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Presonus StudioLive 16.0.2 Operations Manual

1. Creating Monitor Mixes Sections 4 4 1 4 4 3 amp 8 4 1 unmgos xmgonzm Internal FX Level amp FireWire Returns Sections 4 5 1 amp 6 4 2 Solo Sections 4 5 1 amp 4 7 2 Mute Section 4 5 1 Stereo Link Section 4 1 4 47 3 Section 4 4 2 f Section 72 amp 4 7 1 8 7 mgoz a4rmcs unrozmxazon Multimodes and Multimode Buttons Section 4 5 Select Buttons Section 4 1 1 METERING CONTROLS Section 4 2 1 a s Aux Faders Section 4 4 Input Metering Output Metering Channel Faders Section 4 3 ain Reduction Metering Fader Locate Section 5 1 Main Output Section 4 6 1 1 Getting Started IMPORTANT LEVEL SETTING Before you begin there are a few general rules of thumb that we recommend you follow e Always turn the Main fader and both the Monitor and Phones knobs in the Monitor section down before making connections Before plugging or unplugging a microphone while other channels are active mute the channel to which you are connecting e Your faders should be set on or near the U mark whenever possible The U indicates unity gain meaning the signal is neither boosted nor attenuated If the main output of your StudioLive is too high or too low when your faders are at or near unity you can use the output level knob on the rear panel of the StudioLive to adjust the level up or down until you have achi
2. 2 Press the Input button in the Meter section 3 Inthe Solo bus section select PFL and turn the Cue level to 12 o clock 4 Selectthe Solo button in the Monitor section and adjust the volume for your headphones or control room monitors Monit r rr 5 Solo your first channel and turn the trim to the desired level on the meter Be careful not to get the signal above 0 dBFS You do not want to clip the analog to digital converters When all else fails remember button button knob button knob button knob Solo Main we ED fut 8 7 The Solo Bus The StudioLive features an independent Solo bus This feature is extremely useful in setting levels for monitor mixes dialing in dynamics processing on each channel and fixing issues during a live show without interrupting the main mix The Solo bus has three different modes AFL default PFL and SIP AFL After Fade Listen AFL sends the channel or subgroup signal to the Solo bus post fader so that you can control the level of the soloed signal with the fader This is the StudioLive s default setting PFL Pre Fade Listen PFL sends the channel or subgroup signal to the Solo bus before it reaches the fader so the fader does not affect the soloed signal 153 Mna cS T EE nsus Js ee ty k zu 5 nN Esco 8 Tutorials 8
3. TN 5 5 Using MIDI Control Mode to Remote Control StudioLive The StudioLive 16 0 2 features a distinctive MIDI Control Mode J which once enabled allows you to remote control the following T StudioLive parameters from a MIDI device or DAW e Scene Recall e FXA Preset Recall LM e FXB Preset Recall e FXA Assign to Mains y e FXB Assign to Mains e FXA Output e FXB Output E e Main Output Level To enable MIDI Control Mode navigate to Page 4 of the System Menu and set MIDI Control Mode to On by turning the value encoder This will enable your StudioLive 16 0 2 s MIDI features so that the mixer can be controlled by any standard MIDI controller Your StudioLive can be controlled with an MIDI controller connected to the MIDI In jack on the back of your StudioLive or with a MIDI signal transmitted over FireWire from a computer In this section we will discuss using a hardware MIDI controller to change the controllable parameters on your StudioLive fev ox am t E Nua Ula1s S s1as2Jg SIUS Once you have enabled MIDI Control Mode set the MIDI Source to MIDI In and connect your MIDI controller s MIDI Out jack to the MIDI In jack on your StudioLive 16 0 2 For information on using Studio One Artist or E another DAW to control your StudioLive please review Section 7 5 8 Jl Recalling Scenes and FX Presets Remotely MIDI stands for Musical Instrument Digital Interfac
4. c T oD g 0o55 vos core o o Aus 6 Connecting to a Computer 6 3 Installation for Mac OSX Introduction License Destination Select Installation Type Installation e Summary 3 PreSonus Introduction License Destination Select Installation Type amp Installation Summary amy am e e 32 ke EUM gu wo i PreSonus Introduction License 6 Destination Select Installation Type 6 Installation Summary 60 6 3 Installation for Mac OS X PreSonus StudioLive 16 0 2 After inserting the Installation CD into your disc drive browse the disc and run the StudioLive installer which will take you through each step of the installation process Please read each message carefully and be especially careful that you do not connect your StudioLive too soon Welcome to the PreSonus StudioLive Installer You will be guided through the steps necessary to install this software Standard Install on Macintosh HD This will take 11 8 MB of space on your computer Click Install to perform a standard installation of this software on the volume Macintosh HD Change Install Location Installation completed successfully w Install Succeeded The software was successfully installed You will be directed to the Welcome sc
5. Link Mode Pan enabled Main Mix L Main Mix R Post Level e Aa Faa na oje tO or e Aux2 i zi Gain Mic 6 65 dB Q TALK TalkBack Level d 3 Mic to Aux Bus l 120 10 dB Links to Output Dim Level 14 dB Talkback Mic 48V Always On 160 T o Aux3 2 m 5 Aux4 OQ OF l o FXA l ol FXB i Link Mode Pan enabled Owner s Manual Technical Information 9 Block Diagram 9 2 X icc XX uu 55 22 c c 90 nm r wa Va soL xX X X XX oo DID su zAC LILLI output Channel Meters l 13 14 amp 15 16 l l l I BALANCE LINE DRIVERS dp l Sy Left _ D A gt i M BE Main Output Right D y Fat Channel D A OUTPUT BUFFER Cue Level Solo BusL Solo Bus R 120 10 dB FireWire Return Streams 1 amp 2 gt Left C P Right p Control Room Output te Phones Output p C 120 10 dB Phones Level 120 10 dB N Aux Aux 2 Aux3 TalkBack Mic to Aux Bus Aux4 Aux 1 Aux 2 Aux 3 Aux4 Links to Output Dim Level 14 dB D A OUTPUT BUFFER Aux Out 1 a Aux Out 2 Aux 4 Aux 3 Aux 1 I V V Aux Out 3 a m A m a a GD M e a ee a re e Tr TIL T LL 000 S t 3 5 D m T a A
6. Ta x routed to the Aux outputs and to the Mains It is important to note that the Aux lt outputs are grouped in this section For example if you are using Aux 3 as the a monitor mix to the bass player s floor wedge and Aux 4 as the mix to the keyboard qe player s in ear monitors the talkback signal will be sent to both monitors so don t say anything you wouldn t want both to hear E Power User Tip The Talkback mic preamp is a high quality XMAX preamp the same model that the x channel inputs have If your musicians are using in ear monitoring on stage they can feel isolated from the audience and require an ambience microphone You can use the Talkback input for just this Aux3 4 purpose without using up a channel Talkback Mic Level Controls the Overall Level of the Talkback Mic of This knob controls the overall volume of the Talkback mic input The trim for the Talkback mic is located on the back panel next to the input See Section 3 1 for details Please Note The Talkback mic preamp does not pass through the analog to digital b converters Because of this while the Talkback function buttons assign to Aux 1 2 assign to Aux 3 4 and Talk are recalled with a scene the Talkback level is not recallable X N 32 Owner s Manual Output Select Buttons Talkback Buttons 4 7 2 Solo Bus Solo Bus Volume Control PFL Toggle Button PFL Controls 4 Master Section 4 7 Assigns
7. On The Disk ap BAS Uecek 1 ba BAS Dect 2 ap BAS Nap Ga BAS Upright ip DEM Fat Sasre ip DIM High Hat ip DRM Kick 1 ip DEM Kick 2 ka DEM Kick Funk 1 ip ORM Kick Funk 2 ip DRM Kick Hip Hop s DEM Kick Jazz ip DIM Overhead Jarg iip DM Overhead Rock ip DRM Snare 1 i DEM Snare Crackalak ip DEM Snare Snappy ka DIM Torms High 8 8 ip DEM Toms Low a t B L 5 s c D c o c A a Device Memory L s t a L L E ip 01 ORM Kick 1 ap 02 DRM Kick 2 SELECT SELECT SELECT SELECT SELECT SELECT SELEC SELECT SELECT SELECT SELECT SELECT SELECT SELECT SELECT SELECT S t ECT SELECT SELECT SELECT SELECT SELECT i POI DRM Kick Funk 1 I i i i I ap m4 DRM Kick fonk SOLO BAU OLO SOLO SUL SOLO SAO POLG SOLO SOLS SoLo So PULY gt u JOLO DULU AAS SOLO 3 m SoLo 2 U SUL i j UL tO AV t j HA AQ QLL kt Vi i JL iV t Jt t Ug ia POS ORM Kick Jazz V MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE me MUTE MUTE MUTE MUTE MUTE MUTE ap O6 DEM Kick Hip Hop 1 H a jo at 77 MEE d T 1 za p ed ja me Fo ie 07 DRM Saare 1 h 2 3 E Ch 6 17 ht Ch 11 Ch 12 Ch 13 Ch 14 Ch 15 H Ch i6 Ch 17 Ch 18 Ch 19 Ch 20 Ch 21 Ch 22 ip 08 DRM Fat Snare i ED 09 DRM Seare Crockalah i 10 ORM Se n f aq Fst acra cA ca S ELA Ce rt ed eer a ho E ze S EA won ip PLO ORM Sarre Snappy 3 z
8. o e 1 ORAN re DU NA AREE an P b 107 fev WN et a a gt gt ct 92 or aJnjde aJoway 19 04300 JESJOAIUL 3J6M3J0S 7 Software Universal Control SL Remote Capture and Studio One Artist 7 4 Capture Key Commands continued Action Navigation Focus Next Focus Previous Left Extend Selection Left Key Command Tab Shift Tab Shift Left Arrow Extend Selection Left Add Cntrl Cmd Shift Left Arrow Skip Left Right Extend Selection Right Extend Selection Right Add Skip Right Up Extend Selection Up Extend Selection Up Add Skip Up Down Extend Selection Down Extend Selection Down Add Skip Down Page Up Extend Selection Page Up Extend Selection Page Up Add Skip Page Up Page Down Extend Selection Page Down Extend Selection Page Down Add Skip Page Down Start Extend Selection Start Extend Selection Start Add Skip Start End Extend Selection End Extend Selection End Add Skip End 108 End PreSonus StudioLive 16 0 2 Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Capture 7 4 arr 7 4 11 Capture Applications and Scenarios When recording live most people usually make a single cont
9. 6 4 Using the StudioLive as an Audio Interface Cakewalk Sonar 6 Ableton Live 5 62 Launch Sonar Go to Options Audio and click on the Advanced tab Change the Driver Mode to ASIO Using WDM rather than ASIO for pro audio applications is not recommended Click the OK button Restart Sonar Go to Options Audio and click on the Drivers tab Highlight all input and output drivers beginning with PreSonus FireStudio Go to Options Audio and click on the General tab Set the Playback Timing Master to PreSonus FireStudio DAW Out 1 Set the Recording Timing Master to PreSonus FireStudio Mic Inst 1 Launch Ableton Live Go to Options Preferences Audio Choose Driver Type Asio Audio Device ASIO PreSonus FireStudio Go to Input Config Enable and select the desired Input channels Go to Output Config Enable and select the desired Output channels You may now select the StudioLive s inputs and outputs for each track created in Live Owner s Manual Connecting to a Computer 6 Using the StudioLive as an Audio Interface 6 4 a 6 4 2 FireWire Sends and Returns When using the StudioLive as an audio interface it is important to understand the terms FireWire send and FireWire return Because the audio interface in the StudioLive is completely integrated with the other functions of a the mixer the FireWire I O is designed to work a
10. 11 Press the Exit button twice and continue to FXA Assign Unassign to Mains P FXA Assign Unassign to Mains EE Next we will set CTL Pedal 2 to control the Main assignment mute for FXA 1 Press the right Parameter button until the LCD reads CTL2 Assign 2 Thecurser should be on the CH Tx field Press the Value Down button until the MIDI channel value is 04 zd 3 Use the right Parameter button to navigate to the CC field UN 4 Use the Value Up and Down buttons to set the Control Change number to 64 o 5 Continue to FXA and Main Bus Output Levels E a P 56 Owner s Manual FXA and Main Bus Output Levels Naming and Saving Your Patch Recalling StudioLive Scenes Scenes Presets System Menu and MIDI Control 5 Using MIDI Control Mode to Remote Control StudioLive 5 5 Press the right Parameter button until the LCD reads EXP1 Assign Use the right Parameter button to navigate to the CH Tx field and press the Value Down button until the MIDI channel value is 047 Use the right Parameter button to navigate to the CC field Use the Value Up and Down buttons to set the Control Change number to 40 Press the right Parameter button until the LCD reads EXP2 Assign Use the right Parameter button to navigate to the CH Tx field and press the Value Down button until the MIDI channels value is 047 Use the right Parameter button to navigate to the CC field
11. 14 Servicing is required when the apparatus has been damaged in any way such as if a power supply cord or plug is damaged or liquid has been spilled or objects have fallen into the apparatus or if the apparatus has been exposed to rain or moisture does not operate normally or has been dropped All PreSonus products in the USA should be serviced at the PreSonus factory in Baton Rouge Louisiana If your StudioLive requires a repair contact techsupport presonus com to arrange for a return authorization number Customers outside the USA should contact their local distributor Your distributor s contact information is available at www presonus com 15 The apparatus shall be connected to a Mains power outlet with a protective grounding earthing connection 16 Where the Mains plug or an appliance coupler is used as the disconnect device the disconnect device shall remain readily operable EU Directives on the Protection of the Environment and Other Euro Stuff RoHS This product is compliant with the EU Directive 2002 95 EG for the Restriction of the use of Certain Hazardous Substances in Electrical and Electronic Equipment No lead Pb cadmium Cd mercury Hg hexavalent chromium Cr 6 PBB or PBDE is intentionally added to this device Any traces of impurities of these substances contained in the parts are below the RoHS specified threshold levels REACh This product is compliant with the European Union Directive EC1907 206 f
12. 4 Select Sustain Pedal On Off from the Parameter pull down menu on the automation track 5 Using your Pencil tool draw an ON message that lasts for several bars 6 Note that the FXA FXB assignment to the main bus is a simple toggle so when it receives its CC message the button will be put into the opposite of its current state If you want the On state in Studio One to turn the button on the button will need to be in the Off state when it receives the message 7 Press Play to watch and hear Studio One assign and unassign FXA to the Main bus These same steps can be used to control FXB assign unassign to the Main bus Just be sure to select the correct Control Change message from the Automation track s parameter menu Owner s Manual Tutorials 8 Microphone Types 8 1 3 8 0 Tutorials 8 1 Microphone Types __ The StudioLive works with most types of microphones including dynamic ribbon and condenser microphones icc 8 1 1 Condenser Condenser microphones generally capture sound with excellent fidelity and are one of the most popular microphone choices for studio recording and increasingly for live performance as well Condenser microphones require a power source which E can be provided by a small battery an external power supply or phantom power C which is usually provided by a mixer preamplifier or direct DI box Phantom power is sent over the same mic cabl
13. 7 2 4 Loading Scenes and Presets from VSL Loading a Scene Hide Browser FAT CH FX GEG BACKUP The Disk Basic Playback geq haming test test Zero Qut Board Reset 74 As stated in the previous section the Browser window in VSL functions much in the same way as the Browser in Studio One This means that to load a Scene or preset from the Browser window you simply select it and drag it over the mixer or channel on which you wish to load it Scenes and presets can be dragged from either the On Disk or the Device Memory section of the Browser and dropped onto the Overview or the Channel tab To load a new Scene on your StudioLive select it from the Browser window and drag it over the mixer in either the Overview or the Channel tab The window will gray out indicating that a new Scene is about to be loaded Please note Only the parameters that have been enabled for recall on the StudioLive will be recalled on the mixer See Section 5 1 for more details Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 VSL Virtual StudioLive 7 2 Loading Scribble Strip Labels Scribble Strip labels are stored with your Scenes You can load just the omm labels by selecting the Scene from the Browser window and dragging it N SOLO over the row of Scribble Strips above the Channel Faders The Scribble A I Strips will gray out indicating
14. Reference Level for 0 dBFS 158 PreSonus StudioLive 16 0 2 84 dB to 0 dB Adaptive 0 2 2 5 ms 70 ms 2 1 56 dB to 0 dB 1 1 to 14 1 0 2 ms 1 0 s Tight to 180 ms 1 0 s Smooth Attack 10 ms Release 150 ms hard and soft knee 2nd order shelving filter Q 0 55 36 to 465 Hz 15 dB 260 Hz to 3 5 kHz 15 dB 1 4 kHz to 18 kHz 15 dB 118 dB 118 dB 5400 400 Mb s 32 bit floating point 44 1 48 kHz 24 bits 18 dBu Owner s Manual Clock Jitter gt 60 dB 1 ns in 1 ps out Jitter Attenuation Technical Information 9 Specifications 9 1 lt 20 ps RMS 20 Hz 20 kHz Power Connector Input Voltage Range IEC 90 to 240 VAC factory configured for country of destination 100W Power Requirements continuous Physical Length 16 inches 406 4 mm 15 75 inches 400 mm Width chassis only Maximum Height 15 25 inches 133 4 mm 15 Lbs 6 8 kg Weight 159 e ss eie ism te Cm n G E m g IC o O x eee ERAS een Js Je tl Jezu y a 3 fo o Ej 9 Technical Information 9 2 Block Diagram 9 2 16 0 2 Block Diagram e GER IMMENSE GC cC ee a Channel Meter l FireWire Return l Streams 1 8 F rary Input Channels 1 8 Gain Mic 6 65 dB 48V Line 20 20 dB i l BA Phase i 8 a AE Mic Input Mic Pre A D INPUT BUFFER i rO 5
15. StudioLive 16 0 2 wner s Manual STUDIOLIVE B D e ux n Perfo armante and ee ee dm QE CS P QE 5 V A re 910 112 13 14 aa Bethe eesecets E fadbETREEPRRLS LLL ana 7 F E y H Frog iz High Select Gi n E IE A PreSonus www presonus com at it te e eases 7 sem mr Joe 0 1 Important Safety Instructions The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance servicing instructions in this manual The lightning flash with arrowhead symbol within N 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 t
16. nua Waysis sjasadg SIUDS 5 Scenes Presets System Menu and MIDI Control PreSonus StudioLive 16 0 2 5 5 Using MIDI Control Mode to Remote Control StudioLive After completing this tutorial you will have three new presets on your Behringer FCB1010 pedal e Preset 1 recalls Scene 2 on your StudioLive e Preset 3 recalls F20 High Ceilings on FXA on your StudioLive e Preset 6 allows you to control the Main bus assignment for FXA effectively muting and unmuting the effect in the Mains from Pedal 6 on your FCB1010 You also can control the Main output volume for your StudioLive using Expression Pedal A Setting Up Your StudioLive to be Controlled with MIDI To begin you must first set up your StudioLive to be remotely controlled by your footpedal In this example we are setting up the StudioLive to receive Scene changes on MIDI Channel 1 FXA preset changes on MIDI Channel 2 and FXB preset changes on MIDI Channel 3 In general you should set up your StudioLive so that each library Scene FXA FXB receives Program Change messages on its own MIDI channel The danger of having for example Scene recall and FXA preset recall on the same MIDI channel is that when you change to Scene 3 you will change the FXA preset to F3 Closet at the same time For our example we also have the output levels and FXA FXB Assign to Mains on their own MIDI channels Channel 4 For your setup it is perfectl
17. rtist Quick Start e 0n New Song IUsers wesley Documents StudioO ongs ul Sample Rate Resolution Timebase Song Length 0151 01 01 000 IE Stretch Audio Loops to Song Tempo v EE B o CN J BS Audio Setup External Devices Advanced oO On deu tp Audiobox USB o d Recording setup for Audiob EE 4 FireBox 7 FireBox Multitrack Recordi 4 FireStudio Lightpipe Ses Recording session for Fires ty FireStudio Mobile lg d FireStudio Mobile multitrac UN FireStudio Project EAM N ff Generai A MISI Control Panel 512 samples x Single 32 Bit Enable Multi Processing 27 30 ms 1204 samples 15 69 ms 692 samples 44 1 kHz 32 Meta Information Audio I O Setup LL LLL a LL i D I TT T Add Mono B Add Stereo Make Default Pos B o 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 When the Song window launches launch the Audio Setup window by
18. un D a gt ue D wn WN Nn ms a gt 3 zZ D J 5 5 3 C O EQ O Matic Q e 44 Scenes Presets System Menu and MIDI Control Graphic Equalizer 359 GEO PreSonus StudioLive 16 0 2 Graphic Equalizer The StudioLive 16 0 2 features a 31 band 1 3 octave graphic EQ that can be inserted on the Main output bus If this were a analog graphic equalizer it would look like this C C The StudioLive graphic EQ features an innovative design that sets it apart from traditional graphic EOs Traditionally a 31 band graphic EQ uses 31 second order shelving filters with fixed frequencies in order to simulate a curve that you set with the 31 front panel sliders A well designed graphic EQ creates an output frequency responses that corresponds as closely as possible to the curve displayed graphically by the sliders In an analog EO this is achieved by carefully choosing the bandwidth of the filter and deciding how or whether it varies with the gain and how the filters aresummed or cascaded In general narrower bandwidth signifies a higher quality EQ But in traditional graphic EQ designs the center frequency of each band is fixed PreSonus took a different approach with the StudioLive The StudioLive graphic EQ is a pool of shelving filters from which coefficients like cutoff frequency bandwidth and gain are extracted through a process
19. will be set up as a Keyboard The sound module will be set up as an Instrument 1 Youcan set up your external MIDI devices from the M e Setup area in the Start page Before we set up a C new Song for recording let s take a moment to configure external devices Ck Tc In V 2 Connectthe MIDI Out of your external MIDI controller to a MIDI In on your MIDI interface If you are using a USB MIDI controller connect it to your computer and power it on Audio Setup External Devices Advanced 3 Click on the Configure External Devices link in the Setup area on the Start page to launch the External Devices window De Ss E ne oo I Notify me if devices are unavailable when Studio One starts 4 CI ick the Add button EOE B o 5 The Add Device window will launch III New Keyboard Device Model vppepenm pen Var aq 6 From the menu on the left select New gt Device Name sty Controller Keyboord Keyboard At this point you can customize Cj Behringer ou a O E the name of your keyboard by enterin Cj CME SE NR oimow gear This device model f d d d ee N features MIDI Learn Connecting the the manufacturer and device names E send port is optional P E MU gt Lj Edirol 4 ad 7 Youmust specify which MIDI channels will be used b gt Cj Keyfax to communicate with this keyboard For most gt KORG nnels y C MAudio sc inui cancion purposes you should select all MIDI channels If you Macxi E
20. 149 8 4 2 Effects Processing 149 8 5 Digital Effects 1517 8 5 1 Reverb 151 8 6 Level Setting Procedure in Detail 153 8 TheSoloBus 153 8 7 1 Using the Solo Bus for Monitoring 154 8 7 2 Destructive Soloing 154 8 7 3 Using Solo in Place SIP to Set Up aMix 154 9 0 Technical Information 156 9 1 Specifications 156 9 2 16 0 2 Block Diagram 160 10 0 Troubleshooting and Warran ty 162 10 1 Troubleshooting 762 10 2 PreSonus StudioLive 16 0 2 Limited Warranty 164 Index 165 Owner s Manual Quick Start Level Setting 1 Quick Start 1 0 1 0 Quick Start This is a map of the StudioLive 16 0 2 You ll notice that each major section is marked with a manual section number where you can find more information rib eo C P ASS lt QD eT WY Lap Trims For Level Setting see Sections 1 0 and 8 6 Wig PreSonus e Digital Effects Master Control Menu Display FX Menu Section 4 8 Scene Menu Section 5 1 System Menu Section 5 4 Graphic EQ Section 5 3 Fat Channel Section 4 1 Dynamics Section 4 3 1 Metering Section 4 2 Stereo Linking Section 4 1 4 Copying Saving Section 5 2 Dynamics Processing Tutorial Section 8 2 EQ Tutorial Section 8 3 Creating FX Mixes Sections 4 4 3 amp 8 4 2
21. 22 a EB UA N cc Ex E system ge EE Page MIDI Control Mode Output Levels cc MIDI Ch MIDI Source FireWire Fea 40 Fabs 4d Mainz 4 e Mute Ef fect sec Te p e iu En 2 p w d iS ap q N Program Change Chit a Scene Po 2 FE FRA bu Fase bb 125 ISI 9UC oipnig pue aJnjde 3 0W ay 7S WN oS F w D lt 1 c w fm e et 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 5 Studio One Artist Quick Start Configuring StudioLive 16 0 2 as a MIDI Device To configure your StudioLive 16 0 2 so it can be controlled by Studio One Artist you must first add the StudioLive as an external device Le Bett PreSonus FireStudio 1 From the Studio One Artist Start page click on the External Devices link 44 1 kHz 2 Click on the Add button 3 Select New Instrument sars 4 Inthe Device Name field enter StudioLive 5 From the Send To menu select PreSonus FireStudio Port 1 6 Click the All button to enable all MIDI channels 7 Click OK 8 Inthe StudioLive System menu navigate to Page 4 MIDI Presets 9 Set MIDI Control Mode to ON 10 Set MIDI Source to FireWire Recalling Scenes and Presets 1 Forour example you have to set different MIDI channels to recall Scenes FXA Presets and FXB Presets These are
22. 9 Press the Up pedal to make the Control Change assignment X z 10 Using Expression Pedal A select CC 42 11 Press the Up pedal once to select the lowest value 12 Move Expression Pedal A to its lowest position to select 00 13 Press the Up pedal once to select the highest value 14 Move Expression Pedal A to its highest position to select 127 Ez A iu gt cS 15 Press the Up pedal once to confirm c a B lt B gU ue N v De aB ue w a v aB a B tw NY 16 Press and hold the Down pedal to exit Trying Out Presets e Preset 1 recalls Scene 2 on your StudioLive e Preset 3 recalls F20 High Ceilings on FXA on your StudioLive e Preset 6 allows you to control the Main bus assignment for FXA effectively muting and unmuting the effect in the Mains from Pedal 6 on your FCB1010 You also can control the Main output volume for your StudioLive using Expression Pedal A Se a a 53 5 Scenes Presets System Menu and MIDI Control PreSonus StudioLive 16 0 2 5 5 Using MIDI Control Mode to Remote Control StudioLive X 7 5 5 4 Controlling the StudioLive 16 0 2 with a Roland FC 300 The Roland FC 300 Patch Mode offers many flexible ways for you to control your E StudioLive 16 0 2 Each patch allows you to assign multiple MIDI controls to any b of the four control pedals In this exam
23. A D cS PreSonus StudioLive 16 0 2 Line Input Fat Channel Q amp DYN Pres ys a Sh FireWire Input Streams 1 8 Aux Bus Output Post Gate npud Input Channels 9 12 FireWire Return P Streams 9 12 Channel Meter Gain s Mic 6 65 dB ng 48V Line 20 420 dB rt Aux Bus Output Post Fat Ch Main Mix L Main Mix R Pre1 Pre2 Post Level N 5 Aux 1 120 10dB Pan l I Aux2 l l Aux3 f a O I O Lo W a i i LEG A Link Mode Pan enabled Main Mix L TY Main Mix R Pan 4 Mic Input Miche nro mer ree Gate Compressor Equalizer O P gt DH HP gt A B F 8 Lo Left Mono E as e 2 2 A is i DOGO aaoo i Right gt v Fat Channel ess NENE EEEE S Se ee SS ee Se ee J FireWire Input 4 Streams 9 12 M Aux Bus Output Aux Bus Output Post Gate Post Fat Ch Pre1 Pre2 Input Channels 13 16 FireWire Return Streams 13 16 Channel Meter Gain Mic 6 65 dB 48V Line 20 20 dB D Mic Input Miche i A D INPUT BUFFER EAS BR A D Right I T 5 3 E Fat Channel F j i J Right o Aux Bus Output Aux Bus Output FireWire Input e Post Gate Post Fat Ch Streams13 16 Pre1 Pre2 e el o 120 10 dB 9o I Post We Level PX e 120 10 dB an Ee e o Aux 3 l o Aux 4 O fi CO gt EXA 2 l A
24. Add to Disk Button Transfers all Scenes Fat Channel FX and Graphic EQ Presets from Temporary Memory to the Permanent Cache VSL allows you to back up your Scenes Fat Channel FX and graphic EQ presets and permanently store them on your computer Each type of preset can be added separately In this way you can back up only what a Moni m i m Hf you want when you want yal 503 Tues at he Nee Leaf To move a Scene or preset from temporary memory into permanent a S04 Wednesday at Chat Noir memory simply select one preset or Scene and click the Add to Disk wa 505 Thursday at Chelsea s button To select multiple presets hold the Shift key while making your a S06 Friday night at Le Bon Temps selections Displays the Different Preset Categories on the StudioLive and on the Computer All of your Scenes and presets are contained in dedicated folders in VSL To view a specific set of presets simply click on its tab e SCENE Displays stored Scenes e FAT CH Displays stored Fat Channel presets e FX Displays stored effects presets e GEQ Displays graphic EQ presets e BACKUP Displays any backup logs that have been created in VSL 70 Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 VSL Virtual StudioLive 7 2 Send Button Transfers Designated Scenes Fat Channel FX and Graphic EQ Presets from VSL to StudioLive Memory VSL makes reorganizing all the Scenes and presets stored o
25. Session Title This will be the title of your Session This name will be the Session file name Title Session as well as the name of the new folder that contains all data related to your Session Session Location This is where new Sessions and all related data will be saved The Session location can be chosen each time you create a Session By default the Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Capture 7 4 new Session location will be the Capture folder in your Documents folder You can choose a different file location by clicking on the Browse button and browsing to a new location The last known save location will appear as the default the next time you create a new Session Capture Audio I O Setup There is no need to set up audio inputs and outputs in Capture as it automatically detects which type of StudioLive mixer 16 0 2 16 4 2 or 24 4 2 is connected and self configures Each input from your StudioLive mixer is represented with a mono input track in the Track column of the Session and each input track has a corresponding level meter in the meter bridge The following diagram illustrates the one to one relationship o of the StudioLive and Capture input channels The input signal into each channel on the StudioLive mixer is automatically routed to each respective input channel in Capture Ne A Kea ies ia MiciLine pec Warm iode
26. Sma Clear Room Erxoders X EHI b ML 11712 13 14 xoops ZENUN x j som gt Z A fa amp e 5 uw E z 5 BJ Equalizer 2 a Ug nor erae nl 2 A 2 gt LES IILI 5 amp 2 risk keecsch Se Selected E Channel A 555 IT dr vy sc fass isss amp M ao c isss k qa og ij Aux3 Aux4 Thank you for purchasing the PreSonus StudioLive 16 0 2 PreSonus Audio Electronics has designed the StudioLive utilizing high grade components to ensure optimum performance that will last a lifetime Loaded with 12 high headroom XMAX microphone preamplifiers a built in 16x16 FireWire recording and playback engine MIDI I O Fat Channel processing with 3 band EQs compressors limiters and downward expanders DSP effects 4 Aux buses extensive LED metering mixer save recall channel strip save recall copy paste talkback and more StudioLive breaks new boundaries for music performance and production All you need is a computer with a FireWire connection a few microphones and cables speakers and your instruments and you are ready to record in the studio or in front of a live audience We encourage you to contact us at 1 225 216 7887 with any questions or comments you may have regarding your PreSonus StudioLive PreSonus Audio Electronics is committed to constant product improvement and we value your suggestions highly We believe the best way to achieve our goal o
27. Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 5 Studio One Artist Quick Start 3 Once you have added your tracks you can assign the input by simply clicking on the input to which a track is currently assigned This will bring up the inputs list You j can also access the audio I O setup from here UN Input L Mic 1 4 If you would like to add a track for each of the available Input R Mic 2 inputs and have the routing automatically assigned Input 1 Line 3 simply go to Track Add Tracks for All Inputs LM S Input 2 Line 4 mE Input 3 Line 5 5 To begin recording create an audio track assign it x to input 1 and connect a microphone to the first Input 4 Line 6 ud channel on the StudioLive Select Record Enable on P ms REN your track in Studio One Artist Turn up the Channel N ape Eines 1 fader while speaking singing into the microphone You should see the input meter in Studio One Artist Audio VO Setup react to the input Adjust the gain so the input level is near its maximum without clipping distorting 6 Connect a set of headphones to the StudioLive headphone output and select the Main button in the Monitor section on your StudioLive You may also wish to connect monitors to the StudioLive s control room outputs You are now ready to record For complete instructions please consult the Studio One Reference Manual which is located on your S
28. Verify that your StudioLive is not locked by navigating to Page 5 Lockout in the System menu Verify that your StudioLive is not in Fader Locate mode Select Output in the Metering section and verify that your fader movements are affecting the output signal If so make sure your channels are assigned to the main outputs 163 T l 2S i e Ss EE as cm ten LSE Ci ntt m Js Jen tl M pue zt E le 3 qnoJ Aquewe p 10 10 2 10 2 164 Troubleshooting amp Warranty PreSonus StudioLive 16 0 2 PreSonus StudioLive 16 0 2 Limited Warranty No Internal Effects in the Main Bus Make sure the assign to Mains button is enabled in the FX section Press the FXA or FXB button in the Encoder section and verify the send levels of each channel If the levels look adequate use the FX Output knob to increase the master level for the effects mix No Output on the Solo Bus While Monitoring Verify that both the Cue volume and the headphone or monitor volume is at a reasonable level for comfortable listening Make sure that you only have Solo selected in the Monitor section of your StudioLive PreSonus StudioLive 16 0 2 Limited Warranty PreSonus Audio Electronics Inc warrants this product to be free of defects in material and workmanship for a period of one year from the date of original retail purchase This warranty is enforceable only
29. 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 Note Using the Tap button on the StudioLive you can speed up or slow down these repeats or more commonly time the repeats to occur with the tempo of the music 152 Owner s Manual Tutorials 8 Level Setting Procedure in Detail 8 6 8 6 Level Setting Procedure in Detail Setting the proper levels is an important part of getting the right sound The following steps will assist you in quickly setting your levels z D p 3 x a urge i uL NE oa 1 MET Mart ire c Lana STUDIOLIVE 1 6 0 2 Digital Performance and Recording M xar 1 Tu rn each of the 1 2 trims to 0 20 S00 1112 1314 1516
30. output buses 18 Low EQ Frequency Control b Seeree Freq Hz Low EQ Gain Control T ia oe s LA oS Ooch E h oS Bo on oo SS m Gain dB PreSonus StudioLive 16 0 2 Sets and Displays the Center Frequency of the Low EQ Band This encoder sets and the meter displays the center frequency of the equalizer s Low band The center frequency is the middle of the passband the mean between the lower and upper cutoff frequencies that define the limits of the band You can adjust the center frequency from 36 to 465 Hz Sets and Displays the Gain Attenuation or Boost of the Center Frequency This encoder sets and the meter displays the gain cut or boost at the center frequency for the Low band The level of the center frequency can be set between 15 and 15 dB Owner s Manual Low Shelf EQ Turns on the Low Shelving EQ for the Mid EQ Gain Button Selected Input or Output Bus Control 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 A low shelving EQ is like a bass control knob on a stereo In this mode the Center Frequency control selects the shelving frequency Mid EQ On Off Activates Controls for the Mid EQ for Gani ET Button the Selected Input or Output Bus M The Mid
31. press the GEO Encoder Mode button The GEQ menu will open in the LCD When the GEO page is active the meters and encoders of the Fat Channel become the controls for the graphic EQ As you touch a knob you will notice that its band number frequency and gain are displayed in the GEQ menu The 31 bands range from 20 Hz to 20 kHz The Owner s Manual Scenes Presets System Menu and MIDI Control 5 Graphic Equalizer 5 3 frequency for each band is fixed When the GEQ is first launched bands 11 22 are controlled by encoders 1 15 16 respectively When Band 10 is selected in the Show Band field in the GEQ menu the meters will flip and encoders 1 15 16 will control Bands 1 12 respectively When Band 23 is selected in the Show Band field in the GEQ menu the meters will also flip and encoders 1 15 16 will control bands 23 31 a POWER USER TIP Select the Show Band field in the GEQ menu and use the Value knob to scroll through all the bands on the graphic EQ to get a quick overview of the entire curve You will notice that all meters have one LED illuminated to display the current gain position for each band and the meter for the selected band in the Show Band field is inverted so that all LEDs are illuminated except for the LED that displays the current gain position for that band The band does not have to be selected in the Show Band field for its encoder to be active All encoders M are active so you can make changes to 12
32. ten LSE E ntt m Js Jen tl burjoous 3 qNou e Sb ev c es lt 162 Recommended FireWire Chipsets The StudioLive will work with a wide range of FireWire cards and configurations However due to the plethora of FireWire chipsets currently on the market it is not possible to thoroughly test each one for compatibility Most users will not need to alter their current PC configuration to use their StudioLive The following FireWire chipsets however have been tested and approved for use with the StudioLive Agere LSI FW323 06 TI TSB43AB23 VIA VT6308 Owner s Manual Troubleshooting amp Warranty 10 Troubleshooting 10 1 VIA VT6306 On some older motherboards this chipset will only support a limited number of playback channels 32 channels at 44 1 or 48 kHz 16 channels at 88 2 or 96 kHz As of the publication of this manual PreSonus only recommends the following Express cards ADS Pyro 1394a StarTech EC13942 Known Incompatible Hardware ATI Radeon 9000 9001 IGP video chipset Symptoms are consistent clicks and pops during audio playback This video chipset is only found in PC laptops and is entirely integrated as the computer s only video controller PreSonus strongly recommends that users do not purchase a system with this chipset as there is currently no workaround for this incompatibility USB FireWire and s400 s800 combo cards Symptoms usually inclu
33. z hes v 4 Click on the arrow next to your ad hoc network name 5 ThelP address should begin with 169 254 xxx xxx 6 If there is no IP the field is blank that s why StudioLive Remote can t connect a 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 81 LOC S METTE 1S 041U0 eSJ8AlUf 9J6M3JOS e 9 c os cn d e e t ep a gt gt en n et 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 3 Using StudioLive Remote for iPad 82 If address 169 254 1 2 is already in use by another device replace 1 and 2 with numbers of your choice between 0 and 255 If you are using StudioLive Remote in a venue with many wireless networks you can create a network on a different channel Channel 11 is the default but it s okay to use an alternative in order to ensure that your iPad s connection to your computer isn t interrupted POWER USER TIP Network connections can occasionally require troubleshooting especially when a lot of wireless networks are in use Because of this it is always a good idea to get your iPad and computer happily communicating before the pressure is on an
