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StudioLive™ 24.4.2

1. When recording live most people usually make a single continuous multitrack recording This involves record enabling Audio Tracks in Capture triggering recording and continuing to record until the performance is done The following describes aspects of the live recording workflow using the StudioLive mixer and Capture StudioLive Mixing and Recording a Live Performance The StudioLive mixer is capable of mixing your live show with stunning flexibility and ease while Capture records the show to your computer This is possible because each input channel on the StudioLive mixer has a hardwired output that continuously streams audio over FireWire to your computer and Capture is designed to receive and record this stream Once the StudioLive mixer has been set up to mix a live performance you will need to decide individually for each StudioLive channel whether to add pre or post Fat Channel dynamics processing and EO to the signal before it is sent to the computer To switch between pre post processing press the Post button Dig Out subsection in the Fat Channel section for each input channel on the StudioLive mixer If the Post button is illuminated the channel s signal will be sent to your computer after it is processed in the Fat Channel if the Post button is not illuminated the signal will be sent without Fat Channel EO and dynamics processing After setting the input channels on the StudioLive mixer
2. 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 7 3 Capture Capture 7 3 To do this first open the original Session If you have not already done so rename each marker to the desired name for each song Then select Export to Audio File from the Session menu In the Export to Audio File menu s Options section select Export Tracks and Each Marker and set the Format to the desired file format settings Then click OK Capture will then automatically generate separate audio files for each track in each song The names and files will be based on the Now you can plug the guitar or guitar amp mic into an input channel on the StudioLive mixer and set the input level as you normally would Then add the guitar input channel to the Aux 1 2 mix that the guitarist will listen to so he can hear himself If you record enable the Audio Track that corresponds to the guitar input channel in Capture you should see that track s level meter showing live input in the meter bridge name you specified in the Export to Audio File menu the names With the Aux 1 2 mix set so that the guitarist can hear his live guitar f th kers h lon i MAKT ONNE AAEN OUE OA ae playing and the tracks from Capture you are ready to record the Track Name Marker Name
3. ES Ho LE o 5 ct y 8 Tutorials 8 4 Subgroup Mixing PreSonus StudioLive 24 4 2 84 Subgroup Mixing A subgroup allows you to combine multiple channels in a single bus so that the overall level for the entire group is controlled by a single fader In addition to level control the StudioLive allows you to apply the Fat Channel s noise gate limiter compression and EQ to the group as a whole in addition to the processing available for each channel Subgroups can also be soloed and muted You will ind many uses for subgroups that will make mixing more convenient and will provide better control of your mix In this section we explore two different ways in which subgroups can help you to create a more efficient mixing environment and a more successful live mix 841 instrument Groups 146 Grouping individual instruments that create a section in your mix has obvious advantages The entire group can be muted or soloed brought up or down in a mix and faded in or out for a more polished intro or outro Some of the most common submix groups are drums backing vocals horn sections and string sections Drums are a classic application for subgroup mixing We will be using a drum group in this particular example but these principles can be applied when grouping any type of ins
4. sert lt gt VEE Mic Input ine In ine In YN 22 In A 48V 2046 Line In Mi ic Insert Insert e Insert connector wiring Zw co output to inserted device Subgroup Outputs Aux Outputs Created and Engineered by PreSonus Audio Electronics in the USA Manufactured in China Fabrique en Chine STUDIOLIVE 24 4 2 S PDIF qM PreSonus Digital Out 1394 1394 Pre Insert Balanced Direct Outputs Return e Ring return input from inserted device e Sleeve common ground From processor input Microphone Inputs Your StudioLive is equipped with 24 PreSonus XMAX microphone preamplifiers for use with all types of microphones A 25th XMAX preamp serves the talkback section The PreSonus preamplifier has a Class A input buffer followed by a dual servo gain stage This arrangement results in ultra low To noise and wide gain control allowing you to boost signals without increasing input unwanted background noise To mixer channel insert Aux Inputs The StudioLive offers two auxiliary inputs which are generally used as effects
5. 1 woe CDITA DP rrI TETTE CEDITLEDTII D TELE Rl di ft 17 19 Gain E Fren Low Mid aL LE LJ i a il yl 15 CC C 1 T amp s ii Freg lial E B ea Compressor Limit Equalizer 4 E e Assign Selected Channel a 0 0 4 The heart of the StudioLive is the revolutionary Fat Channel The Fat Channel makes dynamics routing and panning for every input and output on the StudioLive available at the touch of a Select button The 24 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 effects mixes for all 10 analog aux sends and both internal effects buses e Assign subgroup and main routing e Meter inputs post dynamics processing outputs and gain reduction for all 24 channels e Meter aux send outputs e Copy save and load mix scenes Recall your fader position for stored mixes 411 Select Buttons Meters and the Fat Channel Select Buttons All around the StudioLive you will see Select buttons There is a Se
6. 10 1 Troubleshooting and Warranty Troubleshooting PreSonus StudioLive 24 4 2 Owner s Manual 10 0 Troubleshooting and Warranty 10 1 170 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 and VSL mixer control 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 between the hours of 9 a m and 5 p m Central Time PreSonus technical support is available via email during the same hours at techsupport presonus com Pops and Clicks Pops and clicks in your audio could be caused by momentary losses of synchronization between the StudioLive and its clock source This can be due to a FireWire card that is not suited for FireWire audio devices or to a lack of CPU resources or available memory Tr
7. Fe fore c ct gt z 8 Tutorials 8 1 Microphones PreSonus StudioLive 24 4 2 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 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 814 Microphone Placement Grand Piano 126 The following are a few recording applications to help you get started with your StudioLive These are by no means the only ways to record these instruments Microphone selection and placement is an art For more information visit your library or local bookstore as there are many books and magazines about recording techniques The Internet is also a great source of recording information as are instructional videos Some of these microphone placement suggestions can be used in live applications as well as for studio recording Place one microphone above the high strings and one microphone above the low strings Experiment with distance the farther back the more room you will capture This technique can be used for live and studio applications Place a dynamic microphone an inch or two away from the spea
8. You will want to be sure to have the Export Tracks open Capture Session files All markers edits track names etc will Export to Audio File option selected in the Export Audio File menu as be preserved no further effort is required simply launch Studio One Location shown so that the result of the process will be a single J and open your Capture session See Section 7 4 for more details UsersijwardQA Documents Capture NewS down continuous audio file for each track in the session Filename New Session 2 f ow Once you have single continuous audio files Mixing a Capture Session in a Different Recording Application y 9 for each track directly importing the files For users who wish to mix their Capture Session in a DAW other a into an audio editor is much easier All that is than Studio One there are several ways which to import hotles E required to reconstruct your Capture Session your Capture session as described in the following Resolution 16 is to align each at the same start time Save a Capture Session as Open TL Samplerate 441 7 Many audio recording programs provide support for opening document type called Open TL Open Track List An Open TL file provides a reference for all of the audio tracks and Audio Events O Session with their corresponding positions in your Capture Session so that another audio pro
9. j EC ET ti DE EP ial 3 1 i B a I Nu LU n m a t h i 5 tet xn Vn i The StudioLive 24 4 2 is compatible with the Universal Control application As with all FireStudio and StudioLive family interfaces 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 subgroup and main bus levels Fat Channel parameters aux mixes effects and the Graphic EOs 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 pnis 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 d D m Eum 26 50 3
10. roc k guitas acoustic tar amp piana 100 Hz 200 400 800 1 5kHz 3kHz SkHz 7kHz 10 decrease dullness in kick and tom make background instruments sound mare distant decrease bogm m guitars decrease ambience in decrease dullness to increase clarity cymbals itars soften a thin guitar ddiness In vocals larranea thinness eir cert increase breathiness in amp m nid r ange instruments yright overtones in quitars background vacals decrease long bass overtones disguise slightly out of in cymbals tune vocals and guitars 142 cymbals E breathier vocals brighten cymbals string struments amp tutes makes samples amp synths sound more real 15 kHz Owner s Manual Tutorials 8 8 3 3 Vocals Equalizers 8 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 Pop Female Vocals LOW MID LOW MID or MID LOW MID T m Hz Le T im ow om m 0 HIGH MID HI MID i MID HIGH MID HIGH HIGH HIGH Ps HIGH kHz GAIN ON OFF SHELF FREQ
11. C zi o 7 4 Controls PreSonus StudioLive 24 4 2 4 4 Aux Sends Channel Fader Controls the Overall Level of the Channel Each input channel features a 100 mm long throw fader for accurate level adjustment Unity gain 0 dB is denoted by a 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 44 Aux Sends The StudioLive has ten 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 Control Control Control Control 441 Analog Aux Send Controls Solo Button Turns Soloing On and Off This button will solo the aux bus to the main outputs or to the monitor outputs Only PFL Soloing is available for the aux buses When a Solo button is enabled that channel or bus will automatically be selected and its Select button will illuminate Post Fader Send Button Enables and Disables Post Fader Send When this button is enabled the send levels to that aux bus will be post Fat Channel and post fader and therefore are affected by fader settings If the button is disabled by default the aux buses use the Pre 1 setting so
12. n o E 150 151 ct y 8 Tutorials PreSonus StudioLive 24 4 2 8 6 Digital Effects 86 Digital Effects The StudioLive includes two stereo effects processors that feature the two most common type of effects is use for live sound reverb and delay 8 6 1 Reverb Reverberation or reverb as it is more commonly known is perhaps the most widely used effect Natural reverb is created by sound waves reflecting off of a surface or many surfaces For example when you walk across the wooden stage in a large hall thousands of reflections are generated almost instantaneously as the sound waves bounce off the floor walls and ceilings These are known as early reflections and their pattern provides psycho acoustic indications as to the nature of the space that you are in even if you can t see it As each reflection is then reflected off of more surfaces the complexity of the sound increases while the reverb slowly decays The reason for the widespread use of reverb in audio recording is fairly self evident human beings dont live in 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
13. i t ii k 4 5 4 i la M sar 711 Universal Control Launch Window a a a a P Dita 2 Co a ec cere FL cect amp FLFLT XE LEN Im ELT Lec eel ECT soea socu Sample Rate Selector Changes StudioLive Sample Rate LATTE iiL mE ki PE i inm di irm H Sas dom j FER i mr m 7 3 SLA m Set the sample rate to 44 1 or 48 kHz from the Launcher window when your StudioLive is connected to a computer TT Sample Rate x TET 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 p ae fins Soe t j 4 Ti 4 1 ae X 1 T L i e S 4 T 4 P Wr 1 A i p 1 i 1 i L i d 4 zm Weil X4 Pm 1 E t
14. Control Studio One Artist ning Universa Mac or PC run with VSL Capture or 3 Typical Church Hookup 3 4 Owner s Manual PreSonus StudioLive 24 4 2 Hookup 3 4 Typical Church Hookup 3 Typical Church Hookup 3 4 00 gt a AN L 0069S 0098 900 22 E x 00 200 ESOO gt 00 te BDO gt gt 3250 34D0 e250 e52 90 00 c250 9 Vocal Monitor ocal Mic Vocal Monitor ocal Mic Vocal Monitor Mic Voca Vocal Monitor Control Studio One Artist ning Universa rH Mac or PC run with VSL Capture or 20 3 Hookup PreSonus StudioLive 24 4 2 Owner s Manual Hookup 3 3 Typical Recording Hookup Typical Recording Hookup 3 5 35 Typical Recording Hookup 6 6 Drum Headphones EN eo EB eo Headphones Headphones Ip p a o a Vocal Hea
15. 5 V 5 Capture and Studio One Artist gt lt D DA E gt o 5 gt im et Controlling your StudioLive with VSL is as easy as drag and drop Load Fat Channel presets and scenes by simply dragging them onto the channel or mixer overview You can load Fat Channel presets as a complete channel strip or as individual gate compressor or EQ presets Through VSL you M n Mu 72 73 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 7 1 Universal Control Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 Universal Control 7 1 Clocksource Changes the Clock Source for Chained FireStudio family Devices Settings Check Firmware Scans Your StudioLive and Updates the Firmware SEE RE TREE The StudioLive cannot slave to an external clock However if you are A firmware updater is built into the Universal Control application v StudioLive Internal cascading it with Firestudio family products that do feature digital inputs Periodically a driver update will require that the firmware on your the clock source becomes selectable StudioLive be updated Whenever you install an update for the Universal 7 TE Control or add a new FireStudio family product to your system you The
16. 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 7 4 Studio One Artist Studio One Artist 7 4 UN 00 Activating Studio One Artist Offline 742 Enabling the Audio Driver Activate Studio One e Once you have created a user account launch Studio One Artist From Studio One and Studio One Artist were designed with PreSonus interfaces the Activate Studio One Menu click on the Activate Offline link Follow in mind Your StudioLive is already integrated into Studio One Artist so X T the instructions to log in to your previously created user account register setup is quick and easy When Studio One Artist is launched by default the product and obtain a license file you will be taken to the Start page On this page you will find document management and device configuration controls as well as a customizable RE nM e Next copy license file to computer which Studio One has 9 9 E oe Om l artist profile a news feed and links to demos and tutorials from PreSonus AEE ETE TA ee ee been installed and locate the license file as instructed in the Activate ee Mo If you have Internet connection on your
17. Gave audible click gates have the ability Auto and Release controls become ed MER E s i levels to click when opening but a properly inoperative and a preprogrammed threshol d will be set gate will never click attack and release curve is used In 9 compressed at a ratio of 2 1 This this mode the attack is set to 10 ms means that for every 2 dB of level and the release is set to 150 ms All increase above threshold the other compressor parameters can still nara dicted compressor s output will only increase Gate Range Anak i pen 2 L Wichth Tre Width Gain J 1 dB The ratio can be set from 1 1 to Reick E B8 E H d o3 3 1411 elle eM Fier du ratu tegi Attack se brut Ga E s ME On Con T Channel 4 28 29 CY O zi o 7 4 Controls 4 1 Fat Channel Compressor Attack Compressor Release Release 30 Sets and Displays the Compressor Attack Setting for the Selected Input Channel or Output Bus Compressor Makeup Gain This encoder sets and the meter displays the compressor s attack setting for the selected channel or output bus Attack sets the speed at which the compressor acts on the
18. SELECT MELEE PELETI SELECT DAM MH DAW 2 1 f H 193 DA Ju MUTE MUTE Hu 1 MITE Wi un n x dm ka z E DAS Ch 13 Ch 14 Ch 15 J Ch iF Ch 18 Ch 19 Ch Ch21 Ch232 f PONDUS ban AL 3L Lu Lt Win Lr b LE eun t ELA Tul AW Hou 4l H Displays the Different Preset Categories FM Your StudioLive and on Your 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 FX Displays stored effects presets GEQ Displays graphic EQ presets BACKUP Displays any backup logs that have been created in VSL 76 77 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 7 2 VSL Virtual StudioLive VSL Virtual StudioLive 7 2 Send Button Transfers Designated Scenes Fat Channel FX and Graphic EQ Presets Backup Tab Creates and Restores Backups of Your StudioLive f
19. vnc cot 3 Select VST Audio System from the Devices column in the Device Setup software was successfully installed 4 Select PreSonus FireStudio from the ASIO Driver dropdown list 5 Click Switch to begin using the StudioLive Driver 2 6 you have successfully changed the driver go to Devices 41 PreSonus cond qu VST Connections to enable your input and output buses Mu 64 65 6 Connecting to Computer PreSonus StudioLive 24 4 2 Owner s Manual Connecting to a Computer 6 6 4 Using Your StudioLive as an Audio Interface Using Your StudioLive as an Audio Interface 6 4 eo 3 e D Launch Sonar Go to Options Audio and click on the Advanced tab Change the Driver Mode to ASIO Click the OK button Restart Sonar Go to Options Audio and click on the Drivers tab Highlight all input and output drivers beginning with PreSonus FireStudio Go to Options Audio and click on the General tab 9 Set the Playback Timing Master PreSonus FireStudio DAW Out 1 10 Set the Recording Timing Master to PreSonus FireStudio Mic Inst 1 FireWire Sends and Returns When using the StudioLive as an audio interface it is important to understand the terms FireWire send an
20. Cakewalk Sonar 6 e Aux Send A amp EFXB Send e Aux Return A Aux Input A e Aux Return B Aux Input B Return A EFXA Return e FX Return EFXB Return e 2 Track Left Right e Talkback Left Right Solo Left Right Note that either channel of the stereo pair can still be accessed on a mono track in your host application only the routing must be assigned as a stereo pair For instance if you have a backing vocal group routed to Subgroup 1 and a guitar group routed to Subgroup 2 you would create two mono tracks in your recording application The track whose input is assigned to Subgroup 1 will record the backing vocal group and the track whose input is assigned to Subgroup 2 will record your guitar group If however you have a stereo drum group assigned to Subgroups 3 4 you can create a stereo track in your recording application and assign its input to Subgroups 3 and 4 For more information on subgroup mixing please see Section 8 4 The obvious exception to this principle is the Talkback Mic input The Universal Control Device window allows you to assign the talkback output to one of the stereo FireWire sends In this instance the same signal will be printed on both sides of the send In your recording software you can create a mono track and assign it to either side of the stereo FireWire send to which it is routed Both FireWire sends receive the same mono signal from the talkback mic preamp Please
21. Displays the of the Low High Mid EQ Sets and Displays the Center High Mid EQ Sets and Displays the Gain EQ Button Selected Input or Output Bus Q Control Mid Frequency Band Frequency Frequency of the High Mid EQ Attenuation or Boost at the When the Shelf button is not This encoder sets and the meter frequency to the bandwidth When the center frequency is constant the bandwidth is inversely proportional band The level of the center frequency can be set between 15 alters by a fixed amount a band of from 380 Hz to 5 kHz low frequencies at and below a 5 42 3 9 2 9 24 2 0 1 6 1 4 12 E B0 66 55 46 38 user selected shelving frequency tote QUOD 15 A Low Shelving is like bass narrow the bandwidth control knob on a stereo In this mode the Center Frequency control J selects the shelving frequency 21 Low Mid Activates Controls for the Low Mid zi On Off EQ for the Selected Input or eS d Button Output Bus Freq Gain dB This button actives the controls for _ the equalizer s Low Mid band for the Center High Mid EQ Sets and Displays the Q of the High High EQ Activates Control for the High EQ selected input or output The button Q Control Mid Frequency Band On Off for the Selected Input or Output Bus Frequency for the Low
22. 3 lt D So DA E 5 o 5 D gt im 1 19 P Remove Button Deletes a Stored Scene or Preset In the On the Disk section of the Browser notice the Remove button Clicking this button will delete the currently selected stored Scenes or presets 78 79 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 7 2 VSL Virtual StudioLive VSL Virtual StudioLive 7 2 122 WSL Overview Tab Masters View Mew c HEU AUX 10 The Masters View displays the controls for each Aux aac Overview Channel Cea Display Browser Output and bus just as they are on your StudioLive P iu Enable GEG GEG AUK INE SOLO AUK INE SOLO The Masters View also displays the send levels for the ale e 2 ele Posr POST POST Aux Flip Mode Channels Main FireWire Return Tape SIE wap mue mm We e Es se Input Aux In A amp B FXA FXB and Talkback From ES EXE IE 3e E Tx Assign within the Masters View you can also Select each Aux co and FX bus to edit its Fat Channel insert 8 GATE Ns P s COM
23. SOLO SOLO 724 Loading Scenes and Presets from VSL 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 you wish to load it on 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 grey out indicating that a new Scene is about to be loaded Please note only the parameters that have been enabled for recall on the StudioLive will be recalled on the mixer See Section 5 1 for more details Scribble Strip labels are stored with your Scenes You can load just the labels by selecting the Scene from the Browser window and dragging it over the row of Scribble Strips above the Channel Faders The Scribble Strips will grey out indicating that the Scribble Strip labels from the Scene are about to be loaded SCENE BAS Electric 1 BAS Electric 2 BAS Slap BAS Upright DRM Fat Snare DRM High Hat DRM Kick 1 DRM Kick 2 SCENE FAT CH FX The Disk Analog amp th Analog Slap Analog Trip Arena Redroom Big Club Brick Club Brick House Hide Browser SCENE FAT CH FX
24. Wid Sub Out Delay Firmware Version System Fage 4 Sub Delays On Page 4 of your System menu you will find Supe the m Out Your StudioLive proves 4 4 c you with the ability to delay the audio of your subgroup outputs 2 to 500 ms in increments of 2 ms When you correctly set the delay time for these outputs you ensure that the sound from each speaker in the P A system arrives at the listening position at the same time Press the Page Down button to view the firmware version currently loaded on your StudioLive You normally will only view this screen when performing system update order to confirm that the new firmware was successfully loaded Firmware Version The delay should be set for the speakers to which your listener will be closest Let s say you are using your StudioLive in a large theater with a balcony and you have three pairs of speakers a pair in front of the stage a pair in the rear of the auditorium and a pair at the front of the balcony You will need to delay the rear speakers so that the listeners closest to them will hear the audio from both the J rear and stage speakers at the same time This is also true for the audience in the Y balcony While the balcony speakers will provide the loudest source of audio the balcony audience will still be able to hear the stage spea
25. 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 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 2 few days after the original performance have you might find a few things you would like to correct in the part This finished producing a ten song live album for the band you is where punching as described in the next section comes in handy recorded and they could 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 describes aspects of D the studio recording workflow using the StudioLive mixer and Capture Overdubbing In a studio recording session as opposed to recording live you might E 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 track
26. bandwidth and gain are extracted through a process of curve fitting The curve entered by the user is first oversampled The system then works with an internal curve made up of 128 bands to find coefficients for the first shelving filter that when subtracted from the user s curve will produce the flattest possible 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 EQs what you see is what you get With a carefully drawn smooth curve the StudioLive EQ will have almost 57 stem M enu n v2 5 Scene Presets and the System Menu PreSonus StudioLive 24 4 2 Owner s Manual Scene Presets and the System Menu 5 5 3 Graphic Equalizers System Menu 5 4 f ipple The StudioLive EQ is al ble of h tches in bcd N 5 Ks load a preset to any channel on t
27. not allow your inputs to clip Watch the level meters when the LEDs near 4 7311 Capture Applications and Scenarios 708 Soong ening the Clip mark the top LED will illuminate indicating that the analog to digital 7 4 Studio One Artist Quick Start 112 8 9 2 Aux Mixing with Cascaded Mixers 157 converters are in danger of being overdriven Overdriving the converters 741 Automaton T 8 9 3 Internal Effects Buses 157 will cause digital distortion which sounds terrible The XMAX preamps 8 94 Subgroups To Merge or Not to Merge 158 in your StudioLive provide plenty of headroom take advantage of it 7 4 2 Enabling the Audio Driver 115 7 4 3 Configuring Your MIDI Devices 775 7 4 4 Creating a New Song 118 7 4 5 Creating Audio Tracks 120 8 9 5 Scene Store and Recall 158 8 9 6 Load 158 8 9 7 Local Versus Merged Buses and Inputs 759 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 746 Creating MIDI Tracks 121 9 0 Technical Information 160 B StudioLive 24 4 2 7 4 7 Adding Virtual Inst ts and Plug in Effects to Bou cong Ds m dE 9 1 Specifications 160 C C
28. s amplitude level exceeds the threshold setting the limiter is engaged Turning the knob counterclockwise lowers the threshold so limiting begins at a lower amplitude The threshold can be set from 56 to 0 dB 414 Fat Channel Panning and Stereo Link The Pan Control for each Input or Output bus is set on the Fat Channel The LED display shows the Pan setting and the encoder to the right of the display controls panning for the selected input or output bus When two channels are linked as stereo pair the LED display will automatically change to stereo pan Stereo linking is done within the Fat Channel Input channels aux buses and subgroups can be linked to create a stereo pair The stereo pairs are predefined and cannot be changed They are as follows Channels 21 and 22 Channels 23 and 24 Aux 1 and Aux 2 Aux 3 and Aux 4 Aux 5 and Aux 6 Aux 7 and Aux 8 Aux 9 and Aux 10 Subgroups 1 and 2 Subgroups 3 and 4 Channels 1 and 2 Stereo Channels 3 and 4 Channels 5 and 6 Channels 7 and 8 Channels 9 and 10 Channels 11 and 12 Channels 13 and 14 Channels 15 and 16 Channels 17 and 18 Channels 19 and 20 A stereo link can be enabled when either channel in the pair is selected When the Stereo Link button is illuminated all dynamics settings subgroup assignments and main assignments are pasted to the other channel in the pair Note that this is a nondestructive paste when the Link button is disengaged th
29. 13 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 56 PreSonus StudioLive 24 4 2 Your StudioLive comes with 50 Fat Channel presets custom designed by professional PreSonus users These presets can be altered renamed and overwritten however there are 50 additional empty storage locations for you to build your own custom library of channel strip settings DRM Kick 1 DRM Kick 2 DRM Kick Funk 1 DRM Kick Funk 2 DRM Kick Hip Hop DRM Kick Jazz DRM Snare 1 DRM Fat Snare DRM Snare Crackalak DRM Snare Snappy DRM Toms Mid DRM Toms Low DRM Toms High DRM Overhead Rock DRM Overhead Jazz DRM High Hat BAS Electric 1 BAS Electric 2 BAS Slap BAS Upright GTR Rock 1 GTR Rock 2 GTR Funk GTR Metal GTR Jazz GTR Acoustic GTR Acoustic Strumming GTR Acoustic Fingerstyle KEY Piano Bright KEY Piano Warm KEY Piano Jazz KEY Piano Electric KEY Piano Electric 2 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 KEY Vibes HRN Trumpet HRN Trombone HRN Sax HRN Sax Solo PRC Congas PRC Bongos PRC Cowbell PRC Tambourine VOX Male 1 VOX Male 2 VOX Male 3 VOX Female 1 VOX Female 2 VOX Female 3 VOX Speech 1 VOX Speech 2 EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION
