STUDIO CHANNEL
Contents
1. NER Variable from 0 7 to 2 5 HF Band Controls FREUEN Ca sare Variablefrom 2 kHz to 20 kHz E M M Variable between 10 dB 0 7 on peak setting Master Side ied ec E MEME I M 80 dB to 10 dB DUEDUECOBDOCPOf XLR Balanced and TRS Balanced U nbalanced a IN TEC 510 Esse re EVEN en een m Analog VU 20 dBu to 6 dBu M etering Gain Analog VU 20 dB to 0 dB 106010 tes re ee er Tre ee er re re 22 dBu 27 PreSonus 2007 TECHNICAL INFORMATION Power Supply jj Linear eee ee ae 16 1000 Power equiFemehts C COMUMUGUSY ae ee Dean ea ng 16W Transformer TT External country specific Physical Jj 1U Rack Bins 19 x 1 75 x 5 5 ON ee _ _ _ E 5 65 As a commitment to constant improvement PreSonus Audio Electronics Inc reserves the right to change any specification stated herein at any time without n2. TUDE DTE een lt 0 10 M icrophone Input CONMECEOM oo ER OE IEEE UE E ADDE XLR M icrophone Input Impedance 13 Bezug gars ejui Bro cis ro TS Instrum E ae un IMQ Lie OE E O ee T a E Er TER E Ya TRS 10 P ower switchable _____ __ _ _____ 48V SW DIE nee 0 dB 20 dB feet _ _______ _______ 0 180 ee fe ee een 3 dB at 80 Hz Compressor ee ee 40 dBu to 2 dBu dn C me 1 10 1 1 to 10 1 diio 0 1 to 200 ms cler 0 05 msto 35 Gana U T 10 dB to 10 dB EEES AN me Tc Analog VU Gain Reduction Output E qualizer LF Band Controls aiio d Variable from 40 Hz to 500 kHz Sc e Variable between 10 dB 0 7 on peak setting MF Band Controls mistica M Variable from 200 Hz to 3 kHz t Variable from 10 dB to 10 dB 1 N
3. STUDIO CHANNEL Vacuum Tube Channel Strip Tube Preamplifier E Compress m gt x O gone Th AEA R Sas Q AES 4 o 2 CHANRKEL N 7 X 2 7 X b N h 2 4 trum 10 60 43 Tube D 20 2 4 A FAS LOW 20 dB 200 Hz 10 dB 10 2K 20k 10 dB 80 dB 0 Inst Atta ck elease Fre eq LOW Gain Freq MID Sain Freq HIGH Sain Level Para ametric 4 Equalizer As PreSonus Power ent 1 User s M anual Version 1 1 418 PreSonus 2008 PreSonus Audio Electronics Inc All Rights Reserved PRESONUS LIM ITED W ARRANTY PreSonus Audio Electronics Inc warrants this product to be free of defects in material and workmanship for a period of one year from the date of original retail purchase This warranty is enforceable only by the original retail purchaser To be protected by this warranty the purchaser must complete and return the enclosed warranty card within 14 days of purchase During the warranty period P reSonus 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 P reSonus at the address and telephone number printed below to obtain a Return Author
4. Keyboards COMPRESSOR SETTINGS THRESH RATIO GAIN SOFT BYPASS ATTACK RELEASE 22 dB M id F ast Mid Slow EQSETTINGS PEQ gt COMP PEAK GAIN FREQ FREQ PEAK GAIN FREQ Kick Drum COMPRESSOR SETTINGS THRESH RATIO SOFT BYPASS ATTACK RELEASE 18 dB MidFast Mid Fast EQSETTINGS __ _ PEAK GAIN FREQ GAIN FREQ PEAK GAIN Snare COMPRESSOR SETTINGS THRESH RATIO GAIN SOFT BYPASS ATTACK RELEASE 22 dB EQSETTINGS _ PEAK GAIN FREQ Q GAIN FREQ PEAK GAIN FREQ 25 PreSonus 2007 OPERATION Drum Overheads COMPRESSOR SETTINGS THRESH RATIO SOFT BYPASS ATTACK 26 2007 TECHNICAL INFORMATION 4 1 SPECIFICATIONS One Earned ___ E E gt 115 dB Frequency CSS gt 10 Hz to 50 kHz internal Operating RT tennant a TNA Os 0 dBu 0 dB Microphone P reamp to p 6 dB to 66 dB 10dB trim on line input NO SE do ee 96 dBu 126 dB EIER Mec P ta tr err re rr lt 0 050
5. OPERATION 3 2 4 General Compression Setting Suggestions The following are compression presets used in the PreSonus BlueMax We have included them as a jumping off point for setting up compression on your Studio Channel Vocals Soft This is an easy compression with a low ratio setting for ballads allowing a wider dynamic range Good for live use This setting lets the vocal sit inthetrack Threshold Ratio Attack Release 8 2dB 1 8 1 0 002mS M edium This setting has more limiting than the Soft compression setting above for a narrower dynamic rage t moves the vocal more up front in the mix Threshold Ratio Attack Release 3 348 28 1 0 0025 Screamer This setting is for loud vocals It is a fairly hard compression setting for vocalist who is on and off the microphone a lot It puts the voice in your face Threshold Ratio Attack Release 1 1 dB 3 8 1 0 002mS Percussion Snare K ick This setting allows the first transient through and compresses the rest of the signal giving a hard snap up front with a longer release Threshold Attack Release 2 1dB 351 78mS 300mS Left Right Stereo Overheads The low ratio and threshold in this setting gives a fat contour to even out the sound from overhead drum mics Low end is increased and the overall sound is more present and less ambient M boom less room Threshold Attack
6. 1 1 8mS 50 5 18 PreSonus 2007 OPERATION Stereo Mix Stereo Limiter Just as the name implies this is a hard limiter or brick wall setting ideal for controlling the level to a 2 track mixdown deck or stereo output Threshold Attack Release 5 508 71 1 0 001mS 98mS Contour This setting fattens up the main mix Threshold Attack Release 13 4dB 1 2 1 0 002 5 182mS E ffects Squeeze This is dynamic compression for solo work especially electric guitar It gives you that glassy tele strat sound It isa true classis Threshold Attack Release 4 6dB 2 4 1 1 205 93mS Pump This is a setting for making the compressor pump in a desirable way This effect is good for Snare drums to increase the length of the transient by bringing the signal up after the initial spike It is very contemporar y Threshold Ratio Attack Release OdB 1 9 1 1mS 0 001mS 19 PreSonus 2007 OPERATION 3 3 EQUALIZERS The equalizer in the Studio Channel is like a Swiss Army pocket knife with the ability to carve out unwanted frequencies as well as tailor your tone to enhance your sound The custom designed amplifiers in the EQ deliver sweet sounding gain cut for ultra smooth highs deep solid lows and clear midrange The mid band of the EQ section has variable Q for controlling the width around the center point of the selected frequency High and low frequency bands give you the option for selecting peak dip or shelving fr
