifier signal to taste This technique can also be use
137. yellow or purple e 2 stalks of celery e 1Ib bell peppers green or red e 1 batch green onions e 3lbs rice e Tony Chachere s Cajun Seasoning e 1 bottle chicken stock concentrate or 3 cubes chicken bullion e 1can Rotel tomatoes with chilies diced regular hot e Tabasco sauce Cooking Instructions 1 Ina 16qt pot or larger slice link sausage and pan fry until brown 2 Add ground beef and brown 3 Donot remove from pot Add diced onions celery and bell peppers 1 can Rotel Original diced tomatoes w chilies 3 oz concentrate chicken stock 2 teaspoon of Cajun seasoning 1 teaspoon of Tabasco hot sauce or more maybe lots more Cook until onions are translucent Add chicken and cook until it turns white Add diced green onions 1 tsp salt V gallon water and bring to a boil 4 5 6 7 Addrice and bring to a boil Cook on high for 8 minutes covered stirring every 2 minutes 8 Cookcovered on low for 10 minutes stirring only once 9 Turn off and let sit for 30 minutes 1 0 Serve and enjoy Serves 20 2012 PreSonus Audio Electronics Inc All Rights Reserved PreSonus StudioLive XMAX QMix and AudioBox are trademarks of PreSonus Audio Electronics Inc Studio One and Capture are trademarks of PreSonus Software Ltd Mac 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 b
138. you already have a PreSonus user account you can skip to Activating Studio One Artist On Line Fill out the user registration form You will be asked to create a username and password This information will be used to access your PreSonus user account on the PreSonus Web site With this account you can manage registration for all of your PreSonus hardware and software products You will be notified of and will have access to important information and updates related to your PreSonus products ensuring you get the best performance possible from them Your username and password will also provide you with access to the PreSonus user forums to chat with other PreSonus users as well as PreSonus employees Once your user account has been successfully created you will be alerted that the activation email has been sent to the email address that you provided Don t forget to activate your PreSonus user account the next time you check your email Owner s Manual Software Virtual StudioLive AB1818VSL Remote amp Studio One Artist 4 Studio One Artist Quick Start 4 3 Activating Studio One Artist Online o 00 Studio One Activation Now that you have created a user account you can activate your copy of Studio One Artist Click on the Activate Online link and enter your tudio C previously created account username password and the product key pe you received with the Studio One Artist installation disc Online Activation

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