30. allowing instant setup and recording of performances In addition to recording the 24 channels of the StudioLive 24 4 2 Capture also allows you to record a single stereo track from the StudioLive s main output one pair of subgroup outputs or a pair of aux sends giving you the option to record your main mix or create a separate recording mix You can arm all 26 tracks to record with the click of a single button Please consult the Capture user manual for complete instructions 26x26 multitrack recording application Record with two mouse clicks Essential editing suite copy cut paste splice resize Peak LED style meter bridge with clip indicators Marker placement and recall Export between marker Record stereo mix from StudioLive mixer Import export wav aiff or OpenTL files 24 Summary of StudioOne Artist software features All PreSonus audio interfaces include PreSonus Studio One Artist recording software which comes with over 4 GB of plug ins loops and samples giving you everything you need for music recording and production The Studio One Artist Quick Start Guide is located in Section 4 1 of this manual You will find a complete user manual on the Studio One Artist installation DVD Unlimited track count inserts and sends 20 high quality native plug ins amp modeling Ampire delay Analog Delay Beat Delay distortions Redlight Dist dynamics processing Channel Strip Compressor Gate Expander Limiter Tr
31. dB As you increase the ratio the compressor gradually becomes a limiter 131 ES Ho LE o 5 ct z 72 8 8 2 132 PreSonus StudioLive 24 4 2 A Brief Tutorial on Dynamics Processing Limiter A limiter is a compressor that is set to prevent any increase in the level of a signal above the threshold For example if you have the threshold knob set at 0 dB and the ratio turned fully clockwise the compressor becomes a limiter at O dB so that the output signal cannot exceed 0 dB regardless of the level of the input signal 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 compressor unprocessed whereas a fast attack time immediately subjects the signal to the ratio and threshold settings of the compressor Release Release sets the length of time the compressor takes to return the gain reduction back to zero no gain reduction after the signal level drops below the compression threshold Very short release times can produce a very choppy or jittery sound especially in low frequency instruments such as bass guitar Very long release times can result in an overcompressed sound this i
32. 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 Downward Expansion Downward expansion is the most common expansion used in live sound and recording This type of expansion reduces the level of a signal when the signal falls below a set threshold level This is most common used for noise reduction Ratio The expansion ratio sets the amount of reduction applied to a signal once the signal has dropped below the expansion threshold For example a 2 1 expansion ratio attenuates a signal 2 dB for every 1 dB it drops below the threshold Ratios of 4 1 and higher act much like a noise gate but without the ability to tailor the attack hold and release times Threshold The gate threshold sets the level at which the gate opens Essentially all signals above the threshold setting are passed through unaffected whereas signals below the threshold setting are reduced in level by the amount set by the range control If the threshold is set fully counterclockwise the gate is turned off always open allowing all signals to pass through unaffected Attack The gate attack time sets the rate at which the gate opens A fast attack ra
33. which can be provided by a small battery an external ijj Dance Drums 012 140bpm wav gt 5 Dance Drums 013 140bpm wav power supply or phantom power which is usually provided by a mixer A Dance Drums 014 140bpm wav Dance Drums 015 140bpm wav preamplifier or direct DI box Phantom power is sent over the same mic ijj Dance Drums 016 140bpm wav Dance Drums 018 140bpm wav cable that carries the audio signal the term derives from the fact that there 24 Dance Drums 019 140bpm wav m 3 Sprite is visible power the voltage is perceptible the audio path b L Deep Frets Electric Guitar Ci Finy Galion Drums The StudioLive sends 48 VDC phantom power from the XLR inputs only gt Lj Funk Drums gt L Hip Xpression E b Lj Hotbox Vol 1 gt Ld Icebox 812 Dynamic y Dance Drums 004 140b 44 1 kHz 18 bit Stereo 11 1 2002 10 25 48 Wave File 6 857 140 00 BPM Dynamic microphones are possibly the most widely used microphone C2 a x BNET Sounds type especially in live shows They are relatively inexpensive resistant EXCLUT 414 12000 to physical damage and typically handle high sound pressure levels ees 2 I SPL very well Unlike condenser microphones dynamic microphones typically do not require a power source In most cases
34. 1 6 GHz processor or AMD Athlon 64 3000 Turion 1 GB RAM J e Recommended Intel Pentium 4 2 8 GHz EM64T or better or L AMD Athlon 64 XP 3000 or better 2 GB or more RAM NOTE The speed of your processor amount of 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 m RE Ae 62 63 6 Connecting to Computer PreSonus StudioLive 24 4 2 Owner s Manual Connecting toaComputer 6 6 3 Installation for Mac OS X Using Your StudioLive as an Audio Interface 6 4 63 Installation for Mac OS X 64 Using the StudioLive as an Audio Interface 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 Your StudioLive features a 32x26 FireWire interface Any input and bus with a Select button plus the Solo bus tape input and talkback mic 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 St
35. 2 3 2 4 2 5 2 6 3 0 3 1 3 2 3 3 3 4 3 5 4 0 4 1 4 1 1 4 1 2 4 1 3 4 1 4 4 1 5 4 1 6 4 2 4 2 1 4 3 4 3 1 4 4 4 4 1 4 4 2 4 5 4 5 1 4 6 4 7 4 7 1 Quick Start 5 Overview 7 Introduction 7 Summary of StudioLive 24 4 2 Hardware Features 8 Summary of Capture Software Features 9 Summary of StudioOne Artist Software Features 9 Summary of Virtual StudioLive Software Features 10 What is in the Box 11 Hookup 12 Rear Panel Connections 12 Basic Hookup Diagram 17 Typical Band Hookup 18 Typical Church Hookup 20 Typical Recording Hookup 22 Controls 24 The Fat Channel 24 Select Buttons Meters and the Fat Channel 24 What You Can Process with the Fat Channel and FireWire Sends 25 Fat Channel Dynamics Processing and EQ 26 Fat Channel Panning and Stereo Link 35 Fat Channel Output Assignments 36 Copying Loading and Storing Fat Channel Settings 36 Metering 37 StudioLive Metering Controls 37 Input Channel Strip 38 Input Channel Controls 38 Aux Sends 40 Analog Aux Send Controls 40 Internal Aux Send Controls 42 Subgroups 43 Subgroup Controls 43 Main Output Bus 44 Master Section 45 Aux Inputs AandB 45 4 7 2 4 7 3 4 7 4 4 7 5 4 8 4 8 1 4 8 2 5 0 5 1 5 2 5 2 1 5 3 5 4 6 0 6 1 6 2 6 3 6 4 6 4 1 6 4 2 6 4 3 6 4 4 6 4 5 7 0 7 1 7 1 1 7 2 7 2 1 7 22 7 2 3 7 2 4 7 2 6 7 2 7 7 2 8 7 3 Table of Contents 02 T
36. 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 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 Tape Inputs Type Maximum Input Level 160 XLR Female balanced 20 Hz 40 kHz 0 0 5 dBu 20 Hz 20 kHz 0 5 dBu 1kQ 0 00596 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 0 000796 4 dBu 20 Hz 20 kHz unity gain unwtd 0 00596 4 dBu 20 Hz 20 kHz unity gain unwtd 105 dB 94 dB 20 dB to 20 dB 22 dBu RCA Female unbalanced stereo pair 22 dBu Owner s Manual Auxiliary Inputs Type Maximum Input Level Main Outputs Type Rated Output Level Output Impedance Aux Output
37. 7 2 SOFTWARE Universal Control Capture and Studio One Artist VSL Virtual StudioLive 725 VSL GEQ Tab PreSonus StudioLive 24 4 2 The StudioLive 24 4 2 features 4 dual mono Graphic EOs Assignable in stereo pairs these Graphic EOs can be inserted on any of the 10 Aux Buses the 4 Subgroups or the Main Bus In addition to allowing you to control each Graphic EQ individually VSL automatically links each dual mono Graphic EO to create a true stereo Graphic EQ if the pair is inserted onto a stereo bus allowing you to control both sides at once e g if you insert GEO 1 2 onto Subgroups 3 and 4 and stereo link the Subgroups GEO 1 2 will function as a stereo Graphic EO rather than a dual mono Graphic EQ Owner s Manual Enabling a GEQ Flattening a GEQ Curve SOFTWARE Universal Control Capture and Studio One Artist 7 VSL Virtual StudioLive 7 2 By default all Graphic 5 on your StudioLive 24 4 2 are disabled To enable them remotely via VSL simply click on the Enable button to the left of the sliders To zero out all curve settings on any click on the Flatten GEO button directly below the Enable button This will flatten all band gains to 0 dB so that they neither boost nor attenuate any of the 31 bands Note The GEQ Menu on your StudioLive does not have to be active to make changes to a Graphic EO from VSL If you wish to use the Fat i Channel encoders to control the Graphic EOs
38. En ER IEEE Cntri Cmd Shift 5 TN Cntri Cmd Q SE TEE eo I M Cntri Cmd Z Cntrl Cmd4C Extend Selection Up Add Cntrl Cmd Shift Up Arrow Cntri Cmd v Select Extend Selection Down Shift Down Arrow Deselect All Cntrl Cmd D Cntri Cm or E A Cntri Cmd or W 8 Extend Selection Down Add Cntrl Cmd Shift Down Arrow Skip Down Cntrl Cmd Down Arrow Extend Selection Page Up Extend Selection Page Up Add Extend Selection Page Down Extend Selection Page Down Add Extend Selection Start Extend Selection Start Add End End Extend Selection End Extend Selection End Add S NENNEN E l 106 107 D m 5 pus Gu gt s gt pue ainyde gt 1514 euo oipnis Capture and Studio One Artist 5 v o ot 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 73 Capture Capture 7 3 311 Capture Applications and Scenarios blows up during the live show your live mix will be completely
39. MIDI keyboard controller and a sound module The MIDI controls keyboard knobs faders etc will be set up as a Keyboard The sound module will be set up as an Instrument 1 You can set up your external MIDI devices from the e Setup area in the Start page Before we set up a new Song for recording let s take a moment to configure external devices Audio Setup External Devices Advanced Ck Te In Connect the MIDI Out of your external MIDI controller to a MIDI In on your MIDI interface If you are using a USB MIDI controller connect it to your computer and power it on Click on the Configure External Devices link in the Setup area on the Start page to launch the External Devices window Click the Add button My Controller Keyboard Generic Keyboard use for unknown 2 The Add Device window will launch From the menu on the left select New Keyboard At this point you can customize the name of your keyboard by entering ar This device model the manufacturer and device names IDI Learn Connecting the send port is optional MIDI Channels All 4029304050607 folo Recaive From Send To Default instrument Input Mobile 2 MIDI None Mobile 2 MIDI You must specify which MIDI channels will be used to communicate with this keyboard For most purposes you should select all MIDI channels If you are unsure of which MIDI channels to select sele
40. Mid Band kHz C Gain dB will illuminate to indicate control is Button This encoder sets and the meter P active This encoder sets and the meter L o sees Gee displays the Q for the High Mid This button actives control of the The Low Mid EQ is available for The is the ratio of the center High band for the selected channel center frequency of the Low Mid all input and output buses frequency to the bandwidth When On or bus The button will illuminate to band The level of the center oe ie the center frequency is constant the indicate control is active y AROE bandwidth is inversely proportional Low Mid Sets and Displays the Center and 15 dB diis The High band is available Frequency of the Low Mid Oia yeu for all input and output buses E q d narrow the bandwidth P P Control This encoder sets and the meter High EQ Sets and Displays the Center displays the center frequency for the Frequency Frequency of the High EQ Low Mid band You can adjust the Control center frequency from 75 Hz to 1 2 Thiseneodareate and displays the center frequency of the High band You can adjust the center frequency from 1 4 to 18 kHz High Mid EQ Activates Controls for the High Mid On Off EQ for th
41. Ogee 06 Ogu 9 99990 PS Mic Mic ic Mic Mic Mic pis Mic PT pim Mic Mic A 9 pS Mic Mic Mic ZA 7 AN 97 y YN LA LA 7 7 N SN YN 2 JA 2 EN YN eee S S N N Y lt eje 9 9 ATL ZENS ZAW e Line In Line In AN 23 ZN 7 Insert Insert T n o Output Mail nb utput Main Out Tape CR Output AUX Inputs Subgroup Outputs Aux Outputs STUDIOLIVE p 4 2 Created and Engineered by PreSonus Audio Electronics in the USA Manufactured in China Fabrique en Chine Power n Out 17 24 Out 9 16 Out 1 8 Hw 115 PreSonus z 2 Amp Fuse Digital Out Qut 17 24 FireWire Pre Insert Balanced Direct Outputs These are the balanced direct analog outputs for the 24 channels The DB25 connectors divide the channels into three groups of eight Balanced DB25 fan out snakes can be obtained in various configurations at most recording and live sound retailers Pre Insert Balanced Direct Outputs Common fan outs are DB25 to 8 XLRM and DB25 to 8 TRS These outputs are post gain pre insert and pre A D converter Only the microphone preamps and line level inputs are available through the direct outputs The FireWire returns cannot be patched to the dire
42. P Thank you for purchasing the PreSonus StudioLive 24 4 2 PreSonus Audio Electronics has designed the StudioLive utilizing high grade components to 12 Bring up the Main fader until you can comfortably listen i j a ensure optimum performance that will last a lifetime Loaded with 24 high y P headroom XMAX microphone preamplifiers a built in 32x26 FireWire recording and playback engine Fat Channel processing with 4 band EQs compressors 13 With Channel 1 selected you can use the Fat Channel limiters and expander gates DSP effects 10 aux buses 4 subgroups extensive to add dynamics processing and EQ LED metering mixer save recall channel strip save recall copy paste For more detailed level setting procedures and talkback and more StudioLive breaks new boundaries for music performance techniques refer to Section 8 7 on page 144 and production All you need is a compatible 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 in U S Central Time Zone with any questions or comments you may have regarding the BERE 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
43. Section The Tape Inputs are active on both mixers in the chain but the Tape In button only routes the associated Tape Input to the Main bus on that unit For example the Tape In button on the Slave patches it to the Main bus on the Slave only Because of this we recommend that you only use the Tape Input on the Master unit Monitor Bus You must use the Monitor section on the Master unit to monitor all channels in the chain by listening to the Solo bus or the the Main bus the Tape Input for the Master Main bus and the Main FireWire Return The Monitor bus on the slaved unit can only receive signals from the mixer it is on The Solo bus is a merged bus any channel on any mixer can be soloed and monitored from the Master unit When either PFL or SIP are engaged on either mixer both mixers are placed into the same mode at the same time 159 E jed1uyra o 3 et 5 9 Technical Information 9 1 Specifications PreSonus StudioLive 24 4 2 90 Technical Information 91 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
44. 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 431 Input Channel Controls Trim Control Adjusts the Input Gain Level The Trim control adjusts the gain of the channel s analog input It is very important to properly adjust this control in order to minimize noise and 3 avoid overload distortion Follow the Quick Start level setting instructions on BS 2 page 5 before operating a channel Mic Line 1 Phantom Power Button Turns Phantom Power On Off The StudioLive is equipped with individual phantom power for every microphone 48V input The 48V button will illuminate when phantom power is activated For more information on phantom power and the microphones that require it please review Section 8 1 38 Owner s Manual Controls 4 Input Channel Strip 4 3 FireWire Input Turns FireWire Playback Streaming On Off Select Switch The FireWire Input button 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
45. a subgroup it will be muted in those outputs This also applies to soloed channels The output routing is still active Note that while you can manually unmute a channel this mode should be used with extreme caution during a live performance Only the input channels can be placed into destructive soloing The Subgroups and Aux buses are omitted from SIP mode To enable SIP press and hold the button until it illuminates red This ensures that you cannot enter into destructive Solo mode by accident When SIP is engaged channel mutes will only apply to the Subgroup and Main assignments SIP does not mute input channels in Aux Send mixes 47 x UJ C O zi o 7 4 Controls 4 7 Master Section 475 Monitor Bus Solo Bus Monitor Button Headphone Output Level Control Control Room Monitor Level Control Tape Input Monitor Button Main Mix Monitor Button Main FireWire Monitor Button PreSonus StudioLive 24 4 2 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 main FireWire return from your computer and the stereo analog tape in
46. after which navigation to the markers is 739 Mixing in Capture Mark Iso helpful wh i e sae eds d S Mixing is the part of the production process where all individual mixes or to work in another recording application recorded tracks are combined to mono stereo The goal The Marker Lane is always visible just below the Timeline is to balance relative volume frequency and dynamic 1 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 VEMM 100 101 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 73 Capture Capture 7 3 p each corresponding input channel on the StudioLive mixer Thus with Preview Player the FireWire returns engaged for each input channel on your StudioLive Wenboa ore E enen mixer the output of your multitrack Capture Session is routed to the Mono 29 7 2010 15 38 06 NE al J StudioLive mixer where it can be mixed just like any other audio input sasanka 9 E in the Preview Player Click the Play button in the ENS _ Preview Player
47. also be used to correct off axis phasing issues in small clubs SubGroup Merge connectivity route stereo mix to the S PDIF y P 9 Deane Because of space restrictions you can t always place your main speakers for Status Driver Linked Slave output assign which StudioLive in a cascaded a y a P a the best possible sound reproduction Sometimes your left side speaker will chain is the Master and merge or unmerge Wr need to closer to the audience make room for pillar or staircase the subgroups in a StudioLive chain iu the bathroom so an audience member standing in the center of the room When the StudioLive is connected and synced to a computer via FireWire the Status will read Driver On and the Sampling Rate will read FireWire Neither parameter can be adjusted fom the StudioLive while it is synced to a computer will not have the best listening experience By using a pair of subgroups as the source for your mains you can factor in that 2 to 4 ms delay the left speaker needs so that unbalanced speaker placement is no longer an issue in which case you need to use the Universal Control Device Window to make Lockout Mode your S PDIF assignments and change your sample rate See Section 7 1 1 for Syster Page Lockout J more details When two StudioLives are cascaded t
48. assign the channel subgroup bus ensuring that only that channel is routed to the subgroup You can then process the playback stream through the Fat Channel for both the individual channel and for the subgroup In your recording software assign the subgroup as an input source for a new track and record it The unprocessed track can then either removed from the session or used in tandem with the processed track as 68 69 A 3a5 5906 gt To 6 6 4 Connecting Computer Setuy Speaker Out Channels Output Mapped WDM Channels WDM 1 Front Left WDM 2 Front Right Reset 3 4 WDM 5 6 WDM 7 8 WDM Channels Drag WDM channels to Device channels to map them Drag maps out of the Device channels list to unmap them 10500005 o Device Channels StudioLive Ch 1 StudioLive Ch 2 StudioLive Ch 3 StudioLive Ch 4 StudioLive Ch 5 StudioLive Ch 6 StudioLive Ch 7 StudioLive Ch 8 StudioLive Ch 9 StudioLive Ch 10 StudioLive Ch 11 StudioLive Ch 12 StudioLive Ch 13 StudioLive Ch 14 StudioLive Ch 15 StudioLive Ch 16 StudioLive Ch 17 StudioLive Ch 18 StudioLive Ch 19 Using Your StudioLive as an Audio Interface PreSonus StudioLive 24 4 2 2 The WDM Channel Mapper window will open By default WDM Outputs 1 and 2 are rou
49. button for each EFX bus and make sure it is assigned to the main output in the Assign section of the Fat Channel J No Output on the Solo Bus While Monitoring L 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 102 PreSonus StudioLive 24 4 2 Limited Warranty PreSonus Audio Electronics Inc warrants this product to be free of defects in material and workmanship for a period of one year from the date of original retail purchase This warranty is enforceable only by the original retail purchaser To be 2 protected this warranty the purchaser must complete and return the enclosed L 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 L 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 an
50. channels on your StudioLive leaving the other 24 outputs available to be routed to the Fat Channel or for inserting a plug in on a live instrument see the next section for more details 67 Computer D U Connecting Computer PreSonus StudioLive 24 4 2 Using Your StudioLive as an Audio Interface 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 24 input channel as well as from the auxiliary inputs and buses assigned to the second bank of eight FireWire sends At the same time the StudioLive is receiving signals back from the 26 FireWire returns Because the FireWire returns always Owner s Manual Connecting to a Computer 6 Using Your StudioLive as an Audio Interface 6 4 an effect The flexible routing and mixing capability of the StudioLive provides you with an arsenal of tools previously unavailable to in the box mixes Don t be afraid to test the limits of modern mixing techniques and to create a few of your own Note The Dig Out button does not function when you have a FireWire return selected as an input source If Dig Out is enabled any aux subgroup and the main bus to which the return is routed will not receive the post Fat Channel signal The
51. coe anini i sota TM 34 fh d Lr 2 3 i i E edu Key Filter Threshold Range 0 04 Asskgn aM mE ma T PreSonus StudioLive 24 4 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 parametric EQ Enabling the Shelf button turns the High band into a high shelving EO that alters by a fixed amount a band of low frequencies at and above a user selected shelving frequency A high shelving is like a treble control knob on a stereo In this mode the Center Frequency control selects the shelving frequency Width Gain 3 Rr j sh P n 2 imd g Gain Frea bu a Gain fan Low Mid High Mid Equalizer Channel Owner s Manual Controls 4 Fat Channel 4 1 Fat Channel Limiter Section Limiter Turns on the Limiter for the Selected Limiter Sets and Displays the Threshold of On Off Input Channel or Output Bus Threshold the Limiter for the Selected Channel Control 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 1 This encoder sets and the meter displays the threshold of the limiter for the selected channel or output bus When the signal
52. computer these links will be J MQJS TFRX AAAA BNFA Studio One menu The activation process is now complete L jor User for Or updated as new tutorials become available on the PreSonus Web site S 5 Select the User License here or just drag it onto this window Complete information on all aspects of Studio One Artist is available in the Reference Manual PDF located on the Studio One Artist installation disc The information in this tutorial covers J only the basic aspects of Studio One Artist and is intended to get you set up and recording as quickly as possible Installing Bundled Content for Studio One Artist Start Page Setup Area Shows Active Audio Driver and Sample Rate and Provides uick Links to Configure Audio and MIDI 2 ADO Studio One Installation Studio One Artist comes bundled with an array of 3 V demo and tutorial material instruments loops In the middle of the Start page you will see the Setup Install to jUsersiwesiey Documents Studio One samples and other third party content The Studio area Studio One Artist automatically scans your system IUS NR CHFE WAGE One Artist bundle includes all that you need to begin for all available drivers and selects a driver By default it peret producing music will choose a PreSonus driver if one is available Lull 900 00 MB Studio One 1 5 DVD 1 WR Studio One Instruments Vol 1 e Upon completi
53. dmi 1 COEM DEM Kick Funk 1 Fok 3 md OFM kici jip ja Koch Jari DEM Lara VSL allows you to back up your Scenes Fat Channel FX and graphic EQ presets and permanently store them on your computer Each type of preset can be added separately In this way you can back up only what you want when you want ED pepe ppm oipnis de gt Div warhead Rock ware 1 DEM Crac re 503 Tues the ene leat To move a Scene or preset from temporary memory into m 504 Wednesday at Chat Noi permanent memory simply select one preset or Scene and 505 Thursday at Chelsea s click the Add to Disk button To select multiple presets hold the Shift key while making your selections 1 1 DRM Shana inazes ip DEM Timm High x Toa Low i 8 i i im a D Eum 26 50 V 5 Capture and Studio One Artist gt lt D DA E o 5 gt im 1 et a a j a a 1 Deria E i L a a a a a i amp a i i 4 FOI DEW ul 2 aELEET 1 sic ELECT ELE i ir
54. does not function when any other page is active Pages 4 and 5 allow you to store your changes for FX A and FX B respectively to the same location or to a new location and to customize the name of your creation Use the Value Encoder to change the library location to which you will store your new effects preset unless you wish to overwrite the currently selected preset location Press the Next button to navigate to the first letter of the preset name Turn the Value Encoder clockwise or counter clockwise to change the letter The StudioLive allows you to customize the name with uppercase and lowercase letters and a selection of numerals and punctuation marks Press the Tap button to quickly insert a space Once you are satisfied with your changes press the Store button which will illuminate while the effects preset is written to the StudioLive s internal memory Once the preset is saved the Store button will return to its unlit status Owner s Manual 482 Digital Effects Library Controls 4 Digital FX Master Control 4 8 Your StudioLive contains a library of 50 custom Reverb and Delay presets designed by PreSonus In addition to these presets there are 50 free locations for you to build your own custom effects library The Factory Presets can be altered renamed and overwritten P ively Studio A F5 Studio BO F6 Bedroom F8 Tle Floors F9 Tile Ba
55. filename type in a new name and then the playback cursor should begin to move from left to right and press Enter to choose a name for the file audio should be playing through each input on the StudioLive mixer Foma The Auxiliary Stereo Track in Capture should be recording new Audio Event which is main mix from the StudioLive mixer Session Select the format of the mixdown audio file in The new Audio Event that has been recorded from the 2 StudioLive mixer will be stored as stereo WAV file at the Between Selected Markers MENU SMI WAVE ONAN TOE AIEE choose the desired Resolution and Sample Rate If you wish to put your audio on a standard audio sample rate to which the StudioLive mixer is set EO 93 o wor Q Su the format should Wave file with 16 vote Importing Audio Files 95 og bit resolution and a 44 1 kHz sample rate 24 E5 It is possible to import WAV and AIFF audio files into 2550 Options 55 gag cm your Session To import an audio file select Import T95 an 2 ME LEA 1 35 il Fs NN rd Audio File from the Session menu to open the Import The bottom section of the Export to Audio File menu has m 5 MES AM Diano File menu Browse to the desired fil
56. for pre post processing the next step is to launch Capture and create a new Session Once 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 StudioLive and the Audio Tracks are record enabled you should see each Insert Markers While Recording 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 come
57. iid Studio One Artist will point to your DVD drive as the os 5 9 29 5 gt 200 00 Shuto One 150001 content source Listed in the installation menu are After you have verified that the PreSonus FireStudio Universal driver has been detected 29 2 separate entries for each available item Click the please continue to the next section to set up your external MIDI devices If you do checkbox next to each item you wish to install then not have any MIDI devices to connect at this time please skip to Section 7 4 4 click on the Install Packets button at the bottom left of the menu to install the selected content 743 Configuring Your MIDI Devices a From the External Devices window in Studio One Artist you can configure 1 the Done button to exit the menu N your MIDI keyboard controller sound modules and control surfaces Studio One Artist content can be installed at any time by accessing This section will take you through setting up your MIDI keyboard the Help Studio One Installation menu If you choose not to install controller and sound module Please consult the Reference Manual any portion of the content you can install it at a later time located on your Studio One Artist installation DVD for complete setup 2 instructions for other MIDI devices Before beginning this section _ you must first install the drivers for your MIDI interface or USB
58. 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 Do not engage this button when your StudioLive is not connected and synced to a computer as it will mute the analog input globally Enables Fat Channel Processing and Routing Input Channel Select Button As previously described in Section 4 1 1 the Select button routes its channel through the Fat Channel allowing you to add dynamics processing EQ and panning assign the output routing and more Solo Button Turns Soloing On and Off This button will solo its channel to the main outputs or to the monitor outputs depending on whether PFL or SIP is selected in the Solo bus section Please review Section 8 8 for details When a Solo button is enable that channel or bus will automatically be selected and its Select button will illuminate Mute Button Turns Muting On and Off This button mutes its channel It will illuminate red when the channel is muted When a mute button is engaged its channel will be muted in all of its assigned outputs Subgroups Mains and Aux Sends 39 UJ