7. Release 13 7dB 131 27mS 128mS 17 PreSonus 2007 OPERATION Fretted Instruments Flectric 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 Attack Release 4 4 dB 2 6 1 45 7mS 189mS 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 Attack Release 6 3dB 3 4 1 188mS 400mS Flectric Guitar This is a setting for crunch electric rhythm guitar A slow attack helps get the electric rhythm guitar up close and personal and gives punch to your crunch Threshold Attack Release 0 108 2 4 1 26 5 193mS Keyboards Piano This is a special setting for an even level across the keyboard It is designed to help even up the top and bottom of an acoustic piano In other words it helps the left had to be heard with the right hand Threshold Attack Release 10 8dB 1 9 1 108 5 1125 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 Attack Release 11 9dB 1 8 1 0 002mS 85mS Orchestral Use this setting for string pads and other types of synthesized orchestra parts It will decrease the overall dynamic range for easier placement in the mix Threshold Attack Release 3 3dB 2 5
8. 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 3 3 2 How to find the best and leave the rest ncluded at the end of this section are some general frequency principles to guide you through the wonderful world of equalization but these are far from set in stone So how do you find the best and worst each instrument has to offer and adjust them accordingly Here s a quick guide Each instrument resonates most in a specific bandwidth so for instance if you are working on your kick drum mic you would start with the lowest bandwidth and 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 somewhere mixed in with your amazing sounding low end and perfect attack so your next task will be to find that offending frequency and notch it out Once you are satisfied with your kick drum mute it and move on to the next instrument Taking your time with equalization is well worth the effort Your mix will have better separation and more clarity when each instrument s EQ is set so that it shines through the mix Here are some things to keep in mind as you
9. dynamic microphone and get their name from the thin metal ribbon used in their design Ribbon microphones have very high quality sound reproduction qualities especially higher frequencies sounds However they are very fragile and typically cannot handle high SPL s The most important thing to note about Ribbon microphones is that nearly all Ribbon M icrophones do not require phantom power PLEASE NOTE unless a Ribbon microphone calls specifically for phantom power senaing phantom power to a ribbon microphone will severely damage it usually beyond repair Regardless of the microphone type you are using we recommend reading your microphone s user s manual thoroughly before engaging phantom power or if any other usage questions may arise 11 PreSonus 2007 OPERATION 3 2 ABRIEF TUTORIAL ON DYNAMICS PROCESSING The compressor in the Studio Channel is a fully variable ultra fast and smooth VCA based circuit with all of the controls needed for a wide range of compression settings ratio threshold attack release and gain make up The VCA based compressor is known for musicality as well as ultra fast attack with the ability to tame the fastest transients From slap bass to snare drum to vocals the Studio Channel s compressor stage allows you to record as hot as needed without clipping giving you total dynamic control What follows is an excerpt from brief tutorial on dynamics processing written by PreSonus President and Chief Technical
10. factor of two for signals greater than the compression threshold Ratios above 10 1 are considered hard limiting Limiting refers to the point at which the signal is restrained from going any louder at the output The level of input signal at which the output is reduced is determined by the compression threshold As the compression threshold is lowered more and more of the input signal is compressed assuming a nominal input signal level Care must be taken not to over compress a signal Too much compression destroys the acoustic 13 PreSonus 2007 OPERATION dynamic response of a performance Over compression however is used by some engineers as an effect and with killer results Compressor Limiters are commonly used for many audio applications For example e kick drum can get lost in a wall of electric guitars matter how much level is increased the kick drum stays lost in the mud Add a touch of compression and tighten up that kick drum sound allowing it to punch through without having to crank the level way up e vocal performance usually has a wide dynamic range Transients the very loudest portion of the signal can be far outside the average level of the vocal signal 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 e solo guitar can seem to be masked by the rhythm guitars Compre