34. z Receive From Mobile 3 Mt are unsure of which MIDI channels to select select gt O Peavey gt Lj PreSonus Send To None all 16 gt J Yamaha Oo bee CP pe sft Tex cO occ T S quU C wo aud 9o EH E e ien a C 170 ZAS DE ae em oO N W Default Instrument Input 117 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 5 Studio One Artist Quick Start 8 In the Receive From drop down menu select the MIDI interface input from which Studio One Artist will receive MIDI data In the Send To drop down menu select the MIDI interface output from which Studio One Artist will send MIDI data to your keyboard If your keyboard controller does not need to receive MIDI data from Studio One say for moving motorized faders and the like J you can leave this unselected If your keyboard does need to TN receive MIDI data you must connect a MIDI cable from the MIDI Out of the MIDI interface to the MIDI In of the keyboard Z Default Instrument Input 9 If this is Wie only KEUDdID that you will use to control your external synthesizers and virtual instruments you should check the box next to E Default Instrument Input This will automatically assign your keyboard to control all MIDI devices in Studio One Artist Click OK OU If you have a sound module you d like to connect leave the External Devices windo
35. 141 R Range 137 Range Tool 94 100 Ratio 135 137 Recalling Faders 24 41 Recalling Groups 41 Record Enable Capture 94 98 Release 136 137 Remote Control MIDI Control Mode Roland FC300 54 Studio One Artist 125 SL Remote app for iPad 78 166 Restoring StudioLive To Factory Default 68 Using VSL 72 Reverb 151 Safe Modes 67 Sample Rate 67 Scenes Backing up in VSL 70 Creating in VSL 71 Recalling 40 74 storing 39 Scribble Strip Labels 75 Select Buttons 15 25 26 27 Setting Input Levels 98 153 Sidechain 136 SIP 3 30 34 154 Soft knee 136 Solo 30 33 34 35 Monitoring the Solo Bus 35 Solo In Place See SIP Sonar 62 Splice Tool 94 101 Stereo Link 21 In Capture 94 Storing Presets Fat Channel 22 42 FX 37 Graphic EQ 45 Using VSL 70 71 Sync 47 T Talkback 32 33 Tap Tempo 37 Threshold 135 137 Time X 37 Transport 95 U Unity Gain 25 26 Updating Firmware 68 V Variable Feedback 152 Z Zero Out Board Reset 39 Zooming 96 102 aa g a IV li Us Stu u I V Ema W Xue 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 StudioLive 16 0 2 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
36. 2 Start Page 93 7 3 3 TheSession Page 94 7 4 4 The Edit Window 95 7 4 5 Getting Started in Capture 96 7 4 6 Recording in Capture 98 7 4 7 Editing in Capture 99 7 4 8 Capture Session Navigation 102 7 4 9 Mixing in Capture 103 7 4 10 Capture Key Commands 107 7 4 11 Capture Applications and Scenarios 1709 Studio One Artist Quick Start 713 7 5 1 Installation and Authorization 1713 7 5 2 Enabling the Audio Driver 116 7 5 3 Configuring Your MIDI Devices 116 7 5 4 Creating a New Song 119 7 5 5 Creating Audio Tracks 721 7 5 6 Creating MIDI Tracks 122 7 5 7 Adding Virtual Instruments and Plug in Effects to Your Song 123 7 5 8 Using Studio One to Remote Control StudioLive 16 0 2 125 I Ans are Maniga JWner S ivianu al 8 0 Tutorials 729 8 1 M Microphone Types 129 8 1 1 Condenser 129 8 1 2 Dynamic 129 8 1 3 USB Microphones and Other Types 129 8 1 4 Microphone Placement 130 8 2 A Brief Tutorial on Dynamics Processing 133 8 2 1 Common Questions Regarding Dynamics Processing 133 8 2 2 Types of Dynamic Processing 134 8 2 3 Compression Settings Some Starting Points 739 8 3 Equalizers 141 8 3 1 Whatisan EQ 141 8 3 2 Equalization Settings How to Find the Best and Leave the Rest 143 8 3 3 General EO Suggestions 746 8 4 Aux Bus Mixing 149 8 4 1 Monitor Mixing
37. 20 kHz unity gain unwtd 105 dB 94 dB 20 dB to 20 dB 22 dBu Owner s Manual Line Inputs Unbalanced Type Maximum Input Level Main Outputs Type Rated Output Level Output Impedance Aux Outputs Type Rated Output Level Output Impedance Monitor Outputs Type Rated Output Level Output Impedance System Crosstalk Input to Output Ref 4 dBu 20 Hz 20 kHz unwtd Adjacent Channels Ref 4 dBu 20 Hz 20 kHz unwtd Technical Information 9 Specifications 9 1 RCA Female unbalanced stereo pair 12 dBu XLR Male balanced stereo pair 1 4 TRS Female balanced stereo pair XLR Male balanced mono 24 dBu 1000 1 4 TRS Female balanced mono 18 dBu 510 1 4 TRS Female balanced stereo pair 18 dBu 510 90 dBu 87 dBu 157 Information n re D I eee GER i Laat m Js J tl 5 a zi vi e 5 jezu y Ej 9 Technical Information 9 Specifications Noise Gate Expander Threshold Range Attack Time Release Time Expander Attenuation Range Compressor Threshold Range Ratio Response Time Attack Release Auto Attack and Release Curve Types EQ Type Low Low pass or Bandpass Mid High High pass or Bandpass Digital Audio ADC Dynamic Range A wtd 48 kHz DAC Dynamic Range A wtd 48 kHz FireWire Internal Processing Sampling Rate A D A Bit Depth
38. 83 Va and Studio One Artist i p S L W 3 ric 2S v oe o6 g m Lo 25 8 i WY JI Lom me i a n de e10U8y 1S 10 U0 JESJ AIUN 3JeM3JOS ev cm foe WN eb e a g gt gt EF can pun 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 3 Using StudioLive Remote for iPad Bus Assignments Query Bus Assign Ch 5UB2 SUBA MASTER Fat Channel Microviews and Fat Channel Zooms COHP iPad gt DEVICES COMPRESSOR CHO1 GAIN f mr Channel Controls Select CHU1 84 Displays the bus assignments for a channel or bus Tap to open Bus Assignments Query Page and make changes Above each channel you will ind the Bus Assignments view This displays the current FireWire return and stereo linking for each channel To change a particular channel s FireWire return assignments tap on the display This will open the Bus Assignments Query Page for that channel Pressing on the FireWire icon to activate the FireWire return Any selection made on this page is immediately displayed in its Bus Assignment Query To close the page press anywhere on the screen Displays a Microview of the Gate Compressor and EQ Tap to open the zoomed view and make changes Each Channel and Bus features a
39. 9 1 Specifications Microphone Preamp Type Frequency Response to Direct Output at unity gain Frequency Response to Main Output at unity gain Input Impedance THD to Direct Output 1 kHz at unity gain THD to Main Output 1 kHz at unity gain EIN to Direct Output S N Ratio to Direct Output Ref 4 dB 20 kHz BW unity gain A wtd S N Ratio to Main Output Ref 4 dB 20 kHz BW unity gain A wtd Common Mode Rejection Ratio 1 kHz at unity gain Gain Control Range 1 dB Maximum Input Level unity gain Phantom Power 2 VDC Line Inputs Balanced Type Frequency Response to Direct Outputs at unity gain Frequency Response to Main Outputs at unity gain Input Impedance THD to Direct Output 1 kHz at unity gain THD to Main Output 1 kHz at unity gain S N Ratio to Direct Output Ref 4 dBu 20 kHz BW unity gain A wtd S N Ratio to Main Output Ref 4 dBu 20 kHz BW unity gain A wtd Gain Control Range 1 dB Maximum Input level unity gain 156 XLR Female balanced 20 Hz 40 kHz 0 0 5 dBu 20 Hz 20 kHz 0 5 dBu 1kQ 0 005 4 dBu 20 Hz 20 kHz unity gain unwtd 0 00596 4 dBu 20 Hz 20 kHz unity gain unwtd 125 dB unwtd 130 dB A wtd 97 dB 94 dB 65 dB 16 dB to 67 dB 16 dBu 48 VDC 1 4 TRS Female balanced mono 10 Hz 40 kHz 0 0 5 dBu 20 Hz 20 kHz 0 0 5 dBu 10 kQ 0 000796 4 dBu 20 Hz 20 kHz unity gain unwtd 0 00596 4 dBu 20 Hz
40. Change Chit s FRA g Scene 1 Fage S MIDI CTL Output Levels Cee MIDI Ch FH 40 FAB 41 Maine 4e Mute EFFects icck FE 3 FA bU Fab bb Creating a New Patch on the Roland FC 300 Now that your StudioLive is set up to communicate with your Roland FC 300 you will need to create a new patch Remember you must follow all of the steps in this tutorial to control your StudioLive as previously described At the end of this tutorial we ll discuss how to name and save your new patch so you can use it again in the future Instant Scene Recall 10 11 12 Press the Mode button until the Patch Mode LED is illuminated Making sure the red LED is illuminated on the first row of pedals depress Pedal 1 6 Press the right Parameter button The LCD will display PATCH On MIDI Press the Write button so that the LCD displays Edit MIDI Press the Write button again You will see 001 Press the right Parameter button Press the Value Up button so that the LCD displays 001 PC CH 01 PC 001 The first field defaults to Program Change PC This is how the StudioLive recalls Scenes so you can leave this field as it is Use the right Parameter button to move to the next field MIDI channel number Set the MIDI channel to 1 Use the right Parameter button to move to the next field Program Change number The number you enter will determine which Scene will be recalled Use the Value Up button to se
41. Channel 8 Because the settings are copied NL nondestructively it is possible to A B dynamics settings with the touch of two buttons AEN Whichever channel is selected when the Link button is engaged will be the Link Master When either channel in the stereo link is selected both channels Select buttons will illuminate but the Link Master s ID number will M be displayed in the Selected Channel LED read out in the Fat Channel An On the StudioLive 16 0 2 s four stereo channels the stereo link will enable the right side channels 10 12 14 and 16 to be heard in your mix Each channel s fader Select button and Multimode button and each Aux Mix send controls both channels at the same time All Fat Channel settings are applied to both channels It should be noted that while Stereo Link must be enabled in order to hear the right side of each stereo channel through the StudioLive the right inputs are still sent through the FireWire bus and can be recorded by Ss your DAW with or without Stereo Link engaged For more information on OO using your StudioLive as an audio interface please consult Section 6 21 4 Controls PreSonus StudioLive 16 0 2 4 1 The Fat Channel EE 4 1 5 Fat Channel Digital Out The Fat Channel gives you the option of sending unprocessed audio to your J computer or sending the processed signal When the Dig Out button is enabled the signal being sent to t
42. EE ERE zz q4 1 ZEE EE z ear 3 Z E z n E l F z I3 215 Mj 1I ORM Toms Mat 3 8 I 8 1 8B 1 M1 8 t 8 i 8 l 8 I 212 ZEE 282 dp 213 q 3 dit ZEE Zi ak 3285 q t q fe qt 21 ZEIT d E d zi i i P12 DRM Toms Low 4 4 E 3 AF A f i 212 Hh ziz Ni zz 202 et ed ee ed oe ed Poe ed Poe ed Pa H be iz I pe a gt ZI EE EI ZEE Tit g III 253 ZEE Ig I BH lI a I i dp ah sis Ji sus E My Pii ORM Toms High p SI ziz zat qr x i 3 c H I 24 ad z gt E F14 DAM Owverbeax J Bock R i d l ue mua i f TI I BEI enxjre mal TO fet Cited B hed bleed SUIS lew PiS DRM Overhead jazz 282 e a Bae E za zis IH i pe 4 3 n e lt H pE 1 a mi a nio kV righ ra siz 21 ZIEHT l i zz a ZEE iii a ES A L a EE E E E 1 1 c dr 4 f IE Z p p ps Jas ey 1 Pel r Eu ijj L7 BAS Seeme 1 JE J aji 3 t 3L ba E JE apa zs a z JE J E af Ee 899 S 2 5 E599 5 oF L BU Du dij PLB BAS Electric 2 A r I 2285 z 287 ZEE 4J E d 28 d ES 4 t E f E d 2 F el m 3 3 x 2 di INT ap 19845 Sup l i ap P20 BAS Upright HEY 2 3 4 5 6 i i los p 12 13 14 1 w 16 7 18 19 20 21 22 Send Tooo P 7 2 1 VSL Browser When you first launch VSL notice the Browser window along the right side of the screen The Browser in VSL functions simil
43. EQ band is available for all input and This button actives the controls for Mid HiQ the equalizer s Mid band for the Button selected input or output The button will illuminate to indicate control is active output buses Mid EQ Sets and Displays the Center Frequency Frequency of the Mid EQ Control This encoder sets and the meter displays the center frequency for the Mid band You can adjust the Y center frequency from 260 Hz to 16 3 5 kHz 14 56 High EQ On Off Button BRRRBSR Controls 4 The Fat Channel 4 1 Sets and Displays the Gain Attenuation or Boost of the Center Frequency for the Mid Band This encoder sets and the meter displays the Gain cut or boost at the center frequency of the Mid band The level of the center frequency can be set between 15 and 15 dB Enables a Narrow Bandwidth for the Mid Band EQ on the Selected Input or Output bus Q is the ratio of the EQ band s center frequency to its bandwidth With a constant center frequency higher Q values indicate a narrower 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 Activates Control for the High EQ for the Selected Input or Output Bus This button actives control of the High band for the selected channel or bus The button will illuminate
44. In our example the global MIDI functions are set to MIDI Channel 4 But you can assign global MIDI functions to the same channel as any of the recall functions if you prefer Press Pedal 4 so that the LED readout displays 4 Press the Up pedal twice to confirm the change and cycle back to MIDI Function Repeat steps 14 17 for Pedals 7 9 Press and hold the Down pedal to exit Global Configuration mode 51 and MIDI Control c a 5 w N a N v lt P n w eu LS ua eB a 5 Ww NY 5 Scenes Presets System Menu and MIDI Control PreSonus StudioLive 16 0 2 5 5 Using MIDI Control Mode to Remote Control StudioLive Making Presets on an FCB1010 In our example we will create one preset for Scene recall one for FXA assign j unassign to Mains and one for Main volume control You can also use these EL instructions to create presets for the remaining controllable parameters We will create a StudioLive bank of presets on Bank 00 If you have presets already saved to this bank you can use any of the other nine banks instead LM gt Scene Recall 1 Select Bank 00 by using the Up or Down pedals A a 2 Press Pedal 1 to select Preset 1 3 Press and hold the Down pedal to enter Preset Configuration mode You ll see a flashing green LED 4 Press the Up pedal to confirm 5 Press Pedal 1 so that the re
45. Load button The StudioLive will return to its normal state indicating that the Fat Channel settings have been successfully pasted P The Load button can also be used to recall saved settings and presets For complete recall instructions see Section 5 2 You can save your Fat Channel settings for future use To store the currently selected channel s Fat Channel settings press the Save button For complete channel preset storage instructions see Section 5 2 of SN d E e 22 Owner s Manual Controls 4 Metering 4 2 4 2 Metering Freq Gate Comp Ratio Response Gain Freq Gain Freq Gain Freq Gain Hz gt gt gt db 1 L db N 2 2 2 1 1 1 EIE Si LLLE 9 10 11 12 13 14 15 16 The StudioLive offers flexible metering at the touch of a button The 12 meters in the Fat Channel section can monitor N UJ A un ej M co e All 16 inputs post gain and pre dynamics pre EQ and pre fader Controls e The gain reduction for all 16 inputs e The output volume of each of the four Aux sends e The output volume of Main bus Finally the meters can be used to recall the fader settings for a saved Scene 4 2 1 StudioLive Metering Controls The Meters section of the StudioLive is located to the left of the fader bank Each of these buttons are toggle switches you turn them on and off by pressing them The meter state can also be changed by pressi
46. Make sure that the Trim knob on Channel 1 is all the way counter clockwise Plug your StudioLive into a power outlet and turn it on If your microphone requires phantom power press the Select button on Channel 1 of your StudioLive and engage the 48V button Turn on your amplifier or powered monitors Press the Input button in the Meter section Speak or sing into your microphone at about the same volume as you will do during the upcoming performance Owner s Manual Quick Start Level Setting 1 Getting Started IMPORTANT LEVEL SETTING 1 1 10 Turn the trim knob on Channel 1 clockwise while watching the first meter in the Fat Channel Adjust the Channel 1 trim knob until a little more than half of the green LEDs are lighting up The red LED at the top of the meter should never light up 11 Move the Channel 1 fader up until it reaches U unity gain 12 Bring up the Main fader until you can comfortably listen to your microphone through your speakers 13 With Channel 1 selected you can use the Fat Channel to add dynamics processing and EQ on EXEC cE ea ea eae em SJEJEJEJEJIEJETEJEJE Power User Tip Using SIP Solo In Place To Dial In Your Mix Most engineers start with the drums and work from the bottom up To begin bring all your faders down and raise your main fader to unity gain Press and hold the SIP button in the Solo section until it illuminates red Press the Solo button and then t
47. NAME TYPE NAME AMBIENCE Natural 25 LARGE HALL TI 4 fo i Live Cathedral Gymnasium Fa CI Studion o Oea 5 jSudoB Bedroom PlteVerbThik T1 771 NIN NIO T1 No co 7T 7T1 UY N9 Bg TI UJ B o i PlateVerb Drums 8 Tile Floors PlteVebVx 9 Tile Bathroom 3 F0 Concrete Floors M hrtShp Mlbonshp Ww F2 Small Cub Mipe F3 BigQub Mit 0 38 FILTER DELAY Analog Slap TI m1 m om om m 7m UY UY UY UV UI yN ON On amp N9 BRIGHT HALL T1 UJ o pf AnalogTrip Aog legs S Fis Linoleum Room H6 TileRoom WARM HALL J F8 _ Wood Floors EE c 4 I NO H9 Brick Club Lt Spacey 0 0 2 High Ceilings P bong Tail Srt P2 GateVerb Med 46 PING PONG DELAY GateVerbLong Ping pong Delay F24 GateVerb Extreme Pingepong Spacey Ping pongTrip __ Ping Pong Purple Rain m ml m m mmja we eS Se eS CQ O Co N On amp Gu d F51 USER CREATED EE 99 PRESETS 38 Owner s Manual Scenes Presets System Menu and MIDI Control 5 Creating and Recalling a Scene 5 1 5 0 Scenes Presets th
48. StudioLive To connect to your mixer tap on the StudioLive device icon The text will change color to alert you that it has been selected Tap the Connect to Mixer button in the upper left hand corner to open SL Remote and control your mixer from your iPad Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Using StudioLive Remote for iPad 7 3 7 3 2 SL Remote Overview Page The Overview page in StudioLive Remote corresponds directly with most of the controls on the Overview Page in VSL The following parameters can be controlled and or viewed from this page e Channel and Main Volume e Channel and Main Select e Channel Mute e Channel and Master Metering e Channel Panning e Channel FireWire Return e Channel and Main Gate Compressor and EQ overview e Channel and Main Gate Compression and EQ zoom If you have labeled your channels using the Scribble Strip on the Overview Tab in VSL you will also be able to see your channel names POWER USER TIP Because StudioLive Remote is a wireless controller for Virtual StudioLive the fastest way to get comfortable with StudioLive Remote is to get well acquainted with VSL rac Start Page Overview Master Bus Page Open ner sd El us i i t EX E Bus Assignments HATE ail B penenr Ee EQ Microview EQMicroview Microview Cha nul et Select ncaa Control Channel Meter UT Fader Level iideib ud itd QE TL
49. These adapters and cables can be found at your local computer supply store The FireWire 400 ports are s compatible with FireWire 800 connections found on Apple computers A FW400 FW400 and a FW800 FW400 cable have been included for your convenience You can use the second FireWire port to connect additional FireWire devices such as external hard drives to your computer or to daisy chain a PreSonus FireStudio family interface for additional recording inputs 2 Amp Fuse This is the StudioLive s fuse housing Your StudioLive uses a 5 mm x 20 mm 250 VAC fast acting fuse Vu z 100 240 VAC 50 60Hz Power Input This is where you plug in the provided IEC power cable E Power Switch Push the top part of the switch to turn on your StudioLive Push the bottom part of the switch O to turn it off M ie E a di PreSonus StudioLive 16 0 2 Hook up 3 Basic Hookup Diagram 3 2 Basic Hookup Diagram 3 2 NN P Drum Set Bass Guitar Lead Vocal Mic LILIA LAN u e N O N Front of House Speakers MIDI Pedal Laptop 12 Owner s Manual 3 3 Audio Video Business Conference E e T en rr Level Microphones Hook up Audio Video Business Conference Wireless Microphones and Receivers L mm K 9 4 cp Transmitter Right Monit
50. To enable a graphic EQ tap the GEQ On button in StudioLive Remote and VSL or use the GEQ menu on your StudioLive a POWER USER TIP If you are making adjustments to a graphic EQ and you can t hear your changes make sure it is on GEQ Flatten Button Sets all graphic EQ band levels to 0 dB s z To reset a GEQ to 0 dB simply tap its Flatten button This will return each slider to 0 dB so that no frequency band is boosted or attenuated ke 89 fey os cn d e e t ep a gt gt en n et LOC S 340W 7S 04100 eSJaAlUf 9J6M3JOS 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 3 Using StudioLive Remote for iPad Zooming In Zooms view in to make fine adjustments Press the button to zoom in on the GEQ View Slide your finger to the left or right to access additional bands Use the Overview Map in the bottom right corner of the GEQ page to reference your current position within the 31 bands Zooming Out Zooms view out to make fine adjustments 4m Press the button to zoom out the GEO View If you have not zoomed all the way out so that you don t have all 31 bands on your screen you can slide your finger to the left or right to access additional bands Use the Overview Map in the bottom right corner of the GEQ page to referen
51. Use the Value Up and Down buttons to set the Control Change number to 42 Continue to Naming and Saving Your Patch Press the right Parameter button until the LCD reads Patch Name Use the Value Up and Down buttons and left right Parameter buttons to enter a name such as My Preset Press the Exit button You will now be on the Main screen of the LCD Press the Write button so that the LCD displays Write to WRITE 01 In this example we will save to patch library position 01 but you can also use the Value buttons to scroll to an empty patch position Press the Write button again to store Press the Write button again to confirm Making sure the red LED is illuminated on the first row of pedals depress Pedal 1 6 You will see that Scene 2 has been recalled on your StudioLive You are now ready to control your StudioLive as follows e CIL1 Recall Preset F10 Concrete Floors on FXA e CTL2 Assign Unassign FXA to Main bus e Expression Pedal 1 FXA Output level e Expression Pedal 2 Main Output level 5 and MIDI Control c a 5 gt w N a N v d lt 5 ue w A eu LS ua eB a 5 Ww NY pnt m J Lemn Ln Cf amy am e e 5 323 ke SVs g gt zx Cao aE LR 6 Connecting to a Computer PreSonus StudioLive 16 0 2 6 1 System Requirements 6 0 Connecting to a Computer The StudioLive 16
52. Your StudioLive cannot be locked unless this page is active If you have two StudioLive mixers linked you only need to lock the Master unit to lock both mixers in the chain At its lowest level of security Lockout mode allows you to freeze the current Fat Channel and effects settings Faders Aux mixing and Scene recall can still be enabled Each of these mix functions can be added to Lockout mode To lock your StudioLive press the Select buttons that correspond to the 5 digit password you have set In this example the password is 12345 so you would press the Select buttons for Channels 1 2 3 4 and 5 in that order The Panel Status will switch to Locked indicating that Lockout mode is now active To unlock your StudioLive navigate back to Page 4 Lockout in the System menu if this page is not currently active Press the same sequence of Select buttons The Panel Status will change to Unlocked and you will be able to resume your mix 7 la SL Remote Capture and Studio One Artist Te p e V2 N p w iS e v 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 3 Using StudioLive Remote for iPad EE 7 2 7 Remote Controlling StudioLive with VSL Virtual StudioLive allows you to control almost every parameter J in your StudioLive remotely from y
53. __ 15 and 16 To record the Main Bus mix instead simply repatch the Main Bus to FireWire Sends 15 and 16 using the Flexible Inputs Router LL Ww The Main Bus is automatically set to send its signal post Fat Channel dynamics and post EQ where applicable No matter which source is selected in the Flexible Inputs Router you will see Inputs 15 and 16 in your recording application E MIDI Control Mode Menu MIDI Control Mode is a powerful feature that allows you to control key StudioLive parameters remotely using a MIDI Controller See Section 5 5 for complete details ev ok cn r foe e p a gt gt EX V2 ginjde AJOW9Y JS 041U0 PSIBAIUL IEMIJOS Scene Recall Menu Scene Recall As discussed in Section 5 1 your StudioLive allows you to decide which Assigns group of parameters you would like to recall with a Scene The Scene EQ A D s See Recall menu on the Setup tab corresponds directly with the Scene Recall Faders menu in your StudioLive gt Mute FX cra Pots N P 76 Owner s Manual 7 2 6 Enabling Lockout Mode Lock Out M Device is Lockable Using Password Device passwords must be 5 digits 1 9 no characters Cancel Apply Lockable Faders Status Master Aus Mixes Unlocked Software Universal Control SL Remote Capture and Studio One Artist 7 VSL Virtual StudioLiv
54. and Stereo Link 27 4 1 5 Fat Channel Digital Out 22 4 1 6 Copying Loading and Storing Fat Channel Settings 22 4 2 4 3 4 4 4 5 4 6 4 7 4 8 5 0 5 1 5 2 5 3 5 4 5 5 Metering 23 4 2 1 StudioLive Metering Controls 23 Input Channel Strip 24 4 3 1 Input Channel Controls 24 Aux Sends 26 4 4 1 4 4 2 4 4 3 Creating Aux and FX Mixes 28 Analog Aux Send Controls 26 Internal FX Send Controls 27 MultiModes 30 4 5 1 MultiMode Controls and the Buttons that Love Them 30 Main Output Bus 31 Master Section 32 4 7 1 Talkback System 32 4 7 2 SoloBus 33 4 7 3 Monitor Bus 34 Digital Effects Master Control 36 4 8 1 The Digital FX Effects Menu 36 4 8 2 Digital Effects Library 38 Scenes Presets the System Menu and MIDI Control 39 Creating and Recalling a Scene 39 Saving and Loading Channel Presets 42 5 2 1 Channel Presets Library 43 Graphic Equalizer 44 System Menu 46 Using MIDI Control Mode to Remote Control StudioLive 48 5 5 1 Recalling Scenes and FX Presets Remotely 48 5 5 2 Using Control Change Messages 7 3 to Control Volume and FX Assignments 49 5 5 3 Controlling the StudioLive 1
55. are not as loud as the instrument being recorded a properly set gate will only allow the intended sound to pass through the volume of everything else is lowered Not only will this strip away unwanted artifacts like hiss it will add definition and clarity to the desired sound This is a very popular application for noise gates especially with percussion instruments as it will add punch or tighten the percussive sound and make it more pronounced The following are the compression presets that were used in the PreSonus BlueMax We have included them as a jumping off point for setting up compression on your StudioLive 8 2 3 Vocals Percussion Fretted Instruments 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
56. 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 All inquiries must be accompanied by a description of the problem All authorized returns must be sent to the PreSonus repair facility postage prepaid insured and properly packaged PreSonus reserves the right to update any unit returned for repair PreSonus reserves the right to change or improve the design of the product at any time without prior notice This warranty does not cover claims for damage due to abuse neglect alteration or attempted repair by unauthorized personnel and is limited to failures arising during normal use that are due to defects in material or workmanship in the product Any implied warranties including implied warranties of merchantability and fitness for a particular purpose are limited in duration to the length of this limited warranty Some states do not allow limitations on how long an implied warranty lasts so the ab
57. channel so that you can view its zoomed Fat Channel settings Owner s Manual Channel Controls Pan Software Universal Control SL Remote Capture and Studio One Artist 7 Using StudioLive Remote for iPad 7 3 Controls the panning for each channel To pan a channel tap and hold anywhere on the Pan control and then slide your finger right or left while maintaining constant contact with the iPad screen These controls correspond directly to those in VSL and on the StudioLive POWER USER TIP The Pan control supports off axis movement Once you have pressed a pan field to select it you can slide your finger anywhere in the screen and make a side to side movement to control the pan position Channel Controls Mute Controls Mute Channel Controls Fader and Metering Masters Overview Masters Section Page MASTERS In The pan position is displayed in the Channel Select field Controls the mute for each channel To Mute a channel tap its Mute button The Mute button will turn red indicating that the channel has been muted Controls the level for each channel and displays each channel s metering To control the volume of a channel tap the fader and 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 a up down movement
58. d SUS 2 i emm cuc Siama cu 503 Do cc ca ana Oo nes pun conte 2 Session Each Marker Between Selected Markers Cancel m 106 Mixing a Capture Session in a Different Recording Application For users who wish to mix their Capture Session in a DAW other than Studio One there are several ways in which to import your Capture session as described in the following Save a Capture Session as Open TL Many audio recording programs provide support for opening a document type called Open TL Open Track List An Open TL file provides a reference for all of the audio tracks and Audio Events with their corresponding positions in your Capture Session so that another audio program can reconstruct your Session automatically This makes it possible for you to open your Capture Session and work as you normally do in your favorite recording application To save an Open TL version of your Session select Save Session As in the File menu of Capture Name the file as usual and choose Open TL tl in the Save As Type selection box Click on Save to save your Session as an Open TL document and confirm the command by clicking Yes in the confirmation window This file will be placed by default in your Session folder and will not overwrite the original Capture Session file Note that the Open TL format will not save your markers Import Capture Session Audio Files Directly Some audio ed
59. encoder to locate the preset you would like to use Push Recall Once you have made your selection press the Recall button If at any time you E would like to cancel this operation simply press the Load button again To exit the GEQ press any of the other Encoder Mode or Master Control buttons Each Master Control button will open its respective menu each Encode Mode button will launch the FX menu p m di ies 45 5 Scenes Presets System Menu and MIDI Control PreSonus StudioLive 16 0 2 5 4 System Menu 5 4 System Menu In most digital console manuals the phrase System menu inspires a sense of dread However with the TYPE CB HATH StudioLive you have nothing to fear The System menu s d BLISS Digital Effects Master Control Pe on the StudioLive serves just a few simple functions Bright Hal J J most of which have very little to do with mixing a show em i Lae Small Clear Room M D stove m LCD Contrast and LCD Backlight Syster Press the System button to access the System menu The first page allows you to adjust the LCD Contrast and LCD Backlight for optimal viewing in your working environment These settings are retained when the unit is powered down LCD Contrast LCD Backlight Low j043u0 QIW pue Aux Pre Position N A 1 5 ge Nn me a gt cn a gt et a N lt ca pub a gt 3 D Press the Page Down button to acces
60. few things you would like to correct in the part This is where punching as described in the next section comes in handy LU UN E ginjde 310ulay JS 041U0 PSIBAIUL 940M3JOS e v os 92 e t a a gt gt E et n r 112 Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Capture 7 4 7 5 Studio One Artist Quick Start F e Ede Sony Tai Event Taariperd Vere Sue Ore Hip Ds E mese One inane tnt amp C adc One irsiramarin ol 2 oe do ra Loap Vl 1 a I dais Cre Log Val b ud Cleans Jazz Cro L Dee Prem Secu Gute 4 a Der Fra Sedir Fue natae 4 Uton Chen Guti 4 amb Open Deserted utar iy Fisch Gati Cie Dene FM ai jill Bat Gate Hiie Dope FIM ayy iil boi Geter Hlg Dl Open Flag sagr iil Bock Gat Diib J bpn P a aar pili oci Gate Gia Olpe 2 aae il Pesci ose DAZ 080g EZ wir i Pesci Guu Hii Dbeas Beli ni d Fesck Gau DIS DE Dbpes B Mag miri if Peck aue Dota DEDbpes E Ma wit ili Fuck Gee DES Dabest Mag aae jl Rack Gate Hia biega FI us il Pack Chater Hib DlObprs FIC uae dili Rock Grates Dia DlObpen Chir wi pi Rack Gate Caio 8D bpen Ciir w d Pesci acu HTa DeDbpes CE Men we Ml Rock Geu DTE DEObpes C9 Bon wa ifi Peck Gati H9 Musee Ober Ce Mg we dl Pack Gt 050 Endr Dalon FE ws il Rack Gate 87 ning Olson FR iil Pork ate Tithe pib ue i Rack Gate The DO pem ane i Rock ata Tta DlOb pm ag Bock Chater T Tb DlObpen
61. 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 out the sound from overhead drum mics Low end is increased and the overall sound is more present and less ambient You get more boom and less room Threshold Ratio Attack Release 13 7 dB 128 ms Electric Bass The fast attack and slow release in this setting will tighten up the electric bass and give you control for a more consistent level Threshold Ratio Attack Release 4 4 dB 189 ms Acoustic Guitar This setting accentuates the attack of the acoustic guitar and helps maintain an even signal level keeping the acoustic guitar from disappearing in the track Threshold Ratio Attack Release 6 3 dB 400 ms 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 139 BEEE remet m n Ln Cf Keyboards Stereo Mix Effects 140 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
62. in the new Session record enable each Audio Track you would like to use or just record enable all of the Audio Tracks by clicking on the Arm All button at the top of the Track column If audio is streaming in from the C StudioLive and the Audio Tracks are record enabled you should see each track s input level displayed in the track s level meter in the meter bridge You should set input levels for each input channel on the StudioLive mixer while preparing to mix the live performance If the hardware inputs on the StudioLive mixer are not clipping you do not need to worry about clipping in Capture SL Remote Capture and Studio One Artist Once the desired tracks are record enabled and you have verified input levels in Capture s meter bridge you are ready to begin recording Te p e V2 N p w iS e v 109 fev c WN et a a gt gt ct 92 or LOC S METTE 1S 041U0 eSJ8AlUf 9J6M3JOS 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 4 Capture Worry Free Live Recording Insert Markers While Recording 110 Many people are concerned when a computer is involved while mixing a live show While Capture has been engineered to be remarkably stable there are many variables on any given computer that
63. is Capture Versions There is one version of Capture which runs under the Windows and Mac OS X operating systems This manual explains both the Windows and the Mac versions Tips Several shortcuts and alternative methods or functions are mentioned in this section These tips are intended to improve your workflow and will be shown as follows Really Helpful Information If you float the mouse over most tools buttons or windows in Capture for a few seconds a Tooltip will appear that names the function that the tool button or window serves Owner s Manual 7 4 2 Start Page O Capture Software Universal Control SL Remote Capture and Studio One Artist 7 Capture 7 4 Key Commands Many operations in Capture have associated key commands keyboard shortcuts that can be used instead of navigating menus with the mouse Several of these key commands use modifier keys some of which differ depending on the operating system Windows or Mac OS X Key commands with modifier keys are shown with the Windows modifier key first as follows Win modifier key Mac modifier key key For example Ctrl Cmd C means press Ctrl C in Windows or press Cmd C in Mac OS X Where there is no difference between the Windows and Mac version of a key command only one key command will be displayed for example F3 Menu Functions Many functions can be reached via hierarchical menus Where menu navigation is
64. minutes stirring only once 9 Turn off and let sit for 30 minutes 1 0 Serve and enjoy Serves 20 2011 PreSonus Audio Electronics Inc All Rights Reserved The following are trademarks or registered trademarks of PreSonus Audio Electronics Inc all rights reserved AudioBox Capture FireStudio PreSonus StudioLive Studio One and XMAX Mac Mac OS and Macintosh are registered trademarks of Apple Inc in the U S and other countries Windows is a registered trademark of Microsoft Inc in the U S and other countries Other product names mentioned herein may be trademarks of their respective companies All specifications subject to change without notice except the jambalaya recipe which is a classic StudioLive 16 0 2 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 equip
65. mode each MultiMode button that is enabled will illuminate orange to alert you that the FireWire return is engaged for that channel POWER USER TIP When a FireWire return is engaged the analog input is bypassed to the mix bus Because of this do not engage a FireWire return when your StudioLive is not connected and synced to a computer as it will mute the analog input globally Solo Mode Switch Turns Soloing On and Off When Solo Mode is engaged the MultiMode buttons on each channel function as the Solo buttons for each channel and Aux When a MultiMode button is engaged while in this mode it will solo its channel to the main outputs or to the monitor outputs depending on whether PFL AFL or SIP is selected in the Solo bus section Please review Section 8 8 for details While in Solo Mode each MultiMode button that is enabled will illuminate yellow to alert you that the channel is soloed When a channel or bus is soloed it will automatically be selected and its Select button will illuminate POWER USER TIP When Solo In Place is engaged Solo mode will display both the solos and subsequent mutes across the MultiMode buttons that is if you solo Channel 1 while in Solo In Place Channel 1 s MultiMode button will illuminate yellow all other MultiMode buttons will illuminate red However any MultiMode button you engage will solo that channel 30 Owner s Manual Controls 4 Main Output Bus 4 6 Mut
66. of curve fitting The curve entered by the user is first oversampled The system then works with an internal curve made up of 128 bands to find coefficients for the first shelving filter that when subtracted from the user s curve will produce the flattest possible response 0 dB The resulting response is then used to find coefficients for the second shelving filter through the same optimization process Coefficients for all available shelving filters are found through a recursive process Unlike conventional designs the frequency and bandwidth of the bands depends on the curve entered by the user This allows for much tighter matching of that curve Because of this innovative design the accuracy of the StudioLive EQ might feel wrong at first The curve fitting process is capable of very steep transitions and unlike conventional analog graphic EOs what you see is what you get With a carefully drawn smooth curve the StudioLive EQ will have almost no frequency ripple The StudioLive EQ is also capable of very sharp notches To widen a notch or a bump on a particular band just bring the adjacent bands closer to that band s gain and the bandwidth will change accordingly Making drastic adjustments too quickly may create an audio artifact as the new curve is redrawn and crosses over an audio peak If you are hearing audio artifacts while setting up the graphic EQ try creating a smoother curve To turn on and make changes to the graphic EQ