59. mixes Mix 3 Press the Mix button for Aux 3 The meter section of the StudioLive will now show XK the output levels of each of the 24 channels The encoders below each meter control the output level of each channel into Aux 3 You will use these encoders to set the send levels from the aux bus to the effects processor the same way you used them to create a monitor mix only in this case you will decide which channels will be sent to the external processor and how much will be sent E I StudioLive Back 17 Ratio Attack Release Gain Freq Gain Freg Gain Freg Gain Freq Gain 5 cP i GP d Mel 0 T VR UM 150 TT LEE 35 5 R 15 1 15 E 4 125 26 455 560 42 12 5 12 3 100 15 10 2 10 18 12 15 320 665 8 2 9 8 8 afd h E 555 B 24 E 40 225 4 465 4 20 4 4 E 155 E 2 15 2 E P T 2 130 0 20 0 14 0 0 C 48 7 10 108 2 265 12 2 2 7 5 D 9 am 4 225 4 4 EMI NE T T EMI 155 6 B 6 N 66 LI 25mm 5 130 8 5 B8 Bow f ET 1 52 10 108 10 55 10 2 X 12 mm a 12 46 12 12 5 mm 4 NOn ME 2 L 15 oo 15 ht 19 38 at ZL 15 m Tai e P
60. not cause harmful interference and 3 Do remove from pot Add diced onions celery and bell peppers J 1 can Rotel Original diced tomatoes w chilies 3 oz concentrate chicken stock 2 This device must accept any interference received 2 teaspoon of Cajun seasoning 1 teaspoon of Tabasco hot sauce including interference that may cause undesired MONE 4 Cook until onions are translucent operation 5 Add chicken and cook until it turns white J 6 diced green onions 1 tsp salt 12 gallon water and bring to a boil Y Note No product support is available when you call the number above Refer 7 Add rice and bring to a boil Cook on high for 8 minutes covered stirring every 2 minutes to your Certificate of Warranty your Owner s Manual for PreSonus Product 8 Cook covered on low for 10 minutes stirring only once Support telephone number 9 Turn off and let sit for 30 minutes 10 Serve and enjoy Serves 20 1 PreSonus Baton Rouge USA www presonus com P N FCD SLO0004 2010 PreSonus Audio Electronics Inc All Rights Reserved PreSonus StudioLive Studio One Capture Virtual StudioLive and FireStudio are trademarks of PreSonus Audio Electronics Inc Macintosh is a trademark of Apple Inc in the U S and other countries Windows is a registered trademark of Microsoft Inc in the U S and other countries Other product n
61. note that you have access to both the internal effects send group as well as the effects returns If you record an internal effects send Aux Sends A and B you will be recording the unprocessed dry mix of the channels being sent to that internal effects bus To record the processed mix choose the internal effects returns FX Return A or FX Return B This is the direct output from the internal effects so it will be 100 wet You may wish to record both the dry and the wet mix so that you can blend them to taste within your session Section 7 2 5 discusses how to select the sources for these 4 stereo FireWire sends Each of the StudioLive s 24 inputs are hardcoded to receive their respective FireWire returns Outputs 1 through 24 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 the FireWire input button To provide the most flexible mixing environment the main mix output for any application should be assigned to Outputs 25 and 26 These FireWire returns are hard coded to the FireWire input buttons in the 2 Track In and Monitor sections of the StudioLive In this way you can monitor the main output from your recording application without using two
62. of constant product improvement is by listening to the real experts our valued customers We appreciate the m support you have shown us through the purchase of this product We suggest that you use this manual to familiarize yourself with the features applications and correct connection procedures for your StudioLive before trying to connect it to a computer This will help you avoid problems during installation and setup fe fe 2 D 2 PreSonus StudioLive 24 4 2 22 Summary of StudioLive 24 4 2 hardware features Thank you once again for buying our product We are confident that you will enjoy your StudioLive The StudioLive 24 4 2 performance and recording digital mixer is a fully loaded professional digital mixer combined with a complete 32x26 FireWire recording system Racks of processing effects including compressor limiter gate four band parametric EQ reverb and delay are available on every input channel subgroup aux and main mix delivering total control in a compact rugged steel chassis The StudioLive 24 4 2 includes Capture a fully integrated live recording software by PreSonus allowing you to record every performance and rehearsal with a few clicks of your mouse Intuitive flexible and powerful StudioLive revolutio
63. phantom power has no effect on a dynamic microphone s audio quality or sensitivity Dynamic microphones especially ribbon microphones tend UU to generate low output voltages so they typically need more preamp gain than condenser microphones Ribbon oipnis de gt 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 c gt im 1 BAS gO 520 af o 5 gt im 1 et 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 813 USB Microphones and Other Types Many microphone types are available and as technology evolves it is likely that more will be developed One type of microphone to emerge recently is the USB microphone These may be dynamic or condenser mics but many of them Be have built in preamps and need drivers to work with computers Because a USB microphone is in effect an audio interface we recommended that you not use them with the StudioLive as the likelihood of conflicting drivers is great 124 125
64. previously described in Section 4 1 1 the Select button routes its channel through the Fat Channel allowing you to add dynamics processing EQ panning etc Turns Soloing On or Off for the Subgroup Bus This button will solo it subgroup either to the monitor outputs post fader PFL and SIP are not available for the Subgroups When a Solo button is enabled that channel or bus will automatically be selected and its Select button will illuminate Mute Button gt m 0 ENDO Lp Turns Muting On or Off for the Subgroup Bus This button mutes its subgroup It will illuminate red when the channel is muted Controls the Level of the Subgroup Bus The fader controls the overall volume of the signal on its subgroup output The white area above the fader can be used as a scribble strip Use only oil pencils Other types of pens or pencils cannot be wiped off To clean the scribble strip use a lightly damp cloth to remove the writing 43 UJ 4 Controls PreSonus StudioLive 24 4 2 Owner s Manual Controls 4 4 6 Main Output Bus Master Section 4 7 ug NN Subgroup Meters Displays the Level of the Subgroups 47 Master Section In the upper right corner of the StudioLive are the Subgroup meters which display Aux Input A Aux Input B The Master section
65. resulting mix is then routed from the Aux 3 output on the Master unit If you would like to add Fat Channel dynamics to the overall Aux 3 mix simply press the Aux 3 Select button on the Master unit and use the Master unit Fat Channel to dial in your dynamics and settings Sends and Subgroups optional we suggest that the unit farthest on the right be designated as the Master The unit with the lowest Firewire Link ID greater than zero is automatically set as the Master Note that the aux outputs on the slaved mixer are still active but only have access to the local channels So in this example the Aux 3 mix for Channels 1 24 on the Slave is routed locally to Aux 3 output and merged with the overall Aux 3 mix on the Master unit at the same time Only the Master mixer receives the merged signals from all cascaded mixers in addition to its local channels 3 Press the System button on the cascaded unit and System 2 Sampling Rate page down to Page 3 Digital Use the Next button Because Aux mixes are sent to the Master unit before the Fat Channel S PDIF Out Main Mis L R 5 for obvious reasons if you wish to create a stereo Aux mix you must link the Aux channels on both of the mixers in the chain in order to control panning for the channels on the slaved mixer to move to Firewire Link ID field and give each unit a unique ID Any value larger than that of the Master c
66. section any EQ changes will affect the balance of your mix making it fat or thin Too much emphasis will make for a boomy mix Low Mids 250 Hz to 2 kHz In general you will want to emphasize the lower portion of this range and deemphasize the upper portion Boosting the range from 250 Hz to 500 Hz will accent ambience in the studio and will add clarity to bass and lower frequency instruments The range between 500 Hz and 2 kHz can make midrange instruments guitar snare saxophone etc honky and too 139 ES MO o 5 8 Tutorials PreSonus StudioLive 24 4 2 Owner s Manual Tutorials 8 8 3 Equalizers Equalizers 8 3 much boost between 1 kHz and 2 kHz can make your mix sound thin or tinny e Never be afraid of taking a risk The best EQ tricks were found by mad scientists of sound With every instrument there are frequencies that can be attenuated or High Mids 2 kH 4 kHz Th k f igh Mids 2 to z The attack portion of percussive boosted to add clarity or fullness Altering the wrong frequencies can make an and rhythm instruments occurs in this range High mids are also y mE instrument shrill muddy just downright annoying The following two charts L responsible for the projection of midrange instruments suggest frequency ranges that should be accentuated or downplayed for most Presenc
67. setup menu et ees m ith the followi ti ill Marker Lane Displays user inserted markers OPHONS WI DOP Mp Session Title Arm All Click this button to arm all inputs for recording This will be the title of your Session This name will be the e Marker Click on the plus button to add ker at On HOHER Session file name Title Session as well as the name of the the current playback cursor position Select a marker and new folder that contains all related to your Session Y Click on the minus button to remove the marker 5 i Session Location e Track Column Contains a dedicated mono audio track for each audio input into Capture from the This is where new Sessions and all related data will be saved The Session StudioLive mixer including a Main stereo track location can be chosen each time you create a Session By default the 2 new Session location will be the Capture folder in your Documents e Vertical Zoom Increases decreases m de folder You can choose a different file location by clicking on the Browse i size of the tracks and audio files button and browsing new location The last known save location e Horizontal Zoom Zooms the session in or out will appear as the default the next time you create a new Session Mu 92 93 7 SOFTWARE Universal Control
68. that all channels on your StudioLive are sent to the aux bus after the phase reverse switch high pass filter and noise gate but before the compressor EQ limiter and fader However in the System Menu you can select the Pre 2 setting which makes the send occur after all Fat Channel processing but before the fader Please review Section 5 4 for details 40 Owner s Manual Output Level Control Mix Button Wd i SvwssbuBsSBESBHL 2 88 050 E I E Mix Pan Button Control ET TECERET TIIS win Reb SNESE Controls 4 Aux Sends 4 4 Adjusts the Master Level of the Aux Output This knob controls the overall output level of the aux mix Enables Fat Channel Viewing As previously described in section 4 1 1 the Select button routes its aux bus through the Fat Channel allowing you to add dynamics processing and EQ Enables Aux Bus Mixing in the Fat Channel When the Mix button is pressed once the 24 encoder knobs in the Fat Channel become the aux send level controls for each of their respective input channels The meters will display the send amount for each of the input channels LE Pressing the Mix button a second time will switch the first six meters and encoders to become the aux send level controls for the Main FireWire Return Analog Tape In Aux Input A Aux Input B the output of FXA and FXB and the Talkback mic While in this mode the Mix
69. that are not close in proximity to zc gt o2 each other All selected events can now be edited at once Common Editing Actions 5 gt 50 eO vC As with most other software applications Capture supports basic 5 Range Tool 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 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 e Cut Press Ctrl Cmd X on the keyboard to cut the current selection e Copy Press Ctrl Cmd C on the keyboard to copy the current selection To select a range within events using the Range Tool click and drag over the area be selected a gray box will drawn over the target selection area Release the click once the box is drawn over be pasted to the current Playback Cursor position or to the the range of the events you wish to select The range of the events M 3 9 beginning of the track from which the selection originated you have selected is now treated as a single consolidated event L 2 if the Playback Cursor is currently set anywhere 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 e Paste Once a selection is cut or copied press
70. the Devices Tab On the Core Audio tab check Enabled d Select PreSonus FireStudio from the device menu Installation Type Once the installation is completed you will find the You will be asked if you d like to relaunch Logic Click try re launch Universal Control program in your Applications folder It is recommended that you place this in your Dock BP C 6 g 5 5 596 Cre ct 5 9 Your StudioLive features custom I O labels for faster work flow To enable these labels for use in Logic to Options Audio Labels Click Install insta 8 The second column in the pop up window will be named Provided by Driver Activate each of these labels for your StudioLive When you are done close this window Change Install Location 41 PreSonus Customize GoBack Install 9 You are now ready to use your StudioLive Install PreSonus StudioLive 3 When the installation is completed connect your installation complated successfully StudioLive to your Mac with a FireWire cable and 7 Steinberg Cubase 4 power it on You are now ready to use your 6 License StudioLive 1 Launch Cubase Destination Select a 2 Goto Devices Device Setup Install Succeeded
71. the overall mix 822 Types of Dynamic Processing Compression Limiting 130 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 process by reducing the amount of level changes needed for a particular instrument Owner s Manual Tutorials 8 A Brief Tutorial on Dynamics Processing 8 2 Take for example a vocalist who moves around in front of the microphone while performing making the output level vary up an
72. the track name and Z v5 2 color 5 No Preset Auto Color 2 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 Hardware Synth it will already be selected If not choose your MIDI controller from the Presence Output menu directly below 120 121 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 7 4 Studio One Artist Studio One Artist 7 4 UN 3 Totheleft of the Add Track button you will ind the Inspector button Drag and Drop Virtual Instruments Click it to display more parameters for the selected track add a virtual instrument to your session click the E ad rate Browse and Instrument buttons to open the T Flat Folder Catoooy instrument browser Select the instrument or one of 4 Atthe bottom of the Inspector menu you will see your Bank and Native Ill Kore Prayer its patches from the instrument browser and drag it Program selections From here you can remotely change the patch on 4 PreSonus oe into the Arrange view Studio One Artist will your sound module automatica
73. unprocessed signal come back to their respective StudioLive channels you can quickly insert a plug in will still be routed to these buses as well as to the FireWire bus but the Fat Channel from your recording application into any channel strip and monitor it in real time processing will not m E MV In this example we will insert the Beat Delay plug in from PreSonus Studio One If you wish to add Fat Channel processing to a FireWire return you must disable Dig Channel 16 TT onto Channel 16 of the StudioLive Out Channel 16 1 begin create mono audio track in Studio One Assign its input to 644 Advanced WDM Features PC only h 1 i 16 DAW applications pha abus Like the FireStudio family interfaces the StudioLive features advanced WDM including Apple Logic do not offer mono output buses If this is the M features to enhance its use as an audio interface In the upper left hand J case you must route the output stream to Channels 15 16 and pan the corner of the Universal Control Launcher window you will find the Settings channel all the way to the right so that it will only be sent to output 16 5 i menu From here you can configure your WDM input and output streams For Please consult your software s user manual for specific instructions more informati
74. use the Next and Prev buttons to navigate through the screen and use the Value encoder to change the selected parameter Page 2 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 Recall 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 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
75. 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 733 Session Page Au gr a m pep dp pa n ua poe pa po puppe p o pud pae pen ppp p og ua p t p rg b b pue Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 Capture 7 3 The following are diagrams and descriptions of the Session interface 41 Pamaran rer 8 1 ii 3 a a ER IT EECa raea Transport The Transport is at the top of the Session page and contains e Meter Bridge Peak LED style meters with clip indicators for each input into Capture from your 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 e Link Button Between each meter you will find a link button When this button is active Capture will record that track as a stereo interleave file By default the routable bus pair 25 and 26 is link enabled 13 3 4 e Rec
76. 0 600 Hz Lush and full How do you find the best and worst each instrument has to offer and adjust their frequency content accordingly Here s a quick guide A y 5 nw 140 141 ct y 8 Tutorials 8 3 Equalizers Table 2 more vocal presence adds harder bass t low more attack en kick amp tom frequency instruments mare finger sound on bass adds fullness to guitar PreSonus StudioLive 24 4 2 E imm E ii 6 5nare mare attack on plano and brighten vocals adds clarity to bass lines acoustic guitar guitar amp piana adds warmth to piana especially at softer playback adds clarity amp punch amp horns ralurmmes to bass lines brighter rock guitar hardness on fullness to low adds fullness to vo adds clarity amp punch more pluck to bass more attack on kick amp tom frequency instruments to bass limes kick tom bass harder hitting snare amp more attack to acoustic attack t percussion guitar amp Kn ctric guitars reduce dullness on vocals more attack ona lower piano register finger sound on bass more clarity to vocals add sharpness t
77. 138 PreSonus StudioLive 24 4 2 The StudioLive 24 4 2 is equipped with a 4 band 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 settings for your recordings and live mixes 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 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 EO 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 like those in the StudioLive 24 4 2 offers control over the bandwidth basically the range of frequencies affected the center frequency o
78. 2 auxiliary inputs The internal effects returns can also be assigned to any or all of the subgroups and to the main outputs The Fat Channel also gives you the option of sending just the unprocessed audio to your computer or including the Fat Channel settings in the recorded signal When the Dig Out button is enabled the signal being sent to the FireWire bus is post EQ and post dynamics processing the button will illuminate to indicate this signal flow When the button is disabled the signal being sent to the FireWire bus is pre Fat Channel The Dig Out button is only available when one of the 24 channel inputs is selected The subgroups main output aux bus aux inputs and internal effects returns automatically send their signals post Fat Channel dynamics and EQ All FireWire sends are pre fader except for the subgroups and the main outputs For more information on using your StudioLive as an audio interface please consult Section 6 41 6 Copying Loading and Storing Fat Channel Settings Every setting in the Fat Channel can be copied from one to channel to another and can be saved and stored as a user preset to be recalled later Press the Copy button to copy the settings on the selected channel or bus Every Select button on the StudioLive except the button for the currently selected channel will begin to flash The Select button for the selected channel will not illuminate You can copy a Fat Channel setting from any channel or bus t
79. 4 Aux Send 5 6 Aux Send 7 8 Aux Send 9 10 Aux Send A B Main Mix fpr Faders Mix Yes Pots Eum 26 50 5 V 5 5 oipnis Capture Studio One Artist c lt D im 1 N t N ot o Aux Return ANN ee ms AN Js js ACN N s LET ELI Main Mix N Ej E E Aux Return FX Return A Return Loc Out J eee 2 Tracks L R LE EE ME M MI GEQ Bus Assignment Jf J jJ Jj ILI Maln Mix To Insert a Graphic EQ on a bus click on the pull down menu below v Sub 1 2 the GEQ s number and select the pair of buses onto which you d like to Me Sas lets insert it Main Mix Left Auxiliary In 25 sub 3 4 Main Mix Right Auxiliary In 26 Aux Send 1 2 Subgroup 1 Auxiliary In 27 Aux Send 3 4 Aux Send 5 6 Aux Send 7 8 Aux Send 9 10 84 85 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 7 2 VSL Virtual StudioLive VSL Virtual StudioLive 7 2 The Auxiliary Input Router also allows you to designate a specific LC 3 T
80. 6 B bus Use the Next and Prev buttons to navigate through the screen To change a parameter use the Value encoder directly beneath the LCD screen x Page 1 QuickView E local Candy AMBIANCE ie c aut 1 68 zHus 123456 F1 local Candy ANBIANCE ie c ay s 1 68 Recall 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 The color will invert for each parameter when it is selected for modification 49 UJ C 5 o 4 Controls 48 Digital FX Master Control ANBIANCE Decayls 1 68 PreDly ms 168 8 Erly RefldB 12 8 PG DN Fa Memory Candy 50 Page 5 Store FAH Candy Use TAP for space Push Store PreSonus StudioLive 24 4 2 When you have arrived at your selection press the Recall button to load it Press the Page Down button to move to the next page of the FX menu Pages 2 and 3 of the FX menu display the rest of the parameters for FX A and FX B respectively These parameters will change depending on what type of effect you have chosen Again
81. AR l EQRDY 4 5 6 i 9 10 11 12 13 16 FRE Ty SI C F QU it C o o e o M Threshold Ratio Attack Release Gain Freq Hz Gain 8 Freq Gain Freq ku Gain 98 Freq Gain dB Let s say that you are inserting an external reverb to liven up a relatively dead room You might send a little bit of each input to the reverb but you probably will not want much of the drums and bass to be processed as too much reverb could reduce their impact and leave your mix without a sturdy foundation So rather than turning the aux send level for the kick J drum channel all the way up turn it to the 7 or 8 o clock position so that L only a small portion of the kick drum input will be affected by the reverb Once you have determined your effects mix you can press the Select button for Aux 3 to add dynamics processing and EQ to the aux mix before it is sent to the external effects processor The effects processor s output is patched to Aux Input A so you can use the Select button for Aux Input A to add Fat Channel dynamics processing and EQ to the reverb enhanced signal The knob for Aux Input A controls the level of the aux mix relative to the level of your main mix 1 In this example we will use Aux 3 to feed an external effects processor To begin connect your external effects processor to your StudioLive as detailed in the hookup diagram above
82. Artist program DVD plus gigabytes of third party content e PreSonus Capture CD with demo Sessions PreSonus Virtual StudioLive and Universal Control CD 11 gt e gt PreSonus StudioLive 24 4 2 Owner s Manual Hookup 3 Rear Panel Connections 3 1 3 Hookup 3 1 Rear Panel Connections N C 3 0 k Insert Each channel of the StudioLive has a direct insert point These unbalanced ookup 1 4 inch connectors can be used to connect external processors such as Rear Panel Connections compressors EOs de essers and filters to your StudioLive s preamps and line inputs The insert s send is after the channel s gain control but before the digital 3 bus The return goes straight to the digital bus So if you insert a de esser on your vocalist s channel you will be sending an unprocessed amplified signal to the de esser the processed signal returned to the StudioLive will then be routed to the digital bus where it can be sent through the Fat Channel Aux and FX buses etc 6 NK nsert 2 Y Y Y Y In Out Y Y m 2 00 8 x Right Left 00 Level evel 24 Talkback Mic Mono Output Main Output Main Out Tape CR Output AUX Inputs
83. C oo Controller keyboard Please consult the documentation that came with your MIDI hardware for complete installation instructions Mu 114 115 oipnis de gt gt im 1 BAS gO 550 o 5 gt im 1 pac 7 SOFTWARE Universal Control Capture and Studio One Artist 7 4 Studio One Artist PreSonus StudioLive 24 4 2 Setting Up an External MIDI Keyboard Controller from the Start Page e nn Options Locations TT II Notify me if devices are unavailable when Studio One starts e rn Add Device at New Instrument a New Control Surface LL Access 1 L Behringer 1 2 Doepfer 1 E MU 1 Lj Evolution Lj JLCooper 1 Keyfax Lj KORG C M Audio LI Mackie _ Novation gt 1 Peavey Lj PreSonus gt 1 Yamaha Ww Se Se 116 Device Manufacturer Device Name A MIDI keyboard controller is a hardware device that is generally used for playing and controlling other MIDI devices virtual instruments and software parameters In Studio One Artist these devices are referred to as Keyboards and they must be configured before they are available for use In some cases your MIDI keyboard controller is also used as a tone generator Studio One Artist views the two functions of these types of hardware as two different devices a
84. Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 73 Capture Capture 7 3 Capture Audio 1 Setup 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 There is no need for audio inputs and outputs to be set up in P you will need to engage the Post button in the Dig Out section of the Capture as it automotically detects which type of StudioLive Fat Channel for each channel in your StudioLive mixer This routes mixer 16 4 2 or 24 4 2 is connected and self configures Each the signal post EQ and post dynamics processing The following 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 diagram illustrates the signal flow in this scenario below J The following diagram illustrates the one to one relationship 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 m 26 50 EE 5 V gt em 2 pue ainjde
85. Ctrl Cmd V on the keyboard to paste the selection The selection will 98 99 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 73 Capture Capture 7 3 Suggestions Listen While Editing Inserting Markers In audio production the editing process can be particularly To insert a new Marker into the Marker Lane with playback running or unforgiving Small inaccuracies when splitting moving or performing Marker stopped click on the Add Marker button or press Insert the 2 other actions on recorded audio can lead to unwanted results 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 As simple as it may seem the act of listening while editing is often 9 9 Lane type in a new name and then press Enter on the keyboard overlooked For instance when sizing the edges of a vocal part to remove unwanted sounds between words it is tempting to make the J edits based on the visual representation of the waveform While this may work sometimes it is a much better idea to listen as you size the events to be sure you are not removing any critical part of the vocals El Navigating Markers It is possible t
86. E COMP s C GEQ in Focus EG Microview gt gt VENE In general most Graphic settings will be created prior to any live show GEQ 1 2 and not adjusted after that However sometimes minor adjustments must 2 V Main Mix be made later VSL makes this quick and easy You will have noticed that B there is a GEO above the Master section on the Overview tab You can T focus any GEQ here by of three ways SELECT SELECT 5 5 iC SELECT Phi SELECT SELECT SELECT soro soo Channel Solo Soc FOLO ms zu gt FUE ELE 7 Select a on the Tab For example if you leave 5 6 in focus j 4m on the GEQ tab and switch back over to the Overview tab you will still be 3 able to adjust it using the Focus GEQ above the Master Section all EET Select from Focus Menu upper left corner of a Bd Sae sS Sele SEE the in Focus you will find a pull down menu From this menu you 115 d m i can select any of the eight GEQs to pull into focus the Overview tab Sub4 e Click Focus GEQ button Once Graphic EQ has been inserted an Aux Subgroup a Focus GEQ button will be displayed above J that bus Note For Auxes Focus GEQ buttons are displayed in the k At t
87. EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 92 93 94 95 96 97 98 99 EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION EMPTY LOCATION Owner s Manual Scene Presets and the System Menu 5 Graphic Equalizers 5 3 Graphic Equalizers The StudioLive 24 4 2 features 4 stereo dual mono 31 band 1 3 octave graphic EQs that can be inserted on the Main output bus the Subgroups or any of the Auxes When the GEQ button is enabled the meters and encoders of the Fat Channel become the controls for the Graphic EQ As you touch a knob you will notice that its band number frequency and gain are displayed in the System Menu The 31 bands range from 20 Hz to 20 kHz If these were analog graphic equalizers each would look like this C 9 The frequency for each band is fixed Bands 5 28 are controlled by encoders 1 24 resp