11. is extremely useful in creating distorted guitar and that authentic blues harp harmonica sound 48 Volt Phantom Power This button enables phantom power to the XLR input XLR connector wiring for P hantom P ower 1 Pin2 481 Pin 3 481 6 PreSonus 2007 CONTROLS AND CONNECTIONS e Phase Reverse Reverses the polarity of the signal Use the phase reverse when recording with more than one open microphones to combat phase cancellation between microphones e 20 dB Pad This button attenuates the input signal by 20 dB The pad can be used to keep a hot signal from overdriving the microphone preamp e 80Hz Roll off The 80Hz button is a low end roll off filter When pushed in the 80Hz button causes all frequencies below 80Hz to be attenuated dropped by 12dB This filter can be handy in live and studio applications For example the 80Hz filter can help to reduce the boominess or muddiness of a vocal and improve the overall clarity 2 1 2 Compressor Compressor Soft Auto EQ gt Comp GR gt Meter 6 55 STUDIO CHANNEL SLOW FAST SLOW Release put e 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 counter clockwise the input signal is compressed if you have a ratio setting of greater than 1 1 The
12. setting it becomes eligible for compression Basically as you turn the threshold knob counterclockwise more of the input signal becomes compressed If you have a ratio setting of greater than 1 1 Ratio Ratio sets the compression slope This is defined as the output level versus the input level For example if you have the ratio set to 2 1 any signal levels above the threshold setting will be compressed at a compression ratio of 2 1 This simply means that for every 1dB of level increase into the compressor the output will only increase 1 2dB thus producing a compression gain reduction of 0 5dB dB As you increase the ratio the compressor gradually becomes a limiter A limiter is defined as a processor that limits the level of a signal to the setting of the threshold F or example if you have the threshold knob set at OdB and the ratio turned fully clockwise the compressor becomes a limiter at OdB This means that the signal will be limited to an output of OdB 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 fully clockwise allows the beginning envelope of a signal commonly referred to as the initial transient to pass through the compressor uncompressed whereas a fast attack time fully counter clockwise immediately subjects the signal to the ratio and threshold settings of the compressor Release Release sets the length of time
13. Officer Jim Odom It is included to help you get the most out of your Studio Channel This tutorial will take you through the basics of dynamics processing as well as explain the various types of dynamics processors 3 2 1 Common Questions Regarding Dynamics What is dynamic range Dynamic range can be defined as the distance between the loudest possible level to the lowest possible level For example if a processor states that the maximum input level before distortion is 24dBu and the output noise floor is 92dBu then the processor has a total dynamic range of 24 92 11608 The average dynamic range of an orchestral performance can range from 50dBu to 10dBu on average This equates to a 60dB dynamic range 60dB may not appear to be a large dynamic range but do the math and you ll discover that 10dBu is 1000 times louder than 50dBu Rock music on the other hand has a much smaller dynamic range typically 10dBu to 10dBu 20dB This makes mixing the various signals of a rock performance together a much more tedious task W hy do we need compression Consider the previous discussion You are mixing a rock performance with an average dynamic range of 20dB You wish to add an un compressed vocal to the mix The average dynamic range of an uncompressed vocal is around 40dB In other words a vocal performance can go from 30dBu to 10dBu The passages that are 10dBu and higher will be heard over the mix However the passages that are
14. T TE 20 ____________ __ _ 6 20 3 3 2 How to Find the Best and Leave the lt emen nnns 21 2 9 TOBOSO MOL tO uc MU ten DU 22 3 4 APEG OM o ________ ___ 24 4 TECHNICAL INFORMATION A S 27 OVERVIEW 1 1 INTRODUCTION Tube Pre eampiiher Compressor mU ES M N m a Presonus t 33 OO Low Min di on e DO Thank you for purchasing the PreSonus Studio Channel PreSonus Audio Electronics has designed the Studio Channel utilizing high grade components to ensure optimum performance that will last a lifetime The Studio Channel is a professional channel strip combining Class A tube preamplifier VCA based compressor and three band parametric equalizer perfect for the professional and project studio Great for all types of microphones instruments keyboards and synths the Studio Channel has the sonic power and flexibility to achieve any tone you can dream of luscious in your face vocals crystal clear acoustic guitars fat solid bass guitar dynamic acoustic piano cracking snare punchy bass huge MPC tracks you get the picture We encourage you to contact us at 225 216 7887 or at techsupport presonus com with any questions or comments you may have regarding yo
15. Tube Driveto create a wide range of sounds The Studio Channel also comes loaded with a fully variable ultra fast and smooth VCA based compressor for musicality and ultra fast attack and parametric EQ that delivers sweet sounding gain cut for ultra smooth highs deep solid lows and clear midrange The Studio Channel is like a Swiss Army pocket knife giving you all the tools you need to tailor your tone to enhance your sound Summary of features e Class A vacuum tube microphone instrument preamplifier e Tube gain and tube drive e Variable compressor threshold ratio attack release make up gain auto soft e Three band parametric EQ e Precision analog VU meter for gain reduction and output EQPre Post compressor switch e 80Hz high pass filter 20dB pad e Phase invert e Rugged metal chassis e High headroom e Ultra low noise design 4 PreSonus 2007 OVERVIEW 1 3 WHAT IS IN THE BOX Your Studio Channel package contains the following 4s PreSonus E gt SR PN 6609999 NO mt s 54 lt J HANNEL 1 tow dh Ds el Y Studio Channel 16VAC 1000mA Power Supply PreSonus Warranty Card 5 PreSonus 2007 CONTROLS AND CONNECTIONS 2 1 FRONT PANEL LAYOUT 2 1 1 Tube Microphone P reamp Tube Preamplifier 48V g 20dB 80Hz Instrument Input The 4 TS connector on the front panel 15 for use with a pass