67. 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 Owner s Manual Tutorials 8 A Brief Tutorial on Dynamics Processing 8 2 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 V 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 E 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
68. recording software by PreSonus allowing you to record every performance and rehearsal with a few clicks of your mouse Intuitive flexible and powerful StudioLive is a next generation mixing and recording tool that opens endless creative possibilities 2 2 Summary of StudioLive 16 0 2 Hardware Features 24 bit 48 kHz sampling rate 12 Class A XMAX microphone preamplifiers 16 line level inputs 4 auxiliary buses High definition analog to digital converters 118 dB dynamic range Unlimited headroom 32 bit floating point digital mixing and effects processing 16x16 FireWire digital recording interface with two FireWire 400 IEEE 1394 ports Scene automation with load save recall of all settings Fat Channel with e High pass filter e Compressor e Limiter e Downward expander e 3 band semi parametric EQ e Pan e Phantom power e Phase reverse e Load save 2 master DSP effects reverb and delay with Load and Save MIDI control over Scene and FX Recall FX to Main assign Main Output FX Return Level and Tap Tempo 60 mm faders Military grade quick touch buttons Fast acting LED meters Talkback communication system Rugged steel chassis PreSonus Capture multitrack recording software Compatible with Cubase Digital Performer Logic Nuendo Sonar Studio One and others PC and Mac compatible den p D gt em 2 Overview PreSonus Studi
69. resolution and a 44 1 kHz sample rate Options The bottom section of the Export to Audio File menu has several options that will affect how files are created Choose from Export Session Each Marker or Between Selected Markers e The Export Session option will export the entire range of your Session which will be to the furthest point in time that any Audio Event on a track extends e The Export Each Marker option will export separate files for each range between the markers in the Marker Lane e The Export Between Selected Markers option will export audio files between the range of any two selected markers in the Marker Lane Mixing a Capture Session in Studio One Many users will want to use Capture strictly as a track recording tool and mix the recorded tracks later in a DAW application PreSonus has included a copy of Studio One Artist with your StudioLive for just this purpose Both Studio One Artist and Studio One Pro can open Capture Session files All markers edits track names etc are preserved no further effort is required Simply launch Studio One and open your Capture session See Section 7 4 for more details 105 EXE EE Oo bee CP c pa SSE Tex cO occ v S v _ O wo aud 9o EH E e ien a C 1o Zna S p em oO YN 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 4 Capture WN Lm
70. see it in your list of available networks Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Using StudioLive Remote foriPad 7 3 e ON Connect your iPad to your Ad Hoc Network 1 Tapon the Settings icon in your iPad NN 2 Tapon Network 3 Tap on Wi Fi KO Wi Fi Networks 4 Under Choose a Network you should now see your ad hoc network in the list na 5 Tap on your newly created network to select it ES Engineering as di paegussto TI 6 Ifyou secured your network with a password StudioLive you will prompted to enter it l M 7 Tapon the menu arrow to the right of your l l network name to open its network settings 8 Turn Auto Join to On 9 Youare now ready to launch StudioLive Remote and mix on the go LN 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 StudioLive in the Devices list in SL Remote Here s what to do if this happens 1 Tap on the Settings icon in your iPhone main menu 2 Click on Wi Fi se aby lt 4 z 4 s os eu qu I S CO ge a ca cc E E 3 Make sure a check mark is visible before your ad hoc network name Te pus 2 En 2 p w d iS D
71. step of the installation process Please read each message carefully to ensure the StudioLive driver is properly installed It is especially important that you not connect your StudioLive too soon We made the StudioLive installer as simple and easy to follow as possible Before beginning the StudioLive installation setup please close all applications including antivirus software and disconnect the StudioLive from your computer After the installation is successfully completed don t forget to reenable your antivirus protection Windows can t verify the publisher of this driver software 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 If you see any Windows Security alerts click Install this driver software anyway Vista or Continue anyway XP Follow the onscreen instructions to complete the installation When the installer has finished it will prompt you to reboot your computer Click Finish to automatically restart your PC Once your computer has rebooted connect the StudioLive When the Found New Hardware wizard launches follow the recommended steps Your StudioLive is now synced to your computer and ready to use 59
72. the Talkback Mic to the Aux and or Main Outs These buttons assign the talkback mic to a specified output These buttons are toggled on off and will illuminate indicating that the Talkback output is active The talkback mic can be assigned to every output at the same time Turns the Talkback Mic On and Off This latching button turns the talkback mic on and off It will illuminate to indicate that the talkback mic is active The StudioLive features a Solo bus for flexible monitoring In this way you can fine tune a vocal compressor in your control room monitors or headphones while the rest of the band is warming up or audition an aux mix for more accurate adjustments For more information on using the Solo bus please review Section 8 8 Adjusts the Overall Volume of the Solo Bus This knob adjusts the overall level for the Solo bus Enables PFL Solo Mode The PFL button engages Pre Fader Listening in the Solo bus Pressing Solo on any channel or bus routes that channel to the Solo bus and has no effect on the main or aux mixes The Aux bus soloing is always PFL regardless of whether this mode is engaged 33 a fo EI 4 fe WwW am e n io 4 Controls 4 7 Master Section AFL Toggle Button AFL SIP Stereo In Place On Off Button hold SIP PreSonus StudioLive 16 0 2 Enables AFL Solo Mod
73. the range control If the threshold is set fully counterclockwise the gate is turned off always open allowing all signals to pass through unaffected Attack The gate attack time sets the rate at which the gate opens A fast attack rate is crucial for percussive instruments whereas signals such as vocals and bass guitar require a slower attack Too fast of an attack can on these slow rising signals cause an artifact in the signal which is heard as a click All gates have the ability to click when opening but a properly set gate will never click Hold Hold time is used to keep the gate open for a fixed period after the signal drops below the gate threshold This can be very useful for effects such as gated snare where the gate remains open after the snare hit for the duration of the hold time then abruptly closes Release The gate release time determines the rate at which the gate closes Release times should typically be set so that the natural decay of the instrument or vocal being gated is not affected Shorter release times help to clean up the noise in a signal but may cause chattering in percussive instruments Longer release times usually eliminate chattering and should be set by listening carefully for the most natural release of the signal Range The gate range is the amount of gain reduction that the gate produces Therefore if the range is set at O dB there will be no change in the signal as it crosses the thres
74. to 10 ms and the release is set to 150 ms All other compressor parameters can still be adjusted manually ean i _ e WY Sets and Displays the Compressor Attack Setting for the Selected Input Channel or Output Bus Compressor Response Compressor Sets and Displays the Threshold of the Threshold Compressor for the Selected Channel Response us Poroa ARARE ihe mse or Output Bus s displays the compressor s O R response setting for the selected This encoder sets and the meter channel or output bus The displays the compressor threshold Response control sets the attack for the selected channel or output and release tapers for the C bus When the signal s amplitude Compressor simultaneously A level exceeds the threshold tight response time triggers the setting the compressor engages compressor immediately and Turning the knob counterclockwise returns the gain reduction back to lowers the threshold so that zero quickly when the signal drops compression begins at a lower 5 below the compressor threshold amplitude The threshold can be C A smooth response time allows the set from 56 to 0 dB P beginning component of the Response signal or initial transient to pass Ne through uncompressed and bin extends the time of length of time Threshold before the gain reduction returns to zero Power User Tip In general a tighter response e time should be used for instruments with relatively few tr
75. to record audio to that track Refer to the Activating N n l Recording section for more on this topic Monitoring Live Audio Input You monitor live audio input on the StudioLive mixer there is no separate monitoring capability in Capture gt y Setting Input Levels Setting the proper input levels is critical to making a good live mix and recording The basic idea is to set the input gain on your StudioLive mixer as high as possible without overloading the input Overloading the input E will cause clipping digital distortion which is particularly unpleasant and will ruin the recording This damage cannot be undone in software There is a clip indicator for each input on the StudioLive mixer for this purpose If an input channel is not clipping on your StudioLive mixer you can be sure that there it will not clip in Capture Refer to Section 8 7 for a level setting tutorial e v WN e a a gt gt et 92 or gunjde a OW ay JS 04100 JESJOAIUL 3J6MJ0S Activating Recording in Capture Once you have the desired tracks record enabled the next step is to record To activate recording click on the Record button in the Transport The Record button will turn red and the Play button will turn green in the Transport the Playback Cursor will start to scroll from left to right from its ee current position and a new Audio Event will be recorded to
76. ur um Lees itine um ky plc E 1 2 3 4 5 6 12 15 gogo o a Se aU 2 A 4 po SE s a og UJ O 2 2 om ES YN cc E Nis o pus V 2 Some w d lt D z uu em v It is possible to process each StudioLive mixer input channel with the Fat Channel before the input signal is routed to Capture To do this you will need to engage the Post button in the Dig Out section of the Fat Channel for each channel in your StudioLive mixer This routes the signal post EQ and post dynamics processing 97 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 4 Capture a 7 4 6 Recording in Capture J Record Enabling an Audio Track To record to an audio track the track must be record enabled or armed Capture provides two Record Enable buttons for each input one on the track and on the meter bridge To record enable an audio track click on either the Record Enable b button on the track or on the meter bridge Both buttons will turn entirely red in color when either button is enabled and the track s corresponding meter in the meter bridge should begin to move up and 2 down if there is live audio on that channel in the StudioLive mixer b Click on the Arm All button at the top of the Track column to record enable every track at once E Once an audio track is record enabled you are ready
77. vocal presence lm adds harder bass to low p more attack on kick amp tom frequency inistrurmerits more finger sound on bass adds fullness to guitar amp snare more attack on plano and brighten vocals acoustic adds clarity t bass lines acoustic guitar guitar amp piano adds warmth to piano especially at softer playback adds clarity amp punch amp horns valumes to bass lines brighter rock guitar more hardness on cymbals adds fullness ta low adds fullness to vocals adds clarity amp punch more pluck to bass more attack on kick amp tomi breathier vocals frequency instruments to bass limes kick tom bass harder hitting snare amp more attack to acoustic more attack to percussion brighten cymbals string i guitar amp electric guitars instruments amp flutes reduce dullness on vocals more attack on lower makes samples amp synths piano register more finger sound on bass E sound more real more clarity to vocals add sharpness to synths rock quitars acoustic di guitar amp piano 200Hz 400Hz 800Hz 1 5 kHz 3kHz 5SkHz 7kHz 10kHz 15kHz E decrease dullness in kick j and tom make background instruments Sound mare distant decrease boom 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 muddines
78. wee dii Fick Garter 6a DBObgn wn df Fisch Gam 1628 CEDbeen wa jy Fick Gorter 16a DBDbgen ari Pech aaa 163b Dalbes ua PL ________ T x ii Bock Gai Tela DO ue Erres a cE Braer Tef a rana E Drama P Imma LE ad ng n i d ra L na d Gn a iil Bock Chater THp Dl bp aae ene wo TURIS eius MESES d Pasch Gua Elba DeC ren ue gi Foch Guster TESE DEOben e if Fach raum 157a DE Dp us gii Fisch Gott TETE DDG wis Ml Fick Gut 160a MEDB en jl Bock Gat TH D Obpem ae Jil Eck Gate Tia Dl obo ams dil oci ote Tode DlDbpe as boc iiien Clan Guiar I 1 p I T ME 1 t d Ir LB t i 00 00 06 011 Your StudioLive 16 0 2 comes with Studio One Artist recording and production software Whether you are about to record your first album or your fiftieth Studio One Artist provides you with all of the tools necessary to capture and mix a great performance As a valued PreSonus customer you are also eligible for an upgrade discount for Studio One Pro when you are ready to master your work create a digital version for the Web or incorporate third party VST plug ins into your recording process For more details on the Studio One Pro upgrade program for PreSonus customers please visit www presonus com Studio One Artist was designed for easy integration with both the StudioLive and Capture Sessions recorded in Capture can be opened directly in Studio One no exporting or importing is required Any markers edits and so on that are made in
79. 0 2 is more than just a mixer It s also a very powerful computer interface that allows you to record all your mixer inputs You can even control the mixer from a computer using Virtual StudioLive 6 1 System Requirements Below are the minimum computer system requirements for your Studio One Artist Virtual StudioLive and Capture software Macintosh e Operating Systems e MacOS X 10 6 or higher e Hardware e Minimum Intel Core 1 Solo 1 5 GHz processor 1 GB RAM e Recommended Intel Core Duo or Intel Xeon processor 2 GB or more RAM Windows e Operating Systems e Windows XP SP2 or greater 32 bit and 64 bit e Windows Vista 32 bit and 64 bit e Windows 7 32 bit and 64 bit e Hardware e Minimum Intel Pentium 4 1 6 GHz processor or AMD Athlon 64 3000 Turion 1 GB RAM e Recommended Intel Pentium 4 2 8 GHz EM64T or better or AMD Athlon 64 XP 3000 or better 2 GB or more RAM NOTE The speed of your processor amount of RAM and capacity size and speed of your hard drives will greatly affect the overall performance of your recording system A faster processor and more RAM can reduce signal latency delay and improve overall performance Subject to change Check www presonus com for updates 58 Owner s Manual 6 2 Installation for Windows Connecting to a Computer 6 Installation for Windows 6 2 After you insert the Installation CD into your CD ROM drive the StudioLive installer will take you through each
80. 2 13 4 18 16 1T 48 19 20 22 22 232 24 28 20 27 28 29 00 201 22 22 04 24 8 PCIE 14 gt Ie Io ir e E Transport 1i 23 d REC REC E 44 1 KHz 94 The Transport is at the top of the Session page and contains Meter Bridge Peak LED style meters with clip indicators for each input into Capture from the StudioLive mixer plus an additional pair of meters for the routable Master track See Section 7 2 5 for details on how to route a bus to this track Link Button Between each meter you will find a Link button When this button is active Capture will record that track as a stereo interleaved file Record Arm Button Below each meter you will find the Record Arm button for that track When this button is active Capture will record audio from that input oO NN NON Aww Uu Wu Uu ra min Remaining Time 52 09 min eos Cee Mouse Tools e Arrow Tool The default tool for access to most functions e Range Tool Select the range of an Audio Event for editing e Splice Tool Splice Audio Events e Eraser Tool Erase Audio Events e Sample Rate Display Displays the current Capture StudioLive Sample Rate Owner s Manual Transport Controls 744 The Edit Window Software Universal Control SL Remote Capture and Studio One Artist 7 Capture 7 4 Previous Marker Jump the playback cursor to the previous marker Rewind Rewind for the duration this button is held down Fast Forward Fast Forward
81. 4 1 2 Complete setup instructions for PreSonus Studio One Artist and a brief tutorial on its features are located in Section 7 5 of this manual Below are basic driver setup instructions for four popular audio applications Launch Logic Pro Express Go to Logic Preferences Audio Click on the Devices Tab On the Core Audio tab check Enabled Select PreSonus FireStudio from the device menu You will be asked if you d like to relaunch Logic Click try re launch Your StudioLive features custom I O labels for faster workflow To enable these labels for use in Logic go to Options Audio I O Labels The second column in the pop up window will be named Provided by Driver Acti vate each of these labels for your StudioLive When you are done close this window You are now ready to use your StudioLive Launch Cubase Go to Devices Device Setup Select VST Audio System from the Devices column in the Device Setup Select PreSonus FireStudio from the ASIO Driver dropdown list Click Switch to begin using the StudioLive driver Once you have successfully changed the driver go to Devices VST Connections to enable your input and output buses 61 t n T dm Tos do sS S 8 v Pm m SM zc e EUM D e 6 Connecting to a Computer PreSonus StudioLive 16 0 2
82. 42 PRC Tambourine 75 EMPTY LOCATION 10 DRM Snare Snappy 43 VOX Male 1 76 EMPTY LOCATION 11 DRM Toms Mid 44 VOX Male 2 77 EMPTY LOCATION z 12 DRM Toms Low 45 VOX Male3 78 EMPTY LOCATION a 13 DRM Toms High 46 VOX Female 1 79 EMPTY LOCATION z 14 DRM Overhead Rock 47 VOX Female 2 80 EMPTY LOCATION AS 15 DRM Overhead Jazz 48 VOX Female 3 81 EMPTY LOCATION aS 16 DRM High Hat 49 VOX Speech 1 82 EMPTY LOCATION E 17 BAS Electric 1 50 VOX Speech 2 83 EMPTY LOCATION g 18 BAS Electric 2 51 EMPTY LOCATION 84 EMPTY LOCATION D 19 BAS Slap 52 EMPTY LOCATION 85 EMPTY LOCATION 20 BAS Upright 53 EMPTY LOCATION 86 EMPTY LOCATION 21 GTR Rock 1 54 EMPTY LOCATION 87 EMPTY LOCATION 22 GTR Rock2 55 EMPTY LOCATION 88 EMPTY LOCATION 23 GTR Funk 56 EMPTY LOCATION 89 EMPTY LOCATION M 24 GTR Metal 57 EMPTY LOCATION 90 EMPTY LOCATION 25 GTR Jazz 58 EMPTY LOCATION 91 EMPTY LOCATION 26 GTR Acoustic 59 EMPTY LOCATION 92 EMPTY LOCATION 27 GTR Acoustic Strumming 60 EMPTY LOCATION 93 EMPTY LOCATION 28 GTR Acoustic Fingerstyle 61 EMPTY LOCATION 94 EMPTY LOCATION 29 KEY Piano Bright 62 EMPTY LOCATION 95 EMPTY LOCATION 30 KEY Piano Warm 63 EMPTY LOCATION 96 EMPTY LOCATION 31 KEY Piano Jazz 64 EMPTY LOCATION 97 EMPTY LOCATION C 32 KEY Piano Electric 65 EMPTY LOCATION 98 EMPTY LOCATION 33 KEY Piano Electric 2 66 EMPTY LOCATION 99 EMPTY LOCATION M a m f z 43 jo13u0 GIW pue N am D a gt
83. 6 0 2 with a Behringer FCB1010 49 5 5 4 Controlling the StudioLive 16 0 2 with a Roland FC 300 54 6 0 Connecting to 6 1 6 2 6 3 6 4 7 0 7 1 7 2 a Computer 58 System Requirements 58 Installation for Windows 59 7 4 Installation for Mac OSX 60 Using the StudioLive as an Audio Interface 61 6 4 1 Using the StudioLive with Popular Audio Applications 61 FireWire Sends and Returns 63 6 4 2 6 4 3 Using Plug in Effects as Inserts 64 Software Universal Control with VSL StudioLive Remote for iPad Capture and Studio One Artist 66 Universal Control 66 7 1 1 7 5 Universal Control Launch Window 67 VSL Virtual StudioLive 69 7 2 1 VSL Browser 69 7 2 2 VSL Overview Tab 73 7 2 3 VSL ChannelTab 74 7 2 4 Loading Scenes and Presets from VSL 74 VSL Setup Tab 76 Enabling Lockout Mode 77 7 2 5 7 2 6 7 2 7 Remote Controlling StudioLive with VSL 78 as o g TM ag pP D QF FIAI AI IVA An 4 U u A Ww Vu i We U a4 wr A A le re 5onus Using StudioLive Remote for iPad 78 7 3 1 Networking your iPad and Computer 79 7 3 2 Connecting to Virtual StudioLive and the StudioLive Mixer 82 7 3 2 SL Remote Overview Page 83 Aux Mix Page 86 The GEO Page 89 7 3 3 7 3 4 7 3 5 Channel Zoom Page 91 Capture 92 7 4 4 Whatis Capture 92 7 4
84. 7 The Solo Bus 8 7 1 8 7 2 8 7 3 154 PreSonus Studiohiweiak6 0 3 SIP Solo In Place This is also known as destructive solo When channels are soloed in this mode every channel that isn t soloed will be muted and only the soloed channels will be sent to their assigned outputs While useful in dialing in dynamics during soundcheck this mode is dangerous during a live show We recommend that this mode be turned off when mixing live events Using the Solo Bus for Monitoring When mixing live or when recording multiple musicians at once it is often necessary to quickly listen in on just one instrument or group The Solo and Monitor buses can be used together for this purpose It is important to note that if you wish to monitor with speakers rather than headphones it is necessary to connect the speakers to the Control Room outputs on the back of your StudioLive rather than to one of the main output pairs First decide whether you want to listen to your soloed channels before or after the fader setting If you d like to monitor before the fader level press the PFL button in your Solo bus section Next press the Solo buttons on the channels or auxes you want to monitor Turn the Cue knob in the Solo section to about 12 o clock Finally select the Solo button in your monitor bus and dial in a comfortable listening volume for you headphones or monitors You can increase the overall volume of the Solo bus using the Cue knob in the Sol
85. 80 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 Using StudioLive Remote for iPad Windows Vista 6 Windows 7 Open Start Connect to Click Set up a connection or network Select Set up a wireless ad hoc network and click Next Enter the new network name such as StudioLive Enter a Security key or password For the best security include letters numbers and punctuation Check Save this Network Open Start gt Control Panel Click Network and Internet Click Network and Sharing Center Under Change your networking settings click Set up a new connection or network Select Set up a wireless ad hoc computer to computer network Click on Next twice Enter the network name such as StudioLive Select the Security WAP or WEP Enter the Security key or password For the best security include letters numbers and punctuation Then click OK 10 Check Save this network 11 Click Turn on Internet connection sharing Mac OS X 10 5 10 6 1 On the Menu bar click on the Wireless Status Icon From the pull down menu select Create Network Give your Network a name such as StudioLive If you would like set up a password recommended check Require Password Create your password within the guidelines and click OK Once your network has been successfully created you will
86. B respectively to the same location or to a new location and to customize the name of your creation You can jump to these pages by simply pressing the Store button while FXA or FXB is selected in the FX Menu Use the Value Encoder to change the library location to which you will store your new effects preset unless you wish to overwrite the currently selected preset location Press the Next button to navigate to the first letter of the preset name Page 5 Store FxXA Turn the Value Encoder clockwise or counter Wocal Candy clockwise to change the letter The StudioLive allows Vocal Candy Use TAP for space Push Store you to customize the name with uppercase and lowercase letters and a selection of numerals and punctuation marks Press the Tap button to quickly insert a space Once you are satisfied with your changes press the Store button which will illuminate while the effects preset is written to the StudioLive s internal memory Once the preset is saved the Store button will return to its unlit status 37 RU es X uum we 4 8 2 Digital Effects Library Your StudioLive contains a library of 50 custom reverb and delay J presets designed by PreSonus In addition to these presets there s are 50 free locations for you to build your own custom effects library The factory presets can be altered renamed and overwritten TYPE
87. Capture will be preserved when the Capture session is opened in Studio One bee re ae am A SSE Tex cO occ v S v _ O wo aud 9o EE w Nes a C 1o Zna S p ETT oO YN 7 5 1 Installation and Authorization Once you have installed the StudioLive drivers and connected your StudioLive to your computer you can use the PreSonus Studio One Artist music production software included with your StudioLive to begin recording mixing and producing your music To install Studio One Artist insert your installation disc into your computer s DVD drive Follow the onscreen instructions to complete the installation process 113 E estt um Lm Je ty ev cm foe vn e e a g gt gt er can puni a n de ETE 75 013U0 eSJ9AlUf 3JeM1JOS 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 5 Studio One Artist Quick Start Running the Studio One Installer Creating a User Account Activate Studio One e To authorize this computer for the use of Studio One please take the following steps Create an account at PreSonus Website if you do not have one yet Create Account If your computer is connected to the Internet please follow the Online Activation instructions Activate Online If your computer is not connected to the Internet please follow the Offline Activation instructions Activate Off
88. D LOW MID Mn pu cem Lava Hz EN a HI LOW am FREQ GAIN ON PEAK HI MID HI MID HI MID HI MID M kHz BN oorr Dress rea id Lom PEAK Ens Vocals LOW MID LOW MID LOW MID LOW MID ee E Hz Lem m Hz ae ON PEAK HI MID HI MID HI MID HI MID ON OFF LO HI FREQ kHz Lower Dress ea T ON m 24 j SHEF 146 Percussion Snare LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID ON OFF PEAK SHELF FREQ Hz GAIN ON OFF HI LOW Q FREQ Hz GAIN ON ON PEAK HI MID HI MID HI MID HI MID HI HI HI HI ON OFF LO HI FREQ kHz GAIN ON OFF PEAK SHELF FREQ kHz GAIN SHELF Left Right Stereo Overheads LOW 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 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 8 4 SHELF Kick Drum 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 PEAK HI MID HI MID HI MID HI MID HI HI HI HI ON OFF LO HI FREQ kHz GAIN ON OFF PEAK SHELF FREQ kHz GAIN ov 10o 36 o ON sHtF 60 Fretted Instruments Electric Bass 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 SHELF 36 8 ON Hl 10 4 HI MID HI MID HI MID HI MID HI H
89. Fat Channel 4 1 4 14 Fat Channel Panning and Stereo Link The Pan control for each input or output bus is set on the Fat Channel The LED display shows the pan setting and the encoder to the right of the display m controls panning for the selected input or output bus When two channels are linked as stereo pair the LED display will automatically change to a stereo pan NN Stereo linking is also done from within the Fat Channel Input channels and aux buses s LINK can be linked to create a stereo pair The stereo pairs are predefined and cannot be changed They are as follows Ss Channels 1 and 2 Channels 11 and 12 Channels 3 and 4 Channels 13 and 14 Channels 5 and 6 Channels 15 and 16 E Channels 7 and 8 Aux 1 and Aux 2 S Channels 9 and 10 Aux 3 and Aux 4 Des For mono channels and Aux buses a stereo link can be enabled when either V RT channel in the pair is selected When the Stereo Link button is illuminated all dynamics settings subgroup assignments and main assignments are nondestructively pasted to the other channel in the pair POWER USER TIP Because this is a nondestructive paste when the Link button is disengaged the other channel s previous settings will be restored For instance if Channel 8 is selected when the Stereo Link button is engaged all of Channel 8 s settings will be copied onto Channel 7 If Channel 7 is selected when the Stereo Link button is engaged Channel 75 settings will be copied onto
90. Fiat Folder venco Cateooy instrument browser Select the instrument or one of its 4 a Native Instrumen P nara patches from the instrument browser and drag it into 4 I PreSonus e i moa the Arrange view Studio One Artist will automatically Mojito minm create a new track and load the instrument as the EE Lj Bass Combinations Input N Drum Kits Effects j Guitar Keyboards Percussion gt L Rob Lee Signature Set 4 Strings ee a Fiddle Flanged Tamburas E a FM Strings Legato Hall Lush Strings Insert Instrument on new Instrument Track Matrix Presence Medium Orchestra A Medium Orchestra a Pizzicato Strings a Section Strings a Solo Strings a Spiccato Strings LNI a Tremolo Strings a Uni Strings gt J Synth Session gt Lj Synths d Medium Orchestra eS Plug in Presence Modified 22 6 2009 11 56 02 Drag and Drop Effects To add a plug in effect to a track click the Effects button and select it or one of its presets in the effects Sortby Flat Folder RITTER Catovory browser then drag it over the track to which you gt FX Chains gt S Native Instruments would like to add It 4 I PreSonus gt GJ Ampire gt g Analog Delay A 4 gd Autofilter 3 default d Bassline 1 Bassline 2 d nates Autofilter Birds in Trees gg Bassline 4 gg Bassline 5 gg Bassline 6 3 Bassline 7 3 Birds in Trees gg Bubbles in the Water Q Cha
91. Hello world toward the center of the hall There will be a brief pause before you hear the first noticeable reflections of your voice because the sound waves can travel much further before encountering a surface and bouncing back There are closer surfaces of course notably the floor and the ceiling just in front of the stage but only a small part of the direct sound will go there so those reflections will be much less noticeable Adjusting the predelay parameter on a reverb allows you to change the apparent size of the room without having to change the overall decay time This will give your mix a little more transparency by leaving some space between the original sound and its reverb HF and LF decay The types of surfaces in a space also affect the sound Carpet and soft furnishings will absorb more high frequency waves thereby reducing the high frequency decay time while hard surfaces such as tile or stone reflect sound extremely well resulting in a brighter ambience Similarly the high frequency HF and low frequency LF decay time allow you to adjust the brightness or darkness of the reverb enabling you to better emulate these environmental factors 151 BEEE remet m n Ln Cf i ama f ev Nn Esl 8 Tutorials 8 5 Digital Effect 8 5 2 Delay PreSonus StudioLive 16 0 2 A delay essentially creates an echo although you can often use
92. I HI HI ON OFF LO HI FREQ kHz GAIN ON OFF PEAK SHELF FREQ kHz GAIN o 20 ON SHHF Acoustic Guitar LO 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 iow 5 2 PEAK 665 HI MID HI MID HI MID HI MID HI HI HI HI ON OFF LO HI FREQ kHz GAIN ON OFF PEAK SHELF FREQ kHz GAIN ON SHELF 60 oN tio 20 o ON SHHF 147 8 Tutorials PreSonus StudioLive 16 0 2 8 3 Equalizers Distorted Electric Guitar LOW MID LOW MID LOW MID LOW MID ud nU Bar Hz at ON OFF Ow Q FREQ Hz GAIN ON Peak 30 6 SHELF HI MID HI MID HI MID HI MID ON OFF ETE A GAIN TT pe so m m Keyboards Piano LOW MID LOW MID LOW MID LOW MID nes oum pod Hz EN E T a FREQ GAIN 665 ON ser 108 HI MID HI MID HI MID HI MID ON OFF Lower E ee TR Low PEAK BEEE remet m n Lee Cf i ama e f ev Nn EL 148 TThitnrialec Q utoria S iunar c Manal whners Vianu al 8 4 Aux Bus Mixing The Aux bus provides outputs to create auxiliary mixes that are separate from the main and subgroup mixes The StudioLive is equipped with 6 aux buses V Aux 1 through 4 which have physical output jacks and EFX A and B which are iE the internal effects buses Aux buses can be used for many applica
93. Link Master simply select either of the Aux buses in the pair The Link Master s ID will be shown in the Select Channel LED readout E 46 Owner s Manual Scenes Presets System Menu and MIDI Control 5 System Menu 5 4 Sync Information TEN Samplina Rate TRIS Press the Page Down button to access the Sync Information page From here you can view your FireWire connectivity V A When the StudioLive is connected and synced Statys On Nn Univer to a computer via FireWire the Status will read Driver On and the Sample Rate will read FireWire See Section 7 1 1 for more details p To ensure the safety of the audio equipment connected to it the StudioLive will mute all post converter outputs for two seconds when the sample rate is changed and while the mixer is connecting to a computer The Main Control Room and Aux are muted While this offers a good measure of protection to your sound system it could M put the brakes on a live show Because of this it very important that the sample rate z be selected and locked in prior to beginning any recording or performance Systen age AMIDI Pre MATON ous MIDI Control Mode Your StudioLive 16 0 2 can be remotely controlled HIDI Soyrees Fj reli ce by a MIDI footswitch keyboard controller or DAW Pages 4 and 5 of the System Menu allow you turn MIDI Control Mode on as well as select on which MIDI channels your StudioLive will be control
94. 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 that is if you tap on the EO Microview the Fat Channel zoom will open with the EQ in focus The zoomed Fat Channel view corresponds directly to the Channel Tab in VSL You can switch between the dynamics components in the zoomed Fat Channel view by swiping your finger to the left or right For example if you launch the Gate Zoom and swipe your finger to the left the Fat Channel Zoom will focus on the Compressor swiping to the left again focuses the EQ 11 30 AM 100 3 Overview MASTERS p il o LIMITER e THRESH 5 12 dB To close the Fat Channel Zoom tap on the x in the upper right hand corner This will display the normal Overview page f RELEASE Selects channel for Fat Channel Zoom and Portrait view When no Microview has been selected for Fat Channel Zoom the channel Select buttons merely display the channel number or name if one has been entered into the Scribble Strip in VSL See Section 7 2 4 Once Fat Channel Zoom is launched the channel Select buttons become active and you can use them to select another
95. Mix In your recording software assign Inputs 15 and 16 as an input source for a new track and record it The unprocessed track can then either be removed from the session or used in tandem with the processed track as an effect The iS flexible routing and mixing capability of the StudioLive provides you with an T arsenal of tools previously unavailable to in the box mixes Don t be afraid to test the limits of modern mixing techniques and to create a few of your own Note The Dig Out button does not function when you have a FireWire return selected k as an input source If Dig Out is enabled any aux subgroup and the main bus to lC which the return is routed will not receive the post Fat Channel signal The unprocessed signal will still be routed to these buses as well as to the FireWire bus but the Fat Channel processing will not Bae If you wish to add Fat Channel processing to a FireWire return you must disable Dig Out Dig Out Lem uf w g 0o55 vos z g zans 65 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 1 Universal Control 7 0 Software Universal Control with VSL StudioLive Remote for iPad Capture and Studio One Artist Your StudioLive 16 0 2 comes with a powerful software bundle that provides everything you need to record live and in the studio produce and mix an album and
96. Mix using SL Remote tap anywhere in the FX Mix Select tab for that Aux The selected FX Mix tab will be highlighted to alert you M that its individual channel send levels will be displayed below Press the Post button to engage post fader sends Press the Mute button to mute the effect to its assigned buses MEM SS 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 maintaining E constant contact with the iPad screen These send level displays have been designed to emulate the StudioLive Fat Channel Meters while in Aux Mix mode so they should look very familiar J POWER USER TIP The Aux Sends support off axis movement Once you have touched an FX send control to select it you can slide your finger anywhere in the screen and make an up down movement to control the FX Send FX Edit Button Opens FX Editor From SL Remote you can load new FX Types and adjust their parameters To edit an effect tap on the Edit button in the FX Select Tab for FXA or FXB This will launch the FX Editor LU UE E 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 th
97. Mode to Remote Control StudioLive 5 5 Boot your FCB1010 into Global configuration mode by holding the Down pedal while powering on the FCB1010 PreSonus recommends that you do not use Direct Select mode When your FCB1010 boots up you will see that the green LED above Direct Select is illuminated Make sure that the red LED on pedal 10 is not illuminated Press the Up pedal to select MIDI Function Press Pedal 1 so that its red LED is flashing Press the Up pedal again to select the MIDI channel for Pedal 1 For our purposes Scene recall is assigned to MIDI Channel 1 Press Pedal 1 so that the LED readout displays 17 Press the Up pedal twice to confirm the change and cycle back to MIDI Function Next you ll assign the MIDI channel for FXA Recall Press Pedal 2 so that its red LED is flashing Press the Up pedal again to select the MIDI channel for Pedal 2 This time you will select MIDI Channel 2 Press Pedal 2 so that the LED readout displays 2 Press the Up pedal twice to confirm the change and cycle back to MIDI Function Repeat steps 8 11 for Pedal 3 Repeat steps 8 11 for Pedals 4 and 5 selecting MIDI Channel 3 for each You re almost done Now you need to set the global MIDI channel on which your FCB1010 will control FXA and FXB output levels assign unassign FX to Mains and control the Main output level Press Pedal 6 so that its red LED is flashing Press the Up pedal to select the MIDI channel for Pedal 6
98. POWER USER TIP Before beginning any new mixing situation it is always recommended to recall the Zero Out Board Reset Scene This is the easiest way to ensure that there are no lingering parameter settings that could cause you some trouble in your new mix To recall a Scene press the Scene button and use the Ms zii ESL Value encoder to scroll through the Scene library Monday Night Gig When you have found the Scene you wish to recall Recalling Assigns Ho Pots No press the Recall button By default the StudioLive will Mute No Hux Min Ho Fe Wo Faders Ho Push Recall 40 EB amp Dun No GEG No recall all stored parameters Fat Channel settings channel muting and soloing Aux mixes and internal effects parameters except fader knob and graphic EQ positions Recall If you do not wish to recall a certain set of parameters simply set its Recalling group to No by using the Next and Prev buttons to navigate through the screen When the Recalling group that you wish to disable is selected turn the Value Encoder counter clockwise to move it to the No off position Once you have disabled the parameters you do not wish to recall press the Recall button Owner s Manual Faders Scenes Presets System Menu and MIDI Control 5 Creating and Recalling a Scene 5 1 The StudioLive s recallable parameters are grouped as follows Mute All channel and bus mutes Channels 1 15 16 Aux 1 4 FX All parameters for t