88. EMPTY LOCATION Haze 29 KEY Piano Bright 62 EMPTY LOCATION 95 EMPTY LOCATION ci 30 KEY Piano Warm 63 EMPTY LOCATION 96 EMPTY LOCATION 82 PRESETS 31 KEY Piano Jazz 64 EMPTY LOCATION 97 EMPTY LOCATION 32 KEY Piano Electric 65 EMPTY LOCATION 98 EMPTY LOCATION 33 KEY Piano Electric 2 66 EMPTY LOCATION 99 EMPTY LOCATION G ve G B Uo ve ma 3 o C3 5 yed1uyra 164 165 9 Technical Information PreSonus StudioLive 24 4 2 Owner s Manual Technical Information 9 9 4 Block Diagram Block Diagram 9 4 94 Block Diagram ON nost c l i 2 EE gc NImsEIMOEIOD e Stereo graphic EQs are assignable to Mains Sub 1 2 20 020 lt lt 31 Graphic 1 gt gt lt lt lt lt lt lt lt lt lt Equalizer 1 Subs 3 4 Aux 1 2 Aux 3 4 Aux 5 6 A Digital Input 1 16 Input Master Bus 3 INS Aux 7 8 Aux 9 10 Dig Out I Input Channel Meter TalkBack Mic to Main 7 Kod 31 Band Graphic 1 Gain Equali Channels 1 24 M
89. Fat Channel meters on your StudioLive 2 Clickon the Lock Out button will reflect the current position of each fader in VSL While in Locate Mode Lock the faders on your StudioLive will not be controlling the level of each channel so you will not hear any level changes while you recall each fader position Once you exit Locate Mode your StudioLive faders will reactivate Additionally you can use a wireless device such as a laptop iPad or 2 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 COMM supporting documentation or manufacturer to learn more about VPN and wireless network creation 86 87 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 7 3 Capture Capture 7 3 73 Capture Key Commands Many operations in Capture have associated key commands keyboard shortcuts that can be used instead of navigating menus with the mouse Several of these key commands use modifier keys some of which m differ dep
90. Forward Fast Forward for the duration this button is held down be taken to the Session page This page contains all of the necessary tools to record and edit multitrack audio e Next Marker Jump the playback cursor to the next marker 2 e Back to Beginning Return the beginning of the Session e Stop Stop playback e Play Start playback at the current playback cursor position e Record Start recording at the current playback cursor position k 90 91 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 73 Capture Capture 7 3 C Loop Engage Disengage Loop Mode 35 Getting Started in Capture e Time Display Displays the time at the Tracking is the first stage of audio production The following current playback cursor position chapter discusses aspects of recording tracks in Capture including Session creation and setup Audio Tracks and Events and more e Remaining Time Displays the remaining time that can gt a be recorded based on the size of the available storage left on the hard drive to which you are recording Audio Device Before recording anything in Capture please take a 734 The Edit Window Configuration moment to be sure your StudioLive mixer is properly j E
91. Low Mid ERN Limit Equalizer i OOo Selected m Channel EL Qa zi E n T E Gain fat Freq dece E High Mid XI ite a ET 413 Fat Channel Dynamics Processing and EQ The main function of the Fat Channel is to provide dynamics processing and 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 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 Phase Reverses the Phase of High Pass Adjusts the High Pass Filter Reverse the Selected Channel Filter Button Push this button to invert the phase of the selected channel s signal that is to alter the phase by 180 The button will illuminate indicating that the phase reverse is active The Phase Reverse button can be used to correct audio signals that are out of phase and cancelling reinforcing each other The High Pass Filter section consists of an encoder and a meter You will notice that the there is a frequency range to the left of the meter The high pass filter s threshold can be set from 24 Hz to 1 kHz When the meter is set to its lowest point the filt
92. MID LOW MID ape Hz NS FREQ Hz om o 2 9 HIGH MID HI MID D MID HIGH MID pt HIGH HIGH ps HIGH ON OFF kHz 2 m o z 9 Kick Drum LOW MID LOW MID x MID LOW MID ower E 2 T 2 SERE 108 HIGH MID HI MID HIGH MID HIGH MID HIGH ON HIGH HIGH HIGH HIGH ON OFF FREQ kHz Q GAIN OFF SHELF FREQ kHz Q GAIN Low ow 3 oe o on of Fretted Instruments Electric Bass LOW LOW LOW LOW LOW LOW MID LOW MID LOW MID om m s w e on m w a HIGH MID HI ux MID HIGH MID ae HIGH jen P HIGH s Ww 9 Acoustic Guitar LOW MID LOW MID ii MID LOW MID onor pe Hz Le Hz BE ME 0055 HIGH MID HI MID MID HIGH MID ud s HIGH HIGH ee HIGH ON OFF FREQ kHz 2 o 29 9 144 Owner s Manual Tutorials 8 Equalizers 8 3 Distorted Electric Guitar LOW LOW MID LOW MID MID LOW MID sto Q NC NC NA Hz NEP 0 5 HIGH MID HI MID HIGH b ON OFF FREQ kHz kHz Keyboards Piano LOW MID LOW MID i MID LOW MID em E ON OFF FREQ Hz GAIN om o w wa 2 ow s 9 HIGH MID HI MID MID HIGH MID is x HIGH HIGH Pa HIGH ON OFF 2 GAIN SHELF m kHz 145
93. On The Disk Loading a GEQ Preset BACKUP To load every component in a Fat Channel preset Gate Compressor EQ select it from the Browser window an drag it over any part of the desired channel If you drag it over any of the component quick views it will load only that component e g if you drag a preset over the Gate Quick View only the Gate will be loaded To load an FX preset select it from the Browser window an drag it over any part of the desired FX bus in the Master section of the Overview tab Once it 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 labled Natural in the FX menu on your StudioLive To load a graphic preset select it from the Browser window and drag it over any part of the focused graphic EQ Graphic EQ presets can be loaded on the Overtab or the Geq tab Once it is loaded you can use the sliders in VSL or the encoders on the StudioLive to make adjustments Note that you must be in the GEO menu page for the Graphic you wish to control in order to use the encoders on your StudioLive to control each graphic EQ in VSL See next section for details 83 Capture and Studio One Artist im 26 50 2 5 1 gt 2
94. Output Metering On and Off Switches the meters to display the post dynamics post fader level of the Input bus Output Meters are one to one Meter 1 shows the level of Channel 1 etc 37 UJ CY O zi 7 4 Controls PreSonus StudioLive 24 4 2 4 3 Input Channel Strip Gain Reduction Metering Button Turns Gain Reduction Metering On and Off 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 Aux Metering Button Turns Aux Bus Master Out Metering On and Off Rust Displays the output level of each of the aux sends Meters 1 3 5 7 9 11 13 15 17 and 19 display the output levels of Aux Sends 1 10 respectively Meters 21 and 23 display the output level of EFX A and EFX B Fader Locate Button Turns Fader Recall Metering On and Off Faders Displays the fader position of the stored scene When recalling a fader position adjust the fader until only the center LED is visible in its meter 43 Input Channel Strip The StudioLive is equipped with all of the standard input controls of an analog mixer In addition the
95. PTY LOCATION Floors 12 DRM Toms Low 45 VOX Male 3 78 EMPTY LOCATION p36 M Triplet gt i 13 DRM Toms High 46 Female 1 79 EMPTY LOCATION F2 Small Club mi iMTpe 14 DRM Overhead Rock 47 VOX Female2 80 EMPTY LOCATION BgQub 15 Overhead Jazz 48 VOX Female 3 81 EMPTY LOCATION Brick House 39 AnalogTrip 16 DRM High Hat 49 VOX Speech 1 82 EMPTY LOCATION F5 Linoleum Room Awogj q 17 sales 1 50 VOX Speech 2 83 EMPTY LOCATION F41 S 18 BAS Electric 2 51 EMPTY LOCATION 84 EMPTY LOCATION Tongs 19 Slap 52 EMPTY LOCATION 85 EMPTY LOCATION Wood Floors 581 isem 20 BAS Upright 53 EMPTY LOCATION 86 EMPTY LOCATION Brick Club 4 21 GIR E 54 EMPTY LOCATION 87 EMPTY LOCATION w High Ceilings o 4 22 GTR Rock2 55 EMPTY LOCATION 88 EMPTY LOCATION ST Triplet N s 23 GTR Funk 56 EMPTY LOCATION 89 EMPTY LOCATION GateVerb Short F46 PING PONG DELAY 24 Metal 57 EMPTY LOCATION 90 EMPTY LOCATION F2 GateVerb Med HM l Pig pongDeay 25 GTR Jazz 58 EMPTY LOCATION 91 EMPTY LOCATION _ GateVerb Long F48 Ping pong Space 26 Acoustic 59 EMPTY LOCATION 92 EMPTY LOCATION _ GateVerb Extreme F49 Ping pongTip 27 GTR Acoustic Strumming 60 EMPTY LOCATION 93 EMPTY LOCATION F50 a 28 GTR Acoustic Fingerstyle 61 EMPTY LOCATION 94
96. 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 1 Turn each of the 24 trims to 0 20 STUDIOLIVE 24 42 e a j ri O O oO gO Meters Fades 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 hold 4 Select the Solo button in the Monitor section and adjust the volume for your headphones or control room monitors 7 7 Phones Monitor D soo 153 E ct y 8 Tutorials 88 Solo Bus 8 8 8 8 1 154 The Solo Bus PreSonus StudioLive 24 4 2 5 Solo your first channel and turn the trim to the desired level on the meter Be careful not get the signal above 0 dBFS You do not want to clip the analog to digital converters When all else fails remember button button knob button knob button knob 8 8 2 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 interrup
97. Processing Sampling Rate A D A Bit Depth Reference Level for 0 dBFS Clock Jitter Jitter Attenuation 162 PreSonus StudioLive 24 4 2 84 dB to 0 dB 0 5 ms 0 055 to 25 2 56 dB to 0 dB 1 1 to 14 1 0 2 ms to 150 ms 40 ms to 1000 ms Attack 10 ms Release 150 ms hard and soft knee 2 order shelving filter 0 0 55 36 to 465 Hz 15 dB 90 Hz to 1 2 kHz 15 dB 380 Hz to 5 kHz 15 dB 1 4 kHz to 18 kHz 15 dB 118 dB 118 dB 5400 400 5 32 bit floating point 44 1 48 kHz 24 bits 18 dBu 20 ps RMS 20 Hz 20 kHz gt 60 dB 1 ns in 1 ps out Owner s Manual Power Connector Input Voltage Range Power Requirements continuous Physical Length Width chassis only Maximum Height Weight Global Warming Recommended Ambient Operating Temperature Technical Information 9 Specifications 9 1 IEC 90 to 240 VAC factory configured for country of destination 100W 22 35 inches 568 06 mm 25 5 inches 647 7 mm 6 90 inches 175 26 mm 51 Lbs 23 133 kg 0 to 40 Celsius 32 to 104 Fahrenheit 163 ae ea eee 3 O9 PE Ve ac ER 9 Technical Information PreSonus StudioLive 24 4 2 Owner s Manual Technical Information 9 9 2 Channel Presets Digital Effects Li
98. Q to these aux buses in addition to individual channel processing Monitor Mixing Creating custom monitor mixes for your musicians is critical If musicians can t hear themselves or their bandmates their performance will suffer A monitor mix can be mono or stereo Most often an individual live monitor mix is mono and is sent to a floor wedge or sidefill monitor The obvious exception is in ear monitor systems A studio monitor mix is usually stereo and is sent to a headphone amplifier so it requires both a left and a right channel input In both cases the function of the aux bus is the same 1 As an example let s create a mono monitor mix on Aux 1 To begin press the Mix button in the Aux 1 section The meter section of the StudioLive will display the amount of send to this aux bus from each of the 24 channels Keep in mind that the aux mix is completely independent of every other output main bus subgroups direct out The encoders below each meter control the channel send level to Aux 1 Use these encoders the same way that you use the faders to set the output level to your main mix Ask your musicians what they would like in their monitor mix and use their requests as a starting point 2 By pressing the Select button for Aux 1 you can add dynamics processing and EO to the overall monitor mix These are especially useful for eliminating feedback in a monitor Keep in mind that an equalizer can also be used to increase th
99. So let s take the example of the reggae band 1 In this example we will assign the delay on EFX A effects bus A to Subgroup 3 Press the FX button in the Master Control section to access the Effects menu 2 Inthe EFX A parameters use the Value Encoder to scroll through the effects library until you find a suitable delay and adjust its parameters to taste See Section 4 8 1 for complete operation instructions 3 Next decide which channels should be sent to the effects bus In dub and reggae music the vocals are most commonly sent to a delay so 5 send our two vocalists on channels 10 and 11 to that delay To assign the vocals select the Mix button on EFX A 4 Using the meter section locate the send encoders for channels 10 and 11 and turn them to a little more than 50 5 Press the Select button for EFX A and assign this bus to Subgroup 3 and to the Main outputs If you like you can also add some dynamics processing and EQ at this point 147 M E ct y 8 8 4 148 Tutorials Subgroup Mixing PreSonus StudioLive 24 4 2 6 Pressthe Select button for Subgroup 3 and assign the group to the Main output Because a delay can increase the signal s volume quite dramatically you may want to experiment with the delay
100. Spit works pretty well too through the Fat Channel allowing you to add dynamics processing EQ and panning as well as enable output assignments Controls the Signal Level of the Aux Input This knob controls the overall volume of the of the Aux Input signal 1 Displays the Level of the Main Output KO In the upper right corner of the StudioLive are the Main meters 472 Talkback System which display the output levels of the main stereo bus The StudioLive features Talkback microphone input the back panel This can be routed to the aux outputs and to the mains It is important to note that the aux outputs are grouped in this section For example if you are using Aux 3 as 2 mono monitor send to bass player s floor wedge and Auxes 5 and 6 as the stereo send to keyboard player s mear monitors the talkback signal will be B sent to both monitors so don t say anything you wouldn t want both to hear LJ LI 44 45 C zi 7 4 Controls 4 7 Master Section Talkback Mic Level TalkBack Talkback Button 473 2TrackIn 2 Track In Volume Control 2 Track In Tape Input On Off Button 46 PreSonus StudioLive 24 4 2 Controls the Overall Level of the Talkback Mic This knob controls the overall volume of the external talkback mic input T
101. StudioLive 24 4 2 Owner s Manual STUDIOLIVE 24 4 2 Portormanoe ered ps pai Tuo Doo us Duo Tuo oo to no oo Doo oo p we Lo 9 To Presonus 24 arr beim ern entere n ipe I A ei 5 JL ola ui c5 a LEETE arin CELTE iri F ze zf F zp NS PreSonus www presonus com Quick Start Level Setting Overview Hookup Controls Scenes Presets amp System Menu Connecting toa Computer Tutorials Technical Information S Trouble shooting amp Warranty 0 Mandatory Stuff 01 Important Safety Instructions PreSonus StudioLive 24 4 2 01 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 an equilateral triangle is intended to alert the user to the presence of uninsulated dangerou
102. The main difference is that an Oh expander is smoother and more Threshold gradual so that it is easier to set the attack and release times correctly Controls 4 Fat Channel 4 1 Sets and Displays the Frequency at Which the Gate Will Open This encoder sets and the meter displays the frequency at which the gate will open Setting a specific frequency in addition to a specific decibel level provides more sonic shaping A properly set Key Filter a gate can greatly improve the overall sound quality of a mix For example if you are miking a bass amp and are picking up a bit of the kick drum from that mic setting the gate to open at the frequency of the kick drum combined with a fast attack and release can tighten the rhythm section Increase the release time to loosen the feel Sets and Displays the Threshold of the Gate for the Selected Channel This encoder sets and the meter displays the gate threshold for the selected channel The threshold determines the level at which the gate will open Essentially all signals above the threshold setting are passed through unaffected You can set the threshold from to 56 dB 27 UJ 4 Controls PreSonus StudioLive 24 4 2 Owner s Manual Controls 4 4 1 TheFat Channel Fat Channel 4 1 I gt _ _ _ _ _ _ Gate Range Sets and Displays the Range Gate Release S
103. 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 Owner s Manual Equalizer On Off Button Equalizer Low EQ On Off Button Low EQ Frequency Control 225 155 130 108 E 75 6 5 36 30 2 2 13 Freq Hz Fat Channel Equalization Section Low Control Turns the Equalizer On and Off for the Selected Channel or Output Bus This button engages or disengages the equalizer for the selected channel or output bus It will illuminate to indicate that the equalizer has been enabled The equalizer is available for all input and output buses 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 a Low EQ Gain illuminate to indicate control is active Control The Low EQ band is available for all input and output buses 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 frequencie
104. alkback System 45 2TrackIn 46 SoloBus 47 Monitor Bus 48 Digital Effects Master Control 49 The Digital FX Effects Menu 49 Digital Effects Library 57 Scenes Presets and the System Menu 52 Creating and Recalling a Scene 52 Saving and Loading Channel Presets 55 Channel Presets Library 56 Graphic Equalizers 57 System Menu 59 Connecting to a Computer 62 System Requirements 62 Installation for Windows 63 Installation for OSX 64 Using the StudioLive as an Audio Interface 65 Using the StudioLive with Popular Audio Applications 65 FireWire Sends and Returns 66 Using Plug In Effects As Inserts 68 Advanced WDM Features PC only 69 Configuring the StudioLive For Core Audio MacOnly 70 Software Universal Control Capture and Studio One Artist DAW 72 Universal Control 72 Universal Control Launch Window 73 VSL Virtual Studio Live 76 VSL Browser 77 VSL Overview Tab 80 VSL ChannelTab 82 Loading Scenes and Presets from VSL 82 VSL GEQTab 84 VSL SetupTab 85 Enabling Lockout Mode 86 Remotely Controlling StudioLive with VSL 87 Capture 88 02 Table of Contents PreSonus StudioLive 24 4 2 Owner s Manual Quick Start Level Setting 1 7 0 Software Universal Control 842 Effects Group 147 10 Quick Start Lae Capture and Stu
105. ames mentioned herein may be trademarks of their respective companies All specifications subject to change without notice except the jambalaya recipe which is a classic gt LE asf 5 m go gt 5 lt 5 174 175 M The back page of the StudioLive 24 4 2 Owner s Manual STUDIOLIVE 24 ac il Pur formans ard Flac Us ums nef 10 1 1 uno 44 cm SS SSS 08 TA 8 pw nin 1 mt et D uas Em ER gt m z Co Oe Oe ee TTTTTTTTTTETPRE IIIS Ps jens i 4 Er B 5 Lei ini 419 PreSonus 7257 Florida Boulevard Baton Rouge Louisiana 70806 USA 1 225 216 7887 www presonus com
106. an be used for the cascaded unit Firewire Link ID 2 SubGroup Merge Status Driver On Linked Slave 893 Internal Effects Buses Unlike the 10 Aux buses the two Internal Effects buses on each mixer are independent Using the same example as the previous section Channels 1 24 can only be routed to EFXA and EFXB on the Slave and Channels 25 48 are processed using the Master unit s two internal effects buses The advantage is that you get twice the number effects buses 2 m Q v 5 Of course if you d like to send all channels to the same effect you can simply load the same effect on both mixers But with some careful patching you can take advantage of the extra effects buses at you disposal The Internal Effects buses on each mixer can be assigned to the Master Unit s Main output or to a Subgroup as usual Simply select the Effects 2 bus and press the desired assignment button the Fat Channel 156 157 ct y 8 8 9 Tutorials PreSonus StudioLive 24 4 2 Cascading Two StudioLive 24 4 25 894 Subgroups To Merge or Not to Merge 6 9 5 896 Copy and Load 158 Subbroup Merge On Page 3 Digital in the System menu you will find the Subgroup Merge field The Subgroups on each on the mixers in the chain can eith
107. annel strip setting in the Fat Channel that you would like to save to the Channel Preset library press the Fat Channel s Save button You will notice that the LCD will display the Channel Preset Save menu To begin use the Value encoder to scroll to an empty position in the Channel Preset library Press the Next button to navigate to the category location Create the category in which your preset would fit DRM VOX GTR etc Press the Next button again to navigate to the first letter of the preset name Page 2 Save Turn the Value Encoder clockwise or counter clockwise to change the letter The StudioLive allows you to customize the name with uppercase and lowercase letters as well as a selection of numerals and punctuation marks You can insert a space by simply pressing the Tap button Once you are satisfied with your changes press the Store button It will illuminate while the Channel preset is being written to the StudioLive s internal memory Once the Channel preset is saved the Store button will return to its unlit state 55 stem enu M n vo AS S Uu T 5 D 74 Sa go 5 Scenes Presets and the System Menu 5 2 Channel Presets Library 521 Channel Presets Library 01 02 03 04 05 06 07 08 09 10 11 12
108. art Level Setting PreSonus StudioLive 24 4 2 Owner s Manual Overview 2 Introduction 2 1 3 If you re using passive speakers connect them to 2 0 Overview your power amplifier using speaker cable 21 Introduction eS D 5 4 Bring down all the faders on your StudioLive to setting E STUDIOLIVE 2442 yn Purtor ance and Recording Make sure that the Trim knob on Channel 1 is all the way counter clockwise JELLIITITIICLILILLELLLITEZSTZ PR PS PI PreSonus 5 Plug your StudioLive into a power outlet and turn it on 6 If your microphone requires phantom power engage the 48V button on Channel 48V 1 of your StudioLive 7 Turn on your amplifier or powered monitors 8 Pressthe Input button in the Meter section REN put 9 Speak or sing into your microphone at about the same volume as during the upcoming performance 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 10 Press the Select button on Channel 1 and move the Channel 1 fader up until it reaches unity gain 11 Press the Main button in the Assign section of the Fat Channel so that it is illuminated This routes the channel to the main output bus
109. as with one mixer Each of the encoder beneath the meters in L the Fat Channel control the amount of send level for each of their corresponding channels on that mixer to the enabled aux 891 Configuring Multiple Units For example Channels 1 through 24 reside on the Slave and Channels 25 through 48 will reside the Master unit Let s say that you want to create an aux mix on Aux 1 Tocascade two StudioLive 24 4 25 to create a standalone system without a computer connect a FireWire cable from the first unit to the second unit 3 To begin press the Aux 3 Mix button on either mixer The Fat Channel meters 2 Press the System button on the first unit and page and encoders on both mixers will be ready for you to create an Aux 3 mix you System Page 3 Digital Sampling Rate 45 kHz S PDIF Out Main L R Firewire Link ID SubGroup Merge Status Driver Linked Master down to Page 3 Digital Use the Next button to move to the Firewire Link ID field Use the value encoder to set the ID to 1 Either unit in the chain can be designated as the Master Since both units will function as one large console sending all channels to the Master unit s Main output Aux will use the Fat Channel meters and encoders on the Slave to set the Aux 3 send levels for Channels 1 24 and the meters and encoders on the Master unit to set the Aux 3 send levels for Channels 25 48 The
110. at its most intense setting with EFX A s output turned up and use the limiter for Subgroup 3 to keep the level under control The level of the vocal delay is now controlled by the Subgroup 3 fader and you can use it to season the reggae band s performance The Tap button allows you to go one step further and set the tempo of the delay to match the tempo of the song There are several advantages to assigning an effect like delay or reverb to a subgroup rather than simply leaving it on the effects aux bus e You can quickly add or subtract the effect by grabbing a fader e The effect can be muted or soloed e The performers on stage can have a different amount of the effect in their monitor mix than the audience hears in the main mix enabling you to reduce the possibility of feedback while providing the performers with the tools they need for their best performance Owner s Manual Tutorials 8 Aux Bus Mixing 8 5 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 12 aux buses Aux 1 through 10 which have physical output jacks and EFX A and B which are the internal effects buses Aux buses can be used for many applications the two most common of which are creating monitor mixes and inserting external effects processors into the mix As with the subgroup buses the StudioLive allows you to add global dynamics processing and E
111. brary 9 3 92 Channel Presets 93 Digital Effects Library Your StudioLive comes with 50 Fat Channel presets that were custom Your StudioLive contains a library of 50 custom reverb and delay designed by professional PreSonus users These presets can be altered presets designed by PreSonus In addition to these presets there are renamed and overwritten and there are 50 additional empty storage locations 50 free locations where you can build your own custom effects library B D where you can build your own custom library of channel strip settings The factory presets can be altered renamed and overwritten 01 DRM Kick 1 34 KEY Vib 67 EMPTY LOCATION n Tm ins 02 2 35 HRN Trumpet 68 EMPTY LOCATION E 03 DRM Kick Funk 1 36 Trombone 69 EMPTY LOCATION A O 04 DRM Kick Funk 2 37 HRN Sax 70 EMPTY LOCATION S Studioa mnasium 05 DRM Kick Hip Hop 38 HRN Sax Solo 71 EMPTY LOCATION F28 06 DRM Kick Jazz 39 PRC Congas 72 EMPTY LOCATION F29 PLATE PlateVerbShimmer 07 DRM Snare 1 40 Bongos 73 EMPTY LOCATION F6 Bedroom F30 08 DRM Fat Snare 41 PRC Cowbell 74 EMPTY LOCATION PhtVebDums 09 DRM Snare Crackalak 42 PRC Tambourine 75 EMPTY LOCATION Tile Floors PlateVerbVox 10 DRM Snare Snappy 43 VOX Male 1 76 EMPTY LOCATION Fo Tile Bathroom F34 11 DRM Toms Mid 44 VOX Male 2 77 EM
112. button will remain illuminated and LEDs at the top middle and bottom of meters 7 24 will also illuminate TIPP gm Press the Mix button a third time to disengage Aux Mix mode Enables Pan Control and Metering in the Fat Channel Stereo Send Mode Only On Aux Sends 2 4 6 8 and 10 the Mix button becomes the Pan control when two auxes are linked When this button is enabled the 24 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 Press the Mix Pan button a second time to disengage Aux Mix Pan mode For more information of stereo linking please review Section 4 1 4 41 UJ C O zi E 2 7 4 Controls PreSonus StudioLive 24 4 2 Owner s Manual 44 Aux Sends 442 Internal Aux Send Controls 45 Subgroups Mutes and Unmutes the Internal Effects Bus This button will mute or unmute its internal effects EFX bus It will illuminate red when the bus is muted Post Fader Send Button Enables and Disables Post Fader Send By default this button is enabled and the send levels to effects buses are post EQ post dynamics processing and post fader and therefore are affected by fader se
113. cenes Fat Channel FX and Graphic EQ Presets Stored on the StudioLive to VSL SSS SS Say When you first launch VSL you will need to create 72 VSL Virtual Studio Live Transeer trom studioLive mixer link between your StudioLive s internal memory and our computer To do this click on the Get button VSL is a highly advanced editor librarian and control application y transfer t ive the contents of the StudioLi that is completely integrated with the StudioLive 24 4 2 Because earn That aal reniato A dialog will open prompting you to click the of the continuous bidirectional communication between undoable transfer button Any settings that are temporarily J your StudioLive and VSL whatever you do on the StudioLive s stored in the local cache i e settings that are control surface will be reflected in VSL and vice versa M MM currently visible in the Device Memory section Transfer Cancel of the Browser window will be overwritten VSL for StudioLive 24 4 2 requires a minimum screen resolution of 1024x768 For vertical resolutions set below 914 VSL will dynamically change the channel faders to knobs Add to Disk Button Transfers all Scenes Fat Channel FX and Graphic EQ Presets EN m from Temporary Memory to the Permanent Cache ha BAS Decr BAR Electr 7 p aka DEM Tal iain DARA
114. clock tt l det here the d h ui aed He i i ubi pim S should use this feature to ensure that the firmware is up to date If the receiving word clock information This keeps the chained devices theupdstesbalicston will Bunch in sync with other digital devices and with each other The menu durae 0 options are determined by the available digital inputs the chain O The firmware updater can also be used to reset your StudioLive 24 4 2 CI z ki p h Mp ET i to factory default reset your StudioLive hold down the CTRL and afe Check Firmware ALT OPTION keys while clicking on Check Firmware Once the firmware updater has finished select Reset rather than Restore ey Operation Mode Changes How the StudioLive Driver s Buffer Size is Set Sy Normal Mode Input and Output buffers are both identical to the Buffer Settings Run at Startup Launches the Universal Control Application Automatically on Startup Normal Size setting Windows Only Y sa Safe Mode 1 3 Increases the output buffer size for added stability When this is enabled the Universal Control application will automatically J Safe Mode 3 launch each time you boot your Windows PC Buffer Size Selector PC only Changes the StudioLive Buffer Size 0 You can set the buffer size from 64 to 4 096 samples The buffer size a roundtrip time it takes audio data from Run at Starup anal
115. 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 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