16. al goes directly to the compressor s control circuitry When a connector 15 inserted into this jack the signal path is broken This signal can then be processed by an equalizer for example to reduce sibilance de essing in a vocal track The signal is then returned to the unit via the connector The signal returned to the sidechain could be that of a narrator or vocalist In this application the audio that is passing through the compressor will automatically duck when the narrator speaks or vocalist sings E xpanders Downward Expansion Downward expansion is the most common expansion used in pro audio and recording This type of expansion applies noise reduction to all signals below a set threshold level Ratio The expansion ratio sets the amount of noise reduction applied to a signal once the signal has dropped below the expansion threshold For example a 2 1 expansion ratio attenuates a signal 2dB for every 1dB it drops below the threshold Ratio s 4 1 and higher act much like a noise gate without the ability to tailor the attack hold and release times Noise Gates Threshold The gate threshold sets the level at which the gate opens Essentially all signals above the threshold setting are passed through unaffected whereas signals below the threshold setting are reduced in level by the amount set by the range control If the threshold is set fully counter clockwise the gate is turned off always open allowing all signals to pass thr
17. ange volume 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 reproduction 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 Y ou 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 the output level of an audio signal by a fixed ratio relative to the input It is useful for lowering the dynamic range of an instrument or vocal making it easier to record without distorting the recorder It also assists in the mixing process by reducing the amount of level changes needed for a particular instrument Take for example a vocalist who moves around in front of the microphone while performing making the output level vary up and down unnaturally A compressor can be applied to the signal to help correct this recording problem by reducing the louder passages enough to be compatible with the overall performance How severely the compressor reduces the signal is determined by the compression ratio and compression threshold A ratio of 2 1 or less is considered mild compression reducing the output by a
18. at 30dBu and below will never be heard over the roar of the rest of the mix A compressor can be used in this situation to reduce compress the dynamic range of the vocal to around 10dB The vocal can now be placed at around 5dBu At this level the dynamic range of the vocal is from OdBu to 10dBu 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 discussion 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 of each instrument Does every instrument need compression This question may lead many folks to say absolutely not overcompression is horrible That statement can be qualified by defining overcompression The term itself overcompression 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 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 oftentimes very subtle to be properly heard in a mix 12 PreSonus 2007 OPERATION Why do you need noise gates Consider the compressed vocal example above and you now have a 20dB dynamic ra
19. d with your Studio Channel Feel free to experiment by pushing any and all buttons and turning knobs to their extreme values remember there are no rules when creating music Let your imagination and ear guide and direct the way you set your Studio Channel These application settings do not include the main preamplifier controls Gain and Tube Drive Set these preamplifier controls with the compressor and EQ in bypass for initial levels and tonal quality Use the 80Hz high pass filter to roll off low frequency rumble and muddiness Once you get a sound that you like go back to the Tube Drive control to further tailor your sound Vocals COMPRESSOR SETTINGS RATIO sort BYPASS ATTACK RELEASE _ ___ __ EQSETTINGS Q Acoustic Guitar COMPRESSOR SETTINGS THRESH RATIO GAIN SOFT BYPASS ATTACK RELEASE EQSETTINGS peak cam Frea o Req peak FREQ Narrow 2d8 _ Electric Guitar COMPRESSOR SETTINGS THRESH RATIO GAIN SOFT BYPASS ATTACK RELEASE EQSETTINGS EOCOMP PEAK GAIN FREQ Q cam FREQ 24 PreSonus 2007 Bass Guitar COMPRESSOR SETTINGS THRESH RATIO GAIN SOFT BYPASS ATTACK RELEASE 15 dB Mid Fast Mid Slow EQSETTINGS EQ gt COMP PEAK GAIN FREQ Q GAIN FREQ PEAK GAIN FREQ 6 ds 2 2 KHz
20. equencies What follows is a brief explanation of how an EQ functions as well as some charts to help you navigate the frequency range of various instruments to assist you in quickly setting the best EQ for your recordings and to help you get the most out of your Studio Channel 3 3 1 What is an EQ An equalizer is a device that allows you to adjust the volume of a frequency or range or frequencies within an audio signal In its simplest form an EQ will let you turn the treble and bass up or down allowing you to adjust the coloration of let s say your car stereo or an iPod In recording equalization is a high art Good equalization is critical to a good mix When used correctly an equalizer can provide the impression of nearness or distance It can also provide separation between similar sounds in a mix allowing them to both shine through the mix The Parametric EQ The Parametric EQ and semi P arametric EQ are the most common equalizers found in most recording and live situations because they offer continuous control over all parameters The Parametric EQ divides the audio signal s frequency range in bands usually three to seven and provides the same set of control parameters for each band gain frequency width Q and the center frequency of that Q The Q The Q is by far the most useful tool a Parametric EQ offers By adjusting the width of the Q you can attenuate or boost a very narrow or broad range of frequencies Each has its benefi