99. Subgroups 16 4 2 and 24 4 2 and Auxes 16 0 2 J These parameters are controlled the same way they PR m a are controlled for channels in the Overview page Tapping on any of the Fat Channel Microviews will close the Masters Section Page The Fat Channel Zoom will open with the selected E parameter in focus for the selected bus Em rca To close the Masters Section page simply tap anywhere outside it A k ey A 7 3 3 Aux Mix Page The Aux Mix page shows the send level for each channel on each Aux and FX bus It corresponds directly to the Aux Mix tab in VSL but has been streamlined to show only the parameters you need to control when away from the StudioLive 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 E 1 42 PM Aux Mix e 9 cm ok WN r joe e ep a gt gt E EN an gunjde o30Ulay JS 041U0 PSIBAIUL 940M3JOS O o N P E Ch 13 Ch 14 Ch 15 Ch 16 Ch 17 Ch 18 Ch 19 Ch 20 Ch 21 Ch 22 Ch 23 Ch 24 Aux Mixer A 86 Owner s Manual Aux Mix Select and Aux Mixing Software Universal Control SL Remote Capture and Studio One Artist 7 Using StudioLive Remote for iPad 7 3 Channel Send Pre Post position Aux and FX Bus Gate Compressor and EQ overview Aux and FX Bus Gate Compres
100. Tools and related functions are available This is the default selected tool Click on the Arrow Tool button or press NumPad 1 on the keyboard to select the Arrow Tool The following describes various possible functions using the Arrow Tool Move an Audio Event To move an event using the Arrow Tool click anywhere on the event and drag left right up or down Dragging the event left or right will move the event backward and forward in time relative to the Timeline zoom Dragging the event up or down will move the Audio Event to the adjacent audio track Size an Audio Event Events can be thought of as windows into audio files where what you see is what you will hear Sizing is a fundamental technique Audio Events are made shorter or longer so that only a portion of the audio they contain is seen and therefore heard 99 SL Remote Capture and Studio One Artist Te p wW En 2 p w d iS ap E GQ WY Jen Lom me i ev foe WN eb e a g gt gt EF can pun aJnjde 3 0W ay 19 013U0 eSJ9AlUf 3JeM1IOS 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 4 Capture To size any Audio Event using the Arrow Tool float the mouse to the left or right edge of the event to reveal the Sizing Tool When th
101. a to listen as you size the events to be sure you are not removing any critical part of the vocals Listening to your edits as you make them will save time and frustration in nearly every case 101 Va A O p eau oS Tex ASL W DAS 0G nud eB Nes a 19 TO LT S MS oO 92 fev aoe WN et a a gt gt ct 92 or aJnjde aJoway 19 04100 JESJOAIUL 3J6MJ0S 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 4 Capture 7 4 8 Capture Session Navigation Using Markers EI SE Lalea JL gt gt jie 102 The ability to quickly navigate to certain areas of your Session is highly useful during the mixing process The following describes the ways in which you can quickly navigate throughout your Session Scrolling To scroll left and right through time in your Session click and drag the horizontal scroll bar near the bottom of the Edit window Timeline Zooming You can zoom in and out of your Session so that you can look at the entire length or just view a small region of time to make precise edits To zoom do one of the following Click and drag left or right on the Zoom scroll bar in the lower right hand corner of the Edit window to zoom in or out Press W on the keyboard to zoom o
102. ack the signal path is broken The control signal can then be processed by an equalizer for example to reduce sibilance de essing in a vocal track The control signal is then returned to the unit via the connector One common application for a sidechain is when using a compressor to reduce the level of music or other background sound whenever a narrator speaks or vocalist sings allowing the voice to be clearly heard In this application the vocal signal is routed to the sidechain input while the music is routed through the main compression circuitry Now the compressor will automatically duck that is reduce the level of the music whenever the narrator speaks or the vocalist sings 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 expansi
103. adjusts the overall level for the headphone output Owner s Manual Controls 4 Master Section 4 7 Monitor Output Adjusts the Overall Level of the Monitor Output Level Control This knob adjusts the overall level of the control room monitor outputs Monitor J P EM NN r FireWire Monitor Button Assigns FireWire Returns 1 and 2 to the Monitor Bus O The FireWire Monitor button patches FireWire returns 1 and 2 to the monitor bus The Ky level for this input is controlled by the level set from the computer application such as Studio One Artist that is playing the audio a So pus ru e 2 Solo Bus Assigns the Solo Bus to the Monitor Outputs Monitor Button The Solo Bus Monitor button patches any soloed channel or Aux send to the Monitor Solo bus This can be useful in any number of ways For example e Auditioning an Aux send monitor mix e Dialing in the dynamics processing and EQ on a subgroup e Creating a better blend for instrumental sections horns strings etc Main Mix Assigns the Main Mix to the Monitor Bus Monitor Button The Main Mix Monitor button routes the same signal that is being sent from the main Y he Monitor bus This signal is al re fader Main outputs to the Monitor bus This signal is always pre fade Power User Tip By summing the Main mix and the Solo bus you can raise the volume of the channel you re tweaking without affecting the mix the audien
104. ally for effect 133 8 Tutorials PreSonus StudioLive 16 0 2 8 2 A Brief Tutorial on Dynamics Processing Compression Limiting EE nsus m Jm ee ty k 5 a nN Esco 134 Why do the best consoles in the world put compressors on every channel The answer is simply that most instruments need some form of compression often very subtle to be properly heard in a mix Why do we need noise gates Consider the compressed vocal example discussed earlier you now have a 20 dB dynamic range for the vocal channel Problems arise when noise or instruments air conditioner loud drummer etc in the background of the vocal mic become more audible after the lower end of the dynamic range is raised You might attempt to mute the vocal between phrases in an attempt to remove the unwanted sounds however this would probably end disastrously A better method is to use a noise gate The noise gate threshold could be set at the bottom of the dynamic range of the vocal say 10 dBu such that the gate would shut out the unwanted signals between the phrases If you have ever mixed live sound you know the problems cymbals can create by bleeding through the tom mics As soon as you add some highs to get some snap out of the tom the cymbals come crashing through placing the horn drivers into a small orbit Gating those tom mics so that the cymbals no longer
105. and 2 and to the FireWire input buttons in the t Monitor section of the StudioLive In this way you can monitor the main output 2 from your recording application without using two channels on your StudioLive leaving the other 16 outputs available to be routed to the Fat Channel or for inserting a plug in on a live instrument see the next section for more details ie 63 pnt sam J Lemn Lm Cf amy am e e 5 a di xl ee E SV g gt gi Ca aE at e EEE 6 6 4 64 Connecting to a Computer PreSonus StudioLive 16 0 2 Using the StudioLive as an Audio Interface 6 4 3 Using Plug in Effects as Inserts FireWire streaming on your StudioLive is continuously bidirectional This means that the StudioLive is always sending signals from the direct FireWire sends on all 16 input channels At the same time the StudioLive is receiving signals back from the 16 FireWire returns Because the FireWire returns always come back to their respective StudioLive channels you can quickly insert a plug in from your recording application into any channel strip and monitor it in real time In this example we will insert the Beat Delay plug in from PreSonus Studio One onto Channel 1 of the StudioLive To begin create a mono audio track in Studio One Assign its input to Channel 1 and its output to Output 1 Several DAW applications including Apple Logic do not offer mono output buses If this is the case
106. and Studio One Artist PreSonus StudioLive 16 0 2 7 4 Capture Start playback in Capture The output from each track in Capture will play through their respective input channels on the StudioLive mixer Capture Track 1 on StudioLive Channel 1 etc m At this point link Aux 1 and 2 on the StudioLive mixer and create a mix for the linked Aux1 2 by adjusting the level for each input channel that has playback coming from Capture This is a stereo aux mix so you can also access the pan for each input channel in the mix by pressing the Mix Pan MEM button for Aux 2 For details on how to set aux mixes see Section 4 4 3 b Now you can plug the guitar or guitar amp mic into an input channel on the StudioLive mixer and set the input level as you normally would Then add the guitar input channel to the Aux d 1 2 mix that the guitarist will listen to so he can hear himself E If you record enable the Audio Track that corresponds to the guitar input channel in Capture you should see that track s level meter showing live input in the meter bridge With the Aux 1 2 mix set so that the guitarist can hear his live guitar 4 playing and the tracks from Capture you are ready to record the lead guitar You can position the playback cursor to any point in the Timeline so that recording starts there or just start recording from the beginning of the Session Once you have the lead guitar part recorded you might find a
107. annel Preset Load menu always displays the N am D a gt N as a gt 17a D Tr Nn cn lt Nn a D reset age 1 Load lected channel onto which the preset will be Memory SM ORM Punchy Kick B ur eM loaded Use the Value encoder to locate the preset you would like to use Once you have made your selection press the Recall button If at any time you J Push Recall would like to cancel this operation simply press the Load button again Load To Channel Strip 1 Power User Tip Load will stay active until you press the button again to disable it even if you select another channel Because of this you can quickly add a preset to every channel and give yourself a jumping off point to dial in your mix If you have created a channel strip setting in the Fat Channel that you would like to Save save to the Channel Preset library press the Fat Channel s Save button You will notice that the LCD will display the Channel Preset Save menu hannel Preset To begin use the Value encoder to scroll to an empty Memory NH ORM Punchu Kick position in the Channel Preset library Press the Next button to navigate to the category location Create the Mame ORM Punchy Kick category in which your preset would fit DRM VOX J GTR etc Press the Next button again to navigate to x Use THF for space Push Store the first letter of t
108. ansients like drums and percussion while a smooth setting should be S using for instrument with a lot of transients like vocals and strings ke am e n aS io 4 Controls 4 1 The Fat Channel Compressor Makeup Gain Limiter On Off Sets and Displays the Amount of Makeup Gain for the Compressor on the Selected Input Channel or Output Bus This encoder sets and the meter displays the makeup gain setting of the compressor for the selected channel or output bus When compressing a signal gain reduction usually results in an overall attenuation of level The gain control allows you to restore this loss in level and readjust the volume to the precompression level if desired You can adjust Makeup Gain from 0 dB no gain adjustment to 28 dB Turns on the Limiter for the Selected Input Channel or Output Bus When the limiter is engaged the button will illuminate The threshold for the limiter is set to 0 dBFS The Ratio is 00 1 L l m l t The limiter is available for all input and output buses Low EQ On Off Button Lo Activates Control for the Low Band EQ for the Selected Input or Output Bus This button actives control of the equalizer s Low band for the selected channel or bus The button will illuminate to indicate control is active The Low EQ band is available for all input and
109. any record enabled tracks Recording will continue until you manually stop it by clicking on the E Stop button in the Transport or press Spacebar on the keyboard Capture utilizes the Broadcast Wave file format for recording This is the only format supported as it is the most widely used and it a 98 Owner s Manual 7 4 7 Editing in Capture Mouse Tools Arrow Tool Software Universal Control SL Remote Capture and Studio One Artist 7 Capture 7 4 contains timestamps that mark when recordings start within a Song When recorded Broadcast Wave audio files get bigger than 4 GB the RF64 file format is automatically used as the standard file format The recommended file system for the recording partition on your computer is NTFS on Windows and HFS on Mac OS X After recording the next step in production is usually editing In the editing process recorded events are manipulated in many ways to achieve a desired sound All audio that exists within the timeline of your Session will be visually represented by Audio Events which contain waveform representations of the recorded audio Audio Events can be moved and split among other possibilities Mouse Tools allow direct interaction with Audio Events using the mouse It is helpful to remember that actions done using the Mouse Tools can be undone at any time so you can feel free to explore their functions without permanently altering anything The following Mouse
110. are not controlled by Capture This is why the StudioLive mixer has been designed to be completely independent of any computer to which it is connected The FireWire connection to the computer simply allows the computer to receive audio outputs that are completely independent from all other channels in the StudioLive mixer Even if the computer blows up during the live show your live mix will be completely unaffected You can mix and record a live performance using the StudioLive mixer and Capture with complete confidence It is highly recommended that markers be inserted during the recording of a live performance as the markers will make the rest of the production process much easier Each of the examples that follow begins with the same scenario You are mixing and recording a live show using the StudioLive mixer and Capture You start recording before the start of the actual performance and you will not stop recording until the end of the performance During the performance you insert a marker during the break between each song of the ten song set At the end of the set you stop recording and save the Session You are then ready to shut down your system Remember to shut down in the proper sequence first turn the master level down on the StudioLive mixer then turn off power amps and speakers shut down the computer and power down the StudioLive in that order Basic Example The band you recorded the previous night comes o
111. arly to the Browser in Studio One From the Browser you can see all of the Scenes Fat Channel presets FX presets and graphic EQ settings that are saved on your StudioLive and on your computer You can also create new settings and can back up your entire library from this window Simply drag and drop a Scene or preset to load it on your StudioLive 69 a bee E pe oS 23 ASL CO Ex nud D Nes a co 179 ZAS p GE ue e v os 92 e t a a gt gt E e n r a n de 340W JS 041U0 PSIBAIUL IEMIJOS 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 2 VSL Virtual StudioLive Get Button Transfers All Scenes Fat Channel FX and Graphic EQ Presets Stored on the StudioLive to VSL i When you first launch VSL you will need to create a ZEN link between your StudioLive s internal memory and your computer To do this click on the Get button Press transfer to receive the contents of the StudioLive Mena This will replace the local cache and is not A dialog will open prompting you to click the Transfer undoabie button Any settings that are temporarily stored in the local cache i e settings that are currently visible in the Device Memory section of the Browser window will be overwritten
112. at the bottom left of A EE a ri the menu to install the selected content e When finished installing content click on the Done button to exit the menu Studio One Artist content can be installed at any time by accessing the Help Studio One Installation menu If you choose not to install any portion of the content you can install it at a later time 115 A O p eau oS Tex ASL W DAS 0G nud eB Nes a 19 TO LT S MS oO 92 fev os 92 e t a a gt gt E e n r a n de 340W JS 041U0 PSIBAIUL IEMIJOS 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 5 Studio One Artist Quick Start 7 5 2 Enabling the Audio Driver Studio One and Studio One Artist were designed with PreSonus interfaces in mind Your StudioLive is already integrated into Studio One Artist so setup is quick and easy When Studio One Artist is launched by default you will be taken to the Start page On this page you will ind document management and device configuration controls as well as a customizable artist profile a news feed and links to demos and tutorials from PreSonus If you have an Internet connection on your computer these links will be updated as new tutorials become available on the PreSonus Web site Complete inf
113. back up restore and organize your user Scenes and presets 7 1 Universal Control StudioLive a Basic Playback al gea lj naming test d test d Zero Out Board Reset 000 Universal Control File Settings WI CONTROL SVN SU S SELECT SELECT SELECT SELECT SELECT SELECT SE SELECT I 1 A HI Jl j ni fi SOLO SOLO SOLO l i soLo SOLO SOLO D i Wl i MUTE MUTE I MUTE il MUTE i Sample Rate Clock Source Safe Mode fem DN 3 5 9 10 1112 13 14 15 16 Aux 1 5 Aux 2 Aux3 s s Aux4 Main x E estt m Lm J ty StudioLive 16 0 2 integrates tightly with the Universal Control control panel application Universal Control includes two windows the Launcher window and the Device window For the StudioLive the Device window is the Virtual StudioLive VSL application VSL provides bidirectional control of channel Aux bus and Main bus levels Fat Channel parameters Aux mixes effects and the graphic EQ It also provides a visual overview of your StudioLive settings so that you can see adjust and organize them VSL includes a librarian allowing you to easily manage your presets and Scenes aJnjde e10U8y 19 013U0 eSJ9AlUf 3JeM1JOS ev cm foe WN eb e a g gt gt EF can pun Controlling your StudioLive with VSL is as easy as drag and drop Load Fat Channel presets and s
114. bus or the main outputs To access the effects library and make adjustments to effect parameters press the FX button in the Master Control section The first page of the FX menu is the QuickView screen It displays both of the effects assigned to the internal effects buses the main parameter for each and to which Aux buses the effect is being routed Effect A is assigned to EFX A bus and Effect B is assigned to EFX Page 1 QuickView through the screen To change a parameter use the Value encoder directly beneath the LCD screen The color will invert for each parameter when it is selected for modification The Next button will scroll through this screen in the following order FX A library selection FX A main parameter FX B library selection FX B main parameter When choosing your effects preset use the Value encoder to scroll through the library When you have arrived at your selection press the Recall button to load it Owner s Manual FA Type ANBIANCE n Decayls 1 68 PreDly ms 18 8 Erly RefidE 12 8 TAP Memory Name Controls 4 Digital Effects Master Control 4 8 Press the Page Down button to move to the next page of the FX menu Pages 2 and 3 of the FX menu display the rest of the parameters for FX A and FX B respectively These parameters will change depending on what type of effect you have chosen Again use the Next and Prev buttons to navigate through the screen and use the Value encoder
115. ce Drums 008 140bpm wav di Dance Drums 010 140bpm wav e Dance Drums 011 140bpm wav X ijj Dance Drums 012 140bpm wav ei Dance Drums 013 140bpm wav ijj Dance Drums 014 140bpm wav FC e Dance Drums 015 140bpm wav e Dance Drums 016 140bpm wav ijj Dance Drums 018 140bpm wav e Dance Drums 019 140bpm wav gt Ll Atomic Synths gt J Deep Frets Electric Guitar gt LJ Fifty Gallon Drums A gt Lj Funk Drums gt J Hip Hop Xpression CERE gt LJ Hotbox Vol 1 b LJ Icebox Dance Drums 004 140bpm 44 1 kHz 16 bit Stereo 11 1 2002 10 25 48 Wave File 6 857 sec 140 00 BPM E aoe LU MEZ C Sounds Iu Mus P 0001 01 01 000 A 4 1 4 120 00 0001 01 01 000 Metronome Timesig Tempo 7 5 8 Using Studio One to Remote Control StudioLive 16 0 2 NNNM The StudioLive 16 0 2 5s MIDI Control mode enables you to control your y e mixer from a DAW via MIDI Even better you don t need to worry about connecting an external MIDI interface because your StudioLive 16 0 2 can receive MIDI control messages over its FireWire connection 1 These setup instructions will enable you to quickly configure Studio One Artist to control your StudioLive while giving you the information necessary for you to create your own custom configuration You must first set up your StudioLive for MIDI control so navigate to Pages 4 and 5 of your StudioLive system menu and set each page up as shown in these images erp wv A 4 po SE s 2T eu qu V S
116. ce is hearing To do this enable both the Main mix and the Solo bus in your monitors Solo the channels you need to work on and raise the Solo Output level so that the channels are louder than the Main mix 35 am e n aS io 4 Controls 4 8 Digital Effects Master Control 4 8 4 8 PreSonus StudioLive 16 0 2 Digital Effects Master Control From the Digital Effects Master Control section you can select and change the parameters of the two internal effects processors and you can store and recall every setting on your StudioLive See Section 5 Scenes Presets and System Menu Because almost all of the StudioLive s features are controlled from the mixing surface rather than using menus and submenus you will mainly use this section to adjust the internal effects processors and to save and recall presets and Scenes Digital Effects Master Control HHIH HUSS 1 The Digital FX Effects Menu FT Vocal Candy AMBIANCE 1 68 Hus 123456 local Candy AMBIANCE 1 68 Hus 123456 B bus Use the Next and Prev buttons to navigate i 36 le cautz ie cay z The StudioLive features two internal effects processors Each processor can access the StudioLive s selection of high quality reverbs and delays As described in Section 8 4 each of these effects can be routed to any of the subgroups the Aux
117. ce your current position within the 31 bands Overview Map Provides a reference point for the current bands in view All this zooming in and out provides the ultimate control when making GEQ adjustments but makes it easy to get lost and forget which bands in the GEQ you re adjusting This is where the Overview Map comes in The Overview Map is located in the bottom right corner of the GEQ page Whether you ve zoomed in on a few bands or zoomed all the way out so that you can see all 31 bands on your iPad the Overview Map will highlight which bands are currently in view and where they are in reference to the rest of the GEQ POWER USER TIP The Overview Map always follows your current position So if you scroll left or right while you are zoomed in the Overview Map will scroll with you Draw Tool Allows you to draw the EQ curve with your finger SL Remote provides flexible control over your graphic EQ settings You can control each band individually or several bands at once via the sliders or you can simply draw in your own EQ curve and fine tune from there To enable EQ Curve Drawing tap the Draw button and slide your finger over the graphic EQ bands to begin drawing your curve Each band s slider will snap to your finger as you pass over it GEQ Assignment Inserts each GEQ on an Aux Subgroup or Main bus output pair StudioLive 24 4 2 only Just like VSL and the StudioLive 24 4 2 SL Remote allows you to choose ASSIGN onto
118. cenes by simply dragging them onto the channel or mixer overview You can load Fat Channel presets as a complete channel strip or as individual gate compressor and EQ presets Through VSL you can back up all of the Scenes and presets stored on your StudioLive These stored settings can be loaded from disk or sent to and stored internally on the StudioLive You can even drag presets out of the browser and email IM or disk swap them with other StudioLive owners Since control is bidirectional fader moves and parameter 66 Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Universal Control 7 1 changes made on the StudioLive are reflected in VSL So for example you can set up the StudioLive the way you want it and then save your Scene or other presets in VSL VSL also lets you create a password for your StudioLive so that you can lock out unauthorized users See Section 7 2 6 for details From the Launcher window you can set basic parameters such as buffer size and sample rate In addition you can use the Launcher window to configure your WDM outputs PC only see Section 6 4 4 Note that the Meter Style and Meter Decay options in the Launcher window are not active when only a StudioLive is connected to a computer 7 1 1 Universal Control Launch Window Sample Rate Selector v 44 1 KHz 48 KHz Sample Rate Clock Source Clock Source StudioLive Internal w StudioLive I
119. cted channel or output bus It will Li illuminate to indicate that the B compressor has been enabled The high pass filter is available on the 16 channels of the input bus the 4 Auxes and both internal FX buses 2 16 Controls 4 The Fat Channel 4 1 Owner s Manual Compressor Turns the Compressor On and Off for Compression Sets and Displays the Compression On Off the Selected Channel or Output Bus Ratio Ratio for the Selected Input Channel This button engages or disengages Dru put SUs the compressor for the selected This encoder sets and the meter l l i f channel or output bus It will displays the compression ratio or illuminate to indicate that the slope for the selected channel or compressor has been enabled output bus The ratio sets the NN compression slope which is a function of the output level versus the input level For example if you have the ratio set to 2 1 any signal levels above the threshold setting will be compressed at a ratio of 2 1 This means that for every 2 dB of level increase above the threshold the compressor s output will only increase 1 dB The ratio can be set from 1 1 to 14 1 The compressor is available for all input and output buses Auto Mode Button Enables Automatic Response Mode When Auto mode is active the Response control becomes inoperative and a pre programmed attack and release curve is used In this mode the attack is set
120. d 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 EO provides control over most of these parameters but the Q is fixed Some devices such as the StudioLive 16 4 2 amp 16 0 2 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
121. d LED is flashing 6 Press the Up pedal to make the Program Change assignment j043u0 QIW pue 7 Select Scene 02 using Pedal 2 or Expression Pedal A N A 1 5 ge wu me a gt cn a gt et can WN ca pub a gt 3 D 8 Pressthe Up pedal to confirm 9 Press and hold the Down pedal to exit FXA Preset Recall EE 1 Tosetup pedal control of FXA preset changes press Pedal 3 so that Preset 3 is selected on your FCB1010 Make sure that Bank 00 is still selected 2 RepeatScene Recall steps 3 9 using Expression Pedal A to select FX preset 20 FXA Assign Unassign to Main Bus and Main Output Level Control of Let s create a preset to assign unassign FXA to the Main bus and to control the Main output volume using an expression pedal on the FCB1010 1 First press Pedal 6 to select Preset 6 making sure that Bank OO is still selected 2 Pressand hold the Down pedal to enter Preset Configuration mode You ll see a flashing green LED P 52 Owner s Manual Scenes Presets System Menu and MIDI Control 5 Using MIDI Control Mode to Remote Control StudioLive 5 5 3 Pressthe Up pedal to confirm 4 Press Pedal 6 so that the red LED is flashing NN 5 Pressthe Up pedal to assign the Control Change E 6 Using Expression Pedal A select CC 64 7 Pressthe Up pedal twice to confirm _ 8 Press Pedal 8 so that its red LED is flashing
122. d party content The Studio One Artist bundle includes all that you need to begin producing music Ld Studio One Demos and Tutorials 900 00 MB Studio One 1 5 DVD 1 e Upon completing the Studio One Artist installation m Studio One Instruments Vol and activation process the Studio One Content 150 00 MB Studio One 1 5 DVD 1 A F R Studio One Loops Vol 1 Installer will appear If it does not appear navigate to inadendicmnidais dte Help Studio One Installation p Ueberschall Impact Drums 70 00 MB Studio One 1 5 DVD 1 e At the top of the installation menu select the source m Studio One Piano P sel E R from which the content will be installed as well as F R Synth Session the location where you wish to install the content 2 00 GB Studio One 1 5 DVD 1 Q CNN Studio Ono Expansion The source of the content will be the same DVD from ca cas di bale which you installed Studio One Artist By default Toontrack EZdrummer Lite Co i j ez 180 00 MB Studio One 1 5 DVD 1 ENT Studio One Artist will point to your DVD drive as the j ez M content source Listed in the installation menu are 200 00 MB Studio One 1 5 DVD 1 gt Native Instruments Guitar Rig LE copy _ separate entries for each available item Click the 300 00 MB Studio One 1 5 DVD 1 m checkbox next to each item you wish to install then 9 O encouo suso ore 1 5 0v0 n click on the Install Packets button
123. d you have a singer trying to dial in his monitor mix while you re trying to mic up the drum kit So while the guitarist is flirting with the bartender take a quick moment to get your iPad computer and StudioLive talking 7 3 2 Connecting to Virtual StudioLive and the StudioLive Mixer Once you have created your ad hoc network and joined it from your iPad you are ready to launch StudioLive Remote Important You must connect to your computer s ad hoc network each time you plan on remote controlling your StudioLive with StudioLive Remote Apple s iPad offer two unique viewing options Landscape and Portrait PORTRAIT LANDSCAPE For the most part you will be holding your iPad in Landscape view This will allow you to use the Start Overview Aux Mix and GEQ pages Portrait view provides you with a zoomed in view of the currently selected channel and allows you to scroll quickly through every channel and bus on your StudioLive To launch StudioLive Remote tap on the SL Remote icon on your iPad When you launch StudioLive Remote for the first time on a new ad hoc network or if you have joined a different wireless network since the last time you linked up your computer and iPad you will taken to the Start page On the Start page you will see a list of every StudioLive mixer on the network including the Offline 24 4 2 Simulation The StudioLive 24 4 2 Offline Simulation is there for you to practice your finger control away from your
124. de no audio recording playback even though the device will install and sync as well as erratic audio performance Rarely combo cards will prevent the device from installing or achieving a stable sync We recommend FireWire cards that have s400 FireWire connections only FireWire cards with NEC chipsets Symptoms include installation issues erratic audio and extraneous static and noise Motherboards with nForce4 chipsets Symptoms include reduced or very poor performance especially if using the onboard FireWire connection Installing a PCle not PCI FireWire 400 only card with an approved chipset is a known workaround but may not allow full performance StudioLive Control Panel Will Not Launch The StudioLive Control Panel will not launch if the StudioLive is not connected and synced to your computer Verify that your FireWire cable is connected both to your computer and to your StudioLive Navigate to Page 3 Digital in the StudioLive System menu and verify that the Sample Rate reads FireWire the Link ID is set to 0 and the driver is On No Output on a Channel Press the Input button in the Metering section and verify that there is signal on that channel If no signal is present check the cable and the input source If signal is present press the Select button for the channel in question Make sure that the channel is assigned to the main output in the Assign section of the Fat Channel Fader Movements Have No Effect on Audio
125. describes aspects of the studio recording workflow using the StudioLive mixer and Capture In a studio recording session as opposed to recording live you might wish to record on only a few tracks or on a single track at a time and then record more later This process of adding to your recorded tracks later is called overdubbing Using Capture and the StudioLive mixer you can play recorded audio on any tracks through the StudioLive mixer and simultaneously record new audio to tracks in Capture To do this it is a good idea to first establish a good mix to listen to while recording Just as when creating monitor mixes for a live performance with the StudioLive mixer you can create a number of mixes to listen to For instance you might create a stereo mix of the playback from Capture on Auxes 1 and 2 for a guitarist who is about to overdub a lead guitar part To accomplish this do the following For all input channels on the StudioLive mixer on which you wish to play tracks from Capture engage the FireWire return by pressing each channel s FireWire Return button so that it illuminates This will route the output of the tracks in Capture to their respective input channels on the StudioLive mixer 111 Ls SL Remote Capture and Studio One Artist Te p W n Sa p w e pun d v 7 Software Universal Control SL Remote Capture
126. dioLive so that each library Scene FXA FXB is receiving Program Change zi messages on its own MIDI channel The danger of having for example Scene Recall and FXA preset recall on the same MIDI channel is that when you change to Scene 3 you will change the FXA preset to F3 Closet at the same time For our example we also have the output levels and FXA FXB Assign to Mains on their own MIDI channel Channel 4 For your setup it is perfectly fine to have these control share a MIDI channel with one of the recall groups As previously mentioned these parameters are controlled using Control Change messages not Program Change messages so there is no chance of a conflict unless you assign the same CC message to two different StudioLive parameters of N Besides setting your MIDI channels and Control Change messages you will also need to set MIDI Control Mode to On and make sure the MIDI Source is set to the StudioLive s MIDI Input Section 7 5 8 will show you J how to control your StudioLive via FireWire using Studio One Artist N A 54 Owner s Manual Scenes Presets System Menu and MIDI Control 5 Using MIDI Control Mode to Remote Control StudioLive 5 5 Before setting up your FC 300 you must set up your StudioLive for this example Navigate to Pages 4 and 5 of your StudioLive system menu and set each page up as shown in these images MIDI Source HIDI In Program
127. e The AFL button engages After Fader Listening in the Solo bus Pressing Solo on any channel or bus routes that channel to the Solo bus and has no effect on the main or aux mixes The AFL is not available on the Aux buses Enables Solo In Place Mode SIP Solo In Place or destructive soloing mutes every unsoloed channel on the StudioLive The muted channels will be muted in the Main outputs Note that while you can manually unmute a channel this mode should be used with extreme caution during a live performance Only the input channels can be placed into destructive soloing The Aux buses are omitted from SIP mode To enable SIP press and hold the button until it illuminates red This ensures that you cannot enter into destructive Solo mode by accident When SIP is engaged channel mutes will only apply to the Main bus SIP does not mute input channels in Aux Send mixes 4 7 3 Monitor Bus Phones n Mas Level Monitor Headphone Output Level Control 34 The StudioLive features a headphone output and control room outputs giving you the ability to monitor multiple sources on the StudioLive The Monitor bus on the StudioLive allows you to monitor the main outputs Solo bus and the main FireWire return from your computer Because the Monitor bus is a summing amp you can even monitor the World Series on your headphones while running sound at a show Adjusts the Overall Level of the Headphone Output This knob
128. e MIDI enables the exchange of performance information musical notes program changes synth parameters and much more between electronic musical instruments effects devices computers and more and it has also been adopted for a wide range of other applications both musical and nonmusical J Before you begin using MIDI Control Mode there are a few simple MIDI terms you should understand MIDI channels Program Change messages and Control Change messages MIDI data is sent and received on 16 channels This enables you to send up to 16 discrete messages to your MIDI device at exactly the same gt time Only one MIDI event can be sent at one time on each channel but multiple messages can be streamed serially one after the other Program Change messages are sent to a device to request a patch Zz change on a specified MIDI channel StudioLive 16 0 2 uses simple 3 Program Change messages to recall Scenes and FX presets 48 Owner s Manual Scenes Presets System Menu and MIDI Control 5 Using MIDI Control Mode to Remote Control StudioLive 5 5 To begin you must first assign unique MIDI channels for FXA FXB and Scene Recall This will allow you to send a different Program Change message to each of these three preset libraries allowing you to navigate through each preset library on its own Using the Next and Prev buttons navigate to each channel field and set a MIDI channel using t
129. e 16 0 2 is equipped with a 3 band semi parametric equalizer on every input and output bus Here s a brief explanation of how an EQ functions as well as some charts to help you navigate the frequency ranges of various instruments so you can quickly choose the best EQ settings for your recordings and live mixes 8 3 1 What is an EQ Parametric EQ An equalizer is a filter that allows you to adjust the level of a frequency or range of frequencies of an audio signal In its simplest form an EQ will let you turn the treble and bass up or down allowing you to adjust the coloration of let s say your car stereo or iPod In recording equalization is a sophisticated art Good equalization is critical to a good mix When used correctly an equalizer can provide the impression of nearness or distance fatten or thin a sound and help blend or provide separation between similar sounds in a mix allowing them to both shine through the mix 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 EO like those in the StudioLive 24 4 2 offers control over the bandwidth basically the range of frequencies affected the center frequency of the ban