116. connected to the computer via FireWire and that d The Edit window is the main view of the Session page M i Audio Device Capture displays the StudioLive as your audio device which provides an overview of the Session for editing on the Start page Presonus FireStudio 2 When the StudioLive mixer is not connected to the ee ap ppp nn oe roms Tn ppp p Sample Rate computer successfully Capture will display No Audio TENES puse pt npe pp pue pal pf ds 44 1 kHz Device in the Audio Device window NN TENES NEN TENES J B Creating a New Session C TENES RUSO MN ees A Me nae T A Session is the document type in which all recording EN TEES 00MM or eee olt takes place in Capture To create a new Session do one J of the following L To O eter Wer Sessioni 1 From the Start page click on the TUUIPIDUUDCDDNXYETICIUERUUTENXYNS Session Folder New Session button 2 2 Navigate File New Session V PT 3 Press Ctrl Cmd N the keyboard EO 9 je quede 50 5 The Edit Window contains the following Session Setup n ET o 2 2 gt 55 0 mE M BD 2 0 5 e Timeline Ruler Displays time increments in seconds When a new Session is created a
117. countries please refer to your local distributor PreSonus Audio Electronics Inc 7257 Florida Blvd Baton Rouge LA 70806 ect ass 505 0 5 Es oj 5 a qnolL Qo S or lt 172 173 10 Troubleshooting and Warranty PreSonus StudioLive 24 4 2 Owner s Manual Added bonus PreSonus previously Top Secret recipe Declaration of Conformity Jambalaya Ingredients 5 165 link andouille sausage Responsible Party PreSonus Audio Electronics kes uude QU d 2 ground beef e 3155 onions yellow purple Address 7257 Florida Blvd Baton Rouge 116 peppers green or red LA 70806 USA e 1 batch green onions J e 3165 rice S Phone 225 216 7887 e Tony Chachere hs Cajun Seasoning 2 n e 1 bottle chicken stock concentrate or 3 cubes chicken bullion declares that StudioLive 24 4 2 complies with 1 Rotel tomotoes with chilies diced regular hot e Tabasco sauce Part 15 of the FCC rules Cooking Instructions N e e Operation IS SU bject to the following two conditions 1 pot or larger slice link sausage and pan fry until brown 2 ground beef and brown 1 This device may
118. croll to an empty location and press the Store button again Channel strip settings from any channel or bus on either mixer in the chain can be copied to any other channel or bus on the other mixer in the chain For example if you select Channel 4 on the Slave and press the Copy button every Select button on both mixers in the chain will begin to flash To paste the Channel 4 settings to any other channel simply press that channel s Select button it will stop flashing and will illuminate Press the Load button to paste the Fat Channel setting Owner s Manual Tutorials 8 Cascading Two StudioLive 24 4 2s 8 9 897 Local Versus Merged Buses and Inputs As discussed earlier the two internal effects buses on each mixer are controlled from the mixer to which they belong and they can only accept signals from the channels on their respective mixers The following inputs and bus are local only Talkback Microphone The Talkback Microphone on the Master unit s Master Section is the only talkback mic that can be routed to the Aux Mixes on the Master Unit and to its Main outputs While the Talkback section on the slave is active through its outputs it cannot be patched into the Master unit Because of this you should connect your talkback mic to the Master unit and control it from there Analog Tape Input As described in Section 4 7 3 the Analog Tape Input on the StudioLive is patched directly to the Main Output using a button in the Master
119. ct Mobile 3 MIDI all 16 3 In the Receive From drop down menu select the MIDI interface input from which Studio One Artist will receive MIDI data Owner s Manual IM Default Instrument Input SOFTWARE Universal Control Capture and Studio One Artist 7 Studio One Artist 7 4 In the Send To drop down menu select the MIDI interface output from which Studio One Artist will send MIDI data to your keyboard If your keyboard controller does not need to receive MIDI data from Studio One say for moving motorized faders and the like you can leave this unselected If your keyboard does need to receive MIDI data you must connect a MIDI cable from the MIDI Out of the MIDI interface to the MIDI In of the keyboard 4 Ifthisisthe only keyboard that you will use to control your external synthesizers and virtual instruments you should check the box next to Default Instrument Input This will automatically assign your keyboard to control all MIDI devices in Studio One Artist Click OK If you have a sound module you d like to connect leave the External Devices window open and proceed to the next part of this section If not you can close this window and skip to Section 7 4 4 Setting up an External MIDI Sound Module from the Start Page e nn Options General Locations Audio Setup External Devices Advanced MIDI instrument controllers keyboards MIDI guitars etc send musical information in the form of MIDI data t
120. ct outputs See Section 6 4 2 for more information DB25 pin outs Hot C Cold Ground TBOG ED AD AOA 8 5 4 3563 C HG C Preinsert Balanced Drect Outputs FireWire Ports There are two standard 6 pin FireWire 400 ports on the back of the StudioLive Either port can be used to connect your StudioLive to a FireWire port on your computer If your computer has a 4 pin connector commonly found on laptops you will need to purchase a 4 to 6 pin adaptor or cable These adaptors and cables can be found at your local computer supply store Use the second FireWire port to connect additional FireWire devices such as external hard drives to your computer or to daisy chain an additional StudioLive mixer You can connect two StudioLive 24 4 2 mixers to create a standalone large format mixing console 15 3 Hookup PreSonus StudioLive 24 4 2 3 1 Rear Panel Connections S PDIF 9 2 Amp Fuse 90 240 50 60 Hz S PDIF Output By default the S PDIF output receives the same signal as the main outputs so no activation is necessary However any buses that can be routed to the auxiliary FireWire returns can be routed to the S PDIF output either through the System menu in the Di
121. d FireWire return Because the audio interface in the StudioLive is completely integrated with the other functions of the mixer the FireWire I O is designed to work as an independent bus You can route send signals from other buses to the FireWire bus and its output return signal is hard coded to designated mixer channels Your StudioLive has 32 available sends and 26 returns FireWire sends 1 through 24 are hard coded to be sent pre fader from the 24 input channels of the StudioLive These sends can be pre or post Fat Channel EQ and dynamics 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 and post analog insert if applicable As discussed in Section 4 5 1 the Dig Out button is not operable for the subgroups main outputs aux bus internal FX returns and aux inputs The subgroups main outputs and aux inputs are also sent post fader to their FireWire sends FireWire sends 25 32 are routed in 4 stereo pairs from the Universal Control Device window Any combination of four of the following inputs and buses can be selected e Main Mix Left Right e Subgroup 1 amp 2 Subgroup 3 4 e Aux Send 1 amp 2 e Aux 5 3 amp 4 e Aux Send 5 amp 6 e Aux Send 7 amp 8 e _ Aux Send 9 amp 10
122. d a longer release Threshold Ratio Attack Release 2 1 dB 351 300 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 135 ET 2 iC et e ES x 8 Tutorials PreSonus StudioLive 24 4 2 8 2 A Brief Tutorial on Dynamics Processing Keyboards Stereo Mix Effects 136 Electric Guitar This is a setting for crunch electric rhythm guitar A slow attack helps to get the electric rhythm guitar up close and personal and gives punch to your crunch Threshold Ratio Attack Release 0 1 dB 193 ms Piano This is a special setting for an even level across t
123. d down unnaturally A compressor can be applied to the signal to help correct this recording problem by reducing the louder passages enough to be compatible with the overall performance How severely the compressor reduces the signal is determined by the compression ratio and compression threshold A ratio of 2 1 or less is considered mild compression reducing the output by a factor of two for signals that exceed the compression threshold Ratios above 10 1 are considered hard limiting As the compression threshold is lowered more of the input signal is compressed assuming a nominal input signal level Care must be taken not to overcompress a signal as too much compression destroys the acoustic dynamic response of a performance That said overcompression is used by some engineers as an effect with killer results Limiting refers to the processing that prevents the signal from getting any louder that is it prevents any increase in the signal s amplitude at the output Compressor limiters are commonly used for many audio applications For example A kick drum can get lost in a wall of electric guitars No matter how much the level is increased the kick drum stays lost in the touch of compression can tighten up that kick drum sound allowing it to punch through without having to crank the level way up A vocal performance usually has a wide dynamic range Transients normally the loudest portions of the signal can be
124. d properly packaged PreSonus reserves the right to update any 2 unit returned for repair PreSonus reserves the right to change or improve the Y 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 J Some states do not allow limitations on how long an implied warranty lasts so L the above limitation may not apply to you In no event will PreSonus be liable for incidental consequential or other damages resulting from the breach of any express or implied warranty including among other things damage to property damage based on inconvenience or on loss of use of the product and to the 2 extent permitted 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 2 For warranty information all other
125. d recalled If you Contrast 4 Contrast and LCD Backlight for optimal viewing in your working environment These settings are retained when the unit is powered down Memory G6 1 LCD Backlight Low have created a GEQ setting that you would like to save to the GEQ Preset library press the Save button in the Fat Channel while that GEQ is active You will notice that the LCD will display the GEQ Save menu Mame Maine B Aux Pre Position Use for space Push Store Press the Page Down button to access the Aux Hus Z Prel 3 Prei amp 4 1 Pre Position page By default all 10 Aux buses To begin use the Value encoder to scroll to an empty position in the GEQ 58 Preset library Press the Next button again to navigate to the first letter of the Aus 6 A Prei 1 are set to Pre 1 This places the send of all 24 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 GEQ preset is being written to the StudioLive s internal memory Once the preset is saved the Store button will return to
126. dio One 8 5 5 Mixing 149 age Artist DAW Continued 8 5 1 Monitor Mixing 149 Before you begin there are a few general rules of 852 Effects Processing 150 thumb that we recommend you follow 7 3 1 What is Capture 88 732 StartPage 89 8 6 Digital Effects 152 Always turn the Main fader and both the Monitor and Phones knobs 1 733 The Session 90 8 6 1 Reverb 752 in econ GOWN masing connections Before 8 6 2 Delay 153 plugging or unplugging a microphone while other channels are A9 active mute the channel to which you are connecting 8 7 Level Setting Procedure in Detail 153 7 3 5 Getting Startedin Capture 93 7 3 6 Recording in Capture 96 7 3 7 Editing in Capture 97 7 3 8 Capture Session Navigation 100 8 8 TheSoloBus 154 Your faders should be set or near the U mark whenever possible The U 881 Using the Solo Bus for Monitoring 754 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 8 8 2 Destructive Soloi 155 See near unity you can use the output level knob on the rear panel of the StudioLive 8 8 3 Using Solo in Place SIP to Set Upa Mix 155 7 3 9 Mixing in Capture 107 to adjust the level up or down until you have achieved the optimal volume 73 10 Capture Key Commands 106 b bos
127. dphones Guitar Amp Bass D I 55 Headphones gt 00 00 amp oog e 00 Condensor Mic e 29 PreSonus HP60 Headphone Distribution PreSonus HP60 Headphone Distribution running Universal Control a Oc 0 a ooooGg with VSL Capture or Studio One Artist ofo 20 PreSonus HP60 Headphone Distribution Reference Monitors 22 23 C zi o 7 4 Controls PreSonus StudioLive 24 4 2 4 1 The Fat Channel 40 Controls The Fat Channel JH I Range Attak Rea atio JH m Um Width Gain d Wetth Gain Freg Width Gain 1 iM 1 1 4 a LI L 1 cB EX af er a ems y 8 8
128. e 4 kHz to 6 kHz This frequency range is partly responsible common instruments These are just suggestions the frequencies may need to for the clarity of a mix and provides a measure of control over the be adjusted up or down depending on the instrument room and microphone perception of distance If you boost this frequency range the mix will J be perceived as closer to the listener Attenuating around 5 kHz will L Table 1 make the mix sound further away but also more transparent Brilliance 6 kHz to 16 kHz While this range controls the Instrument What to Cut Why to Cut What to Boost Why to Boost brilliance and clarity of your mix boosting it too much can cause some clipping so keep an eye on your main meter ACT esa V Shrill 3 kHz and above Clarity 832 Equalization Settings How to Find the Best and Leave the Rest Body _ First solo just the instrument with which you are working Most engineers start z TUE um E maws Sell 0 i building their mix with the drums and work from the bottom up kick snare E din i i 4 toms hi hat overheads Each instrument resonates primarily a specific SH nie Spo Seo Leey Stem frequency band so if you are working on your kick drum mic start with the Acoustic Guitar 5 kHz and above Sparkle j lowest band of the EQ Tune in the best sounding low end and move on to the Full L N It is not hear an a
129. e Selected Input or Output Button Bus 16 Freq Hz 32 High Mid This button actives the control for the High Mid band for the selected input or output The button will illuminate to indicate that the control is active The High Mid is available for all input and output buses 33 C zi o 7 4 Controls 4 1 The Fat Channel High EQ Q Sets and Displays the Q of the High High Control Frequency Band Shelving EQ Button This encoder sets and the meter displays the O for the High band The Q is the ratio of the center frequency to the bandwidth When the center frequency is constant the bandwidth is inversely proportional to the Q so as you raise the Q you narrow the bandwidth High EQ Gain Sets and Displays the Gain Control Attenuation or Boost at the Center Frequency of the High Frequency Band This encoder sets and the meter displays the gain cut or boost at the center frequency of the High The level of the center frequency can be set between 15 and 15 dB Note See Also Graphic Equalizers Section 5 3 Range nnt Comp atin T Gain Freq TI d 1 1 Li 1 T iiil eo 3 i
130. e and click on it to several options that will affect how the file s is created BEC LN Lee select it Then click on Open to import the file into IO LEAN Kaji win P P Choose from Export Session Each Marker or Between Selected Markers iss a An Audio Event for the imported file will be created OP wiles pe tie j iud E S E a PAE E E t c om vous of your Session which will be to the furthest point in _ Reaetahie Domen i 7 time that any Audio Event on a track extends MED LEVER DA Session at the current playback cursor position m mi e The Export Each Marker option will export separate files for each range between the markers in the Marker Lane 2 e The Export Between Selected Markers option will export an audio file s between the range of any two selected markers in the Marker Lane M 102 103 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 73 Capture Capture 7 3 Export Your Final Mix to an Audio File The most common medium to which recordings are physically published is the audio CD In order to put your final mix on an audio CD the mix file must be a 16 bit 44 1 kHz WAV file Once you have recorded your final mix to the Auxiliary Stereo track in Capture it is recommended you export the audio from
131. e finished with all the instruments press the SIP button again and slowly bring up your faders to set up your mix 155 m E Owner s Manual Tutorials 8 Cascading Two StudioLive 24 4 25 8 9 8 Tutorials PreSonus StudioLive 24 4 2 8 9 Cascading Two StudioLive 24 4 2s 89 Cascading Two StudioLive 24 4 25 892 Aux Mixing with Cascaded Mixers Every channel in the mixer chain can be sent to the ten aux outputs on the Master unit When you press the Mix button on any of the ten auxes on either mixer you Your StudioLive 24 4 2 can be cascaded with another StudioLive 24 4 2 using a FireWire cable to create a single 48 channel console Because of the limitations of FireWire you cannot connect a computer to your will notice that the Mix button for the corresponding aux will illuminate on the other mixer in the chain For example if you press the Mix button on Aux 1 on the Master unit the Mix button on Aux 1 on the slaved units will also illuminate cascaded StudioLives however you can cascade one of several FireStudio family interfaces with a single StudioLive 24 4 2 to add more recording inputs This tutorial will guide you through the syncing process and Creating an aux mix with multiple mixers works exactly the same explain how two StudioLive 24 4 2 function as one 48 channel mixer 9 y J way
132. e on the inputs 10 auxes and 2 internal FX buses and the phase reverse is only available on the 24 inputs In addition other inputs and buses without Select buttons are available to route to the auxiliary FireWire returns See Section 6 4 2 for more details 412 What You Can Process with the Fat Channel and FireWire Sends Inputs Ch 1 24 Subgroups Main Out L R Aux Sends 1 10 Internal Sends A amp B External FX Returns A amp B Tape Input Talkback Mic Solo Bus Monitor Bus The following table provides a quick guide to the processing that is available for each bus in the StudioLive Phase High Pass Noise Gate Compressor Limiter FireWire Reverse Send 25 UJ C zi E 2 7 4 Controls PreSonus StudioLive 24 4 2 4 1 The Fat Channel aim Limit Fre Width UU Width Gain TE Aliio hi im IE m E 34 4 Tite 8 d i am dE el Lr NT a a a Tanini 1 g MLLT DIL Dore i t SETT ve e haa 15 16 iF ia airy g
133. e 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 85 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 Channel 8 35 UJ 5103009 4 Controls PreSonus StudioLive 24 4 2 4 1 The Fat Channel Because the settings are copied nondestructively it is possible to A B dynamics settings with the touch of two buttons Whichever channel is selected when the Link button is engaged will be the Link Master When either channel in the stereo link is selected both channels Select buttons will illuminate but the Link Master s ID number will be displayed in the Selected Channel LED read out in the Fat Channel 415 Fat Channel Output Assignments Output assignments are set within the Fat Channel It should be noted that the StudioLive Assign will prevent you from creating a feedback loop Subgroups can only be assigned to the main outs and the ten aux sends cannot be assigned to a subgroup or to the main outputs Any channel on the input bus can be assigned to any or all of the subgroup outputs as well as to the main outputs This includes the 24 main inputs and the
134. e 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 149 m E 8 Tutorials PreSonus StudioLive 24 4 2 Owner s Manual Tutorials 8 8 5 Aux Bus Mixing Aux Bus Mixing 8 5 2 Turn the Output knob in the Aux 1 section to 12 o clock and press the Select button In the Fat Channel assign Aux 1 to the main outputs 852 Effects Processing There are at least two advantages to using an aux bus for an effects processor rather than using a channel insert several channels can be 4 sent to a single processor and you can vary level sent from each channel to the processor allowing you to create an effects mix Output Post The StudioLive features two internal effects buses These are used Post Select much in the same way the aux buses are used to create monitor mixes J as described in the previous section This section will detail how to Control L use an external effects processor with your StudioLive
135. ecording 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 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 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 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 different 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 109
136. ection 5 1 your StudioLive allows you to decide oie StudioLive cannot be locked unless this page is active If you have two OE which group of parameters you would like to recall with a ee d StudioLive mixers linked you only need to lock the Master unit to lock EQ amp Dyn ves Scene The Scene Recalling Menu on the Setup tab corresponds both mixers in the chain Aux Mix Yes E i Faders METHOD NOS SHOES At its lowest level of security Lockout mode allows you to freeze the gre current Fat Channel and effects settings Faders aux mixing and Scene recall can still enabled Each of these mix functions can be Pots me j 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 Your StudioLive features a Lockout mode that allows you to will switch to Locked indicating that Lockout mode is now active temporarily disable nearly every feature on the StudioLive E although analog features e g input trim knobs faders and cue tape input and monitor levels can still be adjusted 727 Enabling Lockout Mode To unlock your StudioLive navigate back to Page 4 Lockout in the System menu if this page is not currently active Press the same
137. ectively When Band 4 or 29 is selected in the Show Band field in the GEQ menu the meters will flip 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 meaning that all LEDs will be illuminated except the LED displaying the current gain position for that band The band does not have to be selected in the Show Band field for its encoder to be active All encoders are active so you can make changes to 24 of the 31 bands at one time The StudioLive Graphic EQ features an innovative design that sets it apart from traditional graphic EQs Traditionally a 31 band graphic EQ uses 31 second order shelving filters with fixed frequencies in order to simulate a curve set by the user via 31 front panel sliders A well designed graphic EQ creates an output frequency responses that corresponds as closely as possible to the curve displayed graphically by the sliders In an analog EQ this is achieved by carefully choosing the bandwidth of the filter and deciding how or if it varies with the gain and how the filters are summed or cascaded In general narrower bandwidth signifies a higher quality EQ But in traditional graphic EQ designs the center frequency of each band is fixed PreSonus took a different approach with the StudioLive The StudioLive Graphic EQ is a pool of shelving filters from which coefficients like cutoff frequency
138. el Connections Right Main Output CR Output 14 Se Main Output Talkback Mic Level This is the trim control for your talkback microphone It adjusts the gain of the talkback input Mono Output This balanced output carries a mono summed version of the stereo signal from the main bus Mono Output Level This knob controls the maximum level of the Mono Output signal The signal can be attenuated to 80 dB and boosted up to 6 Main Output The StudioLive features both XLR and TRS main outputs These outputs are parallel to each other and to the mono output Main Output Level This knob controls the maximum output level of the XLR and TRS main outputs The signal can be attenuated to 40 dB and boosted up to 0 dB Tape In Out The StudioLive is equipped with stereo RCA coaxial inputs and outputs that can be used to connect a tape deck CD player or other consumer device The tape input level is controlled by the 2Track In knob on the top panel The main bus is routed post fader to the tape output CR Output These are the balanced control room outputs The level is controlled by the Monitor knob in the Monitor section on the top panel Owner s Manual Hookup 3 Rear Panel Connrections 3 1 226 206 19 Ogre
139. ending on operating system Windows OS ya qp fa o Rudd en ua o p npe a puede o poen quan pudo pape p gra ua ppp po dope p t puru poni rni e 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 n in Windows or press Cmd C in Mac OS 1 Where there is no difference between the Windows and Mac version of a HENNA OA nH key command only one key command will be displayed for example F3 a m T Functions P dd chem e Na ud v bo Many functions can be reached via hierarchical menus Where menu navigation is referenced it will appear as follows Menu Menu Entry Function Non Destructive Editing and Undo Redo Almost every user action in Capture can undone and redone There is no limit to how far back actions can be undone cona db ang etel ipee pie a Am m m and how far forward undone actions be redone Because of this feel free to explore without worrying 731 What is Capture you will permanently alter anything In fact just pressing buttons might be the quickest way to learn Capture is an audio record
140. er be merged or local only This is determined from the Master unit i e if Subgroup Merge is enabled on the Master the Slave s Subgroups will be merged with the Master s Subgroups The Subgroup faders on the Master mixer will control the entire group and dynamics processing can be added to the entire mix using the Master s Fat Channel If Subgroup Merge is turned Off each of the four subgroups on both mixers are locally controlled So Channels 1 24 can only be assigned to the Subgroups on the Slave and Channels 25 48 can only be assigned to the Subgroups on the Master unit Because the Subgroups on each of the mixers can still be routed to the Main output on the master unit unmerging the Subgroups offers advantages for Effects group mixing See Section 8 4 2 for details But this can also be useful in any situation where you want 24 or fewer channels assigned to the same Subgroup just do a little careful patching Scene Store and Recall Channel Strip presets Effects presets and mix Scenes are stored and recalled locally on each mixer However if you are creating a mix Scene the name that you create on either of the mixers will be transmitted to the entire chain For example if you store a scene named 3 Mixer Show on the Master unit the name is broadcasted to the slaved units so when you press the Scene and Store buttons on either Slave the name you just created on the Master unit is already entered all you have to do is s
141. er is off Phase reverse is only available on the 24 channels of the input bus Remember that all frequencies below a high pass filter s threshold are attenuated See Section 8 3 1 for more details LJ et 1 The slope of the High Pass Filter is 6dB octave The high pass filter is available on the 16 channels of the input bus the 6 Auxes both internal FX buses and both FX returns 26 Owner s Manual Gate On Off Button Gate Key Listen Button Gate Expander Button Fat Channel Gate Section Turns the Gate On and Off for the Gate Key Selected Channel Filter This button engages and disengages the gate for the selected channel It will illuminate to indicate that the gate has been enabled The gate is available for all input and output buses Enables Key Listen in the Solo Bus This button engages and disengages the Key Listen function in the solo bus It will illuminate to indicate that the Key Listen is active When Key Listen is enabled and the Selected channel is soloed you will be able to monitor what is being removed by the gate using the Control Room outputs Gate Threshold Turns the Noise Gate into an Expander The StudioLive allows you to choose between an expander and a noise gate for each channel or output By default the Expander button will be enabled Aux In A 3 In practice expanders and noise gates are used almost identically
142. erwritten and returns your StudioLive to its defaut factory setting All you effects parameters except fader and knob positions have to do it lower the faders and return all trim knobs and output volume knobs Solo bus 2 Track In Aux Input A amp B Aux Output 1 10 FXA amp B Output Phones and M P simply use the Next and Prev buttons to navigate 2 Monitor to their lowest position Your StudioLive will be zeroed out as follows Y through the screen When the parameter that you wish to disable is selected turn the Value Encoder counter clockwise to move it to the No off position Once you have disabled the parameters you do not wish to recall press the Recall button The StudioLive s parameters are grouped as follows e Mute All channel and bus mutes Channels 1 24 Subgroups 1 4 FXA FXB e FX All parameters for the internal effects assigned to FXA and FXB Mu 52 55 AS S u 5 ot 5 Scenes Presets and the System Menu PreSonus StudioLive 24 4 2 51 Creating and Recalling a Scene Assigns All output and bus routing Mains Subgroups Stereo Linking FireWire Returns to Inputs Solo and Monitor bus assignments and Master Control Assignments EQ and Dyn All Fat Channel dynamics processing and fil
143. es and presets back to the StudioLive N Once you have organized the files you wish to transfer to your StudioLive press the Send button Show Hide Browser Displays Hides the Browser Window When the transfer is complete you can disconnect s P The Browser hidden from view to provide more real estate for your your StudioLive from your computer and take 4m Show Browser Me 2 mix Simply click on the Hide Browser button to close the Browser L your chosen Scenes and presets with you N M Hide Browser To reopen the Browser click on the Show Browser button in the upper igh f VSL wi Add New Button Creates a New Scene or Preset right corner of your VSL window 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 oipnis D m 26 3 5 V s Capture Studio One Artist