21. equency can be set between 10 and 10 dB 2 1 4 Master and VU Meter 4 PreSonus Power 10 dB Level e Power Button This button turns your Studio Channel On and Off When your Studio Channel is powered on this button will illuminate e Master Level Adjust the overall output volume of the Studio Channel 5 3 10 3 lt LULA e VU Meter Theanalog VU meters the output level of your Studio Channel When the GR gt M eter button in the compressor section is enabled the VU meter will show the amount of Gain Reduction 9 PreSonus 2007 CONTROLS AND CONNECTIONS 2 2 BACK PANEL LAYOUT e A SENN ZEAN 4 9 e e Microphone Pre Amplifier Your Studio Channel is equipped with a custom designed PreSonus microphone preamplifier for use with all types of microphones including dynamic condenser and ribbon e Line Level Input The Studio Channel also features a balance line level input to connect synthesizers amp modelers etc e Main Outputs The Studio Channel features both a balanced TRS and an XLR output for greater ease of connectivity e Digital Option Card This is the expansion slot for your optional Studio Channel digital expansion card e Power Switch Push the top part of the switch to turn your Studio Channel on Push the bottom part of the switch to turn your Studio Channel off O e Power Supply Connector This is the connection for your exte
22. hen both the Compressor and the E are bypassed the Studio Channel acts as Tube P reamplifier only e Low Band Frequency Sets the Center Frequency of the Q or frequency range width of the Low Band EQ You can adjust the center frequency from 20 to 300 Hz e Low Band Peak Button By default the Low EQ is set as a shelving EQ When the peak button is enabled the Low Band EQ becomes a standard peak equalizer with a fixed Q of 0 7 e Low Band Gain Sets the Gain attenuation or boost of the Q The level of the center frequency can be set between 10 and 10 dB Mid Band Frequency Sets the Center Frequency of the Q or frequency range width of the M id Band EQ You can adjust the center frequency from 200 to 3 kHz e Mid Band Gain Sets the Gain attenuation or boost of the Q The level of the center frequency can be set between 10 and 10 dB 8 PreSonus 2007 CONTROLS AND CONNECTIONS e Mid Band Q Sets the frequency range for the Mid Band EQ The Frequency knob sets the center of this range e High Band Frequency Sets the Center Frequency of the Q or frequency range width of the High Band EQ You can adjust the center frequency from 2 to 20 kHz e High Band Peak Button By default the High EQ is set as a shelving EQ When the peak button is enabled the High Band E Q becomes a standard peak equalizer with a fixed Q of 0 7 e High Band Gain Sets the Gain attenuation or boost of the Q The level of the center fr
23. ic 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 www PreSonus com A PreSonus 2008 PreSonus Audio Electronics Inc All Rights Reserved TABLE OF CONTENTS 1 OVERVIEW 3 LE 4 5 2 CONTROLS amp CONNECTIONS Ban NUM T 6 2 1 1 TUDE Microphone PreaMD ________________ 6 Zu 2 _____ __ __6__________________ _ 7 _ ___________ ____ _ ____ 8 2 1 4 Master ana VU METET een 9 2 E ER ee 10 3 OPERATION SIME rege ee ee 11 OMNES HDI ________________ 11 S NN Miu RT _____ 11 3 2 A Brief Tutorial on Dynamics Processing seseemeeemeeenennnnennennnn nnn 12 3 2 1 Common Questions Regarding Dynamics mener nnns 12 3 2 2 Types of Dynamic Processing su 13 3 2 3 Vocabulary of Dynamics Processing sau 14 3 2 4 General Compression Setting Suggestions seessssse meme nnn nnns 17 SMS MN ZI CA ESTE
24. ive instrument guitar bass etc When an instrument is plugged into the instrument input the microphone preamp is bypassed and the Studio Channel becomes an active instrument preamplifier NOTE 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 Studio Channel not only risks damage to these inputs but also results in a very loud and often distorted audio signal In other words don t plug a line level source into the front panel jack Input Gain Trim Control These knobs provide the following gain structure o XLR Microphone and TS Instrument Hi Z Inputs 44 dB of variable gain 10 dB to 54 dB Tube Drive The Tube Drive control increases the amount of signal routed through the 12AX7 vacuum tube The gain controls overall volume whereas the drive controls volume routed through the tube The effect achieved ranges from subtle to extreme depending on the setting being used o Warming Up the Sound This effect is achieved by adding in a small amount of Tube Drive 30 or less It is especially desirable for vocals and electric bass The resulting sound is richer and sweeter o Overdriven Tube Sound This effect is achieved by adding in 30 100 of Tube Drive The more Tube Drive you add the more overdriven the sound will be This sound