130. e 7 2 Your StudioLive features a Lockout mode that allows you to temporarily disable nearly every feature on the StudioLive although analog features such as input trim knobs faders cue and monitor levels can still be adjusted Because of this after unlocking your StudioLive and before resuming mixing you should take a quick glance at your input trims and output levels If you have locked your fader position you will be able to recall your pre lockout fader positions using the Locate button in the meter section Until you connect your StudioLive to a computer the mixer cannot be locked so don t worry about accidentally locking yourself out With your StudioLive connected and synced to your computer launch VSL and click on the Setup tab Click on the Lock Out button To set your custom password click on the box next to Device is Lockable At this point a cursor will appear in the password box Enter a 5 digit code using any number between 1 and 9 and click the Set button Your password will no longer be displayed Should you need to change your password simply click on the box next to Device is Lockable Your old password will be deleted and you will be able to enter a new password Once you have set your password the StudioLive can be locked with or without being synced to a computer To lock your StudioLive press the System button in the Digital Effects Master Control section and navigate to Page 6 Lockout
131. e Button Turns Mutes On and Off When Mute mode is engaged the MultiMode buttons on each channel function as the Mute buttons for each channel and Aux When a MultiMode button is engaged while in this mode it will mute its channel to the Main and Aux outputs While in Solo mode each MultiMode button that is enabled will illuminate red to alert you that the channel is muted r 4 6 Main Output Bus a Main Select Button Enables Fat Channel Viewing As previously described in Section 4 1 1 the Select button routes its channel through the Fat Channel enabling you to add dynamics processing EQ panning etc a So pus ru e 2 Main Fader Controls the Level of the Main Output The fader controls the overall level of the main stereo output The white area above the fader can be used as a scribble strip Use only oil pencils Other types of pens or pencils cannot be wiped off To clean the scribble strip use a lightly damp cloth to remove the writing Spit works pretty well too 31 4 Controls PreSonus StudioLive 16 0 2 4 7 Master Section 4 7 Master Section The Master section of the StudioLive controls the J monitoring Talkback output and Solo bus EE i 2T Level Level Monitor hold om e n io 4 7 1 Talkback System The StudioLive features a Talkback microphone input on the back panel This can be
132. e On the Disk section of the Browser notice the Remove button Clicking this button will delete the currently selected stored Scenes or presets 71 A O p eau oS Tex ASL W DAS 0G nud eB Nes a 19 TO LT S MS oO 92 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 2 VSL Virtual StudioLive UN Backup Tab Creates and Restores Backups of Your StudioLive B CKIE The Backup tab allows you to create complete time stamped snapshots of your emudierve mt can be especially useful unen completing a project that may need to be revisited in the future To create a backup simply click on the Backup button To restore any backup file select it in the On the PK Disk portion of the Browser and click the Restore button You will be warned that any Scene or preset currently loaded in the Device Memory section of the Browser will be overwritten Once your backup d is restored you can click the Send button to transfer B your Scenes and presets back to the StudioLive Show Hide Browser 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 righ
133. e System Menu and MIDI Control 5 1 Creating and Recalling a Scene Digital Effects Master Control TYPE Bright H Value Page 2 store Memory EEN Empty Location Name Monday Night Gia Use TAP for space Push Store The StudioLive allows you to create and store a library of Scenes A Scene is like a snapshot of your mix It stores each Fat Channel parameter for every input and bus as well as each fader s position the aux and effects mixes channel mutes and solos and the input selection analog input or FireWire playback stream Creating a Scene requires simply dialing in a mix that you would like to use at a later date and saving it This has obvious benefits for both studio and live sound For example in the studio saving and recalling a Scene allows you to move to another song or project and come back to the current mix later For live shows with multiple bands you can set up custom mixes for each band at sound check and recall the mix when that band goes onstage or save custom mixes for each venue that a band plays repeatedly To save a Scene press the Scene button and page down to the second screen or press the Store button to launch the Scene Store menu The memory locations will be selected Use the Value Encoder to scroll to a free location in the Scene library Now name your Scene Press the Next button to navigate to the first letter of the preset name and turn the Value Encoder clockwise or co
134. e all of the available outputs on your StudioLive At this time you can add the number of output buses to which you would like to have access and can give them names We recommend that you create a mono output for each of the 16 FireWire returns on your StudioLive as well as one stereo output assigned to FireWire returns 1 2 to use for your stereo main output In the lower right corner you will see the Audition select menu This allows you to choose the output from which you will audition audio files prior to importing them into Studio One Artist In general you will want this to be the main output bus If you would like this output configuration available every time you launch Studio One Artist click the Make Default button 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 In the upper left corner of the Arrange window you will notice several buttons The middle button is the Add Tracks button Click this button to bring up the Add Tracks window In the Add Tracks window you can select the number and type of tracks you d like to create Mono Audio Stereo Audio Instrument or Automation and can customize the track name and color 121 Oo bee p iaa Ez Tex cO occ T S v _ O Vo aud 9o EE E e ien a C 170 ZAS p q oO N 7 Software
135. e any other audio device 93 SL Remote Capture and Studio One Artist Te p e V2 N p w iS e v LOC S METTE 1S 041U0 eSJ8AlUf 9J6M3JOS e 9 c os cn d e e t ep a gt gt en n et i Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 4 Capture for use with Capture The Audio Device window will either display PreSonus FireStudio or No Audio Device the former indicates that your StudioLive mixer is connected to the computer correctly and is ready to use with Capture The Sample Rate window displays the currently configured sample rate as set on the StudioLive mixer About Capture To view information about Capture including your version number and acknowledgements choose About Capture from the Help file menu 7 3 3 The Session Page Capture features a single window user interface so you don t need to manage multiple windows and views When a new Session is created or an existing Session is opened you will be taken to the Session page This page contains all of the necessary tools to record and edit multitrack audio The following are diagrams and descriptions of the Session interface EN 00 00 00 000 209 wr 44 1 khz o Tene 1 3 3 4 8B 8 9 t 9 1
136. e assigned Control Change messages to your StudioLive on the designated MIDI channel using your hardware MIDI controller or DAW In order to set the correct volume for FXA FXB and Main output level your Volume Control Change messages must include values from 0 to 127 FXA and FXB Assign to Mains is a simple toggle message so it is not value dependent The next two sections cover setup instructions for the most popular MIDI footswitch pedals available when this manual was written If you are not using one of these devices please consult the documentation that came with your MIDI controller to learn how to send Control Change and Program Change messages on a given MIDI channel 55 3 Controlling the StudioLive 16 0 2 with a Behringer FCB1010 This tutorial will show you how to quickly configure your StudioLive 16 0 2 so that you can control it with a Behringer FCB1010 The setup configuration detailed here is just an example you can customize your own setup using these simple steps Each section in this tutorial will focus on a particular setup area In order for your FCB1010 to control your StudioLive as described below you must complete the steps in each section of the tutorial 49 and MIDI Control LS w gt w p ue a N v d w e w A ao LS ue w w rw NY ev E ou zZ om et E
137. e chain In general you will want the StudioLive to be your Master Clock in which case set the clock to StudioLive Internal Changes How the StudioLive Driver s Buffer Size is Set Normal Mode Input and Output buffers are both identical to the Buffer Size setting Safe Mode 1 3 Increases the output buffer size for added stability 67 7 SL Remote Capture and Studio One Artist Te p e V2 N p w iS e v ginjde 310ulay JS 041U0 EeSJaAlUf IEMIJOS e v os 92 e t a a gt gt e n r 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 1 Universal Control Buffer Size Selector PC only Buffer Size StudiaLive Device Window Button File Menu Close Window Show All Devices Close All Devices Quit Settings Check Firmware 68 Changes the StudioLive Buffer Size You can set the buffer size from 64 to 4 096 samples The buffer size determines the round trip time it takes audio data to be converted from analog to digital and back to analog As a general rule the higher the buffer size the better the system performance but the less playable virtual instruments and the like become In general 512 samples 11 to 12 milliseconds
138. e 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 v audio path The StudioLive sends 48 VDC phantom power from the XLR inputs only 8 1 2 Dynamic 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 dynamic microphones typically do not require a power source In most cases phantom power has no effect on a dynamic microphone s audio quality or sensitivity Dynamic microphones especially ribbon microphones tend to generate low output voltages so they typically need more preamp gain than condenser microphones Ribbon Ribbon microphones are a special type of dynamic microphone and get their name from the thin metal ribbon used in their design Ribbon microphones capture sound with very high fidelity especially higher frequencies However they often are very fragile many newer models are less so and typically cannot handle high sound pressure levels Most ribbon microphones do not require phantom power In fact unless a ribbon microphone specifically calls for phantom power sending phantom power to a ribbon microphone can severely damage it usually beyond repair Mna cS T d 8 1 3 USB Microphones and Other Ty
139. e upper right corner ginjde 310ulay JS 013U0 eSJ9AlUf 94YeM3JOS ev c jos WN et SL a a gt gt ct can pun 88 Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Using StudioLive Remote for iPad 7 3 7 3 4 The GEQ Page Overview MASTERS 11 II GEQ 384 GEQ 5 amp 6 SEQ 7 amp 8 NN ke r a di k GEQ1 GEQ2 ASSIGN As with StudioLive and VSL StudioLive Remote includes a Graphic EO page so that you can tune the room from any listening position or dial in a monitor on stage while you are actually standing in front of it The GEQ page in StudioLive Remote corresponds directly to the GEO tab in VSL From the GEQ page you can control and view the following parameters e All 31 bands of each graphic EQ 1 Main Stereo for StudioLive 16 0 2 8 dual mono for StudioLive 16 4 2 and 24 4 2 V e GEQ insert assignments StudioLive 24 4 2 only e Zoom in for fine adjustments e Draw the EQ curve you want rather than adjust each slider manually S EE GEQ Select Tab Brings a pair of graphic EQs into view StudioLive 16 4 2 and 24 4 2 only Es x E AE To begin making changes to a particular GEQ you must first select it To Sem GEQ 3 amp 4 do this simply tap on the GEQ pair you d like to edit i ic GEQ On Off Button Turns a graphic EQ on or off By default each graphic EQ is turned off
140. e used in live applications Owner s Manual Itorials O X SIniQ O L 8 2 A Brief Tutorial on Dynamics Processing The heart of the StudioLive is the Fat Channel dynamics section What follows is an excerpt from brief tutorial on dynamics processing written by PreSonus president and founder Jim Odom It is included to help you get the most out of your StudioLive This tutorial will take you through the basics of dynamics processing and will explain the various types of dynamics processors 8 2 1 Common Questions Regarding Dynamics Processing What is dynamic range Dynamic range can be defined as the ratio between the loudest possible audio level and the lowest possible level For example if a processor states that the maximum input level before distortion is 24 dBu and the output noise floor is 92 dBu then the processor has a total dynamic range of 24 92 116 dB On average the dynamic range of an orchestral performance can range from 50 dBu to 10 dBu 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 p
141. ears to the life of your audio equipment S a Ne 3 Hook up PreSonus StudioLive 16 0 2 3 1 Rear Panel Connections me Stereo Inputs Channels 9 through 16 are stereo inputs Each pair of channels in controlled by a single fader solo mute and select button By default Channels 9 10 through 15 16 are set to be mono so that only the mic preamplifier or the Left 2 mono input will be heard When these channels are unlinked the Right input is not accessible on the mixer To insert the Right input into your mix you must engage Stereo Link see Section 4 1 4 for details i Channels 13 14 and 15 16 have unbalanced RCA connections in addition to the balanced TRS connections Like the TRS connections the right RCA input will not be accessible on the mixer if the channels are not linked LAN LAN ZAN ZAN Aux Outputs The StudioLive is equipped with four auxiliary outputs In Section 8 4 you ll find a tutorial 4 3 2 1 on creating aux mixes for monitoring and effects Aux Aux Outputs mixes are routed to these outputs Talkback Mic Input The StudioLive does not have an onboard talkback mic so an m external mic must be used Phantom power is always enabled on this microphone N preamp so you can use either a dynamic or a condenser microphone Warning Phantom power is only required for condenser microphones and can severely damage dynamic mics especial
142. ease skip to Section 7 5 4 7 5 3 Configuring Your MIDI Devices 116 From the External Devices window in Studio One Artist you can configure your MIDI keyboard controller sound modules and control surfaces This section will take you through setting up your MIDI keyboard controller and sound module Please consult the Reference Manual located on your Studio One Artist installation DVD for complete setup instructions for other MIDI devices Before beginning this section you must first install the drivers for your MIDI interface or USB MIDI Controller keyboard Please consult the documentation that came with your MIDI hardware for complete installation instructions Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Studio One Artist Quick Start 7 5 Setting Up an External MIDI Keyboard Controller from the Start Page A MIDI keyboard controller is a hardware device that is generally used for playing and controlling other MIDI devices virtual instruments and software parameters In Studio One Artist these devices are referred to A o as Keyboards and they must be configured before they are available for use In some cases your MIDI keyboard controller is also used as a tone generator Studio One Artist views the two functions of these types No of hardware as two different devices a MIDI keyboard controller and a sound module The MIDI controls keyboard knobs faders etc
143. ects mixes for all four analog Aux sends and both internal effects buses e Engage phantom power for each mic preamp e Meter inputs Aux and Main outputs and gain reduction for all 16 channels e Copy save and load Fat Channel and GEQ presets e Recall your fader position for stored mixes a E 14 Owner s Manual Controls 4 The Fat Channel 4 1 4 1 1 Select Buttons Meters and the Fat Channel Select Buttons All around the StudioLive you will see Select buttons There is a Select button on each of the 12 channels each of the 4 analog aux sends both of the C internal effects buses and the Main output bus Each of these buttons serves exactly y the same purpose to access the Fat Channel parameters for its channel or bus Selected Channel Display In the lower right corner of the Fat Channel you will ind Selected an LED readout The currently selected channel will always be displayed here Channel Numbers 1 8 indicate one of the 8 mono input channels is selected 9 11 13 or 15 indicate that one of the 4 stereo input channels is selected MA indicates the Main bus A1 A4 indicates Aux 1 4 and Fa and Fb indicate EFX A and EFX B X 4 1 2 What You Can Process with the Fat Channel and FireWire Sends The following table provides a quick guide to the processing that is available for each bus in the StudioLive RU e wW Phase High Pass Noise Gate Compressor Limi
144. el of each channel to the Aux pair For more information of stereo linking please review Section 4 1 4 Owner s Manual Aux 3 Encoder Mode Button Aux 4 Encoder Mode Button Controls 4 Aux Sends 4 3 Enables Aux Mixing and Metering in the Fat Channel When this button is enabled the 12 encoders in the Fat Channel become the Aux send level controls for each of their respective input channels to Aux 3 The meters will display the send level of each of the input channels The encoders for the stereo channels set the send level for both the Left and Right input provided that stereo linking is enabled See 4 1 4 for details Enables Aux Mixing or Pan Control Stereo Send Mode Only and Metering in the Fat Channel When this button is enabled the 12 encoders in the Fat Channel become the Aux send level controls for each of their respective input channels to Aux 4 The meters will display the send level of each of the input channels The encoders for the stereo channels set the send level for both the Left and Right input provided that stereo linking is enabled When Aux 3 and Aux 4 are linked this button enabled pan control for each channel in the Aux pair When this button is enabled the 12 encoders in the Fat Channel become the pan controls for each of their respective input channels The meters will display the pan setting of each of the input channels Use Aux 3 Encoder mode to set the send level of each channel to the Aux
145. ement suggestions can be used in live applications as well as for studio recording Grand Piano 130 Place one microphone above the high strings and one microphone above the low strings Experiment with distance the farther back the more room you will capture This technique can be used for live and studio applications Place a dynamic microphone an inch or two away from the speaker of the guitar amplifier Experiment with exact location If you are recording an amp with multiple speakers experiment with each one to see if one sounds better than the others Place a condenser microphone approximately six feet away pointed at the amp Experiment with distance Also experiment with inverting the phase of the room microphone to check for phase cancellation and reinforcement Select the fuller sounding position To use this technique in a live application omit the condenser microphone Owner s Manual Acoustic Guitar Tutorials 8 Microphone Types 8 1 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 b
146. erent way Wouldn t it be convenient if you could break up the original continuous recording of the entire set of ten songs so you could work on one song at a time With Capture you can use the markers you inserted between each song to automatically generate all the multitrack files for each individual song To do this first open the original Session If you have not already done so rename each marker to the desired name for each song Then select Export to Audio File from the Session menu In the Export to Audio File menu s Options section select Export Tracks and Each Marker and set the Format to the desired file format settings Then click OK Capture will then automatically generate separate audio files for each track in each song The names of the files will be based on the name you specified in the Export to Audio File menu the names of the markers and the track names in your Session Export Name Track Name Marker Name You can then import the files for each song into a new Capture Session or into a different audio recording application to be mixed with the StudioLive mixer A few days after the original performance you have finished producing a ten song live album for the band you recorded and they could not be more impressed The studio recording process often appears very different from the live recording process However the StudioLive mixer and Capture are equally at home in the studio and in concert The following
147. erformance with an average dynamic range of 20 dB You wish to add an uncompressed vocal to the mix The average dynamic range of an uncompressed vocal is around 40 dB In other words a vocal performance can go from 30 dBu to 10 dBu The passages that are 10 dBu and higher will be heard over the mix However the passages that are at 30 dBu and below will never be heard over the roar of the rest of the mix A compressor can be used in this situation to reduce compress the dynamic range of the vocal to around 10 dB The vocal can now be placed at around 5 dBu At this level the dynamic range of the vocal is from 0 dBu to 10 dBu The lower level phrases will now be well above the lower level of the mix and louder phrases will not overpower the mix allowing the vocal to sit in the track The same points can be made about any instrument in the mix Each instrument has its place and a good compressor can assist the engineer in the overall blend Does every instrument need compression 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 intention
148. eved the optimal volume it it em QE MEC LIES Lg wn m 3 oO e eS AND 1 Quick Start Level Setting PreSonus StudioLive 16 0 2 1 1 Getting Started IMPORTANT LEVEL SETTING 48V NA Do not allow your inputs to clip Watch the level meters when the LEDs near the Clip mark the top LED will illuminate indicating that the analog to digital converters are in danger of being overdriven Overdriving the converters will cause digital distortion which sounds terrible The XMAX preamps in your StudioLive provide plenty of headroom take advantage of it Your P A and studio equipment should be powered on in the following order A Sound sources keyboards direct boxes microphones etc connected to the StudioLive inputs B StudioLive 16 0 2 C Computer if applicable D Power amplifiers or powered monitors When it s time to power down your system should be turned off in the reverse order Now that you know what not to do let s get some audio going Grab a microphone and a mic cable and plug them into the StudioLive s Channel 1 mic input Connect the Main Outs TRS or XLR of your Studio Live to your power amplifier or powered monitors If you re using passive speakers connect them to your power amplifier using speaker cable Bring down all the faders on your StudioLive to the ee setting
149. f constant product improvement is by listening to the real experts our valued customers We appreciate the support you have shown us through the purchase of this product We are confident that you will enjoy your StudioLive ABOUT THIS MANUAL We suggest that you use this manual to familiarize yourself with the features applications and correct connection procedures for your StudioLive before trying to connect it to your computer This will help you avoid problems during installation and setup Throughout this manual you will find Power User Tips These tips provide some innovative mix tricks that are unique to the StudioLive 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 and are included to help you get the most from your StudioLive mixer The StudioLive performance and recording digital mixer is a fully loaded professional digital mixer combined with a complete 16x16 FireWire Owner s Manual Overview 2 Summary of StudioLive 16 0 2 Hardware Features 2 2 recording system Racks of processing effects including compressor limiter downward expander three band semi parametric EQ reverb and delay are available on every channel aux and main mix delivering total control in a compact rugged steel chassis StudioLive includes Capture a fully integrated live
150. f a Capture session do one of the following e Select an Event with the Arrow Tool or select a Range with the Range Tool that you wish to loop Press P on the keyboard to set the loop range to your selection The range will be indicated by a bar drawn in the timeline with a left and right flag on either end e Mouse over the gray line above the time line You will notice that your curser changes to a pencil tool and you can draw your loop range Once your loop range is set you can click on the Loop button in the Transport or press L or on the keyboard to engage Loop mode Start playback before the end of the Loop range and when the end of the range is reached playback will jump back to the beginning of the Loop range automatically for as long as Loop is engaged Engaging Record in the Transport will disable Loop mode and begin recording at the current playback cursor position It is not possible to engage Loop while recording Mixing is the part of the production process where all recorded tracks are combined to mono or stereo The goal is to balance relative volume frequency and dynamic content in order to achieve a desired cohesive sound Mixing with Capture and StudioLive No mixing is done in Capture directly Instead the individual outputs of each audio track in Capture are hardwired to the FireWire returns for each corresponding input channel on the StudioLive mixer Thus with the FireWire returns engaged f
151. f of a surface or many surfaces For example when you walk across the wooden stage in a large hall thousands of reflections are generated almost instantaneously as the sound waves bounce off the floor walls and ceilings These are known as early reflections and their pattern provides psycho acoustic indications as to the nature of the space that you are in even if you can t see it As each reflection is then reflected off of more surfaces the complexity of the sound increases while the reverb slowly decays The reason for the widespread use of reverb in audio recording is fairly self evident human beings don t live in a vacuum Because our brains receive cues 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 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 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
152. for the duration this button is held down Next Marker Jump the playback cursor to the next marker Back to Beginning Return to the beginning of the Session Stop Stop playback Play Start playback at the current playback cursor position Record Start recording at the current playback cursor position Loop Engage Disengage Loop mode Time Display Displays the time at the current playback cursor position Remaining Time Displays the remaining time that can be recorded based on the size of the available storage left on the hard drive to which you are recording The Edit window is the main view of the Session page which provides an overview of the Session for editing The Edit Window contains the following Timeline Ruler Displays time increments in seconds Marker Lane Displays user inserted markers Arm All Click this button to arm all inputs for recording Marker Click on the plus button to add a marker at the current playback cursor position Select a marker and click on the minus button to remove the marker 95 EXE EE Oo bee CP pe sft Tex cO occ T S v _ O Vo aud 9o ME E e ien a C 170 Zna S p em oO ND Jen Lom me i ev cm foe WN eb e a g gt gt EF can pun aJnjde e10U8y 19 013U0 eSJ9AlUf 3JeM1JOS 7 Software Universal Control SL Remote Capture and St
153. going to File Options Windows or Studio One Preferences Mac and click on the Audio Setup button Click on the Song Setup button to open the Song Setup window then click on the Audio I O Setup icon Click on the Inputs tab in the Audio I O Setup window and you will see all of the available inputs on your StudioLive At this time you can add the number and type of inputs you plan to use We recommend that you create a mono input for each of the 16 inputs on your StudioLive If you plan on recording in stereo you should also create a stereo bus and assign it to the appropriate set of inputs You can remove any bus by simply selecting it and clicking the Remove button To customize the names of your buses double click on the default name to open a text box When you have finished typing hit Enter Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 10 11 SEN Ee m EE 12 PreSonus FireStudio mx 41 2 3 4 5 Main Out 1 E t R Add Mono I Acc Stereo Make Default IET T Main Out 14 7 5 5 Creating Audio Tracks Add Tracks 2 Mame Count 4 Format Mono Preset No Preset Color E Auto Color lt aa 13 Studio One Artist Quick Start 7 5 If you would like the same inputs to be available every time you launch Studio One Artist click the Make Default button Click on the Outputs tab and you will se
154. hannel to the processor allowing you to create an effects mix Let s say that you are using a L 149 8 Tutorials PreSonus StudioLive 16 0 2 8 4 Aux Bus Mixing reverb to liven up a relatively dead room You might send a little bit of each input to the reverb but you probably will not want much of the drums and bass to be processed as too much reverb could reduce their impact and leave your mix without a sturdy foundation So rather than turning the aux send level for the kick drum channel all the way up turn it so that the meter reads between 20 30 saturation This way only a small portion of the kick drum input will be affected by the reverb Once you have determined your effects mix you can press the Select button for the effect bus FXA or FXB to add Fat Channel dynamics processing and EQ to the reverb enhanced signal The knobs for FXA and FXB controls the level of the aux mix relative to the level of your main mix BEEE remet m n Ln Cf femur e Z ev cn EL 150 Owner s 8 5 8 5 1 Manisa vianulla Digital Effects Reverb Tutorials 8 Nin it m rcc 1 2l r1 A U L a Lis The StudioLive includes two stereo effects processors that feature the two most common type of effects is use for live sound reverb and delay Reverberation or reverb as it is more commonly known is perhaps the most widely used effect Natural reverb is created by sound waves reflecting of
155. he FireWire bus is post EQ and post dynamics processing the button will illuminate to indicate this signal flow When the button is disabled the signal being sent to the FireWire bus is pre Fat Channel Y The Dig Out button is only available when one of the channel inputs is selected The Main output and Aux bus automatically send their signals post Fat Channel dynamics and EQ All FireWire sends are pre fader except for the Aux and Main outputs For more information on using Jj your StudioLive as an audio interface please consult Section 6 4 1 6 Copying Loading and Storing Fat Channel Settings am e E cate um Nn Every setting in the Fat Channel can be copied from one channel to another and can be saved and stored as a user preset that you can recall later Press the Copy button to copy the settings on the selected channel or bus Every Select button on the StudioLive except the button for the currently selected channel will begin to flash The Select button for the selected channel will not illuminate You can copy a Fat Channel setting from any channel or bus to any combination of channels and buses The Load button will also start to flash Load To paste the current channel s Fat Channel setting to another channel or ES bus simply press that channel s Select button It will stop flashing and will illuminate After you have selected every channel to which you want the settings pasted press the
156. he Multimode button on your kick drum mic channel Notice that all the other channels on your StudioLive have been muted Bring up the fader on the kick drum channel and press the channel s Select button The Fat Channel will display the dynamics processing EQ output routing and pan settings for the kick drum Using the encoders and meters in the Fat Channel set up the compressor and EQ for this channel Once you are satisfied press the Solo button again Next press the Multimode button on the snare mic channel and repeat this procedure In this way continue with each drum mic and then move on to the other instruments that are connected to your StudioLive When you have finished with all the instruments lower the main fader press the SIP button again and slowly bring up your main fader to set up your mix Level Setting p cS m N c e 4 je lt D lt a gt 2 Overview PreSonus StudioLive 16 0 2 2 1 Introduction 2 1 Introduction STUDIOLIVE 16 0 2 Jigital P rma and Recording Mixer N OA x 7 dol 3 Wh PreSonus rt i Une 1 2 3 4 5 6 7 8 112 13 4 15 16 j j E Digital Effects Maste tro Freq Gate Comp Ratio Response Gain Freq Gain n Gain Freq Gain A n Tv MO ui 0 un n ws 5 m 5 i E AL rn 4 4 x1 Seth n 3 25 H E 2 Br ll LH J n n L 14 i E mmu 17 Lae
157. he internal effects assigned to FXA and FXB Assigns All output and bus routing Stereo Linking FireWire returns to inputs Solo and Monitor bus assignments FXA and FXB assignments and Master Control Monitor and Solo Bus assignments EQ and Dyn Fat Channel panning phase dynamics processing Noise Gate Compressor EQ and Limiter and High Pass Filter parameters for every channel and bus Aux Mix All aux mixes analog Aux Mixes 1 4 FXA and FXB FXA B to Mains FXA B to Aux 1 4 and Pre1 Pre2 positions Faders All fader positions Pots All digital knob positions FXA and FXB Levels Solo Bus Output Phones and Monitor knobs GEQ Graphic EQ settings If you enable fader positions as a part of a Scene recall when you press the Recall button the StudioLive will automatically put the meters in Fader Locate mode The Fader Locate button will illuminate and the meter section of the Fat Channel will display the recalled fader position To recall the stored position move the faders up or down until only the center LED is illuminated in each meter To recall the Aux and Main bus faders simply move one of them The Fat Channel meters will display the recalled positions using the same meters on which each output is monitored As long as you remain in Fader Locate mode the faders on your StudioLive will not be active The level of the audio passing through them will be set according to the stored fader position not the current locat
158. he listener Attenuating around 5 kHz will make the mix sound further away but also more transparent Brilliance 6 kHz to 16 kHz While this range controls the brilliance and clarity of your mix boosting it too much can cause some clipping so keep an eye on your main meter 8 3 2 Equalization Settings How to Find the Best and Leave the Rest Additional advice How do you find the best and worst each instrument has to offer and adjust their frequency content accordingly Here s a quick guide e First solo just the instrument with which you are working Most engineers start building their mix with the drums and work from the bottom up kick snare toms hi hat overheads Each instrument resonates primarily in a specific frequency band so if you are working on your kick drum mic start with the lowest band of the EQ Tune in the best sounding low end and move on to the attack It is not uncommon to hear an annoying ringing or a twang mixed in with your amazing sounding low end and perfect attack so your next task will be to find that offending frequency and notch it out Once you are satisfied with your kick drum mute it and move on to the next instrument e Taking your time with equalization is well worth the effort Your mix will have better separation and more clarity e You can only do so much Not every instrument can or should have a full rich low end and a sharp attack If every instrument is EQ d to have the same effect
159. he operation instructions Repairs must be performed by qualified service personnel 1 Readthese instructions Keep these instructions Heed all warnings Follow all instructions 2 3 4 5 Do not use this apparatus near water 6 Clean only with dry a cloth 7 Do not block any ventilation openings Install in accordance with the manufacturer s instructions 8 Do not install near any heat sources such as radiators heat registers Stoves or other apparatus including amplifiers that produce heat 9 Donot defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade and the third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Use only attachments accessories specified by PreSonus 12 Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with this apparatus When a cart is used AN use caution when moving the cart apparatus combination to avoid injury from tip over 3 13 Unplug this apparatus during lightning storms or when unused for long periods of time in
160. he preset name Turn the Value Encoder clockwise or counter clockwise to change the letter The StudioLive allows you to customize the name with uppercase and z lowercase letters as well as a selection of numerals and punctuation marks 3 You can insert a space by simply pressing the Tap button Once you are satisfied with your changes press the Store button It will illuminate while the Channel preset is being written to the StudioLive s internal memory Once E the Channel preset is saved the Store button will return to its unlit state 42 Owner s Manual Scenes Presets System Menu and MIDI Control 5 Saving and Loading Channel Presets 5 2 5 2 Channel Presets Library Your StudioLive comes with 50 Fat Channel presets custom designed by professional PreSonus users These presets can be altered renamed and overwritten however there are 49 additional empty storage locations r where you can build your custom library of channel strip settings 01 DRM Kick 1 34 KEY Vibes 67 EMPTY LOCATION V 02 DRM Kick 2 35 HRN Trumpet 68 EMPTY LOCATION 03 DRM Kick Funk 1 36 HRN Trombone 69 EMPTY LOCATION 04 DRM Kick Funk 2 37 HRN Sax 70 EMPTY LOCATION 05 DRM Kick Hip Hop 38 HRN Sax Solo 71 EMPTY LOCATION a 06 DRM Kick Jazz 39 PRC Congas 72 EMPTY LOCATION p 07 DRM Snare 1 40 PRC Bongos 73 EMPTY LOCATION 08 DRM Fat Snare 41 PRC Cowbell 74 EMPTY LOCATION 09 DRM Snare Crackalak
161. he value encoder You can choose any channel from 1 to 16 Once you have assigned different MIDI channels for FXA FXB and Scene Recall you simply need to send a Program Change message on one of those channels using your external MIDI controller 5 5 2 Using Control Change Messages to Control Volume and FX Assignments The other type of MIDI message your StudioLive 16 0 2 uses is the Control Change CC message A MIDI Control Change message can be used for many things including Volume Pan Sustain On Off and Modulation Your StudioLive uses CC messages to control Main and FX Output Volume and FX Assign Unassign to Mains Although the MIDI Detailed Specification assigns particular controls to specified CC message numbers you can use any CC message number for these parameters To begin navigate to page 5 of the System Menu and use the value encoder to assign a unique MIDI channel on which to transmit CC messages to your StudioLive Use the Next and Prev buttons to navigate to the FXA FXB and Main Output Level fields and set the Control Change message number you wish to use to control the output volume for each bus You can choose any number from 0 to 127 Next navigate to the Mute Effects fields and choose a CC message number to assign unassign FXA and FXB to the Main bus When you are finished each parameter on this page should have a different CC message number next to it With this accomplished you simply need to send one of th