144. et at O dB there will be no change in the signal as it crosses the threshold If the range is set to 60 dB the signal will be gated reduced 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 Percussion after the signal has gone below the threshold is determined by the hold time How fast the gate closes is determined by the release How much the gate attenuates the unwanted signal while closed is determined by the range Noise gates were originally designed to help eliminate extraneous noise and unwanted artifacts from a recording such as hiss rumble or transients from other instruments in the room Since hiss and noise are not as loud as the instrument being recorded a properly set gate will only allow the intended sound to pass through the volume of e
145. ets and Displays the Rate at Which Fat Channel Compressor Section of the Gate the Gate Closes on the Selected Channel Compressor Turns the Compressor On and Off for Compressor Sets and Displays the Threshold of This encoder sets and the meter P On Off the Selected Channel or Output Bus Threshold the Compressor for the Selected displays the amount of gain This encoder sets and the meter Channo Outo BUE reduction that the gate will produce 5 displays the rate at which the gate for This button engages or The range goes 0 to 86 dB the selected channel closes The rate disengages the compressor This encoder sets and the meter 14 can be set from 2 to 0 05 seconds a for the selected channel or displays the compressor threshold for 10 output bus It will illuminate the selected channel or output bus J j Gate rel t hould t Il n 5 3 ibi Com pressor to indicate that the When the signal s amplitude level 6 be set so that the natural decay of the 5 compressor has been exceeds the threshold setting the 4 instrument or vocal being gated is not 3 enabled compressor engages Turning the 2 affected Shorter release times help to 1 knob counterclockwise lowers the 05 clean up the noise ina signal but may The compressor is available for 15 threshold so that compression begins y cause chattering with percussive all input and output buses at a lower amplitude T
146. f i i i d t th t t it th St di ROC e f your computer is not connected to the Internet visit the Studio J zl Ere REI a One product page at www presonus com Internet connected p s d computer create your account After you have created your account pe skip to Activating Studio One Artist Offline Mech Fie Pood CECE WIT 00 00 06 011 Your StudioLive 24 4 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 Activating Studio One Artist Online tools necessary to capture and mix a great performance As a valued ee Activate Studio One e Now that you have created a user account you can activate your copy of 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 Studio One Artist Launch Studio One Artist and the Activate Studio One menu will appear D Isy euo OIPNIS c 5 lt N v N e 5 ot o recording process For more details on the Studio One Pro upgrade program for PreSonus customers please visit www preson
147. f the band and the level boost cut of the designated frequency band It also offers separate control over the Q which is the ratio of the center frequency to the bandwidth A semi parametric provides control over most of these parameters but the is fixed Some devices such as the StudioLive 16 4 2 have quasi parametric which is semi parametric with a simple switchable setting typically High and Low 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 EOs 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
148. 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 can be achieved with proper compression Your bass doesn t have to be washed out in the low end of the mix Let the compressor limiter give your bass the punch it needs to drive the bottom of the mix Compressors Terminology Threshold The compressor threshold sets the level at which compression begins When the signal is above the threshold setting it becomes eligible for compression Basically as you turn the threshold knob counterclockwise more of the input signal becomes compressed assuming you have a ratio setting greater than 1 1 Ratio The ratio is the relationship between the output level and the input level In other words the ratio sets the compression slope For example if you have the ratio set to 2 1 any signal levels above the threshold setting will be compressed such that for every 1 dB of level increase into the compressor the output will only increase 0 5 dB This produces a compression gain reduction of 0 5 dB
149. fects Edit button opens or closes the audio editor or the MIDI piano roll editor Catogory browser then drag it over the track to which you depending on which type of track is selected The Mix button opens and would like to it Se 4 PreSonus closes the mixer window gt Analog Delay 4 gj Autofitter 2 S The Browse button opens the browser window which displays all of j detaun m Bassline 1 2 5 5 the available virtual instruments plug in effects audio files and nere vs fa Add FX on Track Track 3 Bassline 3 oc 5 3 files as well as the pool of audio files loaded into the current session Le vs MAE i Bassline 6 gt 55 Bassline 7 V9 ec Birds in Trees Ics o Bubbles in the Water 5 YA aoe Chained Melody 2 Chow Chow Coffee Filter Computer gy Dancer is a Rhythm 1 Dancer is a Rhythm 2 2 Ether Waves Filter Pad 2 Filtricant Groinky 2 Groovariation d Out of Rhythm gg Pad Hacking 1 Pad Hacking 2 Birds in Trees Plug In Autofilter Modified 28 1 2010 16 26 04 Crealed by Ari Instruments Effects Sounds Files Pool 4 0001 01 01 000 4 4 120 00 0001 01 01 000 Metronome Timesig Tempo 122 123 7 SOFTWARE Universal Control Ca
150. ft Mono gt _ 1 Jj m e j gt Right 2 120 10 unn e Fat Channel ES EN o Sub Group Aux Return Aug a Dig Out DigOut TalkBack Mic to Aux Bus D E SN Aux Meter 2m Links to Output Dim 1 1 1 1 14 dB i D A OUTPUT BUFFER Aux Aux Out 1 J Aux Input B A D INPUT BUFFER ee oe 1 2 M N Aux Return Level _ 120 31 0 dB 1 we Left Mono l gt L2 1 gt gt Aux 2 Aux Out 2 i ES D Aux 3 A 4 cc ux Out Right gt gt Pm x AC 3 Sp 3 Fat Channel K 7 E gt Aux Aux Out 4 E i gt Aux 5 Aux Out 5 Equalizer Pe CO TD LR Ns Aux Out 6 999 7 m A d Mic 6 65 dB TTR 30 5351 28017 18 2 gt Aux 8 Out 8 Fat Channel Aux 9 i A D INPUT BUFFER TalkBack Level gt gt Aux Out 9 Talkback Mic TalkBack Mic to Main Aux 10 alkBack Mic to Aux Bus E Ux Aux Out 10 120 10 dB N Links to Output Dim Level TalkBack Mic 45e 14 dB DigOut SN Solo v 7 0 I 1 A 1 1 8 i 1 p ue J l M 1 4 FX Return EE 9 DigOut Tapeln 4 1 e D
151. gh frequency decay time while hard surfaces such as tile or stone reflect sound extremely well resulting in a brighter ambience Similarly the high frequency 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 152 Owner s Manual Tutorials 8 Level Setting Procedure in Detail 8 7 862 Delay A delay essentially creates an echo although you can often use delays to create more complex time based effects The source signal is delayed so that it is heard later than it actually 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 8 Level Setting
152. ght of as windows into audio files where what you see is what you will hear Sizing is fundamental technique wherein Audio Events are made shorter or longer so that only a portion of the audio they contain is seen and therefore heard To size any Audio Event using the Arrow Tool float the mouse to the left or right edge of the event to reveal the Sizing Tool When this tool appears click and drag left or right to size the event Audio Events can be sized and resized nondestructively any number of times The pictures above illustrate an Audio Event before and after it is sized Select Multiple Audio Events Multiple Audio Events can be selected at once in order to edit them all at once with a single action To select multiple Audio Events with the Arrow Tool do one of the following e Click outside of the range of an Audio Event and then drag over any other event s a gray box will be drawn while you drag over the target 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 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 Capture 7 3 to make two splits then selecting and deleting the section with the Arrow Tool This process is shown in the pictures below e Once has been selected the Range Tool will automatically become the Arrow Tool when the mouse cursor is floated
153. gital Effects Master Control section or in the StudioLive Control Panel See Sections 5 4 and 7 2 5 for more information Because the StudioLive cannot be synced externally you will need to use it as the master clock and set your S PDIF equipped device to receive word clock externally via S PDIF Please consult the documentation for your external digital device for instructions 2 Amp Fuse This is the StudioLive s fuse housing Your StudioLive uses a 5 mm x 20 mm 250 VAC fast acting fuse Power adapter Input This is where you plug in the provided IEC power cable Power Switch Push the top part of the switch to turn on your StudioLive Push the bottom part of the switch to turn it off Owner s Manual Hookup 3 32 Basic Hookup Diagram pon Keyboards Monitor Drum kit Keyboard 9 Drum Monitor E Mic Vocal Monitor Sa Bass Monitor O_O Main PA 2 2 a oS I I c o gt c gt Vi c gt PreSonus StudioLive 24 4 2 Hookup 33 Typical Band Hookup 3 Typical Band Hookup 35 SEREEN
154. gram 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 Each Marker de gt S Between Selected Markers 9 3 So GI rum 5 29 2 D Capture and Studio One Artist gt lt D DA E gt o 5 gt To save 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 1 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 default in your Session REN folder and will not overwrite the original Capture Session file Note that the Open TL format will not save your markers 7 d 104 105 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 7 3 Capture Capture 7 3 7310 Capture Key Commands Key Commands continued Action Key Command Key Command Focus Next Tab MEME B Focus Previous Shift Tab Cntri Cntrl Cmd N Cntri Cntrl Cmd O Extend Selection Left Shift Left Arrow f Cntri Cmd W
155. gt 2 D Vc 5 mo Us 2 351 BUC OIPNIS c 5 lt D N t N e gt ct o 94 95 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 7 3 Capture Capture 7 3 Capture Main Source Selection Activating Recording in Capture The Auxiliary Stereo Track in Capture is a stereo channel intended to be used to record a stereo mix from your StudioLive This mix can be recorded while recording the 24 individual input channels so a mix is available immediately after a live show or you can use this channel to route your final studio mixes through the StudioLive As discussed in Section 7 2 6 VSL features an Auxiliary Inputs Router that allows you select which buses you want to record in addition to your input channels Auxiliary Inputs 25 and 26 are dedicated for recording a stereo mix in Capture However in addition to the Main L R mix you can selection from any of the following outputs buses and inputs Sub 1 2 Sub 3 4 Aux 1 2 Aux 3 4 Aux 5 6 EFX Send A EFX Send B Aux Return A Aux Return B 2 Track Talkback EFX Return A EFX Return B and the Solo Bus Once you have the desired tracks record enabled the next step is to record To activate recording click on the Record butt
156. he StudioLive first To widen a notch or a bump on a particular band just bring the adjacent GEQ m Page Load press the GEQ button and Page down to the desired bands closer to that band s gain and the bandwidth will change accordingly GEO From the FarChannel pressthedesd bition You Making drastic adjustments too quickly may create an audio artifact as the y will notice that LCD now displays the GEQ Load menu L new curve is redrawn and crosses over an audio peak If you are hearing audio Use the Value encoder to locate the preset you would D artifacts while setting up your Graphic EQ try creating a smoother curve lik Push Recall xe to use When you press the GEQ button on your StudioLive the Graphic E ill be displayed LCD GEQ e ny Once you have made your selection press the Recall button If at any time you screen There are 4 dual mono 8 channels Graphic L would like to cancel this operation simply press the Load button again EQs in your StudioLive 24 4 2 These Graphic EQs are assignable in stereo pairs Each GEQ can be assigned TE aT 4 m Men Graphic x to the Mains Subgroups 1 4 or Aux 1 10 The bus 3 Syste SoS Show Bands assignment can only made from an odd numbered ER In most digital console manuals the phrase System J Freq 20 Gain 196 715 2 The even numbered will au
157. he keyboard It is designed to help even up the top and bottom of an acoustic piano In other words it helps the left hand to be heard along with the right hand Threshold Ratio Attack Release 10 8 dB 112 ms O 3 2 Synth The fast attack and release on this setting can used for synthesizer horn stabs or for bass lines played on a synthesizer Threshold Ratio Attack Release 11 9 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 50 ms Stereo Limiter Just as the name implies this is a hard limiter or brickwall setting ideal for controlling the level to a two track mixdown deck or stereo output Threshold Ratio Release eS o Uu 5 5 dB 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 Ow
158. he pan for each input channel in the mix by pressing the Mix Pan button for Aux 2 For details on SERM how to set aux mixes see Section 2 7 of the StudioLive manual 110 111 PreSonus StudioLive 24 4 2 Owner s Manual 7 SOFTWARE Universal Control Capture and Studio One Artist 74 Studio One Artist SOFTWARE Universal Control Capture and Studio One Artist 7 Studio One Artist 7 4 z 74 Studio One Artist Quick Start Running the Studio One Installer To Install Studio One Artist insert your Studio One Artist installation DVD into your computer s DVD drive 7 0 SS nar Windows Users Launch the Studio One Artist i eer installer and follow the onscreen instructions E Mac Users Drag the Studio One Artist application into er the Applications folder on your Macintosh HD T Creating a User Account Activate Studio One e After installing Studio One Artist launch the program and the Activate en Studio One menu will appear If you are a new Studio One user you will amp Studi 1e need to create a user account Follow the Create Account link if your computer is connected to the Internet Once you have created your idee account continue activating Studio One Artist online adil WANN II Create an account at PreSonus Website if you do not have one yet I
159. he threshold instruments Longer release times g can be set from 56 to 0 dB usually eliminate chattering and o A Nor Soft Knee Engages Soft Knee zi should be set by listening carefully for 5 u Toggle Compression the most natural release of the signal S Release Button In normal operating mode the Gate Attack Sets and Displays the Gate Attack Soft compressor is set for hard knee y Setting for the Selected Channel compression meaning that the gain reduction applied to the signal occurs 0 This encoder sets and the meter J as soon as the signal exceeds the level Compression Sets and Displays the Compression set by the threshold When the Soft Ratio Ratio for the Selected Input Channel UN Knee button is engaged onset of or Output Bus p gain reduction occurs gradually after from 0 2 to 150 ms This encoder sets and meter the signal has exceeded the threshold 4 A fast attack rate is crucial for ercussive instruments Slow risin an dise LM Auto Mode Enables Automatic Attack output bus The ratio sets the n wish Button and Release Mode compression slope which is a ad function of the output level versus the signals a faster attack can cause When Auto mode is active the Attack
160. he top of the VSL window you will see four tabs Overview Channel GEO andetus Thecverviewtab vrevidesvo uiia Masters View only Clicking on this button will pull that bus s inserted y Graphic EQ into focus on the Overview Tab 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 Sub Sub Main oipnis de gt D m im 26 50 Lum 5 t V gt em 2 Capture and Studio One Artist gt lt D DA E gt oe o io 5 gt c et 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 7 X Aux Send View VSL provides two views for your StudioLive Aux Outputs and FX Buses The Aux Send View gives you J an overview of the send levels of every channel on your StudioLive to every Aux Output and FX Bus To quickly set up an aux mix use your mouse to set the send level for Channe
161. he trim for the Talkback mic is located on the back panel next to the input See Section 3 1 for details Assigns the Talkback Mic to the Aux and or Main Outs These buttons assign the talkback mic to a specified output These buttons are toggled on off and will illuminate indicating that the Talkback output is active The talkback mic can be assigned to every output at the same time 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 2 Track input allows you to patch in an analog input or a playback stream from your audio application This enables you to compare audio sources during mixdown or patch in intermission music between bands without using any of your 24 input channels This is summing bus so both the external tape input and the two track FireWire return can be engaged at the same time Adjusts the Level for the Tape Input This knob adjusts the level for both the tape input and the main FireWire return Sends the Tape Input to the Main Outputs This button patches the Tape input to the main outputs It will illuminate to indicate that the Tape input is being sent to the mains To disable the routing simply press the button again Owner s Manual FireWire Source On Off Button 474 Solo Bus Cue Mix Volume Control PFL AFL Toggle Button SIP Solo In Place On Off Button hold Contr
162. ic 6 65 dB qualizer 20 20 dB 1 BALANCE LINE DRIVERS Channel Insert Phase 1 Left gt A D INPUT it ft i 31 Band Graphic p Mai t Mic Input BUFFER Main Mix L Equalizer ain Output FR 1 Right gt b mmm Vus 1 1 31 Band Graphic Line Input Fat Channel cns Solo Bus L rd Equalizer i Solo Bus Links to Direct Output i Solo Bus 9 Dig Out A COD V 120 10 dB Im 14dB 5 Mono Output Digital Output 1 16 Left Aux Bus Output Va 3 Post Fat Ch E Sub Group gt Tape Output Link Mode Pan enabled sve Right z ub Group Crave D A OUTPUT BUFFER Ez Sub Group3 From Two Track Tape Input Monitor Level SS Left LinkMode Panenableds amp X B v Control Room Output 2 From Two Track Digital Input Right 1 2 Post Level L2 gt 9 I Aux 1 QF 20 YiodB 7 120 10 dB 2 Phones Level d D A lt gt Phones Output T 120 10 dB S 1 1 1 DES et n m Nw Sub Group1 Sub Out 1 Compressor Equalizer H 2 gt T 5 Sub Group2 Sub Out 2 999p bp E ow D A eo e e gt Sub Group3 Sub Out 3 N 30 535H4 2801 2 d Fat Channel Sub Group4 Sub Out 4 Aux Input A A D INPUT BUFFER Aux Return Level Le
163. icomp equalizer Channel Strip Pro modulation Autofilter Chorus Flange Phaser X Trem reverb MixVerb Room Reverb and utility Binaural Pan Mixtool Phase Meter Spectrum Meter Tuner Over 4 GB of loops samples and instruments featuring Presence virtual sample player Impact virtual drum machine SampleOne virtual sampler Mojito virtual analog modeled subtractive synthesizer Innovative and intuitive MIDI mapping Powerful drag and drop functionality for faster workflow Mac OS X and Windows compatible gt aS e gt D 2 Overview PreSonus StudioLive 24 4 2 25 Summary of Virtual StudioLive software features 25 Summary of Virtual StudioLive software features The Virtual StudioLive application is completely integrated with your StudioLive 24 4 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 Easy drag and drop workflow Drag presets directly to channels Drag parts of presets directly to components in the Fat Channel Adjust the Fat Channel gate compressor and EQ plus the graphic EQ and effects Quickly drop entire Scenes t
164. ifier signal to taste This technique can also be used in live applications 127 Eva gt c ct gt z 8 Tutorials 8 1 Microphones Drum Overheads XY example 128 PreSonus StudioLive 24 4 2 Place two small diaphragm condenser microphones on an XY stereo microphone holder bar Position the microphones so that each one is at a 45 degree angle pointed down at the drum kit approximately 7 or 8 feet above the floor or drum riser Experiment with height This technique can be used in live applications as well Point a dynamic microphone at the center of the snare making sure it is placed so that the drummer will not hit it Place a small diaphragm condenser microphone under the drum pointed at the snares Experiment with the placement of both microphones Also experiment with inverting the phase of the bottom microphone This technique can be used in live applications Owner s Manual Tutorials 8 A Brief Tutorial on Dynamics Processing 8 2 82 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 StudioLi
165. igOut 1 a 5 Tape Input A D INPUT BUFFER 65 Ke 2 Track In Level 1 us 1 let gt gt gt A A D c E Right gt gt 120 10 dB 5 pes 2 Tape To Control Room l E ne Digital In To Control Room 5 Dig In 17 18 o 1 1 d 1 D i Internal l 1 1 AZ Level U nit SPDIF output selectable 1 1 from any digital output stream 1 FX Return B Fat Channel Dig Out Digital Out 31 32 1 EFXB 1 NL ees Sub1 1 om UD 1 2 2104 Aux OF m Ana 1 166 167 9 Technical Information PreSonus StudioLive 24 4 2 Owner s Manual Technical Information 9 StudioLive 24 4 2 Old Fashioned Analog Session Data Recall Sheet print out US tabloid Euro paper 2 letter size 4 Track Track Trim Production Notes Artist Seana Date Instrument NW Instrument Notes Notes Level AUX In A SOURCE Level AUX In B SOURCE Instrument Instrument A lt Mic used 14 Mic used Notes Notes Notes Notes OUTPUT OUTPUT Mid Instrument hale Instrument GNE MEM MEME UMS Mic used 15 Mic used Notes Notes Leve
166. in VSL then you must open the GEQ Menu on your StudioLive by pressing the GEQ button 726 VSL Setup Tab UN As discussed in Section 6 4 2 the StudioLive allows you to route any 8 of 23 buses and inputs in addition to its 24 input channels This is done via the Auxiliary Inputs Router on the Setup tab To route FireWire Sends 25 2 through 32 first decide which buses and inputs you would like to record in addition to your input channels Once you ve determined your input BEEN pairs simply patch them to a stereo pair of auxiliary inputs of your choice Remember all of these buses and inputs are automatically set to send their signals post Fat Channel dynamics and post EQ where applicable MEN 7 gt _ _ gt _ gt The inputs and buses selected in the Auxiliary Input Router will be Selecting a GEQ to Edit displayed in your recording application with the name of their routing Along the right side of the GEQ tab you will see another set of tabs CAPTURE GEQ 1 2 Ha for each dual mono GEQ To bring a GEQ in focus so that you can edit it simply click on its tab cu Scene Recall 2 For instance the routed pairs in Assigns Yes the picture would translate as EQ amp Dyn Yes the following chart in your host Aux recording application Main Mix L R Sub Group 1 2 Sub Group 3 4 Aux Send 1 2 Aux Send 3
167. ing application created exclusively for use with PreSonus StudioLive series mixers To record from the StudioLive High Quality Audio mixer into Capture you will need to install the StudioLive driver and mE E d s To match your StudioLive s 32 bit floating point DSP Capture connect the mixer to a FireWire port on your computer Once the features a 32 bit floating point audio engine An audio engine is the T StudioLive mixer has been connected to your computer and Capture u e 2 number cruncher that does the math required to record and play sot 2 5 Du has been installed simply launch Capture and you are ready to record 4 back digital audio To put it simply Capture will process your audio SO g2 This section contains general information including the as accurately as current technology allows and maintains the highest 8 FE basic layout and workflow of Capture and is a great place sound quality possible All you have to do is make great music zi O 2 eS D to start for new audio recording software users Versions 732 Start Page There is one version of Capture which runs under the When Capture is launched by default you will be taken to the Start Page Windows and Mac OS X operating systems This manual explains both the Windows and the Mac versions Capture eteate ane OREN SESSION At the upper left of the Start Page are
168. input signal A slow attack time fully clockwise allows the beginning component of a signal commonly referred to as the initial transient to pass through uncompressed whereas a fast attack time fully counterclockwise triggers compression immediately when a signal exceeds the threshold You can set the attack from 0 2 to 150 milliseconds Sets and Displays the Compressor Release Setting for the Selected Input Channel or Output Bus This encoder sets and the meter displays the release setting of the compressor for the selected channel or output bus Release sets the length of time the compressor takes to return the gain reduction back to zero no gain reduction after crossing below the compression threshold Release can be set from 40 to 1 000 milliseconds Very short release times can produce a choppy or jittery sound especially when compressing instruments that have a lot of low frequency components such as bass guitar Very long release times can result in overcompressed or squashed sound All ranges of release can be useful however and you should experiment to become familiar with different sonic possibilities PreSonus StudioLive 24 4 2 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
169. ion Song Setup PreSonus FireStudio Input L R ea LL T eles Add Mono ff Add Stereo Make Default 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 24 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 If you would like the same inputs to be available every time you launch Studio One Artist click the Make Default button 119 7 SOFTWARE Universal Control Capture and Studio One Artist 7 4 Studio One Artist AOO Song Setup B a PreSonus FireStudio 4 Ce C mx 4121314 1518 Main Out 1 5 Mono Stereo Remove Make Default MainOut 45 Creating Audio Tracks PreSonus StudioLive 24 4 2 7 Click on the Outputs tab and you will see all of the available outputs on your StudioLive At this time you can add the number of output buses to which you
170. its unlit state channels to each aux bus before the fader lt Prel gt lt Prez gt limiter EQ and compressor and after the phase reverse switch high pass filter and noise gate The 2 internal effects buses are set to Pre 2 which routes each of the 24 channels after all Fat Channel dynamics and EQ but pre fader From this menu you can choose between these two Pre positions for each Aux mix If you have two Aux buses stereo linked you only need to set the Pre position on the Link Master Remember the Link Master is the aux that was selected when the link was created To find out which Aux is the Link Master simply select either of the Aux buses in the pair The Link Master s ID will be shown in the Select Channel LED readout 59 5 Scene Presets and the System Menu PreSonus StudioLive 24 4 2 Owner s Manual Scene Presets and the System Menu 5 5 4 System Menu System Menu 5 4 Digital Information System Page 3 Digital 3 set for the balcony speakers You will need to calculate approximately 0 885 ms Sampling Rate Press the Page Down to access the of delay time per foot So if your balcony speakers in the above example are 61 S POIF Outs Main Min L R Digital Information page From here you can feet from your stage speakers you will need to set their delay time to 54 ms T oe Wiccan Pienaar wie Speaker delay can
171. ive owners L You StudioLive 24 4 2 comes with a powerful software bundle that provides you everything you need to record live shows or in the studio produce and mix an album and even back up restore and organize all your user Scenes and Presets on your mixer 7 0 Software Universal Control With VSL Capture Since the control is bidirectional fader moves and parameter changes made on the StudioLive are reflected in VSL as well So for example you can set up the StudioLive the way you want it and then save your Scene or other presets in VSL PA Universal Control As discussed in Section 6 4 2 VSL includes an auxiliary inputs router to allow you the freedom to choose which additional buses to route to the eight stereo auxiliary FireWire sends It also lets you create a password for your StudioLive so that you can lock Y out unauthorized users See Section 7 2 6 for details From the Launcher window you can set basic parameters such as buffer size EDEN ro and sample rate In addition you can use the Launcher window to configure your WDM outputs PC only see Section 6 4 4 PAG 860 er 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 gt i 3 Liniers Cortos i i i i 2 E a a i i D a i i
172. kHz Oa gt wj 5 de LOW MID LOW MID LOW MID LOW MID onor MEON m m _ m NN FREQ GAIN HIGH MID HI MID E MID HIGH MID s d HIGH HIGH id HIGH ON OFF FREQ kHz 2 Lov Pop Male Vocals LOW LOW LOW LOW LOW LOW MID LOW MID id MID LOW MID ON OFF SHELF FREQ Hz Q GAIN ON OFF FREQ Hz GAIN zm 2 9 Low o0 _ HIGH MID HI MID i MID HIGH MID s id HIGH HIGH ae HIGH kHz kHz 5 355 LOW MID LOW MID LOW MID LOW MID onor P Le T FREQ Q GAIN HIGH MID HI MID HIGH MID HIGH MID HIGH ON HIGH HIGH HIGH HIGH ON OFF FREQ kHz Q GAIN OFF SHELF FREQ kHz Q GAIN x T 143 E ct z 72 8 Tutorials PreSonus StudioLive 24 4 2 8 3 Equalizers Percussion Snare LOW MID LOW MID vM MID LOW MID FREQ Hz GAIN 0 5 Pon of os s o w os a HIGH MID HI MID es MID HIGH MID es HIGH HIGH 2 GAIN SHELF FREQ kHz GAIN on sf os w e Ww 9 Left Right Stereo Overheads LOW MID LOW MID d
173. ker 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 Microphones 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 box Connect the instrument output from the passive direct box to a bass amplifier Place a dynamic microphone an inch or two away from the speaker and connect it to a StudioLive microphone input Connect the line output from the passive direct box to 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 ampl