25. ization Number and instructions of where to return the unit for service All inquiries must be accompanied by a description of the problem All authorized returns must be sent to the P reSonus repair facility postage prepaid insured and properly packaged PreSonus reserves the right to update any unit returned for repair PreSonus reserves the right to change or improve the design of the product at any time without prior notice This warranty does not cover claims for damage due to abuse neglect alteration or attempted repair by unauthorized personnel and is limited to failures arising during normal use that are due to defects in material or workmanship in the product Any implied warranties including implied warranties of merchantability and fitness for a particular purpose are limited in duration to the length of this limited warranty Some states do not allow limitations on how long an implied warranty lasts so the above limitation may not apply to you In no event will PreSonus be liable for incidental consequential or other damages resulting from the breach of any express or implied warranty including among other things damage to property damage based on inconvenience or on loss of use of the product and to the extent permitted by law damages for personal injury Some states do not allow the exclusion of limitation of incidental or consequential damages so the above limitation or exclusion may not apply to you This warranty gives you specif
26. l reduction of level The gain control allows you to restore the loss in level due to compression and readjust the volume to the pre compression level if desired You can adjust the Gain Make Up from 10 to 10 dB 7 PreSonus 2007 CONTROLS AND CONNECTIONS e Soft The Soft button selects Soft Knee and Hard Knee compression curves When this button is pushed in Soft knee compression curves are used otherwise hard knee compression curves are used With Hard knee compression the gain reduction applied to the signal occurs as soon as the signal exceeds the level set by the threshold With Soft knee compression the onset of gain reduction occurs gradually after the signal has exceeded the threshold e Auto The Auto button places the compressor in automatic attack and release mode The Attack and Release knobs become inoperative and a preprogrammed Attack and Release curve is used instead e EQ Compressor This button places the EQ before the Compressor in the signal path By default the Studio Channel s signal path is as follows GR Meter This button changes the VU metering to read the Gain Reduction of the Compressor rather than the output level of the Studio Channel e Compressor Bypass This button bypasses the compressor 2 1 3 Parametric EQ Parametric Equalizer 20 10 7 53 10 3 5 ir 1 VU _EQ Bypass STUDIO CHANNEL e Bypass The button bypasses the EQ W
27. n and noise gating is the fact that expansion is dependent on the signal level after crossing the threshold whereas a noise gate works independent of a signal s level after crossing the threshold Noise Gating Noise gating is the process of removing unwanted sounds from a signal by attenuating all signals below a set threshold As described above the gate works independent 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 14 PreSonus 2007 OPERATION 3 2 3 Vocabulary of Dynamics Processors In scientific research it is widely accepted that if one needs to master a subject quickly learn the associated vocabulary and industry terms The same is true with audio recording and production Most manuals and text books assume a prior level of knowledge We hope this section will help you to get the most benefit from your independent study in the world of music production Compressors Threshold The Compressor threshold sets the level at which compression begins W hen the signal is above the threshold
28. nge for the vocal channel Problems arise when there is noise or instruments in the background of the vocal mic that became more audible after the lower end of the dynamic range was raised air conditioner loud drummer etc You might attempt to mute the vocal between phrases in an attempt to remove the unwanted signals 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 10dBu such that the gate would close out the unwanted signals between the phrases If you have ever mixed live you know well the problem cymbals can add to your job by bleeding through your 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 toms so that the cymbals no longer ring through the tom mics will give you an enormous boost in cleaning up the overall mix 3 2 2 Types of Dynamics Processing Dynamics processing is the process of altering the dynamic range or levels of a signal thereby enhancing the ability of a live sound system or recording device to handle the signal without distortion or noise and aiding in placing the signal in the overall mix Compression Limiting Punch apparent loudness presence just three of many terms used to describe the effects of compression limiting Compression and limiting are forms of dynamic r
29. oom and microphone Table 1 Instrument Whatto Cut WhytoCut Whatto Boost Why to Boost 1 2kHz Shrl 3kHzandaboe Clarity kHz X 200400Hz Boy ___ 1 below Popping P s ILL _ 12kHz Tiny Morepreene ____________50042 1 100Hz Bottom end Electric Guitar 12kHz 5 3kHz Clarity __ 180 HZ and below Muddy 12582 Bottom end Loos Beum ____________12582 ______ 80 Hz and below Bottomend n ____________20082 1 Boomy _ 125 Hz and below Bottomend SnareDrum _ 1kHz Annoyng X 2kHz Crip 15020042 3 Ful eee KickDrum 40082 Muddy 252 Sharpattack 80 HZ and below Boomy 60 125Hz Bottomend 200 Hz Bottomend 8102kHz Brilliance 1 2 Honky 812kHz BigSound 1120 Hzandbelow Muddy 2 42 arity i 1120 Hz and below Muddy 400 600 Hz Lush and full 22 PreSonus 2007 OPERATION Table 2 more vocal presence adds harder bass to Low Ie more attack on kick amp tom frequency instruments more finger sound on bass adds fullness to guitar amp snare mare attack on piano and brighten vocals acoustic adds clarity to bass lines acoustic guitar guitar amp piano adds warmth to piano especially at softer playback adds clarity amp punch horns volumes to bass lines hrighter rack guitar mo