162. 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 141 BEEE remet m n Ln Cf k 5 a nN Esco 8 Tutorials 8 3 Equalizers Shelving EQ Graphic EQ 142 PreSonus StudioLive 16 0 2 A broad bandwidth accentuates or attenuates a larger band of frequencies The broad and narrow bandwidths high and low Q are usually used in conjunction with one another to achieve the desired effect Let s look at our kick drum again We have a kick drum that has a great big low end sound centered around 100 Hz and an attack hitting almost dead on at 4 kHz In this example you would use a broad bandwidth in the low frequency band centered at 100 Hz and a narrow bandwidth boosted at 4 kHz In this way you are accentuating the best and downplaying everything else this particular kick drum has to offer A shelving EQ attenuates or boost frequencies above or below a specified cutoff frequency Shelving equalizers come in two different varieties high and low In practice you can think of these types of EOs like the treble and bass controls on your car stereo Just like the bass control a low shelf filter will raise or lower the gain on all frequencies below the specified cutoff frequency A high shelf filter will do the opposite and raise or lower the gai
163. hold 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 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 137 o 5 BEEE remet m n Ln Cf E femur e Z ev NM EL 8 8 2 138 PreSonus StudioLive 16 0 2 A Brief Tutorial on Dynamics Processing 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
164. ically you will notice the Store button flash once indicating that the current settings on your StudioLive have been saved to internal memory The StudioLive will take a snapshot of the current position of every parameter on the mixer whenever no changes have been made for ten seconds If you wish to ensure that your StudioLive will hold its current settings J before you power down simply wait for a few seconds until the Store button N flashes This is your indication that it is now safe to turn off your StudioLive The next time you turn it on all of your settings will be recalled automatically Please note If you make changes to a stored Scene AutoStore will not save these changes J as a permanent part of the Scene Any changes made to a Scene in the StudioLive s library must be saved using the Scene menu as described in the first part of this section 5 2 Saving and Loading Channel Presets i The StudioLive comes with a suite of channel strip presets created by professional users of PreSonus products These presets provide a great jumping off point to create a mix quickly and easily The StudioLive also allows you to create your own library of presets To load a preset to any channel on the StudioLive first press the Select button for the Load desired channel From the Fat Channel press the Load button You will notice that LCD now displays the Channel Preset Load menu 043u0 QIW pue The Ch
165. ics EQ and fader settings for each channel Enter Solo In Place SIP Owner s Manual Tutorials 8 The Solo Bus 8 7 As discussed earlier in Section 8 7 most engineers start with the drums and work from the bottom up 1 To begin bring all your faders down and raise your main fader to unity gain Press and hold the SIP button in the Cue section until it illuminates and press the Solo button on your kick drum mic channel Notice that all the other channels on your StudioLive have been muted Bring up the fader on the kick drum channel and press the channel s Select button The Fat Channel will display the dynamics processing EQ output routing and pan settings for the kick drum Using the encoders and meters in the Fat Channel set up the compressor and EQ for this channel Once you are satisfied press the Solo button again Next press the Solo button on the snare mic channel and repeat this procedure In this way continue with each drum mic and then move on to the other instruments that are connected to your StudioLive When you have finished with all the instruments press the SIP button again and slowly bring up your main fader to set up your mix 155 Mna cS T d em HAJ ES een Js JL tl 5 a 3 c at e 5 jed1UY da Ej 9 Technical Information 9 1 Specifications PreSonus StudioLive 16 0 2 9 0 Technical Information
166. ined Melody ij Chow Chow Q Coffee Filter g Computer Talk gg Dancer is a Rhythm 1 gy Dancer is a Rhythm 2 Ether Waves Q Filter Pad gg Filtricant 3 Groinky Q Groovariation Q Out of Rhythm gg Pad Hacking 1 qd Pad Hacking 2 re Birds in Trees Plug In Autofilter J Modified 28 1 2010 16 26 04 Created by Ari ev foe WN et e a g gt gt ct can pun ginjde 310ulay JS 013U0 eSJ9AlUf 3JeM1JOS Luna Effects ie Til MM Ne 0001 01 01 000 A 4 4 120 00 0001 01 01 000 Metronome Timesig Tempo 124 Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Studio One Artist Quick Start 7 5 Drag and Drop Audio and MIDI Files e My First Song MEN Audio and MIDI files can be quickly located E Y le auditioned and imported into your Song by dragging T EDAX them from the file browser into the Arrange view If a Aeon you drag the file to an empty space a new track will 4 ju 140bpm b en Nn e created with that file placed at the position to gt e Dance Drums 003 140bpm wav ij Dance Drums 004 t40bpm wav which you dragged it If you drag the file to an existing B 8 01 01 000 cd Dance Drums 005 140bpm wav dl Dance Drums 006 140bpm wav track the file will be placed as a new part on the track e Dance Drums 007 140bpm wav ijj Dan
167. interference that may cause undesired operation Note No product support is available when you call the number above Refer to your Certificate of Warranty in your User Manual for PreSonus Technical Support telephone number As PreSonus Baton Rouge USA www presonus com 168 QCQnarmmare Manira Owner S iVianuai Added bonus PreSonus previously Top Secret recipe for Jambalaya Ingredients e 5 bslink andouille sausage e 3 Ibs boneless chicken e 2 Ibs ground beef e 3 bs onions yellow or purple e 2 stalks of celery e 1 lb bell peppers green or red e 1 batch green onions e 3 lbs rice e Tony Chachere s Cajun Seasoning e 1 bottle chicken stock concentrate or 3 cubes chicken bullion e 1 can Rotel tomatoes with chilies diced regular hot e Tabasco sauce Cooking Instructions 1 Ina 16 qt pot or larger slice link sausage and pan fry until brown 2 Add ground beef and brown 3 Donotremove from pot Add diced onions celery and bell peppers 1 can Rotel Original diced tomatoes w chilies 3 oz concentrate chicken stock 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
168. inuous multitrack recording This involves record enabling Audio Tracks in Capture triggering recording and continuing to record until the a performance is done The following describes aspects of the live recording workflow using the StudioLive mixer and Capture NN StudioLive Mixing and Recording a Live Performance c The StudioLive mixer is capable of mixing your live show with stunning flexibility and ease while Capture records the show to your computer This is possible because each input channel on the StudioLive mixer Su has a hardwired output that continuously streams audio over FireWire a to your computer and Capture is designed to record this stream Once the StudioLive mixer has been set up to mix a live performance you will need to decide individually for each StudioLive channel whether to S add pre or post Fat Channel dynamics processing and EO to the signal AN before it is sent to the computer To switch between pre post processing press the Post button Dig Out subsection in the Fat Channel section for each input channel on the StudioLive mixer If the Post button is illuminated the channel s signal will be sent to your computer after it is processed in the Fat Channel if the Post button is not illuminated the signal will be sent without Fat Channel EO and dynamics processing After setting the input channels on the StudioLive mixer for pre post processing the next step is to launch Capture and create a new Session 4 Once
169. ion of the physical fader Once you have recalled each of the faders to their Scene location press the Locate button again This will take you out of Fader Locate mode and reactivate your faders so that they control the level of their channels and buses If you enable knob positions as a part of your Scene recall all of the digital knobs FXA and FXB levels Solo bus output Phones and Monitor will remain at their stored position until they are moved manually Once a knob is turned its value will jump to the value of its current physical position Therefore if you intend to save a Scene and recall it later with knob position recalling enabled it is highly recommended that you use the recall sheet provided in the back of this manual to note the stored position of these controls It is important to note that the recalling groups have no effect on what parameters are stored with a Scene All storable parameters are saved with a Scene regardless of what recalling groups are enabled 41 and MIDI Control c a 5 gt w N a N v d lt P n w A eu LS ua eB a 5 Ww NY 5 Scenes Presets System Menu and MIDI Control PreSonus StudioLive 16 0 2 5 2 Saving and Loading Channel Presets A Quick Note About the AutoStore Feature It is not necessary to create a Scene in order to preserve the StudioLive s settings when you power it down Period
170. is tool appears click and drag left or right to size the event Audio Events can be sized and resized nondestructively any number of times The pictures above illustrate an Audio Event before and after it is sized Select Multiple Audio Events Multiple Audio Events can be selected at once in order to edit them all at once with a single action To select multiple Audio Events with the Arrow Tool do one of the following e Click outside of the range of an Audio Event and then drag over any other events a gray box will be drawn while you drag over the targeted selection area Release the click once the box is drawn over all of the events you wish to select and these events will now all be selected and can be edited at once e Click on any event and then while holding Ctrl Cmd on the keyboard click on any other event s to select them This allows you to select multiple events that are not close in proximity to each other All selected events can now be edited at once Range Tool The Range Tool is used to select a range or area within Audio Events Click on the Range Tool button or press NumPad 3 on the keyboard to select the Range Tool To select a range within events using the Range Tool click and drag over the area to be selected a gray box will be drawn over the targeted selection area Release the click once you ve drawn the box over the range of the events you wish to select The range of the events you have selec
171. ist installation DVD a e Unlimited track count inserts and sends EE e 20 high quality native plug ins amp modeling Ampire delay Analog Delay Beat Delay distortions Redlight Dist dynamics processing Channel Strip Compressor Gate Expander Limiter Tricomp equalizer Channel Strip Pro EQ modulation Autofilter Chorus Flange Phaser X Trem reverb MixVerb Room Reverb and utility Binaural Pan Mixtool Phase Meter Spectrum Meter Tuner e OverA GB of loops samples and instruments featuring Presence Jj virtual sample player Impact virtual drum machine SampleOne virtual sampler Mojito virtual analog modeled subtractive synthesizer e Innovative and intuitive MIDI mapping e Powerful drag and drop functionality for faster workflow d e MacOS X and Windows compatible N 2 Owner s Manual Overview 2 Summary of Virtual StudioLive Software Features 2 5 2 5 Summary of Virtual StudioLive Software Features The Virtual StudioLive application is completely integrated with your StudioLive 16 0 2 VSL is a highly advanced editor librarian and control panel Because of the continuous bidirectional communication between your StudioLive and VSL whatever you do on the StudioLive s control surface will be reflected in VSL and vice versa den p D gt em e Easy drag and drop workflow e Drag presets directly to channels 7 e Drag pa
172. it helps the left hand to be heard along with the right hand Threshold Ratio Attack Release 10 8 dB 112 ms Synth The fast attack and release on this setting can be used for synthesizer horn stabs or for bass lines played on a synthesizer Threshold Ratio Attack Release 11 9 dB 0 002 ms 85 ms Orchestral Use this setting for string pads and other types of synthesized orchestra parts It will decrease the overall dynamic range for easier placement in the mix Threshold Ratio Attack Release 3 3 dB 2 5 50 ms Stereo Limiter Just as the name implies this is a hard limiter or brick wall setting ideal for controlling the level to a two track mixdown deck or stereo output Threshold 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 0 001 ms DWAR Ar C n A i EH S VV I ICI gt Vid I u ca 8 3 Equalizers Tutorials 8 CArinaliganr caua IZers The StudioLiv
173. it will lose its identity in the mix Your goal is not individual perfection it is perfection in unity e Step away from the mix Your ears get fatigued just like the rest of you If you are working particularly hard on one instrument your ears will be quite literally numbed to that frequency range e Your memory is not what you think it is Comparing a flat EQ and the curve that you ve created allows you to see and hear exactly what you ve done So be honest with yourself Sometimes that EQ setting you ve been working on for 15 minutes is not the right choice so move on 143 PCs M cJ s ee n Js Jee tl e Never be afraid of taking a risk The best EO tricks were found by mad scientists of sound With every instrument there are frequencies that can be attenuated or boosted to add clarity or fullness Altering the wrong frequencies can make an instrument shrill muddy or just downright annoying The following two charts suggest frequency ranges that should be accentuated or downplayed for the most common instruments These are just suggestions the frequencies may need to be adjusted up or down depending on the instrument room and microphone Table 1 Instrument What to Cut Why to Cut What to Boost Why to Boost eokeansbeiow Poporars 120 Hz and below Muddy 400 600 Hz Lush and full 144 Owner s Manual Tutorials 8 Equalizers 8 3 Table 2 mare
174. iting applications e g digital audio workstations or DAWs do not support the Open TL format which makes the options somewhat limited when importing sessions created in other programs In this case you must manually import the Audio Events from your Capture Session into the audio editing application using whatever means possible in that program Refer to the documentation of your software for more information on this process Note that in some cases you may have more than one Audio Event on a given track as opposed to a single continuous Audio Event or you might have audio events that do not have the same start position In either case it is highly recommended that you first export the audio for each track before attempting to import into an audio editing program as described in the Export Audio Files section of this section Be sure to have the Export Session option selected in the Export Audio File menu as shown so that the result of the process will be a single continuous audio file for each track in the session Once you have a single continuous audio file for each track directly importing the files into an audio editor is much easier All that is required to reconstruct your Capture Session is to align each file at the same start time 7 4 10 Capture Key Commands Kycmmads 1 me S A ee j gt owe e CORNER RR i
175. k cursor position to the beginning of the Session J by clicking the Back to Beginning button in the Transport S 5 Activate recording by clicking on the Record button in the Transport the playback cursor should begin to move from left to right and audio should be playing through each input on the StudioLive mixer m The Auxiliary Stereo Track in Capture should be recording a new Audio Event which is the main mix from the StudioLive mixer The new Audio Event that has been recorded from the StudioLive mixer will be stored as a stereo WAV file at the sample rate to which the StudioLive mixer is set Importing Audio Files Lu x mport Files It is possible to import WAV and AIFF audio files into Y coo eens your Session To import an audio file select Import _ New Session b i Audio Files RED LEAV 1 16 wav i New Session E Cache NDUA 2 7 Audio File from the Session menu to open the Import donee File menu Browse to the desired file and click on it to z nO UA ce Lm select it Then click on Open to import the file into RED LEAV Idam your Session RED LEAV _2 21 0av S A F RED LEAV 3 22 wav An Audio Event for the imported file will be created vL LI and placed on the currently selected track in your zz RED LEAVES_ ET1 16 j Session at the current Playback Cursor position oe 45 1 HE 100A Mono 29 7 2010 15 38 06 CO m ES S Cancel Preview Player E a l m a E RED LEAVES ET1 16 Using the Preview Player you can audition a
176. k on the Eraser Tool button or press NumPad 5 on the keyboard to select the Eraser Tool e Todelete any event using the Eraser Tool simply click on the event The Eraser Tool is unaffected by the current selection and will only affect the event that is directly clicked on As with most other software applications Capture supports basic Cut Copy and Paste actions Once a selection of events or a range of events has been made these actions can be performed as follows Cut Press Ctrl Cmd X on the keyboard to cut the current selection Copy Press Ctrl Cmd C on the keyboard to copy the current selection Paste Once a selection is cut or copied press Ctrl Cmd V on the keyboard to paste the selection The selection will be pasted to the current Playback Cursor position or to the beginning of the track from which the selection originated if the Playback Cursor is not currently set anywhere Power User Tip Listen While Editing In audio production the editing process can be particularly unforgiving Small inaccuracies when splitting moving or performing other actions on recorded audio can lead to unwanted results As simple as it may seem the act of listening while editing is often overlooked For instance when sizing the edges of a vocal part to remove unwanted sounds between words it is tempting to make the edits based on the visual representation of the waveform While this may work sometimes it is a much better ide
177. lay the left and right side respectively of the Main bus Gain Reduction Turns Gain Reduction Metering On and Off Metering Button Displays the gain reduction of the input bus Meters have a one to one relationship with channels that is Meter 1 shows the gain reduction of Channel 1 and so on Fader Locate Button Turns Fader Recall Metering On and Off Displays the fader position of the stored Scene When recalling a fader position Faders adjust the fader until only the center LED is visible in its meter To recall the stored position of an Aux or Main fader simply move the fader The meters will instantly flip to display the stored position of each of the output faders The same meters that display the outputs are used for locate Power User Tip Fader Locate mode can be enabled at any time to recall the stored fader position If you ve made multiple changes after a Scene recall you can always recall your stored fader position by simply engaging Fader Locate 4 3 Input Channel Strip The StudioLive is equipped with all of the standard input controls of an analog mixer In addition the StudioLive provides the added flexibility of routing a playback stream from your audio recording software to the mixer via the FireWire bus just as if it were an analog input This lets you incorporate digital audio tracks into the main mix as well as inserting plug in effects and software instruments from your audio program 4 3 1 Input Cha
178. led as well as which MIDI Control Change messages will be used Program Change Chit a Scene 1 FxH 1 Fee 1 and MIDI Control The next section Section 5 5 goes through MIDI Control Mode in greater detail LS w gt w p ue a N v d w e w pu ao LS ue w w rw NY Lockout Mode ou stem Pag Lockable Faders Your StudioLive features a Lockout mode that Master allows you to create a password and lock the Aus Mines ves controls This is especially useful in situations C scene Recall No where several people will be running sound but Status Unlocked only one or two are knowledgeable enough to set up dynamics processing and the like Right out of the box the StudioLive cannot be locked so don t worry about hitting the wrong button To enable the Lockout feature you must first connect and sync your StudioLive to a computer Please review Section 7 2 6 for more information on this feature Firmware Version Press the Page Down button to view the firmware m version currently loaded on your StudioLive You Firmware Versions 1 8 normally will only view this screen when performing a system update in order to confirm that the new firmware was successfully loaded f n di amp 47 5 Scenes Presets System Menu and MIDI Control PreSonus StudioLive 16 0 2 5 5 Using MIDI Control Mode to Remote Control StudioLive
179. line Activating Studio One Artist Online Activate Studio One e EN Online Activation Please enter username and password of your PreSonus Account and the Product Key of the Studio One version you purchased Username Product Key VFHD 12KJ F JEKD 8F J3 JFK3 92JV Remember my credentials have purchased an upgrade of Studio One 114 To Install Studio One Artist insert your Studio One Artist installation DVD into your computer s DVD drive Windows Users Launch the Studio One Artist installer and follow the onscreen instructions Mac Users Drag the Studio One Artist application into the Applications folder on your Macintosh HD After installing Studio One Artist launch the program and the Activate Studio One menu will appear If you are a new Studio One user you will need to create a user account Follow the Create Account link if your computer is connected to the Internet Once you have created your account continue activating Studio One Artist online If your computer is not connected to the Internet visit the Studio One product page at www presonus com on an Internet connected computer to create your account After you have created your account skip to Activating Studio One Artist Offline Now that you have created a user account you can activate your copy of Studio One Artist Launch Studio One Artist and the Activate Studio One menu will appear Click on the Activate Online link and ente
180. ly ribbon mics We recommend that you consult the documentation that came with your microphone to confirm that it is safe to use with phantom power before connecting a dynamic microphone to the Talkback input Talkback Mic Trim This is the trim control for your talkback microphone It adjusts the gain of the talkback input O E Mono Mono Output This balanced output carries a mono summed version of Output E 5 the stereo signal from the main bus Mono Output Trim This knob controls the maximum zi level of the Mono Output signal The signal can be mE attenuated to 80 dB and boosted up to 6 dB ZN IZN Main Output The StudioLive features both XLR and TRS main outputs These outputs are parallel to each other and to the mono output SF SF Right Left Power User Tip All the main outputs XLR Stereo TRS Stereo and XLR Main Output Mono of the StudioLive are active all the time Because of this you can send your main mix to five speakers at the same time This can Output pE pu be especially useful when you need to send a mix to another room or E b fi add another set of speakers to accommodate a larger venue UN Main Output Trim This knob controls the maximum output level of the XLR and TRS main outputs The signal can be attenuated to 40 dB and boosted up to 0 dB ud E g S ZN ZN Monitor Output These are the balanced control room outputs The level is controlled by the Monitor kn
181. 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 q it to punch through without having to crank the level way up A vocal performance usually has a wide dynamic range Transients normally the loudest portions of the signal can be far outside the average level of the vocal signal Because the level can change continuously and dramatically it is extremely difficult to ride the level with a console fader A compressor limiter automatically controls gain without altering the subtleties of the performance A solo guitar can seem to be masked by the rhythm guitars Compression can make your lead soar above the track without shoving the fader through the roof Bass guitar can be difficult to record A consistent level with good attack C C 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
182. ment off and on the user is encouraged to try to correct the interference by one or more of the following measures e Reorient or relocate the receiving antenna e Increase the separation between the equipment and the receiver e Connect the equipment into an outlet on a circuit different from that to which the receiver is connected e Consult the dealer or an experienced radio TV technician for help CAUTION Changes or modifications to this device not expressly approved by PreSonus Audio Electronics could void the user s authority to operate the equipment under FCC rules This apparatus does not exceed the Class A Class B whichever is applicable limits for radio noise emissions from digital apparatus as set out in the radio interference regulations of the Canadian Department of Communications ATTENTION Le pr sent appareil num rique n met pas de bruits radio lectriques d passant las limites applicables aux appareils num riques de class A de class B selon le cas prescrites dans le r glement sur le brouillage radio lectrique dict par les ministere des communications du Canada A PreSonus 7257 Florida Boulevard Baton Rouge Louisiana 70806 USA 1 225 216 7887 WWW presonus com Partt 820 SL0002 B
183. n your StudioLive as easy as dragging and dropping a file To load your StudioLive with new Scenes and presets simply drag any Scene or preset from the On the Disk section of the Browser to any position in the Device Memory section of the Browser Universal Control i Overwrite selected preset A dialog will open asking you to verify that you would like to overwrite the Scene or preset at the new position This will not immediately overwrite what is stored internally on your StudioLive it will merely overwrite what is stored in the VSL cache memory Once you have organized the files you wish to transfer to your StudioLive press the Send button When the transfer is complete you can disconnect your StudioLive from your computer and take your chosen Scenes and presets with you Add New Button Creates a New Scene or Preset In the On the Disk and Device Memory sections of the Browser you will see the Add New button Clicking this button will immediately create a new Scene or preset If you want this new preset to be temporarily stored in VSL and immediately sent to the StudioLive s internal memory add the new preset in the Device Memory section If you would prefer to have this new preset stored in permanent memory on your computer use the Add New button in the On the Disk section In either case the new preset can be sent to your StudioLive at any time Remove Button Deletes a Stored Scene or Preset In th
184. n on all frequencies above the specified cut off frequency just like the treble control In this way Shelving EOs can be used to make big changes to the sound very quickly by adding or removing an entire range of frequencies at once The StudioLive 16 0 2 features a stereo 31 band graphic EQs that can be inserted on the main bus See Section 5 3 for details 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 As explained in Section 5 3 the encoders in the Fat Channel are used to make amplitude adjustments and the meter LEDs display the slider positions The center frequency and bandwidth are fixed the level amplitude for each band is the only adjustable parameter Graphic EOs are generally used to fine tune the overall mix for a particular room For instance if you are mixing in a dead room you may want to boost high frequencies 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 characteri
185. n the hours of 9 a m and 5 p m Central Time PreSonus technical support is available via email during the same hours at techsupport presonus com Pops and Clicks Pops and clicks in your audio could be caused by momentary losses of synchronization between the StudioLive and its clock source This can be due to a FireWire card that is not suited for FireWire audio devices or to a lack of CPU resources or available memory Try closing all unnecessary programs increasing the buffer size in the Universal Control console and optimizing your operating system for audio Other known causes of this issue are wireless networks and running other FireWire devices FireWire 400 or FireWire 800 in parallel to your StudioLive Because of this it is recommended that PC users disable their wireless network from their System Control Panel and Mac users turn AirPort off while the StudioLive is connected to their computer If disabling the wireless network on your computer s built in wireless card resolves the issue we recommended that you purchase an external USB wireless adapter and use this to create a wireless network instead If other FireWire devices such as external hard drives need to be connected to your computer at the same time connect them to the auxiliary FireWire port on the back of your StudioLive or install a dedicate FireWire bus on your computer for either the StudioLive or your FireWire peripherals
186. nes The XMAX preamplifier has a Class A input buffer followed by a dual servo gain stage This arrangement results in ultra low noise and wide gain control allowing you to boost signals without increasing unwanted background noise Mic 2 48 volt Phantom Power The StudioLive provides 48V phantom power for the 48V microphone input on each channel This feature can be individually enabled for each channel using buttons on the top panel WARNING Phantom power is only required for condenser microphones and can severely damage dynamic mics especially ribbon mics Therefore switch v phantom power off for all channels where it is not required XLR connector wiring for phantom power Pin 1 GND Pin 2 48V Pin 3 48V Line level Input Each channel of the StudioLive has a 1 4 inch balanced TRS d 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 Please note As with any mixer plugging in a microphone or a line level input device or turning phantom power on or off will create a momentary spike in the audio output of your StudioLive Because of this it is highly recommended that you mute or turn down the channel trim before changing connections or turning phantom power on or off This simple step will add y
187. ng another button in the Meter section or any Select button on the StudioLive or a Mix or Mix Pan button in the Aux section It is important to mention that the meters simply overlay the selected Fat Channel state For instance if you have Channel 8 selected and then press the Input EE button in the Meter section the knobs and buttons in the Fat Channel section will still be active and any changes made will be applied but the changes will not be displayed in the Meter section The advantage of this is that you can make adjustments in the Fat Channel press a Meter button and monitor your entire mix then press the same button to return to setting up your Fat Channel selection Input Metering Turns PFL Input Metering On and Off d Button Switches the meters to display the pre dynamics pre fader level of the input bus Input Meters are one to one Meter 1 shows the level of Channel 1 etc z m 23 S am e 2 ak EL io 4 Controls PreSonus StudioLive 16 0 2 4 3 Input Channel Strip Turns PFL Output Metering On and Off Output Metering Button Switches the meters to display the post dynamics post fader level of the Aux and Main buses Only the last six meters are used Meter 7 displays Aux 1 output Meter 8 displays Aux 2 output Meter 9 10 displays Aux 3 output Meter 11 12 displays Aux 4 output and Meters 13 14 and 15 16 disp
188. nnel Controls Trim Control Adjusts the Input Gain Level The Trim control adjusts the gain of the channel s analog input It is very important to properly adjust this control in order to minimize noise and avoid overload distortion Follow the Quick Start level setting instructions on page 5 before operating a channel 20715 654 39 Mic Line 24 Owner s Manual Phantom Power Button Input Channel Select Button Input Channel MultiMode Button Channel Fader Controls 4 Input Channel Strip 4 3 Turns Phantom Power On Off The StudioLive is equipped with individual phantom power for every microphone input As previously described in Section 4 1 3 the 48V button is accessible via the Fat Channel when an input channel is selected It will illuminate when phantom power is activated For more information on phantom power and the microphones that require it please review Section 8 1 Enables Fat Channel Processing and Routing As previously described in Section 4 1 1 the Select button routes its channel through the Fat Channel allowing you to add dynamics processing EQ and panning and more Engages FireWire Return Solo and Mute 7 This buttons function is determined by the MultiMode Control Switches Depending on which mode is engaged this button will function as the FireWire Return Solo or Mute button for its input channel For more information on the MultiMode Buttons and their functions please
189. nternal Operation Mode Safe Mode 1 Normal wv Safe Mode 1 Safe Mode 2 Safe Mode 3 Changes StudioLive Sample Rate Set the sample rate to 44 1 or 48 kHz from the Launcher window when your StudioLive is connected to a computer A higher sample rate will increase the fidelity of the recording It will also increase the file size and the amount Of system resources necessary to process the audio To ensure the safety of the audio equipment connected to it the StudioLive will mute all post converter outputs for two seconds when the sample rate is changed or when the mixer is connecting to a computer This includes the main and the control room outputs as well as the Aux and Subgroup outputs While this offers a good measure of protection to your sound system it could put the brakes on a live show Because of this it very important that the sample rate be selected and locked in prior to beginning any recording or performance Changes the Clock Source for Chained FireStudio family Devices The StudioLive cannot slave to an external clock However if you are cascading it with FireStudio family products that do feature digital inputs the clock source becomes selectable The clock source setting will determine where the device chain is receiving word clock information This keeps the chained devices in sync with other digital devices and with each other The menu options are determined by the available digital inputs in th
190. nu on the automation track B cott ctv 12 Using your Pencil tool draw an automation curve ELEME ee B Consol ad 1 midolo Mica 13 Press Play to hear Studio One control the main output level of your StudioLive 127 EXE SEES Oo bee CP c eA Ez Tex cO occ T S v _ O wo aud 9o EH E e ien a C 170 Zna S DE ae q oO N ginjde 340W JS 041U0 PSIBAIUL IEMIJOS fev os 92 e t a a gt gt E e n r 7 7 5 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 Studio One Artist Quick Start You can use the same steps to create volume curve automation for FXA and FXB output levels on your StudioLive mixer Just be sure to select the right Control Change number from the parameter pull down menu on the automation track in Studio One Assigning Unassigning FXA and FXB to the Main Bus 128 Follow Steps 1 7 to control FXA FXB and Main Output levels 1 Scroll through the MIDI Control Change list until you find Sustain Pedal On Off CC 64 and Sustenuto Pedal On Off CC 66 Unlike volume control the mute controls require On Off messages therefore we recommend using these two Control Change numbers when controlling the StudioLive 16 0 2 with Studio One Artist 2 Select each control and click Add 3 Click Close
191. o section This feature can also be used to listen in on a monitor mix that is being routed to an aux send Let s say your vocalist on stage is complaining that there is too much bass in his monitor but you are confident that no bass is being sent to that particular aux send You could be mistaken but most likely an open microphone on stage is picking up the bass signal To determine the cause solo only the aux send in question and again select the Solo button for the monitors headphones You can now listen to exactly the same mix as your troubled vocalist and fix his monitor mix quickly This application is also useful in heading off a feedback problem Destructive Soloing Destructive Soloing or Solo in Place SIP is a great way to tune each channel s dynamics individually in live mix situations or do some surgical editing in the studio SIP mode mutes every Channel and Bus that is not soloed in the main bus that is if Channel 3 is soloed you will only hear Channel 3 in your Mains This makes a great fine tuning tool but it can quickly destroy a live mix We highly recommend that you drop out of this mode once the show has started Using Solo in Place SIP to Set Up a Mix In Section 8 7 we discussed a quick and easy way to set up the input levels for your StudioLive ensuring that you have the highest possible input level without clipping your analog to digital converters The next step is to set up your mix by dialing in the dynam
192. oLive 16 0 2 2 3 Summary of Capture Software Features 2 3 Summary of Capture Software Features Included with your StudioLive is Capture a digital audio multitracking J application designed to make recording quick and easy to set up and operate Perfect for live recording and for mixing your audio in real time to a stereo audio file Capture software was designed to interface perfectly with StudioLive 16 0 2 allowing instant setup and recording of performances a lt a gt em a gt You can arm all 16 tracks to record with the click of a single button N Please consult the Capture user manual for complete instructions e 16x16 multitrack recording application e Record with two mouse clicks A e Essential editing suite Copy Cut Paste Splice Resize e Peak LED style meter bridge with clip indicators E e Marker placement and recall N e Export between marker e Record stereo mix from StudioLive mixer e mport export wav aiff or OpenTL files 24 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 b you everything you need for music recording and production The Studio One Artist Quick Start Guide is located in Section 4 1 of this manual You will find a complete user manual on the Studio One Art
193. ob in the Monitor section on the top panel LS SF Right Left J Monitor Output S zi 10 Owner s Manual Hook up 3 Rear Panel Connections 3 1 MIDI I O MIDI stands for Musical Instrument Digital Interface However the MIDI standard goes well beyond just instruments and sequencing The MIDI inputs and outputs allow connection and or communication with external MIDI equipment One function of these ports is MIDI sequencing The MIDI input can also be used to connect a MIDI footpedal to control different parameters on your StudioLive More information about MIDI Control Mode can be found in Section 5 5 NOTE MIDI is not audio but is frequently used to trigger or control an audio source such Nl as a plug in or synthesizer When using MIDI ensure that your MIDI data is correctly sent and received by the appropriate hardware or software instruments You may also need to return those devices audio to a StudioLive input channel Please consult the User s Manual of your MIDI devices for help with MIDI setup and usage FireWire FireWire Ports There are two standard 6 pin FireWire 400 ports on the back of the 3 n StudioLive Either port can be used to connect the StudioLive to a FireWire port on 0 E 0 your computer If your computer has a 4 pin connector commonly found on bod bed laptops you will need to purchase a 4 to 6 pin adapter or cable