174. kers so a delay must be 60 61 6 Connecting to Computer PreSonus StudioLive 24 4 2 6 1 System Requirements 6 0 Connecting to a Computer The StudioLive 24 4 2 is more than just a mixer It s also a very powerful computer interface that allows you to record any mixer input or bus with a Select button and also control the mixer from a separate laptop computer via Virtual StudioLive 61 System Requirements Below are the minimum computer system requirements for your StudioLive and Capture software Owner s Manual Connecting a Computer 6 Installation for Window 6 2 Installation for Windows After you insert the Installation CD into your CD ROM drive the StudioLive installer will take you through each step of the installation process Please read each message carefully ensuring especially that you do not connect your StudioLive too soon We made the StudioLive installer as simple and easy to follow as possible Please read each message carefully to ensure the StudioLive driver is properly installed 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 J Macintosh If you see any Windo
175. l all of the digital knobs Aux 1 10 Outputs FXA and FXB Levels Cue 2 Track In Phones Monitor Aux Input A and Aux Input B knobs will remain at their stored position until they are moved manually Once a knob is turned its value will jump to the value of its current physical position Therefore if you intend to save a scene and recall it later 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 A Quick Note About the AutoStore Feature It is not necessary to create a Scene for your StudioLive in order to preserve its settings when you power it down Periodically 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 before you power down simply wait for a few seconds until the Store button flashes This is your indication that it is now safe to turn off your StudioLive The next time you turn it on all of your settings will be recalled automatically P
176. l 1 Right click on the Channel 1 send level and sweep your mouse across the other CD channel sends for that Aux The set send level will be copied to every other channel for that Aux 81 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual 72 VSL Virtual StudioLive SOFTWARE Universal Control Capture and Studio One Artist 7 VSL Virtual StudioLive 7 2 723 WSL Channel Tab Loading an Entire Fat Channel Preset 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 with your mouse for example you will be changing the parameters both in VSL and on your StudioLive To access the Fat Channel for Aux Ins A and B 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 Auxes 1 10 FXA and FXB can be selected using the Masters View D m 1slay euo 5 lt im 1 N v N 5 ot o Loading a Scene The Disk Basic Playback naming test test Zero Out Board Reset SEBEL SELECT
177. l Level AUX SEND Maid Instrument iid Instrument j Mic used 16 Mic used Notes Notes Notes OUTPUT 1 OUTPUT gt Instrument vx Instrument Monitor Monitor _ Send Mic used 17 Mic used Notes Notes Notes Notes a 7 E MEN OUTPUT OUTPUT Manitarl 1l Candm XW Aera nemimunt Monitor Send Monitor Send Mic used 18 Mic used Notes Notes Notes Notes 3 gQ OUTPUT 1 OUTPUT 1 Monitor Send Monitor Send Mic used 19 Mic used Notes Notes Notes Notes 0 OUTPUT 1 OUTPUT 1 Die Omnetrimant EE instrument Monitor Send Monitor Send Mic used 00 Notes Notes Notes Notes 5 10 IM OUTPUT i OUTPUT 1 NE NES Instrument Monitor Send Monitor Send Mic used Mic used j cl Notes SUBGROUP MAIN ASSIGNMENT ROUTING MATRIX OR Instrument CH CH CH CH CH HI CHI GH CHI m de Mic used 0 3 5 6 1 868 9 10 11 12 13 14 15 16 17 18 19 20 01 22 23 24 B 5 2 o 5 5 Em x m iln Mic used da Mic used WE ros m ERE Mic used Mic used Notes Notes Qo 5 or lt 5
178. lease note If you make changes to a stored Scene AutoStore will not save these changes 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 54 Owner s Manual Scenes Presets and the System Menu 5 Saving and Loading Channel Presets 5 2 52 Saving and Loading Channel Presets Hame Load To Save Channel Preset Memory ORM Funchy Kick Channel Preset Memory DRM Punchy Kick Wee TAF far space Push Store Channel Strip 1 Funchu Kick 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 desired channel From the Fat Channel press the Load button You will notice that LCD now displays the Channel Preset Load menu The Channel Preset Load menu always displays the selected channel onto which the preset will be 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 would like to cancel this operation simply press the Load button again Page 1 Load Fush Recall If you have created a ch
179. lect button on each of the 24 inputs each of the 10 analog aux sends both of the internal effects buses each of the 4 subgroups the 2 auxiliary inputs and the Main output bus Each of these buttons serves exactly 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 find an LED readout The currently selected channel will always be displayed here Numbers 1 24 indicate one of the 24 input channels is selected 51 54 indicates Subgroups 1 4 MA indicates the Main bus A1 A10 indicates Aux 1 10 A11 and 12 indicate EFX A and EFX B and F1 and F2 indicate Aux inputs A and Selected Channel 24 Owner s Manual Selected Channel LVL Controls 4 The Fat Channel 4 1 Selected Channel Meters addition two meters part of a set of seven meters located in the top right section of the mixer are dedicated to displaying information about the currently selected channel The meter on the far left of this section displays the pre fader input level for the selected channel The meter to the right of it displays the gain reduction for the selected channel It is important to mention that these meters are only active when one of the 24 input channels or an aux bus is selected It should be noted that while the noise gate compressor EQ and limiter are available on every input and bus the high pass filter is only availabl
180. lly create a new track and load the MIDI data does not contain audio signals To hear your sound 22 Combinations instrument as the input 7 2 b Lj Drum Kits module you must connect the audio output of the sound gt Effects gt Ld Guitar module to a StudioLive input then connect the StudioLive s Cd Keyboards b J Percussion audio outputs to a sound system You also can listen on Rob Lee Signature Set 4 Strings headphones using the headphone output When you are 3 Flanged Tamburas ready to mix your Song you must convert the recorded MIDI 9 FM Strings pu e 98 Legato data to an audio waveform recording new audio track E 1 1 9 Lush Strings UN Presence Medium Orchestra E I Orchestra 4 Pizzicato Strings B 9 Section Strings 7 4 7 Adding Virtual Instruments and Plug in Effects to Your Song 4 Tremolo Strings You can add plug ins and instruments to your Song by dragging ES cocus and dropping from the browser You can also drag an effect ete or group of effects from one channel to another drag in Pure customized effects chains and instantly load your favorite virtual instrument patch without ever scrolling through a menu J eee Drag and Drop Effects Opening the Browser D 9 To add a plug in effect to a track click the Effects In the lower right corner of the Arrange window are three buttons The button and select it or one of its presets in the ef
181. m eee effects mixes channel mutes and solos and the input o selection analog input or FireWire playback stream hE 1 p T o Creating a Scene requires simply dialing in a mix that you would like to use at a later date and saving it This eee has obvious benefits for both studio and live sound 1L p LP To NULL 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 5 0 Scenes Presets and the System Menu 5 1 Creating and Recalling Scene PRE 1 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 four bands of the EQ will be turned off Their parameters will be set as follows FAT CHANNEL PARAMETERS You also can save custom mixes for each venue that a band plays repeatedly i25 m um cogs 5 oD save a Scene press the Scene button and page O06 Ynys 7A p MS go M E 1 down to the second screen The memory locations will FREO SkHz be selected Use the Value Encode
182. much higher at 2 to 5 kHz By setting a narrow bandwidth and boosting the attack a bit you can Owner s Manual Shelving EQ Graphic EQ Tutorials 8 Equalizers 8 3 achieve a punchier kick drum without overpowering the rest of the mix A broad bandwidth accentuates or attenuates a larger band of frequencies The broad and narrow bandwidths high and low Q are usually used in conjunction with one another to achieve the desired effect Let s look at our kick drum again We have a kick drum that has a great big low end sound centered around 100 Hz and an attack hitting almost dead on at 4 kHz In this example you would use a broad bandwidth in the low frequency band centered at 100 Hz and a narrow bandwidth boosted at 4 kHz In this way you are accentuating the best and downplaying everything else this particular kick drum has to offer A shelving EQ attenuates or boost frequencies above or below a specified cutoff point Shelving equalizers come in two different varieties high pass and low pass Low pass shelving filters pass all frequencies below the specified cutoff frequency while attenuating all the frequencies above it A high pass filter does the opposite passing all frequencies above the specified cut off frequency while attenuating everything below The StudioLive 24 4 2 features 4 stereo 31 band graphic EQs that can be inserted on a variety of buses See Section 5 3 for details A graphic EQ is a multiband equalizer
183. n draw your loop range You can zoom in and out of your Session with respect to time in the Edit window so that you can look at the entire length of the Session or just view a small region of time to make accurate edits To zoom do one of the following Once your loop range is set you can click on the Click and drag left or right on the Zoom scroll bar in the lower Loop button in the Transport or press L or right hand corner of the Edit window to zoom in or out 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 Click inside the Timeline ruler at any point in time automatically for as long as Loop is engaged and drag down or up to zoom in or out Press W on the keyboard to zoom out slightly Press E on the keyboard to zoom in slightly 26 BU 3 5 9 gt es 5 pue ainjde gt OIPNIS Studio One Artist lt N v N ot o Engaging Record in the Transport will disable Loop Mode _ and begin recording at the current playback cursor position Using Markers It is not possible to engage Loop while recording 2 In Capture the Marker Lane is used place markers at desired Y places in the Timeline
184. n 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 Owner s Manual Expansion Expansion Terminology Noise Gates Tutorials 8 A Brief Tutorial on Dynamics Processing 8 2 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 contrast to compression which decreases the level of a signal after it rises above the compression threshold expansion decreases the level of a signal after the signal goes below the expansion threshold The amount of level reduction is determined by the expansion ratio For example a 2 1 expansion ratio reduces the level of a signal by a factor of two e g if a level drops 5 dB below the expansion threshold
185. nces Mac and click on the Audio Setup button pnis e Now that you ve configured your MIDI devices let s create a new Song We ll start by setting up your default audio d 5 Click on the Song Setup button to open the Song Setup Song Setup window then click on the Audio I O Setup icon D pum 26 50 tW V 5 1 From the Start page select Create a new Song Capture and Studio One Artist c gt lt D ect E o 5 gt et 7 Create a new Song New Song Song My First Song lUsers wesley Documents StudioO ongs m ky FireBox Sample Rate FireBox Multitrack Recordi Resolution FireStudio Lightpipe Se Recording session for Fires Timebase FireStudio Mobile Song Length FireStudio Mobile multitrac 0151 01 01 000 FireStudio Project II Stretch Audio Loops to Song Tempo B ox 118 2 In the browser window name your Song and choose the directory in which you d like it saved You ll notice a list of templates on the left The StudioLive template will create a Song with a track for each of the 24 inputs Every track is armed for recording and no further setup is required Select this template and click OK The rest of this section will guide you through creating a Song from an empty sess
186. nection 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 This product is compliant with the European Union Directive EC1907 206 for the Registration Evaluation Authorization and Restriction of chemicals REACh and contains none or less than 0 196 of the chemicals listed as hazardous chemicals in the REACh regulation WEEE with the disposal of all old electrical and electronic equipment this product is not to be treated as regular household waste Instead it shall be handed over to the applicable collection point for the recycling of electrical and electronic equipment CE This product complies with the European Union Council Directives and Standards relating to electromagnetic compatibility EMC Directive 89 336 EEC and the Low Voltage Directive 73 23 EEC Owner s Manual 02 Table of Contents StudioLive 24 4 2 1 0 2 0 2 1 2 2
187. ner s Manual Tutorials 8 A Brief Tutorial on Dynamics Processing 8 2 824 Corresponding Frequencies for the Equal Tempered Scale The Noise Gate on the StudioLive 24 4 2 features a frequency Key Filter Use the table below and the tables in Section 8 3 2 to help find the best Key Filter settings Please note the Hertz Hz measurements below are rounded to the nearest Hertz and the kilohertz kHz measurements are rounded to the nearest 10 Hz D 0 18Hz D2 73Hz 104 294Hz D 6 E2 E4 E6 FO 23Hz F2 8H 349Hz F6 com EM 330Hz F 2 92Hz 370Hz F 6 6 2 4 2 4 6 2 4 F 6 2 4 3 5 7 Ci 5 7 3 5 G7 3 5 7 3 5 7 G5 G7 Der As 220m AS wem a7 D D E F F G A A B6 Ci C3 Bie cs 523Hz C7 CS CT D E E F F G G A A 1 05 kHz 1 11 kHz 1 17 kHz 1 24 kHz 1 32 kHz 1 39 kHz 1 48 kHz 1 57 kHz 1 66 kHz 1 76 kHz 1 86 kHz 1 97 kHz 2 09 kHz 2 22 kHz 2 35 kHz 2 49 kHz 2 64 kHz 2 79 kHz 2 96 kHz 3 13 kHz 3 32 kHz 3 52 kHz 3 73 kHz 3 95 kHz 137 A o ct z 72 8 Tutorials 8 3 Equalizers 83 Equalizers 831 Whatis an EQ Parametric EQ
188. ng the Studio One Artist installation 150 00 MB Studio One 1 5 DVD 1 One Loops Vol 1 and activation process the Studio One Content PreSonus FireStudio Selecting a Different Audio Driver from the Start Page Installer will appear If it does not appear 1 Ueberschall Impact Drums SUM Your StudioLive uses the same driver as the FireStudio 70 00 MB Studio One 1 5 DVD 1 navigate to Help Studio One Installation ji e Configure Audio Davica family of interfaces If you do not see PreSonus 7 0 ER S e At the top of the installation menu select the source Configure Extemal Devices FireStudio on the Start page when you launch Studio oO Synth Session 2 00 GB Studio One 1 5 DVD 1 from which the content will be installed as well as Check for Updates One click on the Configure Audio Devices link in the n o One Expansion the location where you wish to install the content About Studio One Setup area to open the Audio Setup Options window 40 00 MB Studio One 1 5 DVD 1 EO J 2 3 E ez NOR a is Ote RA poer s anco In the Audio Device menu select PreSonus de ST FE Co MM ee which you installed Studio One Artist By default FireStudio Click the Apply button and then OK Es 5 o2 oie
189. ning 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 dynamics EQ and fader settings for each channel Enter Solo In Place SIP As discussed earlier in Section 8 7 most engineers start with the drums and work from the bottom up To begin bring all your faders down and raise your main fader to unity gain Press and hold the SIP button in the Cue section until 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 for this channel Once you are satisfied bring the fader back down and press the Solo button again Next press the Solo button on the snare mic channel and repeat this procedure In this way continue with each drum mic and then move on to the other instruments that are connected to your StudioLive When you hav
190. nizes music production opening endless creative possibilities 22 Summary of StudioLive 24 4 2 hardware features 24 bit 48 kHz sampling rate 24 Class A XMAX microphone preamplifiers 24 line level inputs 10 auxiliary buses 4 subgroups High definition analog to digital converters 118 dB dynamic range Unlimited headroom 32 bit floating point digital mixing and effects processing 32x26 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 Expander Gate e 4 band fully parametric EQ e Pan e Load save 2 master DSP effects reverb and delay with Load and Save 100 mm long throw faders Military grade quick touch buttons Fast acting LED meters Talkback communication system Rugged steel chassis PreSonus Capture multitrack recording software Compatible with Cubase Digital Performer Logic Nuendo Sonar Studio One and others PC and Mac compatible Owner s Manual Overview 2 Summary of Capture software features 2 3 23 Summary of Capture software features Included with your StudioLive is Capture a digital audio multitracking 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 24 4 2
191. nnoying ringing a twang mixed Bass 600 Hz in with your amazing sounding low perfect attack so your next super 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 String Bass 600 Hz Sharp attack NP 200 Hz 125 Hz and below Bottom end S Taking your time with equalization is well worth the effort 4 Your mix will have better separation and more clarity Additional advice e You can only do so much Not every instrument can or should have a full rich low end and a sharp attack If every instrument is EQ d to have the same effect it will lose its identity in the mix Your goal is not individual perfection it is perfection in unity Toms 300 Hz Boomy 2 5 kHz Sharp attack i e Step away from mix Your ears get fatigued just like the rest e a ee ve P 2 ottom 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 flat EQ and the curve that you ve created allows you to see and hear exactly what you ve i done So be honest with yourself Sometimes that EQ setting you ve Horns Big sound been working on for 15 minutes is not the right choice so move on Clarity P 120 Hz and below Muddy 40
192. o Format ois i d rs mom wm 2 Configure Speakers 70 Go to MacHD Applications Utilities and launch Audio MIDI setup Click on the Configure Speakers button Owner s Manual The PreSonus FireStudio has 18 channels in 2 streams 1 Stream 1 has 16 channels 1 16 Stream 2 has 2 channels 17 18 For each speaker choose the device channel connected to the speaker test the connection click a speaker to play a sound Connecting to a Computer 6 Current Sub Section 6 0 3 Deselect Stream 1 and select Stream 2 instead 4 Choose Channel 25 for the left speaker and Channel 26 for the right speaker 5 When you are finished click Apply and then Done 71 o 5 Gos cee S v U al el 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 7 1 Universal Control Universal Control 7 1 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 and Studio One Artist internally on the StudioLive You can even drag presets out of the P browser and email IM or disk swap them with other StudioL
193. o any combination of channels and buses Load The Load button will also start to flash 36 To paste the current channel s Fat Channel setting to another channel or bus simply press that channel s Select button It will stop flashing and illuminate After you have selected every channel to which you want the settings pasted press the Load button The StudioLive will return to its normal state indicating that the Fat Channel settings have been successfully pasted Owner s Manual Controls 4 Metering 4 2 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 store the currently selected channel s Fat Channel settings press the Save button For complete channel preset storage instructions see Section 5 2 42 Metering LE afi ag iT im um a an Es in p af ri Goede 1 TITTPCTTER The StudioLive offers flexible metering at touch of a button The 24 meters in the Fat Channel section can monitor All 24 inputs post gain and pre dynamics pre EQ and pre fader All 24 inputs po
194. o quickly jump the Playback Cursor between markers in the Marker Lane Click on the Previous Marker button in the Transport or id press B on the keyboard to jump to the previous marker Click on the Listening to your edits as you make them will save Next Marker button in the Transport or press N on the keyboard to time and frustration in nearly every case jump to the next marker Jumping to markers during playback allows quick comparisons between different sections of your Session N 73 8 Capture Session Navigation Looping 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 To Loop the playback of any range of your 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 L in the timeline with a left and right flag on either end 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 e Mouse over the gray line above the time line You will notice that your curser changes to a pencil tool and you ca
195. o the mixer for instant recall of all channel effects and graphic EQ settings Load effects quickly by simply dragging presets into the GUI Makes StudioLive as easy to use as Studio One e Use the mouse to quickly assign channels to multiple buses mute solo etc Timestamped backups of the entire board 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 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 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 of the most used parameters on the mixer at once e See the state of all Fat Channel settings at once e See all aux mixes at once e See the current effects and parameter settings e See graphic equalizer settings 10 Owner s Manual Overview 2 What is the box 2 6 26 Whatis the box In addition to this manual your StudioLive package contains the following PreSonus StudioLive 24 4 2 digital recording and performance mixer 6 1 8 m 6 pin to 6 pin FireWire 400 cable 6 1 8 m 6 pin to 9 pin FireWire 400 to 800 cable IEC power cord StudioLive Software Library containing PreSonus StudioLive
196. o tone modules which respond by generating sound as instructed Tone modules can be standalone sound devices or can be integrated into a MIDI instrument such as a keyboard synthesizer Studio One Artist refers to all tone generators as Instruments Once you have set up your MIDI keyboard controller take a moment to configure your sound module 1 Connect the MIDI In of your external sound module 6 to the MIDI Out of your MIDI interface In the External Devices window Click the Add button Receive From Notify me if devicas are unavailable when Studio One starts Reconnect 117 Eum 26 50 5 V 5 Capture and Studio One Artist 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual 7 4 Studio One Artist SOFTWARE Universal Control Capture and Studio One Artist 7 Studio One Artist 7 4 3 To begin a new Song select Empty Song from the 2 The Add Device window will launch New Song aco PONO Device Model gj New Instrument New Control Surface Manufacturer L Unknown Vendor C Access L New Instrument Device Name My Hardware Synth Use to play an external MIDI Behringer Instrument and record controller 4 movements When connecting the Lj j g receive
197. of the StudioLive controls the A the levels of the subgroup outputs monitoring talkback output solo bus and aux and s T tape inputs 4 ri LI LI Solo 2 Track In Monitor LJ L PFL ET AUX3 6 ee PFL Main auss hold SIP AUX7 10 f 46 Main Output Bus C o Am zi Main Select Button Enables Fat Channel Viewing Talk 7 U 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 panning etc 4 1 Aux inputs A and B The StudioLive features an internal effects processor that allows you to Controls the Level of the Main Output load two different effects at the same time You also can patch processed The fader controls the overall level of the main stereo output return signals from an external effects processor using Aux Inputs A and B Section 8 5 goes into the connections and procedures in greater detail The white area above the fader can be used as 9 9 scribble strip Use only oil pencils Other types of pens or pencils cannot be wiped off Aux Input Select Button Enables Fat Channel Viewing Y To clean the scribble strip use a lightly damp cloth to remove the As previously described in section 4 1 1 the Select button routes its channel writing
198. og to digital and back 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 m milliseconds will provide you with a large enough buffer for optimum system performance but low enough to be unobtrusive You should set Settings Always on Top Allows the Launch Window to Stay in View When Other Applications Are in Use our buffer size and sample rate prior to launching your host application a y P P 9 y PP When this is enabled the Launch window will remain in the foreground when other applications are active rather than being in the background behind the current application s window On the Mac the buffer size is set from inside your host application Device Window Button Opens the Device Window Always On Top pum 26 V o 5 2 c sS Vc 5 O n ot lt 5 D gt or Click on this button to open the VSL Virtual StudioLive application give your StudioLive 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 La
199. ogether the Status will read k Faders Your StudioLive features a Lockout mode that Linked and you will be able to see which StudioLive is the Master unit For Master allows you to create a password and lock the more information on using multiple StudioLives please review Section 8 9 Hus Hines controls your StudioLive This is especially useful scene Recall Ho in situations where several people will be runnin To ensure the safety of the audio equipment connected to it the StudioLive pee 3 Unlocked sound but only one or two are knowledgeable 2 will mute all post converter outputs for two seconds when the sample rate is enough to set up dynamics processing and the like changed and while it is connecting to a computer This includes the main and 9 pay P 3 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 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 d 9 519594 stem enu M 5 c 581925 2 EE
200. ols 4 Master Section 4 7 Sends the Master Out from the Audio Application to the Mains This button routes the main left right FireWire returns Outputs 25 and 26 to the main outputs It will illuminate to indicate that the main FireWire return is being sent to the main outputs of the StudioLive To disable the routing simply press the button again For more information on using the main FireWire returns please consult Sections 6 4 2 6 4 4 and 6 4 5 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 default setting for the Solo bus is After Fader Listen AFL by pressing PFL Pre Fader Listening is enabled In either mode pressing Solo on any channel or bus routes that channel to the Solo bus and has no effect on the main or subgroup mixes PFL soloing is not available for the Subgroups The Aux bus soloing is always PFL regardless of whether this mode is enaged Enables Solo In Place Mode SIP Solo In Place or destructive soloing mutes every unsoloed channel on the StudioLive If one of the muted channels is routed to the mains or
201. omputer if applicable 9 2 Channel Presets 164 D Power amplifiers or powered monitors 8 0 Tutorials 125 9 3 Digital Effects Library 165 Y When 5 time to power down your system should 8 1 MicrophoneTypes 125 9 4 Block Diagram 166 8 1 1 125 10 0 Troubleshooting and Now that you know what not to do 5 get some audio going 8 1 2 Dynamic 125 Warranty 170 8 1 3 USB Microphones and OtherTypes 125 ue 8 1 4 Microphone Placement 126 19 1 Troubleshooting 170 1 i 10 2 PreSonus StudioLive 24 4 2 j NAC NACA 8 2 A Brief Tutorial on Dynamics Processing 129 Limited Warranty 172 OS OLS e 8 21 Questions Regarding Dynamics 66 8 2 2 Types of Dynamic Processing 730 re 9 e e 8 2 3 Compression Settings Some Starting o ST Points 13 5 eve Main tput utput Subgroup Outputs Aux Outputs a ce 8 2 4 Corresponding Frequencies for Equal Tempered 2 a Scale 137 F 8 3 Equalizers 138 1 Graba microphone and a mic cable and plug them PI Wodtisan EO 138 into the StudioLive s Channel 1 mic input 8 3 2 Equalization Settings How to Find the Best r and Leave the Rest 140 2 Connect the Main Outs TRS or XLR of your Studio Live 833 General Suggestions 143 to your power amplifier or powered monitors 8 4 Subgroup Mixing 146 8 4 1 Instrument Groups 146 1 Quick St
202. omputer application producing the audio e g Studio One and then by a knob in the 2 Track In section Owner s Manual Controls 4 Digital Effects Master Control 4 8 48 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 481 The Digital FX Effects Menu qo no The StudioLive features two internal effects processors Each processor can access the StudioLive s selection of high quality reverbs and delays As described in Section 8 4 each of these effects can be routed to any of the subgroups the aux bus or the main outputs To access the effects library and make adjustments to effect parameters press the FX button in the Master Control section The first page of the FX menu is the QuickView screen It displays both of the effects assigned to the internal effects buses the main parameter for each and to which Aux buses the effect is being routed Effect A is assigned to EFX A bus and Effect B is assigned to EFX Hus 12545
203. on in the Transport The Record button will turn red and the Play button will turn green in the Transport the Playback Cursor will start to scroll from left to right from its current position and a new Audio Event will be recorded to any record enabled tracks Recording will continue until you manually stop it by clicking on the Stop button in the Transport or press Spacebar on the keyboard Capture utilizes the Broadcast Wave file format for recording This is the only format utilized as it is the most widely used format and it contains timestamps that mark when recordings start within a Song When recorded Broadcast Wave audio files get bigger than 4 GB the RF64 file format is automatically used as the standard file format 36 Recording in Capture The recommended file system for the recording partition on your computer is NTFS on Windows and 5 on Mac OS X Record Enabling an Audio Track After recording the next step in production is usually P To record to an audio track the track must be record enabled or armed Capture provides two Record Enable buttons for each input one on the track and on the Meter Bridge To record enable an audio track click on either the Record Enable button on the track or on the Meter Bridge Both buttons will turn entirely red in color when either button is enabled and the track s corresponding meter in the meter bridge should begin