30. otification 28 PreSonus 2007
31. ough unaffected Attack The gate attack time sets the rate at which the gate opens A fast attack rate is crucial for percussive instruments whereas signals such as vocals and bass guitar require a slower attack Too fast of an attack can on these slow rising signals cause an artifact in the signal producing an audible click All gates have the ability to click when opening however a properly set gate will never click Hold Hold time is used to keep the gate open for a fixed period of time following the signal going below the gate threshold This can be really useful for effects such as gated snare where the gate remains open after the snare hit for the duration of the hold time then abruptly closes 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 closes down to Therefore if the range is set at OdB there will be no change in the signal as it crosses the threshold If the range is set to 60dB the signal will be gated reduced by 6008 etc 16 PreSonus 2007
32. re hardness on eymbals adds fullness ta low adds fullness to vocals adds clarity amp punch mare pluck ta bass more attack on kick amp tom breathier vocals frequency instruments to bass lines kick tam bass harder hitting snare amp more attack to acoustic more attack to percussion brighten cymbals string guitar amp electric quitars instruments amp flutes reduce dullness on vecals more attack on lower makes samples amp synths piano register finger sound an bass sound more real mone clarity to vocals add sharpness to synths rock quitars acoustic guitar amp piana 50Hz 100Hz 200Hz 400Hz 800Hz 1 5 3kHz 5 kHz 7kHz 10 15kHz decrease dullness in kick and tom make background instruments sound more distant EF Mi r Gecrease Doom In guitars decrease ambience in decrease dullness in reduces 5 sound to Increase clarity cymbals guitars soften a thin guitar an vocals decrease bass boom to decrease muddiness In vocals decrease thinness or overly increase breathiness in reduces 5 sound increase overtones and amp mid range instruments bright overtones in guitars background vocals vocals clarity in the mix decrease long bass overtones disguise slightly aut of in cymbals tune vacals and guitars 23 PreSonus 2007 OPERATION 3 4 APPLICATION SETTINGS The following are application settings to get you starte
33. rnal power supply 10 PreSonus 2007 OPERATION 3 1 MICROPHONES The Studio Channel works with all standard microphones including dynamic ribbon and condenser microphones 3 1 1 Condenser Condenser microphones tend to generate a high quality audio signal and are one of the most popular mic choices for today s studio recording applications Because of their design technology condenser microphones require a power source which can be provided from a small battery external power supply or from microphone inputs as phantom power The Studio Channel sends phantom power over XLR inputs only 3 1 2 Dynamic Dynamic microphones are possibly the most widely used microphone type especially in live shows and when recording loud source signals such as guitar amplifiers and kick drums They are usually less expensive than condenser and ribbon microphones resistant to physical damage and typically handle high sound pressure levels SPL very well Unlike condenser microphones dynamic microphones do not require a power source In the vast majority of cases phantom power will have no effect on a dynamic microphone s audio quality or sensitivity and will not damage the microphone You should consult your microphone s documentation to confirm Dynamic microphones especially ribbon microphones tend to generate low output voltages so they typically need more preamp gain than a condenser microphone Ribbon Ribbon microphones are a special type of
34. ssion can make your lead soar above the track without shoving the fader through the roof e Bass guitar can be difficult to record A consistent level with good attack can be achieved with proper compression Your bass doesn t have to be washed out in the low end of the mix Let the compressor limiter give your bass the punch it needs to drive the bottom of the mix E xpansion There are two basic types of expansion dynamic and downward E xpansion increases the dynamic range or level 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 undue compression before transmitting the audio signal This is commonly referred to as companding or COM Pression followed by expAN DING By far the most common use of expansion is downward expansion In contrast to compression which decreases the level of a signal after rising 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 5dB below the expansion threshold the expander will reduce it to 10dB below the threshold Commonly used as noise reduction expansion is very effective as a simple noise gate The major difference between expansio