194. of the 31 bands at one time a Like all other parameters on your StudioLive your graphic EQ settings can be stored and recalled If you have created a GEQ setting that you would like to save to the GEO Preset library press the Save button in the Fat Channel while the GEQ is active You will notice that the LCD will display the GEQ Save menu Mame HMain2 B Use TAP for space Push Store To begin use the Value encoder to scroll to an empty position in the GEO Preset library Press the Next button again to navigate to the first letter of the preset name Turn the Value Encoder clockwise or counter clockwise to change the letter The StudioLive allows you to customize the name with uppercase and lowercase letters as well as a selection of numerals and punctuation marks You can insert a space by simply pressing the Tap button Once you are satisfied with your changes press the Store button It will illuminate while the GEO preset is being written to the StudioLive s internal memory Once and MIDI Control e w N a N v d lt P ue w A A LS ua eB a 5 un NY the GEQ preset is saved the Store button will return to its unlit state M To load a preset to any channel on the StudioLive first navigate to the GEQ page in the System Menu From the Fat Channel press the Load button Notice that LCD now displays the GEQ Load menu Use the Value
195. of the StudioLive s 16 inputs are hard coded to receive their respective FireWire returns Outputs 1 through 16 in your recording application route these playback streams to their respective channels on the StudioLive that is the software s Output 1 always goes to StudioLive Channel 1 input and so on Once you route a track in your recording application to play through one of these outputs it will always be accessible on its channel by simply pressing its FireWire Return button n T EE Lud Tos Vo Score sS o ur iu As discussed in Section 4 5 1 you must first engage FireWire Return Mode before you are able to use the Multimode buttons to engage disengage a FireWire Return on a channel The FireWire returns to the stereo channels behave just as the analog inputs do So if you have Channel 11 12 unlinked only FireWire return C 11 will be heard on that channel Once you engage Stereo Link for Channel 11 12 both FireWire returns 11 and 12 will be heard POWER USER TIP It is important to think of your FireWire returns and your analog inputs the same way When a FireWire return is engaged it replaces the analog input in the mix C You can process in the Fat Channel include in Aux mixes and send to an FX mix z To provide the most flexible mixing environment the main mix output for any application should be assigned to Outputs 1 and 2 These FireWire returns are hard coded both to Channels 1
196. on As previously described in section 4 1 1 the Select button routes its aux bus through the Fat Channel allowing you to add dynamics processing and EQ Aux Output Fader Controls the Overall Level of the Aux Output Each Aux features a 60 mm fader for level adjustment Unity gain 0 dB is denoted by a Jur The white area above the fader can be used as a scribble strip Use only oil pencils other types of pens or pencils cannot be wiped off To clean the scribble strip use a lightly damp cloth to remove the writing 3 EC 26 Owner s Manual Controls 4 Aux Sends 4 4 44 2 Internal FX Send Controls Internal Effects Send Select Button Main Assign Button Aux Assign Button Output Level Knob Enables Fat Channel Viewing As described in section 4 1 1 the Select button routes its Effects bus through the Fat Channel allowing you to add dynamics processing and EQ Assigns Unassigns FX bus to Main Output This button will route its internal effects EFX bus to the Main output It will illuminate yellow when the bus is patched to the Mains To mute the effect bus in the Main output simply unassign it Assigns Unassigns FX bus to Aux 1 4 This button will route its internal effects EFX bus to all four Aux outputs It will illuminate yellow when the bus is patched to the Aux buses To mute the effect bus in the Auxes simply unassign it Adjusts the Master Level of the Effects Bus This knob c
197. on 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 Commonly used for noise reduction expansion is very effective as a simple noise gate The major difference between expansion and noise gating is that expansion is dependent on the signal level after the level crosses the threshold whereas a noise gate works independent of a signal s level beyond the threshold Owner s Manual Expansion Terminology Noise Gates Tutorials 8 A Brief Tutorial on Dynamics Processing 8 2 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 commonly 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 GB 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
198. only available on the 16 channels of the input bus e zi 48V Button Engages Phantom Power in the pecie nigh TASEEN Microphone Preamp of the Selected h l _ Channel Freq Hz Push this button to engage 48V phantom power in the selected channel s microphone preamp The Gate On Off But Turns the Gate On and Off for the button will illuminate indicating ton Selected Channel that phantom power is active This button engages and Phantom power transmits 48V of On disengages the gate for the DC electric power through a selected channel It will illuminate microphone cable Most to indicate that the gate has been commonly it is used to power q te enabled CORGSIIBOT microphones although The gate isavailabietoral some direct boxes also take ipurandououtbuse E advantage of it For more information on microphones please consult the microphone Gate Sets and Displays the Threshold of the tutorial in Section 8 1 Threshold Gate for the Selected Channel Phantom power is only available on the 12 This encoder sets and the meter microphone preamps of the input bus displays the gate threshold for the selected channel The threshold High Pass Turns the High Pass Filter On and Off determines the level at which the Filter On Off for the Selected Channel or Output gate will open Essentially all d Bus signals above the threshold setting Mao e doidani vido diria the high pass filter for the sele
199. ontrols the overall output level of the effects mix return 27 a fo pus e 2 i EM Nn 4 Controls 44 Aux Sends PreSonus StudioLive 16 0 2 4 4 3 Creating Aux and FX Mixes FXA Encoder Mode Button FXA FXB Encoder Mode Button Aux 1 Encoder Mode Button Aux 2 Encoder Mode Button 28 In addition to setting the dynamics for each channel and bus and metering each channel and output the Fat Channel also allows you to create Aux mixes and quickly view the send level for each channel The Encoder Mode buttons to the left of the Fat Channel are used for just this purpose Each one of these buttons allow you to view and set the send level for each channel to that Aux or FX mix Enables FXA Mixing and Metering in the Fat Channel When this button is enabled the 12 encoders in the Fat Channel become the FX send level controls for each of their respective input channels to FXA The meters will display the send level of each of the input channels The encoders for the stereo channels set the send level for both the Left and Right input provided that stereo linking is enabled See 4 1 4 for details Enables FXB Mixing and Metering in the Fat Channel When this button is enabled the 12 encoders in the Fat Channel become the effects send level controls for each of their respecti
200. or e Level Powered Speakers 3 3 3 Assisted Listening 4 Controls PreSonus StudioLive 16 0 2 4 1 The Fat Channel NN 4 0 Controls 4 1 The Fat Channel Gate Comp Ratio Response Gain Freq Gain Freq Gain Freq Gain TT gt 2 g l db He db kHz db ki idb a LIM a n 3 5 18 15 14 1 FH EM HI wu 12 10 SS m d a ba h h O b 2 1 BRRRSS Tight WO Bp oh oo SERRE SERRE AINE SERRE FTPL Serre I EIE IP oe Serre SERRE 7 ed i SERRE Em Ra Laa En hs Ti e m m 2 o 9 10 11 12 13 14 15 16 Threshold P Threshold Ratio Response Gain Freq Hz Gain dB Freq kHz Gain dB Freq kHz Gain dB Low Mid High IT elo polo ole ole m Pa Gate o Compressor Limit Equalizer ee TTIT f gt a E Food PR e Selected gt Ea Lr Copy Load Save Channel Pan Channel The heart of the StudioLive is the revolutionary Fat Channel The Fat Channel P makes dynamics routing and panning for every input and output on the UON StudioLive available at the touch of a Select button The 12 multipurpose knobs and meters located in the Fat Channel control nearly every adjustment you will need to make on your StudioLive From the Fat Channel you can e Add dynamics processing and EQ to every input and output e Create sends and eff
201. or each input channel on your StudioLive mixer the output of your multitrack Capture Session is routed to the StudioLive mixer where it can be mixed just like any other audio input The process of creating a mix with Capture and the StudioLive mixer is quite simple You play back your recorded tracks through the StudioLive and record the main output of the StudioLive using the Flexible Input Track 15 and 16 in Capture Please Note Just like you cannot record both the Main Mix and Analog Inputs 15 and 16 you cannot playback audio from Tracks 15 and 16 in Capture and record the Main Mix at the same time Because of this if you plan on doing a mixdown in Capture it is recommended that you do not record any material from Inputs 15 and 16 103 SL Remote Capture and Studio One Artist c e p e V2 N p w d iS j D I e v 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 4 Capture The process works as follows 1 In VSL select Main L R for Flexible Inputs 15 and 16 YS 2 Be sure Record Arm is disabled for all input Audio Tracks in Capture and the FireWire returns for all input channels on the StudioLive mixer are engaged 3 In Capture click the stereo link button on Track E 15 and 16 and enable Record Arm 4 Bringthe playbac
202. or the Registration Evaluation Authorization and Restriction of chemicals REACh and contains none or less than 0 1 of the chemicals listed as hazardous chemicals in the REACh regulation WEEE As with the disposal of all old electrical and electronic equipment this product is not to be treated as regular household waste Instead it shall be handed over to the applicable collection point for the recycling of electrical and electronic equipment CE This product complies with the European Union Council Directives and Standards relating to electromagnetic compatibility EMC Directive 2006 95 EC and the Low Voltage Directive 2004 108 EC 1 0 1 1 2 0 2 1 2 2 2 3 2 4 2 5 2 6 3 0 3 1 3 2 3 3 4 0 4 1 Quick Start 7 Getting Started IMPORTANT LEVEL SETTING 7 Overview 4 Introduction 4 Summary of StudioLive 16 0 2 Hardware Features 5 Summary of Capture Software Features 6 Summary of Studio One Artist Software Features 6 Summary of Virtual StudioLive Software Features 7 Whatis in the Box 8 Hookup 9 Rear Panel Connections 9 Basic Hookup Diagram 72 Audio Video Business Conference 13 Controls 74 The Fat Channel 14 4 1 1 Select Buttons Meters and the Fat Channel 15 4 1 2 What You Can Process with the Fat Channel and FireWire Sends 15 Fat Channel Dynamics Processing and EQ 75 Fat Channel Panning
203. ormation on all aspects of Studio One Artist is available in the Reference Manual PDF located on the Studio One Artist installation disc The information in this tutorial covers only the basic aspects of Studio One Artist and is intended to get you set up and recording as quickly as possible Start Page Setup Area os E NE CUN a T PreSonus FireStudio 44 1 kHz Configure Audio Device Configure Extemal Devices Check for Updates About Studio Ona 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 Your StudioLive uses the same driver as the FireStudio family of interfaces If you do not see PreSonus FireStudio on the Start page when you launch Studio One click on the Configure Audio Devices link in the Setup area to open the Audio Setup Options window 1 In the Audio Device menu select PreSonus FireStudio Click the Apply button and then OK After you have verified that the PreSonus FireStudio Universal driver has been detected please continue to the next section to set up your external MIDI devices If you do not have any MIDI devices to connect at this time pl
204. our desktop or laptop T computer Your StudioLive will reflect every change made in VSL including fader movements This means that if you move Channel 11 12 s fader in VSL you will hear the level set in VSL in your mix rather than the level represented by the current physical position of the Channel 11 12 fader on your StudioLive To sync the faders on your StudioLive with the faders in VSL simply press the Locate button on your StudioLive The Fat 7 Channel meters on your StudioLive will reflect the current position of each fader in VSL While in Locate Mode the faders on your E StudioLive will not control the level of each channel so you will not hear level changes while you recall each fader position Once you exit Locate mode your StudioLive faders will reactivate 7 You also can use a wireless device such as a laptop iPad or iPhone to control VSL It is important to note that your StudioLive must be connected and synced to a computer with a FireWire 400 connection Once you establish a wireless network between this computer and your wireless device you can use a VPN application to remotely control VSL Please contact your computer s and or wireless device s supporting documentation or manufacturer to learn more about VPN and wireless network creation LU UN 7 3 Using StudioLive Remote for iPad StudioLive Remote for iPad provides an unprecedented level of remote E control over your StudioLive With SL Remote you can adj
205. ove limitation may not apply to you In no event will PreSonus be liable for incidental consequential or other damages resulting from the breach of any express or implied warranty including among other things damage to property damage based on inconvenience or on loss of use of the product and to the extent permitted by law damages for personal injury Some states do not allow the exclusion of limitation of incidental or consequential damages so the above limitation or exclusion may not apply to you This warranty gives you specific legal rights and you may also have other rights which vary from state to state This warranty only applies to products sold and used in the United States of America For warranty information in all other countries please refer to your local distributor PreSonus Audio Electronics Inc 7257 Florida Blvd Baton Rouge LA 70806 Owner s Manual Index A L A Ableton Live 62 Adjusting FX Parameters 37 AFL 34 153 Arrow Tool 94 99 Assigning FX To Aux Bus 27 To Main Bus 27 Attack 135 137 Audio Device Capture 97 Studio One Artist 116 Audio I O Set up Studio One Artist 120 121 AutoStore 42 Aux Mixing 28 Pre Fader Send Positions 46 Stereo Aux Mix 28 B Backing Up StudioLive Library 72 Buffer Size see also Latency 68 C Changing FX Type 37 Clock Source 67 Compressor 17 Definition 134 135 Suggested Settings 139 Terminology Associated With 135 Control Change Messages 49 Copy 22 C
206. ox PreSonus StudioLive 16 0 2 What is in the Box StudioLive Software Library In addition to this manual your StudioLive package contains the following PreSonus StudioLive 16 0 2 digital recording and performance mixer AR COGE RU PreSonus 6 7 8 STUDIOLIVE 16 0 2 Digital Performa and Recording Mixer wath a Au ES E ES Ea EN V Ves BE i s Freq Gate Comp Ratio Response Gain e LJ 9 DL 3 Smooth Freq Gain Freq THD a pe 5 T m m E m ES D1 RU u L1 n Li LEITET 1172 13 14 Gain 8 Freq Gain mm Freq diz Gain ids n gn mi mi o B 3 Equalizer Selected Channel Buc Li da 19 5 u 5 10 20 20 3 w isss 6 1 8m 6 pin to 6 pin FireWire 400 cable 6 1 8m 6 pin to 9 pin FireWire 400 FireWire 800 cable IEC power cord StudioLive Software Library containing PreSonus StudioLive Artist program DVD plus gigabytes of third party content PreSonus Capture CD with demo Sessions PreSonus Virtual StudioLive and Universal Control CD Owner s Manual Hook up 3 Rear Panel Connections 3 1 rr 3 0 Hookup k 3 1 Rear Panel Connections ooo o Talkback Mic 43 PreSonus zn onitor Output Hes C Microphone Inputs Your StudioLive is equipped with 12 PreSonus XMAX microphone preamplifiers for use with all types of micropho
207. ox Connect the instrument output from the passive direct box to a bass amplifier Place a dynamic microphone an inch or two away from the speaker and connect it to a StudioLive microphone input Connect the line output from the passive direct box to a line input on a different channel of the StudioLive For recording place these signals on separate tracks During mixing you can blend the direct and amplifier signal to taste This technique can also be used in live applications 131 Mna cS T j HERE remet n m Jae se E femur e f ev ua EL 8 Tutorials 8 1 Microphone Types PreSonus StudioLive 16 0 2 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 as well 132 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 b
208. pair For more information of stereo linking please review Section 4 1 4 29 ean i pu ru i wW M o ES tor Nn 4 Controls 4 5 Multimodes 4 5 MultiModes PreSonus StudioLive 16 0 2 Each channel and Aux on the StudioLive 16 0 2 features a MultiMode button These buttons allow you to solo or mute a channel or Aux as well as engage the channel FireWire returns from the same button The function of these buttons is determined by the control buttons directly to the left of the row of the MultiMode buttons 4 5 1 MultiMode Controls and the Buttons that Love Them FireWire Return Mode Switch Turns FireWire Playback Streaming On Off When FireWire Return Mode is engaged the MultiMode buttons on each channel function as the FireWire Input buttons for each channel When a MultiMode button is engaged while in this mode it routes a playback stream from your audio software to the StudioLive s channel inputs where it is routed and processed the same way as analog input signals For example if you want a particular recorded track to play back on mixer channel 3 simply route that track in your audio software to StudioLive Output 3 This button can also be used to insert a plug in effect into the mix For more information on this feature please review Section 6 4 2 While in FireWire Return
209. pes 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 V them with the StudioLive as the likelihood of conflicting drivers is great If you are using a new or nonstandard type of microphone e g USB headset laser MEMS please consult your microphone s user s manual for power requirement and compatibility information 129 Lo remet C Ln Cf i ar e f ev Nn EL Tutorials PreSonus StudioLive 16 0 2 Microphone Types Regardless of the microphone type you are using we recommend reading your microphone s user s manual thoroughly before engaging phantom power and if other usage questions arise 8 1 4 Microphone Placement The following are a few recording applications to help you get started with your StudioLive These are by no means the only ways to record these instruments Microphone selection and placement is an art For more information visit your library or local bookstore as there are many books and magazines about recording techniques The Internet is also a great source of recording information as are instructional videos Some of these microphone plac
210. phic EQ presets can be SCENE FAT CH FX GEQ BACKUP loaded on the Overtab or the GEO tab Once it is loaded you can use the C sliders in VSL or the encoders on the StudioLive to make adjustments Note that in order to use the encoders on your StudioLive to control a graphic EQ in VSL you must be in the GEQ menu page for the graphic EQ you wish to control See next section for details On The Disk E 75 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 2 VSL Virtual StudioLive me 7 25 VSL Setup Tab The Setup Tab provides access to key system parameters From the J Setup tab you can define which Recalling Filters are enabled set all T parameters for MIDI Control Mode select the source for the Flexible Inputs pair and create a password with which to lock your StudioLive Flexible Inputs Router MIDI Control Mode Setup HASTER Contro Mode gs eris MIDI Source MIDI Channel Scene Recall Channel J FXA Recall Channel S FXB Recall Channel Lock Out 4 BEEN Flexible Inputs Router Flexible Inputs Router As discussed in Seen 6 4 2 the StudioLive allows yu to sies e between recording analog Input 15 and 16 or the Main Bus This is EE cone ys ae Flexible Inputs BOUT on the Setup tab By eral your Analog Inputs 15 16 Du DE StudioLive is configured to record inputs 15 and 16 on FireWire Sends Main MixUR
211. ple we will create a patch that instantly recalls a Scene and we will assign to other pedals an FXA preset recall and the FXA assignment to the Main bus Finally one expression pedal will control the FXA output level while the other will control the Main output volume 3 This tutorial will show you how to quickly configure your StudioLive 16 0 2 so that you can control it with a Roland FC 300 The setup configuration detailed here is just an example you can customize your own setup using these simple steps Each section in this tutorial will focus on a particular setup area In order for your FCB1010 to control your StudioLive as described below you must complete the steps in each section of this tutorial Once you have completed the tutorial you will have a new patch on your FC 300 that controls your StudioLive as follows e CTL1 Recall Preset F10 Concrete Floors on FXA e CTL2 Assign Unassign FXA to Main bus e Expression Pedal 1 FXA Output level e Expression Pedal 2 Main Output level fev ox am t E Setting Up Your StudioLive to be Controlled with MIDI Nua Ula1s S s1as2Jg SIUS To begin you must first setup your StudioLive to be remotely controlled by your footpedal In this example we are setting up the StudioLive to receive Scene changes on MIDI Channel 1 FXA preset changes on MIDI Channel 2 and FXB preset changes on MIDI Channel 3 In general you should set up your Stu
212. provides you with a look at the send levels of every channel on your StudioLive to every Aux output and FX bus To quickly set up an Aux mix use your mouse to set the send level for Channel 1 Right click on the Channel 1 send level and sweep your mouse across the other channel sends for that Aux The send level will be copied to every other channel for that Aux 73 aa pm ype e bee CP c eA Ez Tex cO occ T S v _ O wo aud 9o EH E e ien a C 170 Zna S q oO ND fev os 92 e t a a gt gt E e n r a n de aJOWaY JS 041U0 PSIBAIUL IEMIJOS 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 2 VSL Virtual StudioLive 7 2 3 VSL Channel Tab The Channel tab provides a detailed overview of the Fat Channel parameters for the selected channel The selected channel will always be shown above the Gate section It is important to remember that you have continuous bidirectional control If you wish to grab a point in the EQ with your mouse for example you will be changing the parameters both in VSL and on your StudioLive To access the Fat Channel for FXA and FXB you will need to press its Select button on the StudioLive You can then load presets and make adjustments using VSL from within the Channel tab e Ee F
213. r Aux 1 you can add dynamics processing and EQ to the overall monitor mix These are especially useful for eliminating Ne feedback in a monitor Keep in mind that an equalizer can also be used to increase the presence of an instrument by boosting that particular frequency range without necessarily boosting the volume in the mix This is great for getting the lead guitar to cut through in the guitarist s monitor mix and to provide that extra rumble in the bassist s mix You can listen to the aux mixes you are creating using your headphones or your control room monitor by simply soloing the aux and selecting Solo as the source in the Monitor section 8 4 2 Effects Processing The StudioLive features two internal effects buses These are used much in the same way the aux buses are used to create monitor mixes as described in the previous section There are several advantages to using an aux bus for an effects processor This section 7 will describe two of them By using an aux bus to create an effects mix several channels can be sent to a single processor This allows you to use exactly the same reverb on every drum in a kit or for the entire band A reverb is designed to emulate the psycho acoustic properties of a space By using the same reverb for a band you M 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 c
214. r your previously created account username password and the product key you received with the Studio One Artist installation disc Click on the Activate button to finish the activation process Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Studio One Artist Quick Start 7 5 Activating Studio One Artist Offline Activate Studio One e Once you have created a user account launch Studio One Artist From the Activate Studio One Menu click on the Activate Offline link Follow tudi the instructions to log in to your previously created user account register the product and obtain a license file Offline Activation 1 Go to your PreSonus Account using a computer with Internet connection Next copy the license file to the computer on which Studio One has ay age gina aot panne pa ond eed aae ctn been installed and locate the license file as instructed in the Activate 3 Unlock this computer by entering the following Activation Code MQUS TFRICAAAA ENFA Studio One menu The activation process is now complete 4 Download your personalized User License for Studio One 5 Select the User License here or just drag it onto this window m Installing Bundled Content for Studio One Artist ADO Studio One Installation Studio One Artist comes bundled with an array of demo MEIN Noke and tutorial material instruments loops samples and silio Usera wesiey Documents Studio One other thir
215. rd controller di deii 3 OANE When condi fie the manufacturer and device names receive port be careful to avoid doubled events if the same port is X used by a Keyboard device 5 Specify which MIDI channels will be used to communicate with this keyboard For most Receive From None purposes you should select all MIDI channels If ine Send To Mobile 3 MIDI you are unsure of which MIDI channels to select we Novation en Al suggest you select all 16 Peavey 1 2 3 4 5 015 7 15 9 Hop poppe nspn PreSonus x 3 5 m Send MIDI Clock Use MIDI Clock Start Send MIDI Timecode 6 Inthe Send To drop down menu select the MIDI interface output from which Studio One Artist will send MIDI data to your sound module Mobile 2 MIDI In the Receive From drop down menu select the MIDI interface output from which Studio One Artist will receive MIDI data from your sound module If your sound module will not need to send information to Studio One you can leave this unspecified Click OK and close the External Devices window You are now ready to start recording in Studio One Artist The rest of this Quick Start Guide will go over how to set up a Song and will discuss some general workflow tips for navigating through the Studio One Artist environment EXE EE 7 54 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 I O 1 F
216. reating a Capture Session 96 Creating a Monitor Mix 28 149 Creating an FX Mix 28 149 Cubase 61 D Decay 151 Delay 152 Delay Time 37 152 Dig Out 22 63 109 Downward Expansion 137 Dynamic Range 133 E Edit Window 95 Equalizer 18 38 Definition 141 Graphic 44 142 Parametric 141 Shelving 142 Eraser Tool 94 101 Expansion Definition 136 Export Audio 105 F Fader Locate 24 See also Recalling Faders FireWire Returns 30 35 63 Recording with Fat Channel Effects 65 FireWire Sends 63 Firmware Version 47 68 Flexible Inputs 63 Frequency Tables 144 145 FX Bus 36 G Gate 16 134 GEQ 44 H Hard knee 136 High Pass Filter 16 I Import Audio Capture 104 Studio One 125 K Key Filter 137 Key Listen 137 L LCD Contrast 46 Limiter 18 135 Loading Presets Fat Channel 42 75 FX 36 75 Graphic EQ 45 75 Lockout Mode 47 77 Logic 61 Loop 95 103 165 M Z Index M Makeup Gain 136 Markers Adding 95 102 110 Navigating 95 102 Meter Bridge 94 Metering Gain Reduction 24 Input Levels 23 Output Levels 24 MIDI Controller 117 MIDI Control Mode 48 126 MIDI Sound Module 118 Monitoring 34 34 35 MultiMode Button 25 26 30 31 Muting 31 FX in Mains 27 FX to Auxes 27 N Noise Gate Definition 137 O Open TL Export 106 Overdubbing 111 112 P Pan 21 PFL 33 153 Phantom Power 9 16 25 129 Phase Reverse 16 Plug ins 64 124 Predelay 151 Program Changes 48 Q Q Definition
217. reen Click Continue and follow the onscreen instructions You will be directed to choose the hard drive onto which you want to install the drivers and Universal Control software You must choose your system drive storage drives and partitions cannot be used as hosts for the driver When installation is completed you will find the Universal Control program in your Applications folder It is recommended that you place this in your Dock Click Install When installation is completed your computer will restart Once it has rebooted connect your StudioLive to your Mac with a FireWire cable and power it on You are now ready to use your StudioLive Owner s Manual Connecting to a Computer 6 Using the StudioLive as an Audio Interface 6 4 6 4 Using the StudioLive as an Audio Interface Your StudioLive features a 16x16 FireWire interface Any input can be recorded with any audio recording application that supports Core Audio or ASIO Please consult the documentation that came with your audio application for specific instructions on how to select the StudioLive driver as the audio device driver for your software It is important to note that your StudioLive uses the same driver as the PreSonus FireStudio family of interfaces so its driver will be displayed as PreSonus FireStudio in all driver selection menus 6 4 1 Using the StudioLive with Popular Audio Applications Apple Logic Pro Express 7 Steinberg Cubase
218. refer to Section 4 5 Controls the Overall Level of the Channel Each input channel features a 60 mm fader for level adjustment Unity gain 0 dB is denoted by a U The white area above the fader can be used as a scribble strip Use only oil pencils other types of pens or pencils cannot be wiped off To clean the scribble strip use a lightly damp cloth to remove the writing 25 ean fo pus e 2 am e n aS io 4 Controls PreSonus StudioLive 16 0 2 4 4 Aux Sends 4 4 Aux Sends The StudioLive has four analog aux buses and two internal effects buses The aux buses are mono however two aux buses can be linked to create a stereo bus Section 8 5 discusses how to use these aux buses for monitor and effects mixing 4 4 1 Analog Aux Send Controls Aux MultiMode Button Solos and or Mutes Aux Output This button s function is determined by the MultiMode Control Switches Depending on which mode is engaged this button will function as the Solo or Mute button for its input channel For more information on the MultiMode buttons and their functions please refer to Section 4 5 Please Note FireWire Returns are only available for the 16 channels of the Input bus When FireWire Return Mode is engaged only the channel multimode buttons will function Aux Output Select Enables Fat Channel Viewing Butt
219. referenced it will appear as follows Menu Menu Entry Function Nondestructive Editing and Undo Redo Almost every user action in Capture can be undone and redone There is no limit to how far back actions can be undone and how far forward undone actions can be redone Because of this feel free to explore without worrying that you will permanently alter anything In fact just pressing buttons might be the quickest way to learn High Quality Audio Like StudioLive Capture features a 32 bit floating point audio engine An audio engine is the number cruncher that does the math required to record and play back digital audio Capture records with state of the art accuracy all you have to do is make great music When Capture is launched by default you will be taken to the Start page Create and Open Session At the upper left of the Start Page are two buttons Create Session and Open Session A Session is a document in which you record and edit audio and MIDI Click on the Create Session button to create a new Session or click on the Open Session button to browse for and open an existing Session Recent Files To the right of the Start Page menu section the Recent Files list includes links to the most recently opened documents Click on any of these links to quickly open the Session Audio Device and Sample Rate Capture was specifically created for use with PreSonus StudioLive series mixers It is not possible to configur
220. reless network between your computer and your a iPad is quick and easy The network will allow you to remote control VSL and hence your StudioLive from an iPad using StudioLive Remote M STEP 1 Creating an Ad Hoc network on your computer _ Windows XP 1 Open Start gt Control Panel 2 Click Network and Internet Connections 3 Select Network Connections 4 Right click your wireless network connection and then click Properties 5 Click the Wireless Networks tab in the Wireless Network Connection Properties dialog box M 6 Under Preferred Networks on the Wireless Networks tab click Add 7 Onthe Association tab type the name of your ad hoc wireless network in Network name SSID box For example you could name your wireless network StudioLive SL Remote Capture and Studio One Artist c e p e V2 N p w d iS j D I e v 8 Uncheck The key is provided for me automatically 9 Check This is a computer to computer ad hoc network 10 Create a password and type it in both the Network Key and Confirm Network Key boxes For the best security include letters numbers and punctuation Then click OK 11 Click OK again to save your changes 79 7 7 3 fev os 92 e t a a gt gt E et n r a n de 340W JS 041U0 PSIBAIUL IEMIJOS
221. ring through them will give you an enormous boost in cleaning up the overall mix Dynamics processing is the process of altering the dynamic range of a signal thereby enhancing the ability of a live sound system or recording device to handle the signal without distortion or noise and aiding in placing the signal in the overall mix 8 2 2 Types of Dynamic Processing Punch apparent loudness presence these are just three of the many terms used to describe the effects of compression limiting Compression and limiting are forms of dynamic range gain control Audio Signals have very wide peak to average signal level ratios sometimes referred to as dynamic range which is the difference between the loudest level and the softest level The peak signal can cause overload in the audio recording or sound reinforcement chain resulting in signal distortion A compressor limiter is a type of amplifier in which gain is dependent on the signal level passing through it You can set the maximum level a compressor limiter allows to pass through thereby causing automatic gain reduction above some predetermined signal level or threshold Compression refers basically to the ability to reduce by a fixed ratio the amount by which a signal s output level can increase relative to the input level It is useful for lowering the dynamic range of an instrument or vocal making it easier to record without distorting the recorder It also assists in the mixing
222. rom the Start page select Create a new Song oim aU A d 4 s a gt g ae CO LES om 5 ES ca cc E Ais 7 Create a new Song New Song 2 Inthe browser window name your Song and choose the directory in which you d like it saved b Song Title l Create an empty song You ll notice a list of templates on the left The TERE lUsers wesley Documents StudioO ongs B aa ty glee PRI StudioLive template will create a Song with a track Jy Firebox ie aoe for each of the 16 inputs Every track is armed for e iannis aia Se recording and no further setup is required Select een e n Z Recording session for Fire SAAMI ccc this template and click OK o m V 2 w d lt ap em em v axe 4 Mona Song Length 0151 01 01 S d FireStudio Mobile multitrac 3 The rest of this section will guide you through creating a Song from an empty session FireStudio Project II Stretch Audio Loops to Song Tempo os B o 119 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 5 Studio One A Device Block Size Process Precision r4 Use CPU Cores Input Latency Output Latency Sample Rate Bit Depth Options Song Setup x i ISI eu oipnig pue 3Jnjde 310ulay JS 013U0 eSJ9AlUf 3JeM1JOS 2 i s Jm E Tj Dae 120
223. rts of presets directly to components in the Fat Channel e Adjust the Fat Channel gate compressor and EQ and the graphic EQ and effects i M e Quickly drop entire Scenes to the mixer for instant recall of all channel effects and graphic EQ settings e Load effects quickly by simply dragging presets into the user interface e Makes StudioLive as easy to use as Studio One k 4 e Remote controllable with an Apple iPad running PreSonus SL Remote e Use the mouse to quickly assign channels to multiple buses mute solo etc e Timestamped backups of the entire board e Preset Management e Store and organize presets on your computer then transfer them to your mixer for that night s gig e Create presets on the road store them to the mixer then drag them to e your preset pool the next time you re connected to the computer e Reorder presets in mixer memory easily order presets to best fit your workflow for the gig B e Share presets with friends drag presets out of the browser and email IM or disk swap presets with other StudioLive owners 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 See all Aux mixes at once ka e See the current effects and parameter settings e See graphic equalizer settings EN P E di i em lt a gt c a gt S 2 2 6 2 6 Overview What is in the B
224. s an independent bus You can route send signals from other buses to the FireWire bus and its output return signal is hard coded to designated mixer channels Your StudioLive 16 0 2 has 16 available sends and 16 returns LL FireWire sends 1 through 16 are hard coded to be sent pre fader from the 16 input channels of the StudioLive Unlike the mix bus on your StudioLive the FireWire sends of the right inputs of each of the Stereo channels channels 10 12 e 14 and 16 are active whether or not Stereo Link is engaged for that channel The exception to this are FireWire sends 15 16 These FireWire sends are Flexible Inputs and can be set to record either the analog signal on inputs 15 and 16 on the back of your StudioLive or the Main mix d Section 7 2 5 discusses how to assign these Flexible Input Sends Power User Tip When the Flexible Input pair is set to record the Main mix you can still connect a microphone or instrument to analog inputs 15 and 16 and use them in your mix however they cannot be recorded as individual tracks Each of the 16 sends can be pre or post Fat Channel EQ and dynamics processing To record the EQ and dynamics processing on any channel simply enable the Dig Out button It will illuminate indicating that the Fat Channel signal path is being routed to the FireWire send If this mode is not enabled the signal sent via FireWire will be post trim phantom power and phase reverse if applicable Each
225. s in vocals decrease thinness or overly increase breathiness in reduces s sound increase overtones and amp mid range instruments bright overtones in quitars background vacals on vocals clarity in the mix decrease long bass overtones disguise slightly out af in cymbals tune vocals and guitars Mna cS T gt 145 EE estt m Js J tl 8 3 3 General EQ Suggestions Included with your StudioLive is a library of Channel Strip presets Section 4 1 6 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 EQ settings for several different instruments As with the compression settings in Section 8 2 3 the right EQ setting for any given instrument will depend upon the room and the tonality of the instrument Vocals Pop Female Vocals LOW MID LOW MID LOW MID LOW MID owore eee Pa a ON OFF HI LOW Q FREQ Hz GAIN PEAK Lom o2 ow tow aes 2 HI MID HI MID HI MID HI MID zm LO HI FREQ kHz GAIN edet T i i GAIN oN tio 204 ON PEAK 60 Rock Female Vocals LOW LOW MID LOW MID LOW MID LOW MID ON OFF m Td e ON OFF HI LOW Q FREQ Hz GAIN Pon ser iss o ow tw 4 5 HI MID HI MID HI MID HI MID ON OFF LO HI FREQ kHz GAIN rem LOUER Ro A an ON io 14 ON PEAK Pop Male Vocals LOW MID LOW MID LOW MI
226. s the Aux Pre Aux iS 2 Prel 3 Prel Position page By default all four Aux buses are set to Aus 4 Prei A Prei EB Prei Pre 1 This places the send of all 16 channels to each Aux bus before the fader limiter EQ and compressor HP Gate lt Prel gt CompeEQ gt Lim lt Prez2 gt and after the phase reverse switch high pass filter and noise gate The 2 internal effects buses are set to Post which sends each of the 16 channels after all Fat Channel dynamics and EQ and the fader From this menu you can choose between three send positions for each Aux mix e Pre 1 Sends each channel to the Aux bus after the Phase Reverse High Pass filter and Gate V e Pre2 Sends each channel to the aux bus after all Fat Channel parameters Phase M S Reverse High Pass filter Gate Compressor EQ and Limiter but before the fader e Post Sends each channel to the Aux bus after all Fat Channel parameters Phase Reverse High Pass filter Gate Compressor EQ amp Limiter and after the fader POWER USER TIP Use the Pre 2 position for headphone and in ear mixes to B give your performers a polished studio sound This setting should be avoided for floor wedges as compression can cause feedback problems If you have two Aux buses stereo linked you only need to set the Pre id position on the Link Master Remember the Link Master is the Aux that b was selected when the link was created To find out which Aux is the
227. sion and EQ zoom Edit Effects Recall Effects Assign Unassign Effects Displays Channel Send levels to that Aux bus To create an Aux Mix using StudioLive 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 will be displayed below Press the Post button to engage post fader sends 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 maintaining constant contact with the iPad screen These send level displays have been designed to emulate the StudioLive Fat Channel meters while in Aux Mix mode so they should look very familiar POWER USER TIP The Aux sends support off axis movement Once you have touched an aux send control to select it you can slide your finger anywhere in the screen and make an up down movement to control the aux send level 87 bee EE oS Tex cfe J zZ CES md 5 9o EH CB Nes a C 170 ZAS q oO ND 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 3 Using StudioLive Remote for iPad e FX Mix Select and FX Bus Mixing Displays Channel Send Levels to that FX Bus To create an FX
228. stics 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 harmmar e n A EN Wner S ivianula Tutorials Low Mids 250 Hz to 2 kHz In general you will want to emphasize the lower portion of this range and de emphasize the upper portion Boosting the range from 250 Hz to 500 Hz will accent ambience in the studio and will add clarity to bass and lower frequency instruments The range between 500 Hz and 2 kHz can make midrange instruments guitar snare saxophone etc honky and too much boost between 1 kHz and 2 kHz can make your mix sound thin or tinny High Mids 2 kHz to 4 kHz The attack portion of percussive and rhythm instruments occurs in this range High mids are also responsible for the projection of midrange instruments Presence 4 kHz to 6 kHz This frequency range is partly responsible for the clarity of a mix and provides a measure of control over the perception of distance If you boost this frequency range the mix will be perceived as closer to t
229. t corner of your VSL window LU UN E ev c jos WN et SL a a gt gt ct can pun ginjde 310ulay JS 041U0 PSIBAIUL 940M3JOS 72 Owner s Manual 7 2 2 Aux Sends VSL Overview Tab Software Universal Control SL Remote Capture and Studio One Artist 7 VSL Virtual StudioLive 7 2 StudioLive Display Browser show Browser Ambience a X Small room Ex Type Menu XI TIRES T usd Small hall SELECT SELECT Bright hall SELECT SELECT SOLO SOLO Warm hall Gated hall E Large hall d SY Input N a Ch 15 16 Plate Output Mono Delay GR Filter Delay Aux Stereo Delay Pingpong Delay At the top of the VSL window you will see four tabs Overview Channel GEQ and Setup The Overview tab provides you with a complete graphical representation of your StudioLive As you adjust parameters on the StudioLive you will notice that the VSL overview is also updated If you use your mouse to adjust a parameter in VSL the StudioLive will be updated remotely It is important to remember that every button knob slider and fader on the VSL corresponds directly to a button knob slider or fader on your StudioLive The graphic above identifies each controller labeled with its corresponding control on the StudioLive and can be used as a map to quickly learn how to navigate the Overview tab The Overview Tab also
230. t the Program Change number to 002 Press the Exit button twice and continue to FXA Preset Recall 55 and MIDI Control e a 5 gt w N a N v e lt 5 A w pu eu LS ua eB a 5 un NY 5 Scenes Presets System Menu and MIDI Control PreSonus StudioLive 16 0 2 5 5 Using MIDI Control Mode to Remote Control StudioLive me FXA Preset Recall 1 Next we will set CTL Pedal 1 to recall a preset on FXA Press the right Parameter button until the LCD displays CTL1 On MIDI UN 2 Press the Write button so that the LCD displays Edit MIDI 3 Press the Write button again You will see 001 4 4 Pressthe right Parameter button y 5 Press the Value Up button so that the LCD displays 001 PC CH 01 PC 001 B 6 The first field defaults to Program Change PC This is how the StudioLive recalls FX presets so you can leave this field as it is 7 Usetheright Parameter button to move to the next field MIDI channel number 8 Setthe MIDI channel to 2 9 Usetheright Parameter button to move to the next field Program Change number The number you enter will determine which FX Preset will be recalled j043u0 QIW pue N A 1 5 ge Nn me a gt cn a gt et a N lt ca pub a gt 3 D 10 Use the Value Up button to set the Program Change number to 10
231. ted is now treated as a single consolidated event e Acommon use of the Range Tool is to quickly select and delete a range of audio within events rather than using the Split Tool to make two splits then selecting and deleting the section with the Arrow Tool This process is shown in the pictures below e Once a range has been selected the Range Tool will automatically become the Arrow Tool when the mouse cursor is floated over the selected range This makes quickly selecting and editing any range of an event very simple e The Range Tool can be temporarily toggled when the Arrow Tool is selected by pressing and holding Ctrl N Cmd on the keyboard 100 Owner s Manual Splice Tool Common Editing Actions Software Universal Control SL Remote Capture and Studio One Artist 7 Capture 7 4 Using the Splice Tool single Audio Events can be split into multiple Audio Events Click on the Split Tool button or press NumPad 4 on the keyboard to select the Split Tool Click on any Audio Event with the Split Tool to split the event at that position Notice that the split will occur at the leftmost edge of the Split Tool icon the scissors By splitting a single event you essentially create two events that can be edited independently If multiple events are selected across multiple tracks the Split Tool will affect all of the selected events in the same way The Eraser Tool is used to delete an Audio Event Clic
232. tem You also can listen on headphones using the headphone output When you are X ready to mix your Song you must convert the recorded MIDI a data to an audio waveform by recording a new audio track 7 5 7 Adding Virtual Instruments and Plug in Effects to Your Song B 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 Opening the Browser a 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 e 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 5 p AT SE 23 ASL e TELS 0G nud eB Nes a 19 TO LIE te ae C 5 92 123 y Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 5 Studio One Artist Quick Start Drag and Drop Virtual Instruments To add a virtual instrument to your session click the Browse and Instrument buttons to open the eee E
233. ter FireWire Reverse Filter Send Vu z 4 1 3 Fat Channel Dynamics Processing and EQ The main function of the Fat Channel is to provide dynamics processing and b filtering for every input and output on the StudioLive The rotary encoders work in conjunction with the meters directly above them to adjust the dynamics processing and EQ The Fat Channel s processing section consists of five parts High Pass filter Noise Gate Compressor Limiter and parametric EQ Each can be turned on or off and controlled separately The signal flows as follows 4 Controls PreSonus StudioLive 16 0 2 4 1 The Fat Channel Phase Reverse Reverses the Phase of the Selected High Pass Adjusts the High Pass Filter s Cut off Button Channel Filter Frequency E Push this button to invert the The High Pass Filter section g prace of ime selected channel s consists of an encoder and a peren signal that is to alter the phase by You will notice that the there is a 180 The button will illuminate frequency range to the left of the indicating that Phase Reverse is meter The high pass filter s cutoff active The Phase Reverse button frequency can be set from 24 Hz to B can be used to correct audio 1 kHz Mee pin o add a Remember that all frequencies teen pP below a high pass filter s cutoff P frequency are attenuated See Section 8 3 1 for more details Phase reverse is
234. ter the signal level drops below the compression threshold Very short release times can produce a very choppy or jittery sound especially in low frequency instruments such as bass guitar Very long release times can result in an overcompressed sound this is sometimes referred to as squashing the sound All ranges of release can be useful at different times however and you should experiment to become familiar with the different sonic possibilities Hard Soft Knee With hard knee compression the gain reduction applied to the signal occurs as soon as the signal exceeds the level 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 j
235. tering 1 E eee EZ I ES ES E ES ES EE Functions Displays BE a E a E LE B E BS Bs BS E Metering EE I Il 1 PP P303 03 3 Post Meter Mode E Engages Set in VSL lE LL LULA SLLALILILLLORIGHIIUL QLLALLLIIQLULUILLLIL Dig Out or on Mixer Channel Mute Phase Aux FX Send Controls Post Fader Mutes Inverts Sets Channel Send Levels to Each Aux FX Channel Channel Aux and FX Bus Phase 91 EXE EE Oo bee CP pe sft Tex cO occ T S v _ O wo aud 9o EH E e ien a C 170 Zna S p em oO ND ISI 9UC oipnig pue aJnjde 3 0W ay 7S vcn F w D lt 1 c w fm e fr 7 7 3 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7A Capture Using StudioLive Remote for iPad PreSonus Capture is an audio recording application created exclusively for use with PreSonus StudioLive series mixers To record from the StudioLive mixer into Capture you will need to install the StudioLive driver and connect the mixer to a FireWire port on your computer Once the StudioLive mixer has been connected to your computer and Capture has been installed simply launch Capture and you are ready to record This section contains general information including the basic layout and workflow of Capture and is a great place to start for new audio software users 92 What
236. that the Scribble Strip labels from the Scene are about to be loaded ke r Loading an Entire Fat Channel Preset To load every component in a Fat Channel preset Gate Compressor EQ M select it from the Browser window and drag it over any part of the desired C SCEME FAT CH channel If you drag it over any of the component Quick Views it will load only that component for example if you drag a preset over the Gate Quick View only the Gate will be loaded C BAS Electric 1 5 BAS Electric 2 BAS Slap BAS Upright DRM Fat Snare DRM High Hat DRM Kick 1 DRM Kick 2 ee 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 1 SCEME FAT CH Once the preset is loaded you can use the FX Type menu to change the effect and create new presets Note Atthis time VSL does not transfer the name of the preset to the StudioLive All FX presets loaded from within VSL will be labeled Natural in the FX menu on your StudioLive Analog 8th Analog Slap Analog Trip Arena ut aU lt 4 res mem po SE s as F I S O ge TS 5 a ca cc Ex E Bedroom Big Club Brick Club Brick House c e p e 2 N p w d iS j D L e e v Loading a GEQ Preset 7 Hide Browser To load a graphic EQ preset select it from the Browser window and drag it over any part of the focused graphic EQ Gra
237. the MIDI channels on which Studio One will send Program Change messages for each function anc Add Tracks 2 In Studio One create a new Song and then create an Instrument track Hume Count Forrai Coke 3 Inthe Output menu select StudioLive mS StudioLive Ba 126 Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Studio One Artist Quick Start 7 5 4 Open the Inspector MIDI channel 1 is already selected so let s change a StudioLive Scene 5 Checkthe box next to Program 6 Double click on the Prog field and type in the number of the Scene you wish to recall You can recall FX presets using the same steps Don t forget to change the MIDI channel Controlling FXA FXB and Main Output Levels 1 In Studio One select the Pencil tool 2 Using the Pencil tool draw a MIDI region several bars long 3 Setthe MIDI channel for the Instrument track to 4 4 Inthe Track menu select Add Automation Track StudioLive Automation v Ii Auto Color ENTE OK StudioLive 1 5 Onthe Automation track click on the parameter menu and select Add Remove 6 From the Automation window select External Devices 1 StudioLive MIDI 7 Select CH 4 8 Scroll through the MIDI Control Change list until you find Controls 40 42 9 Select these controls and click Add 10 Click Close 11 Select Control 42 from the parameter pull down me
238. 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 o 5 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 ES 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 Ns 135 E E d i Expansion 136 Duana mmni CbnsrsraAltial turn ILE AA R9 M 7 5 7S NS E NEC NA TFI a a WV C3 IA d 5 PreSonus StudioLive 16 0 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 af
239. tically The firmware updater can also be used to reset your StudioLive 16 0 2 to factory default To reset your StudioLive hold down the CTRL and ALT OPTION keys while clicking on Check Firmware This will force the Firmware updater to run Once the firmware updater has finished select Reset rather than Restore Owner s Manual Settings WDM Setup 7 2 z i i i E S B E 5 B u c a L Setup CE 00 9 0 Software Universal Control SL Remote Capture and Studio One Artist 7 VSL Virtual StudioLive 7 2 Opens the WDM Channel Mapper The StudioLive features advanced WDM features From this menu you can choose which FireWire return you d like to use for your computer s main output Because FireWire returns 1 and 2 are hard coded to the FireWire Return button in the Monitor bus we suggest that you use these returns By default the main output for your computer is set to FireWire returns 1 and 2 so no additional effort is required VSL Virtual StudioLive VSL is a highly advanced editor librarian and control application that is completely integrated with the StudioLive 16 0 2 Because of the continuous bidirectional communication between StudioLive and VSL whatever you do on the StudioLive s control surface will be reflected in VSL and vice versa VSL for StudioLive 16 0 2 requires a minimum screen resolution of 1024x768 dpi StudioLive Oe rece Mm O00 GAC
240. tions the two most common of which are creating monitor mixes and inserting external effects processors into the mix The StudioLive allows you to add global dynamics processing and EQ to these aux buses in addition to individual channel processing lt 8 4 44 Monitor Mixing Creating custom monitor mixes for your musicians is critical If musicians lt lt can t hear themselves or their bandmates their performance will suffer A z monitor 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 C and is sent to a headphone amplifier so it requires both a left and a right channel input In both cases the function of the aux bus is the same 1 As an example let s create a mono monitor mix on Aux 1 To begin press the Aux 1 button in the Encoder Mode section The meter section of the StudioLive will display the amount of send to this aux bus from each of the 16 channels Keep in mind that the aux mix is completely independent of the Main output The encoders below each meter control the channel send level to Aux 1 Use these encoders the same way that you use the faders to set the output level to your main mix Ask your musicians what they would like in their monitor mix and use their requests as a starting point 2 By pressing the Select button fo
241. to change the selected parameter For example if you would like to change the effect from a Large Hall reverb to a Room Ambiance reverb press the Recall button to load the effect and then change the various parameters to taste Press the Page Up button again to move to the full parameter view of FX B When you choose a delay algorithm you will notice two parameters Time ms and Time X Time is the delay time discussed in Section 8 6 2 which is the time between the source sound and the echo This can be adjusted manually with the Value encoder or you can use the Tap button to enter a delay time in tempo with the music being played Time X is the value of the beat you are using as a reference for the tempo The basic unit of measure is a quarter note so for example if the beats you are tapping represent quarter notes in the music you would set Time X to 1 00 If they are eighth notes you would set Time X to 0 50 half notes would be 2 00 and so on In this way you can precisely synchronize or syncopate the delay echoes to the music in real time You do not have to select the Time parameter in order to use the Tap button However you have to be on the Extended Parameters page 2 for FX A and page 3 for FX B or you must select the Time parameter for the desired effect on the first screen of the FX menu The Tap button does not function when any other page is active Pages 4 and 5 allow you to store your changes for FX A and FX
242. to control the fader The fader position is displayed in the Channel Select field As with VSL the fader position set in StudioLive Remote is the level that you will hear To sync the physical faders on your StudioLive with StudioLive Remote press the Locate button on your mixer While in Locate mode the physical faders on your StudioLive will not be active so you can adjust them without any changes in level To the left of the fader the user will see the meter for the channel The meter will follow the meter mode selected on the StudioLive or from VSL Meter mode cannot be changed from SL Remote Displays the metering for the Main bus Auxes 16 0 2 and Subgroups 16 4 2 and 24 4 2 Tap to open the Masters Section page In the upper right hand corner of every page in StudioLive Remote Overview Aux Mixer and Graphic EQ you will find the Masters Overview This displays the metering for the Main bus Tapping on the Masters Overview will open the Masters Section Page 85 SL Remote Capture and Studio One Artist c e p e V2 N p w d iS j D I e e v 7 Software Universal Control SL Remote Capture and Studio One Artist PreSonus StudioLive 16 0 2 7 3 Using StudioLive Remote for iPad The Masters Section page displays the fader phe FN meter and Fat Channel Microviews for the Mains sare aaa T m
243. to indicate control is active The High EQ band is available for all input and output buses ean i pu ru i wW am e n aS io 4 Controls 4 1 The Fat Channel High EQ Frequency Control I j High EQ Gain Control 1 1 15 Gain dB 20 Sets and Displays the Center Frequency of the High EQ High Shelving EQ Button This encoder sets and the meter displays the center frequency of h the High band You can adjust the center frequency from 1 4 to 18 kHz Shelf Sets and Displays the Gain Attenuation or Boost at the Center Frequency of the High EQ Band This encoder sets and the meter displays the gain cut or boost at the center frequency of the High EQ band The level of the center frequency can be set between 15 and 15 dB PreSonus StudioLive 16 0 2 Turns on the High Shelving EQ for the Selected Input or Output Bus When the Shelf button is not engaged the High band is a semi parametric EQ Enabling the Shelf button turns the High band into a high shelving EQ that alters by a fixed amount a band of high frequencies at and above a user selected shelving frequency A high shelving EQ is like a treble control knob on a stereo In this mode the Center Frequency control selects the shelving frequency Owner s Manual Controls 4 The
244. tudio One Artist installation DVD NN 7 5 6 Creating MIDI Tracks Add Tracks 7 Click on the Add Tracks button When the Add Tracks window launches m select Instrument as the track format and click the OK button ISI eu oipnig pue ginjde 310ulay JS 041U0 PSIBAIUL 940M3JOS 8 Toassign your MIDI input click on the MIDI Inputs list and select your external sound module If you have added virtual inputs to your session you will also see them as available inputs If you selected your MIDI keyboard controller as the default keyboard My Hardware Synth it will already be selected If not choose your MIDI controller from the Presence Output menu directly below 122 Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Studio One Artist Quick Start 7 5 9 Totheleft of the Add Track button you will find the Inspector button Click it to display more parameters for the selected track i 10 Atthe bottom of the Inspector menu you will see your Bank and Program selections From here you can remotely change the patch on your sound module MIDI data does not contain audio signals To hear your sound module you must connect the audio output of the sound module to a StudioLive input then connect the StudioLive s audio outputs to a sound sys
245. udio One Artist PreSonus StudioLive 16 0 2 Track Column Contains a dedicated audio track for each audio input into Capture from the StudioLive mixer Vertical Zoom Increases or decreases the height of the tracks and audio files Horizontal Zoom Zooms the timeline in or out 7 4 5 Getting Started in Capture Audio Device PreSonus FireStudioa Configuration Audio Device Sample Rate 44 1 kHz Creating a New Session 96 Session Folder New Session New Session 3 Tracking is the first stage of audio production The following chapter discusses aspects of recording tracks in Capture including Session creation and setup Audio Tracks and Events and more Before recording anything in Capture please take a moment to be sure your StudioLive mixer is properly connected to the computer via FireWire and that Capture displays the StudioLive as your audio device on the Start page When the StudioLive mixer is not connected to the computer successfully Capture will display No Audio Device in the Audio Device field A Session is the document type in which all recording takes place in Capture To create a new Session do one of the following From the Start page click on the New Session button Users jwardQA Documents Capture ana Navigate to File New Session Press Ctrl Cmd N on the keyboard Session Setup When a new Session is created a setup menu with the following options will pop up
246. udio files 44 1 kHz 16 bit Mono 29 7 2010 15 38 06 4 09 846 min as you are browsing in the Import File menu Click the Play button in the Preview Player to play the currently selected audio file Click the Stop button to stop playback Click the Loop button to loop the playback of the currently selected audio file 104 Owner s Manual Export Audio Files Export to Audio File Software Universal Control SL Remote Capture and Studio One Artist 7 Capture 7 4 To export audio from your Capture Session navigate Location to Session Export to Audio File or press Ctrl Cmd E on the keyboard to open the Export to Audio File Users jwardQA Documents Capture NewS down am menu Filename New Session 2 Format Wave File Resolution Samplerate Session Each Marker Between Selected Markers Location The top section of the Export to Audio File menu is where you will select a location and name for the audio file Click on the Location button to choose a file location Double click on the filename type in a new name and then press Enter to choose a name for the file Format Select the format of the mixdown audio file in the middle section of the Export to Audio File menu Choose from Wave WAV or AIFF and then choose the desired Resolution and Sample Rate If you wish to put your audio on a standard audio CD the format should be a Wave file with 16 bit
247. unter clockwise to change the letter The StudioLive allows you to customize the name with uppercase and lowercase letters and a selection of numerals and punctuation marks Press the Tap button to quickly insert a space Continue this process until you are satisfied with your changes then press the Store button It will illuminate while the TAP scene is being written to the StudioLive s internal memory Once the Scene is saved the Store button will return to its unlit status Located at position S1 is a Scene named Zero Out Board Reset This Scene 39 Ez W gt cS c eB gt lt B gU ue N v De aB v w A Qa v aB eB tw NY cannot be overwritten and returns your StudioLive to its default factory setting All you have to do is lower the faders and return all trim knobs and output volume knobs Solo bus FXA and FXB output Phones and Monitor to their lowest position Your StudioLive will be zeroed out as follows SETTINGS INPUTS AND BUSES INPUT CHANNELS MAINS AUXES 1 4 NA Z Memoru The Fat Channel will be restored to the same setting for every input and output on your StudioLive Each of the dynamics processors and the three bands of the EO will be turned off Their parameters will be set as follows FAT CHANNEL PARAMETERS
248. ust level pan dynamics bus routing FX mixes Aux mixes and GEO setting from an Apple iPad via a wireless network All you need is a computer with Wi Fi capabilities and an Apple iPad and you re ready to get started Please Note This section describes the functionality of SL Remote with all three StudioLive series mixers All Screen Shots are from the StudioLive 24 4 2 fey ok WN r joe e ep a gt gt E Er n gunjde 3970W JS 04100 ESJ9AIUf 3J6MJ0S 78 Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Using StudioLive Remote for iPad 7 3 7 3 Networking your iPad and Computer To use StudioLive Remote you must first install Universal Control on and sync your StudioLive to a Windows or Apple computer that has both a FireWire connection and a wireless card Once you have connected m and synced your StudioLive to VSL on your computer the next step is to create an ad hoc wireless network between your iPad and your computer An ad hoc or peer to peer network is a very simple network N involving at least two systems in this case the computer to which s your StudioLive is connected and an Apple iPad Unlike the usual local area network LAN that you use to connect multiple computers to the Internet or to a shared file server no server or router is needed e Creating an ad hoc wi
249. ut slightly Press E on the keyboard to zoom in slightly Click inside the Timeline ruler at any point in time and drag down or up to zoom in or out In Capture the Marker Lane is used to place markers at desired places in the Timeline after which navigation to the markers is easy Markers are also helpful when exporting your Session to individual mixes or to work in another recording application The Marker Lane is always visible just below the Timeline Inserting Markers To insert a new Marker into the Marker Lane with playback running or stopped click on the Add Marker button or press Insert on the keyboard Each new marker will be numbered sequentially by default 1 2 3 To rename a marker double click on the marker in the Marker Lane type in a new name and then press Enter on the keyboard Navigating Markers It is possible to quickly jump the Playback Cursor between markers in the Marker Lane Click on the Previous Marker button in the Transport or press B on the keyboard to jump to the previous marker Click on the Next Marker button in the Transport or press N on the keyboard to jump to the next marker Jumping to markers during playback allows quick comparisons between different sections of your Session Owner s Manual Looping 7 4 9 Mixing in Capture Creating a Mix Software Universal Control SL Remote Capture and Studio One Artist 7 Capture 7 4 To Loop the playback of any range o
250. ux Out 4 I l Compressor Equalizer l he d g EER i o o BEER gogo HHA Fat Channel Tf Tye tl nee l l 1 1 1 LT l Coo l l Internal FX I Gate Compressor Equalizer Unit l Level a Aes 2 O D DDDB ie zasu Fat Channel l ATI pes a e i z 1 1 l al 1 we o CREME pest ye ger ee ee UE NECEM ITE D ENEMIES 4 lt B uL m 161 10 10 1 10 1 Troubleshooting amp Warranty PreSonus StudioLive 16 0 2 Troubleshooting 10 0 Troubleshooting and Warranty Troubleshooting Many technical issues can arise when using a standard computer as a digital audio workstation DAW PreSonus can only provide support for issues that directly relate to the StudioLive interface Capture audio recording software Studio One digital audio workstation software Universal Control control panel software VSL mixer control software and StudioLive Remote software PreSonus does not provide support for computer hardware operating systems and non PreSonus hardware and software and it may be necessary to contact the manufacturer of these products for technical support Please check our Web site www presonus com regularly for software information and updates firmware updates and support documentation for frequently asked questions You can get individual technical assistance by calling PreSonus at 225 216 7887 Monday through Friday betwee
251. ve input channels to FXB The meters will display the send level of each of the input channels The encoders for the stereo channels set the send level for both the Left and Right input provided that stereo linking is enabled See 4 1 4 for details Enables Aux Mixing and Metering in the Fat Channel When this button is enabled the 12 encoders in the Fat Channel become the aux send level controls for each of their respective input channels to Aux 1 The meters will display the send level of each of the input channels The encoders for the stereo channels set the send level for both the Left and Right input provided that stereo linking is enabled See 4 1 4 for details Enables Aux Mixing or Pan Control Stereo Send Mode Only and Metering in the Fat Channel When this button is enabled the 12 encoders in the Fat Channel become the aux send level controls for each of their respective input channels to Aux 2 The meters will display the send level of each of the input channels The encoders for the stereo channels set the send level for both the Left and Right input provided that stereo linking is enabled When Aux 1 and Aux 2 are linked this button enabled pan control for each channel in the Aux pair When this button is enabled the 12 encoders in the Fat Channel become the pan controls for each of their respective input channels The meters will display the pan setting of each of the input channels Use Aux 1 Encoder mode to set the send lev
252. ver the next day to check out the recordings You launch Capture open the Session and begin playback through the StudioLive mixer After half a minute of tense silence while the band wonders what went wrong you realize that the band did not start the actual performance until 20 minutes after you started recording because the lead singer took so long to get on stage It is of course traditional to blame the lead singer You click on the Next Marker button in the Capture Transport to quickly advance to the next marker which is the first song of the set and the band perks up The band thinks they played terribly during the first song and they want to skip to the next song to see if they did any better You click on the Next Marker button again and the next song starts immediately The band listens to a bit of each song and you skip through the whole set within a few minutes as if you were skipping through finished tracks on a CD The band is so impressed with the quality of the recording and your production skills that they hire you on the spot to mix the show and turn it into a live performance album they can release to their adoring fans Owner s Manual Overdubbing Software Universal Control SL Remote Capture and Studio One Artist 7 Capture 7 4 Advanced Example The day after the gig you prepare to mix the previous night s live recording in your personal studio You realize that each song will probably be mixed in a diff
253. w open and proceed to the next part of this section If not you can close this window and skip to Section 7 4 4 Setting up an External MIDI Sound Module from the Start Page MIDI instrument controllers keyboards MIDI guitars etc send musical information in the form of MIDI data to tone modules which EE respond by generating sound as instructed Tone modules can be En 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 E controller take a moment to configure your sound module 1 Connectthe MIDI In of your external sound module e nz to the MIDI Out of your MIDI interface 2 Dues 2 Inthe External Devices window click the Add Ck Tc In button ISI eu oipnig pue 3Jnjde 310uray JS 041U0 EeSJ8AlUf 910M3JOS Pe Eo E ne Ern I Notify me if devices are unavailable when Studio One starts es B o 118 Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Studio One Artist Quick Start 7 5 3 The Add Device window will launch A Fr Pn scsi Device Model New Instrument J a Seren 4 Fromthe menu on the left select New x gt C Unknown Vendor SL Age AE Instrument At this point you can customize b J Access Cj AKAI T MM the name of your sound module by entering L Behri Ps rumen reco
254. which output pair youd like to insert each graphic EQ To change an assignment simply tap on the Assign menu and then choose the output pair by tapping it StudioLive 16 4 2 users each of your graphic EQs is already assigned to either your Main output or one of your Auxes These assignments cannot be changed StudioLive 16 0 2 users have a graphic EQ available for the Main bus only 90 Owner s Manual Software Universal Control SL Remote Capture and Studio One Artist 7 Using StudioLive Remote for iPad 7 3 7 3 5 Channel Zoom Page The Channel Zoom page opens automatically when you turn your iPad to the Portrait view This page provides you with a look at every controllable parameter for a channel or bus It also allows you to quickly scroll through every channel and bus on your mixer by sliding your finger down the right side of your screen FW In Sub Main Bus Assigns Next Engages Assigns Channel Bus Advances View to FireWire Return to Subs or Mains Next Channel j iPad gt Start Page COMPRESSOR Gate Compressor Controls Controls Gate Compressor Functions Functions 71 Channel ETE E GAIN Scroll Bar C e FREQ EQ Controls EQ Functions Pan Controls Displays HPF Panning Control High Pass Filter Fader Frequency Controls jz ELLE Output c ER dESIESEIEAJIESME Limiter Level ee E I EE Ea Bas Bs E E Controls Ex dE IESMEIESIESESESESESESI tne Me
255. will provide you with a large enough buffer for optimum system performance but low enough to be unobtrusive You should set your buffer size and sample rate prior to launching your host application On the Mac the buffer size is set from inside your host application Opens the Device Window Click on this button to open Virtual StudioLive To give your StudioLive a custom name double click on the default label StudioLive to open a text field When you have finished entering your custom name hit the Enter key Opens and Closes Launch and Device Windows From the File menu of the Launch Window you can open and close both windows as well as quit the Universal Control application Close Window Closes just the Launch window Show All Devices Opens the Device window for all of the connected FireStudio family interfaces Close All Devices Closes the Device window for all of the connected FireStudio family interfaces Quit Quits the Universal Control application Scans Your StudioLive and Updates the Firmware A firmware updater is built into the Universal Control application Periodically a driver update will require that the firmware on your StudioLive be updated Whenever you install an update for the Universal Control or add a new FireStudio family product to your system you should use this feature to ensure that the firmware is up to date If the firmware needs to be updated the update application will launch automa
256. y fine to have these controls share a MIDI channel with one of the recall groups As previously mentioned these parameters are controlled using Control Change messages not Program Change messages so there is no chance of a conflict unless you assign the same CC message to two different StudioLive parameters In addition to setting your MIDI Channels and Control Change messages you will also need to set MIDI Control Mode to On and make sure the MIDI Source is set to the StudioLive s MIDI Input Section 7 5 8 will show you how to control your StudioLive via FireWire using Studio One Artist Navigate to Pages 4 and 5 of your StudioLive system menu and set each page up as shown in these images SS ter Fage 4 HIDI Presets SWS ter Page S MIDI CTL MIDI Control Mode Output Levels cc MIDI Ch HIDI Source MIOI In Fea 40 FAE HI Hainzhg Program Change Chit a Scene 1 Mute Effect slock Po 2 FE g FAH bu FAE bb Setting Up Different MIDI Channels on Your FCB1010 Next you need to configure the pedals on your FCB 1010 to send information on different MIDI channels We will use Pedal 1 exclusively for Scene changes Pedals 2 and 3 for FXA recall and Pedals 4 and 5 for FXB recall You can customize your pedal to meet your needs these instructions merely provide a guideline 50 Owner s Manual 10 11 12 13 14 15 16 17 18 19 Scenes Presets System Menu and MIDI Control 5 Using MIDI Control
257. you must route the output stream to Channels 1 2 and pan the channel all the way to the left so that it will only be sent to Output 1 Please consult your software s user manual for specific instructions 2 Once you have the routing set up in Studio One drag and drop the Beat Delay plug in onto your track and record enable it Software monitoring will be enabled automatically Press the FireWire Return Mode button on your StudioLive and then press Channel 1 s MultiMode button of your StudioLive You can now monitor your analog signal with your inserted effect as you record from any of the output buses on the StudioLive Owner s Manual Connecting to a Computer 6 Using the StudioLive as an Audio Interface 6 4 A Quick Note About Printing Fat Channel Dynamics and EQ You probably will want to use the Fat Channel dynamics processing and EQ during post production The question is how to print these changes to your recording An easy way to do this is by recording the Main bus using the Flexible Inputs a Begin by routing a playback stream to an individual channel on the StudioLive from within your recording application With the FireWire return selected as the signal source for that channel press and hold SIP and solo the channel so that only that channel is routed to the Main Mix You can then process the playback stream through the Fat Channel for both the individual channel and for the Main

Presonus StudioLive 16.0.2 Operations Manual

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