35. the compressor takes to return the gain reduction back to zero no gain reduction after crossing below the compression threshold Very short release times can produce a very choppy or jittery sound especially in low frequency instruments such as a bass guitar Very long release times can result in an over compressed sound 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 sound possibilities Hard Soft Knee With hard knee compression the gain reduction applied to the signal occurs as soon as the signal exceeds the level set by the threshold With soft knee compression the onset of gain reduction occurs gradually after the signal has exceeded the threshold producing a more musical response to some folks Auto Places a compressor in automatic attack and release mode The attack and release knobs become inoperative and a pre programmed attack and release curve is used Gain Makeup 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 15 PreSonus 2007 Compressor Sidechain The sidechain jack interrupts the signal that the compressor is using to determine the amount of gain reduction to apply When no connector is inserted into this jack the input sign
36. threshold can be set from 40 to 20 dB Ratio Sets the compression slope This is defined as the output level versus the input level For example if you have the Ratio set to 2 1 any signal level above the Threshold setting will be compressed at a compression ratio of 2 1 This simply means that that for every 1dB of level increase into the compressor the output will only increase dB thus producing an attenuation of 0 5 dB The Ration can be set from 1 1 to 10 1 e Attack Sets the speed at which the compressor acts on the input signal A slow attack time fully clockwise allows the beginning envelope of a signal commonly referred to as the initial transient to pass through the compressor uncompressed whereas a fast attack time fully counterclockwise immediately subjects the signal to the Ratio and Threshold settings of the compressor e Release Sets the length of time the compressor takes to return the Gain reduction back to zero no gain reduction 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 overly compressed signal 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 sound possibilities e Gain Make Up When compressing a signal gain reduction usually results in an overal
37. ts let s look at the narrow first A narrow Q has obvious attenuation benefits for removing unpleasant tones Let s say the snare drum in your mix has an annoying ring to it With a narrow Q you can single this one frequency out usually around 1 KHz and remove it This 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 Q 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 60 125 Hz but the attack of the kick drum is much higher at around 2 5 kHz By setting a narrow Q and boosting the attack a bit you can achieve a punchier kick drum without overpowering the rest of the mix A broad Q accentuates or attenuates a larger band of frequencies The broad Q and narrow 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 somewhere centered around 100 Hz and an attack hitting in almost dead on at 4 kHz In this example you would use a broad boosted in the low frequency band centered at 100Hz and a narrow Q boosted at 4 kHz n this way you are accentuating the best and downplaying everything else this particular kick drum has to offer 20 PreSonus 2007 OPERATION S helving EQ A shelving EQ attenuates or boost frequencies
38. ur PreSonus Studio Channel 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 W e suggest you use this manual to familiarize yourself with the features applications and correct connection procedure for your Studio Channel before trying to connect it to your recording system This will hopefully alleviate any unforeseen issues that you may encounter during installation and set up Please pay close attention when connecting your Studio Channel to your system Bad cables and improper grounding are the most common causes of problems encountered in recording and live P A environments recommend checking your cables connections and grounding if you experience any noise or sonic performance problems Thank you once again for buying our product and we hope you enjoy your Studio Channel 3 PreSonus 2007 OVERVIEW 1 2 FEATURES The Studio Channel has everything needed to deliver big tone The preamplifier stage of the Studio Channel is based on the award winning PreSonus BlueT ube preamplifier with a high output 12AX 7 vacuum tube operating on voltages double than all other preamplifiers in its class It delivers high headroom and big tone featuring dual control Gain and
39. venture on into equalization e Youcan only do so much Not every instrument can have a full rich low end and a sharp attack If every instrument is E Q d to have the same effect it will lose its identity in the mix Y our goal is not individual perfection it is perfection in unity e Step away from the mix Your ears get fatigued just like the rest of you If you are working particularly hard on one instrument your ears will be quite literally numbed to that frequency range e Your memory is not what you think it is Comparing a flat EQ and the curve that you ve created allows you to see exactly what you ve done So be honest with yourself Sometimes that E Q setting you ve been working on for 15 minutes is not the right choice move on e Never be afraid of taking a risk The best EQ tricks were found by mad scientists of sound Playing applies to engineers as well as musicians 21 PreSonus 2007 3 3 3 To Boost Not To Boost With every instrument there are frequencies that can be attenuated or boosted to add clarity or fullness to itinthe mix And of course there are frequencies that can make an instrument shrill muddy or just downright annoying The following two charts offer some suggestions of frequency ranges that should be accentuated or downplayed for the most common instruments Remember these are just suggestions these frequencies may need to be adjusted up or down depending on the instrument r
Download Pdf Manuals
Related Search