204. on on Universal Control please consult the next section 2 Once you have the routing set up in Studio One Mac users Please skip to the next section for important information drag and drop the Beat Delay plug in onto your about using your StudioLive as your main Core Audio device L track and record enable it Software monitoring will be enabled automatically 1 In the Launch window go to Settings WDM setup eo C z A Cre JE version 2 L2 8028 Always On Top 1586 Meter Decay Meter Style 3 Press the FireWire Return Input button on Channel 16 of your StudioLive You can now monitor your analog signal with your inserted effect as you record from any Run at Startup L of the output buses on the StudioLive A Quick Note About Printing Fat Channel Dynamics and EQ Buffer Size P You probably will want to use the Fat Channel dynamics processing and during L s post production The question is how to print these changes to your recording An easy way to do this is through the subgroup FireWire returns Begin by routing StudioLive a playback stream to an individual channel on the StudioLive from within your recording application With the FireWire return selected as the signal source 2 for that channel press the channel s Select button and
205. ord Arm Button Below each meter you will find the Record Arm button for that track When this button is Dr active Capture will record audio from that input An NN NNN 2731 UUU UUL hour min 44 1 kHz Remaining Time 52 09 min AKCAN HEAR AAR LEE a UT zm Mouse Tools d semi neo Rn Arrow Tool The default tool for access to most functions idee 2 SOF e Range Tool Select the range of an Audio Event for editing SOL zur Tir oS 5 3 o e Splice Tool Splice Audio Events A vs pe pes th AO m rmm MM E FEL i i Eraser Tool Erase Audio Events ESE i i ee p T Sample Rate Display Displays the current murra Capture StudioLive Sample Rate SEM elisa katie us Transport Controls e Previous Marker Jump the playback cursor to the previous marker Capture features a single window user interface so you don t E need to manage multiple windows and views When a new e Rewind Rewind for the duration this button is held down Session is created existing Session is opened you will 9 P y e Fast
206. oset your custom password click on the box next to Device is bus to the S PDIF output as well as to select which stereo pair will Lockable At this point a cursor will appear in the password box Enter be recorded on the Auxiliary Stereo Track in Capture When the ers a 5 digit code using any number between 1 and 9 and click the Set 2 StudioLive is not connected to a computer the S PDIF output is Device passwords must be 5 digits 1 9 no characters button Your password will no longer be displayed Should you need to L routable through the System Menu see Section 5 4 However when change your password simply click on the box next to Device is your StudioLive is synced to your computer you can route any of the Lockable Your old password will be deleted and you will be able to 14 routable buses to the S PDIF output by routing them to FireWire Lock Out enter a new password Once you have set your password the sends 31 and 32 In addition to being available for recording via Aux StudioLive can be locked with or without being synced to a computer Cancel Apply J In 31 and Aux In 32 these sends are normalled to the S PDIF output L oe i Scene Recalling Menu To lock your press System button in the Digital Effects Panel Status Unlocked Master Control section and navigate to Page 4 Lockout Your UNE As discussed in S
207. over the selected range This makes quickly selecting and editing any range of an event very simple e The Range Tool can be temporarily toggled when the Arrow Tool is selected by pressing and holding Ctrl Cmd on the keyboard 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 Click on the Eraser Tool button or press NumPad 5 on the keyboard to select the Eraser Tool e To delete any event using the Eraser Tool simply click on the event The Eraser Tool is unaffected by the current selection e Click on any event and then while holding Ctrl Cmd on the m 5 i coz and will only affect the event that is directly clicked Sot So 5 keyboard click on any other event s to select them This allows uc st 95 5 3 you to select multiple events
208. p circuit is bypassed Typical examples of line level connections are synthesizer outputs CD DVD player outputs and with exceptions signal processor inputs and outputs Please note As with any mixer plugging in a microphone or a line level input device or turning phantom power on or off will create a momentary spike in the audio output of your StudioLive Because of this it is highly recommended that you mute or turn down the channel trim before changing connections or turning phantom power on or off This simple step will add years to life of your audio equipment auxiliary outputs In Section 8 5 we discuss in detail how to create aux mixes for monitoring and effects processing Aux mixes are routed to these outputs Mic In Oz Talkback Mic Talkback Mic Input The StudioLive does not have an onboard talkback mic an external mic must be used Phantom power is always enabled on this microphone preamp so either a dynamic or a condenser microphone can be used This is the same high quality XMAX preamp that is featured on Channels 1 through 24 and the talkback can be used as an extra input when using the StudioLive as an audio interface See Section 6 4 2 for details 13 3 Hookup PreSonus StudioLive 24 4 2 3 1 Rear Pan
209. pori be careful to avoid Lj Doepfer doubled events if the same port is j EMU used by a Keyboard device Edirol 1 Evolution CI JLCooper LJ Keyfax KORG LI M Audio gt Mackie p 1 Novation MIDI Channels A gt 1 Peavey 1829304858807 88 01081101284 b Lj PreSonus L Yamaha Receive From Nona gt b gt b b gt gt Send Mobile 3 MIDI Send MIDI Clock Use MIDI Clock Start Send MIDI Timecode CNN Sand Mobile 2 MIDI From the menu on the left select New Instrument At this point you can customize the name of your sound module by entering the manufacturer and device names Specify which MIDI channels will be used to communicate with this keyboard For most purposes you should select all MIDI channels If you are unsure of which MIDI channels to select we suggest you select all 16 3 Inthe Send To drop down menu select the MIDI interface output from which Studio One Artist will send MIDI data to your sound module In the Receive From drop down menu select the MIDI interface output from which Studio One Artist will receive MIDI data from your sound module If your sound module will not need to send information to Studio One you can leave this unspecified Click OK and close the External Devices window You are now ready to start recording in Studio One Artist The rest of this Quick Start Guide will go o
210. pture Arrow Tool This is the default selected tool Click on the Arrow Tool button or press Setting Input Levels NumPad 1 on the keyboard to select the Arrow Tool The following z describes various possible functions using the Arrow Tool 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 Move an Audio Event as high as possible without overloading the input Overloading the input move an event using the Arrow Tool click anywhere on the event 2 will cause clipping digital distortion which is particularily unpleasant and drag left right up or down Dragging the event left or right will move will ruin the recording This damage cannot be undone in software There is a the event backward and forward in time relative to the Timeline zoom 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 a A Oe P dn ud e Audio Event to the adjacent Audio Track there it will not clip in Capture Refer to the Section 8 7 for a Level Setting Tutorial VEMM 96 97 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Size an Audio Event Events can be thou
211. pture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual Tutorials 8 7 4 Studio One Artist Microphones 8 1 Drag and DropAudioandMIDIFiles 80 Tutorials e My First Song 9 1 Start Song Upgrade Microphone Types Audio and MIDI files can also be quickly located auditioned and imported into your Song by The StudioLive works with most types of microphones including i AEn ee dynamic ribbon and condenser microphones Studio One Instruments Vol 1 One dragging them from the file browser into the 4 Atomic Beats qeu Arrange view If you drag the file to an empty Lj 130 E Ee space a new track will be created with that file 811 Condenser Dance Drums 002 140bpm wav em 1 puer prm placed at the position to which you dragged n Condenser microphones generally capture sound with excellent fidelity and E ij Dance Drums 005 140bpm wav it If you drag the file to an existing track the Dance Drums 006 140bpm wav are one of the most popular microphone choices for studio recording and Dance Drums 007 t40bpm wav file will be placed as a new part on the track Dance Drums 008 140bpm wav increasingly for live performance as well Condenser microphones require 24 Dance Drums 010 140bpm wav Dance Drums 011 140bpm wav a power source
212. put Because the Monitor Bus is a summing amp you can even monitor the World Series on your headphones while running sound at a show Assigns the Solo Bus to the Monitor Outputs The Solo Bus Monitor button patches any soloed channel subgroup or aux send to the Monitor bus This can be useful in any number of ways For example Auditioning an aux send monitor mix Dialing in the dynamics processing and EQ on a subgroup Creating a better blend for instrumental sections horns strings etc Adjusts the Overall Level of the Headphone Output This knob adjusts the overall level for the headphone output Adjusts the Overall Level of the Control Room Monitor Outputs This knob adjusts the overall level of the control room monitor outputs Assigns the Tape Input Signal to the Monitor Bus The Tape monitor button routes the signal from the tape inputs tape returns to the monitor bus The level for this input is controlled by the knob in the 2 Track In section Assigns the Main Mix to the Monitor Bus The Main Mix Monitor button routes the same signal that is being sent from the main outputs to the Monitor bus This signal is always pre fader Assigns the Main Left Right FireWire Return to the Monitor Bus The FireWire Monitor button patches the main left right FireWire return that is the signal from your audio software s master outputs to the monitor bus The level for this input is controlled first by the level set from the c
213. r to scroll to a free GAIN os E l location in the Scene library Now name your scene ame Monday Night Gia Press the Next button to navigate to the first letter of EXP Use TAP for space Push Store the preset name and turn the Value Encoder clockwise or counter clockwise to change the letter Before beginning any new mixing situation it is always recommended to recall the V mE Zero Out Board Reset scene This is the easiest way to ensure that there are The StudioLive allows you to customize the name with uppercase and lingering parameter settings that could cause you some trouble in your new mix lowercase letters and a selection of numerals and punctuation marks To recall a Scene press the Scene button and use the infigni EEEE otc encode tos trough the Scene rn Ww scene is bein internal memor Once the Scene is r EE ont O 2 Recallina Assigns Ho Pots No press the Recall button By default the StudioLive will saved the Store button will return to its unlit status EG amp Dun GEQ i J recall all stored parameters Fat Channel settings L Located at position S1 is a scene named Zero Out Board Reset This scene cannot Mute No channel muting and soloing aux mixes and internal ad Abi Fe Faders Push Recall D d be ov
214. rd 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 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 intentionally for effect 129 mM o 5 E ct z 72 8 Tutorials PreSonus StudioLive 24 4 2 8 2 A Brief Tutorial on Dynamics Processing Why do the best consoles in the world put
215. returns In Section 8 5 2 we discuss using an aux bus to send several channels to an external effects processor the aux inputs can be used to return the processed signal to mixer Each input is balanced stereo The left input is normalled to the right input so if you are returning a mono signal to the mix connect it to the left input and the signal will be routed to both sides of the mix 48 volt Phantom Power The StudioLive provides 48V phantom power for the 48V microphone input on each channel This feature can be individually enabled for each channel using buttons on the top panel WARNING Phantom power is only required for condenser microphones and can severely damage dynamic mics especially ribbon mics Therefore switch phantom power off for all channels where it is not required Subgroup Outputs These are balanced mono outputs for each subgroup Y XLR connector wiring for phantom power Pin 1 GND Pin 2 48V Pin 3 48V E Aux Outputs The StudioLive is equipped with six 12 Line level Input Each channel of the StudioLive has 1 4 inch balanced TRS connection for line level input When these inputs are engaged the microphone pream
216. rom VSL to StudioLive Memory The Backup tab allows you to create complete time stamped snapshots of your StudioLive This can be BACKUP i VSL makes reorganizing all the Scenes and presets Transter 5 stored on your StudioLive as easy as dragging and especially useful when completing a project that may need to be revisited in the future To create a backup simply click on the Backup button dropping a file To load your StudioLive with new Scenes and presets simply drag any Scene or preset Press transfer to receive the contents of the StudioLive eNO FOU MAN HOC from the On the Disk section of the Browser to any uncoanlie To restore any backup file select it in the On the Disk portion of the Browser and click the Restore L position in the Disk Memory section of the Browser RESTORE Transfer Cancel 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 button You will be warned that any Scene or preset currently loaded in the Device Memory section of the Browser will be overwritten Once your backup is restored you can click the Send button to transfer your Scen
217. s Type Rated Output Level Output Impedance Subgroup Outputs Type Rated Output Level Output Impedance Tape Outputs Type Rated Output Level Output Impedance Control Room 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 1 4 TRS Female balanced 2 stereo pairs 22 dBu XLR Male balanced stereo pair 1 4 TRS Female balanced stereo pair XLR 24 dBu 10 1 4 TRS Female balanced mono 18 dBu 510 1 4 TRS Female balanced mono 18 dBu 510 RCA Female unbalanced stereo pair 18 dBu 1000 1 4 TRS Female balanced stereo pair 18 dBu 510 90 dBu 87 dBu 161 EIE eo eee 3 e O9 ve lt ER jed1uyra 2 o 3 et 5 9 Technical Information 91 Specifications Noise Gate Expander Threshold Range Attack Time Release Time Expander Attenuation Range Noise Gate Attenuation Range Compressor Threshold Range Ratio Attack Time Release Time Auto Attack and Release Curve Types EQ Type Low Lowpass or Bandpass Low Mid High Mid High Highpass or Bandpass Digital Audio ADC Dynamic Range A wtd 48 kHz DAC Dynamic Range A wtd 48 kHz FireWire Internal
218. s that define the limits of the band You can adjust the center frequency from 30 to 555 Hz Gain dB Controls 4 Fat Channel 4 1 Sets and Displays the Q of the Low Frequency Band This encoder sets and the meter displays the Q for the Low band The is the ratio of the center frequency to the bandwidth When the center frequency is constant the bandwidth is inversely proportional to the Q so as you raise the Q you narrow the bandwidth 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 31 UJ 4 Controls 4 1 The Fat Channel Shelf engaged the Low band is parametric Enabling the Shelf button turns the Low band into a low shelving EQ that PreSonus StudioLive 24 4 2 displays the for the Low Mid band The Q is the ratio of the center Owner s Manual This encoder sets and the meter displays the center frequency of the High Mid band You can adjust the O Controls 4 Fat Channel 4 1 This encoder sets and the meter displays the gain cut or boost at the center frequency of the High Mid Low Shelf Turns on the Low Shelving EQ for the Low Mid EQ Sets
219. s voltage within the product s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to humans CAUTION TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE THE COVER NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO QUALIFIED PERSONNEL CAUTION To reduce the risk of electric shock do not expose this appliance to rain and moisture The apparatus shall not be exposed to dripping or splashing liquids and no object filled with liquids such as vases shall be placed on the apparatus CAUTION These service instructions are for use by qualified service personnel only To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions Repairs must be performed by qualified service personnel 1 Read these instructions Keep these instructions Heed all warnings Follow all instructions Do not use this apparatus near water Clean only with dry a cloth Do not block any ventilation openings Install in accordance with the manufacturer s instructions 8 Donotinstall near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat 9 Donotdefeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other grounding type plug has two blades and a third grounding prong The wide blade and the
220. s 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 oipnis D m 26 SI 3 t V gt c Capture Studio One Artist 3 c So PA E 5 o 5 D gt im 19 P For all input channels the StudioLive mixer on which you wish to play tracks from Capture engage the FireWire return by pressing each channel s FireWire Input Select switch near the top of the channel strip so that it illuminates This will route the output of the tracks in Capture to their respective input channels on the StudioLive mixer Start playback in Capture The output from each track in Capture will play through their respective input channels on the StudioLive mixer Capture Track 1 on StudioLive Channel 1 etc At this point link Aux 1 and 2 on the StudioLive mixer and create n 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 t
221. s over the next day to check out the recordings You launch Capture open the Session and begin playback through the StudioLive mixer After half a minute of tense silence while the band wonders what went wrong you realize that the band did not start the actual performance until 20 minutes after you started recording because the lead singer took so long to get on stage It is of course traditional to blame the lead singer _ You click on the Next Marker button in the Capture Transport to 54 track s input level displayed in the track s level meter in the meter bridge SOL Fe oo quickly advance to the next marker which is the first song of the voce 3 You should input levels for each input channel on the set and the band perks up The band thinks they played terribly SO 3 OAS 950 StudioLive mixer while preparing to mix the live performance during the first song and they want to skip to the next song to If the hardware inputs on the StudioLive mixer are not clipping see if they did any better You click on the Next Marker button 253 Siy Worry Free Live Recording you do not need to worry about clipping in Capture Once the desired tracks are record enabled and you have verified input levels in Capture s meter bridge you are ready to begin r
222. s 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 jack the signal path is broken The control signal can then be processed by an equalizer for example to reduce sibilance de essing in a vocal track The control signal is then returned to the unit via the connector One common application for a sidechai
223. sequence of Select buttons The Panel Status will change Because of this after unlocking your StudioLive and before to Unlocked and you will be able to resume your mix 2 resuming mixing you should take a quick glance at your L input trims and output levels If you have locked your fader 728 Remotely Controlling StudioLive with VSL position you will be able to recall your pre lockout fader B positions using the Locate button in the meter section VSL allows you to control almost every parameter in your StudioLive remotely from your desktop or laptop computer Your StudioLive will reflect every change made in VSL including fader movements This means that if you move Channel 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 12 fader on your StudioLive oipnis Until you connect your StudioLive to a computer the mixer cannot be locked so don t worry about accidentally locking yourself out D m 26 SO 3 gt c D Capture and Studio One Artist 3 lt D So 9 5 oa o 5 D gt im 1 P 1 With your StudioLive connected and synced to your computer launch VSL and click on the Setup tab To sync the faders on your StudioLive with the faders in VSL simply press the Locate button on your StudioLive The
224. st dynamics post EQ and post fader The gain reduction for all 24 inputs e The output volume of each of the 10 aux sends e The output volume of both of the internal effects buses Finally the meters can be used to recall the fader settings for a saved Scene 421 StudioLive Metering Controls The Meters section of the StudioLive is located below the System section Each of these buttons are toggle switches you turn them on and off by pressing them The meter state can also be changed by pressing 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 16 selected and then press the Output button in the Meter section the knobs and buttons in the Fat Channel section will still be active and any changes made will be applied 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 Button Turns PFL Input Metering On and Off Switches the meters to display the pre dynamics pre fader level of the input bus Meters are to one Meter 1 shows the level of Channel 1 etc Output Metering Button Turns Post Fader
225. t 2 Line 4 go to Track Add Tracks for All Inputs Input 3 Lina 5 Input 4 Line amp Input 5 Line 7 Input 6 Line B To begin recording create an audio track assign it to input 1 and connect a microphone to the first channel on the StudioLive Select Record Enable on your track in Studio One Artist Turn up the Channel 1 fader while speaking singing Audio VO Setup into the microphone You should see the input meter in Studio One Artist react to the input Adjust the gain so the input level is near its maximum without clipping distorting Connect a set of headphones to the StudioLive headphone output and select the Main button in the Monitor section on your StudioLive You may also wish to connect monitors to the StudioLive s control room outputs You are now ready to record For complete instructions please consult the Studio One Reference Manual which is located on your Studio One Artist installation DVD 46 Creating MIDI Tracks ED pepe ppm 55 Fer 1 Click on the Add Tracks button When the Tracks window 2 In the Add Tracks window you can select the Ne launches select Instrument as the track format and click the OK CO o OSa F number and type of tracks you d like to create z 3 39085 button 650 CTF Mono Audio Stereo Audio Instrument or 55 Automation and can customize
226. te 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 133 ES Ho LE o 5 m 73 8 8 2 134 PreSonus StudioLive 24 4 2 A Brief Tutorial on Dynamics Processing 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 Vocals Range The gate range is the amount of gain reduction that the gate produces Therefore if the range is s
227. ted to StudioLive Channels 1 and 2 As previously mentioned we recommend that they be set instead to Channels 25 and 26 so as not to use input channels on your StudioLive for WDM playback To begin check the box next to Output Click on WDM 1 front left and drag it down to place it next to StudioLive 2 Track In Left Click on WDM 2 front right and drag it down to place it next to StudioLive 2 Track In Right Your stereo WDM playback will now be routed directly to the main FireWire return buttons in the 2 Track In and Monitor buses in the StudioLive Master Section 645 Configuring the StudioLive For Core Audio Mac Only Your StudioLive can be used as the main Core Audio device for a Mac and you can route the main outputs of your Mac to any of its available output streams By default these streams are routed to Channels 1 and 2 on your StudioLive The obvious limitation of this is that you will use up two input channels on your StudioLive just for Core Audio playback Channels 25 and 26 are available through the FireWire Return buttons inside the 2 Track In and Monitor sections of the StudioLive and we recommend that you use these channels for Core Audio playback The following instructions will help you configure your StudioLive to be used as the main audio playback device for your Mac Presanus Firetrudus Check source imni 3 4 Kad Guan
228. ter parameters Phase High Pass Noise Gate Compressor EQ and Limiter for every channel and bus e Aux Mix All aux mixes analog Aux Mixes 1 10 FXA and FXB and Pre1 Pre2 positions Faders All fader positions Pots All digital knob positions Aux 1 10 Outputs FXA and FXB Levels Cue 2 Track In Phones Monitor and Aux Input A and Aux Input B knobs GEQ Graphic EQ settings Faders If you enable Fader positions as a part of your Scene recall the StudioLive will automatically put the meters in Fader Locate mode after you press the Recall Locate y button The Fader Locate button will illuminate and the meter section of the Fat Channel will display the recalled fader position Move the faders up or down until only the center LED is illuminated in each meter to recall the stored position The subgroup and main meters at the top right of the StudioLive will display the recalled positions for their respective faders As long as you remain in Fader Locate mode the faders on your StudioLive will not be active The level of the audio passing through them will be set according to the stored fader position not the current location 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 recal
229. 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 EQs 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 characteristics Sub Bass 16 Hz to 60 Hz The lowest of these bass frequencies are felt rather than heard as with freeway rumbling or an earthquake These frequencies give your mix a sense of power even when they only occur occasionally However overemphasizing frequencies in this range will result in a muddy mix Bass 60 Hz to 250 Hz Because this range contains the fundamental notes of the rhythm
230. the Auxiliary Stereo track to an audio file for this purpose Once the correct audio file for your mix has been exported you may use any CD burning application to put that mix on a recordable audio CD 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 Import Capture Session Audio Files Directly Some audio editing applications e g digital audio workstations or DAWs do not support the Open TL format which makes the options somewhat limited when importing sessions created in other 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 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 just this purpose Both Studio One Artist and Studio One Pro can ED pem e
231. the PFL button in your Solo bus section Next press the Solo buttons on the channels and subgroups you want to monitor Turn the Cue knob in the Solo section to about 12 o clock Finally select the Solo button in your monitor bus and dial in a comfortable listening volume for you headphones or monitors You can increase the overall volume of the Solo bus using the Cue knob in the Solo section This feature can also be used to listen in on a monitor mix that is being routed to an aux send Let s say your vocalist on stage is complaining that there is too much bass in his monitor but you are confident that no bass is being sent to that particular aux send You could be mistaken but most likely an open microphone on Owner s Manual Tutorials 8 heSolo Bus 8 8 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 tu
232. third prong are provided for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Use only attachments accessories specified by PreSonus 12 Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with this apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over 13 Unplug this apparatus during lightning storms or when unused for long periods of time 14 Servicing is required when the apparatus has been damaged in any 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 con
233. throom F10 Concrete Floors m F3 Fis lileumRom Fie TleRom Fig WodHos Brick Club High Ceilings GateVerb Short GateVerb BEER GateVerb Long GateVerb Extreme F26 Cathedral 7 Gymnasium B8 AJ Arena a Thick B1 JjPlteVebDrms B2 PlateVerbVx B5 MlogSap B6 MeTriplet H9 AnalogTrip Andog Long Slap H3 ong al O SEWipet PingpongDelay Pingpongfip Ping Pong Purple Rain 9 F50 USER CREATED 9 PRESETS 51 re UJ 5 Scenes Presets and the System Menu PreSonus StudioLive 24 4 2 Owner s Manual Scenes Presets and the System Menu 5 51 Creating and Recalling a Scene Creating and Recalling a Scene 5 1 SETTINGS The StudioLive allows you to create and store a library Digital Effects Master Control of Scenes A Scene is like a snapshot of your mix It stores each Fat Channel parameter for every input and FXABB Nu bus as well as each fader s position the aux and q
234. ting and Warranty 10 Troubleshooting 10 1 e 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 5400 5800 combo cards Symptoms usually include no audio recording playback even though the device will install and sync as well as erratic audio performance Rarely combo cards will prevent the device from installing or achieving a stable sync We recommend FireWire cards that have s400 FireWire connections only 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 yo
235. ting the main mix The Solo bus has three different modes AFL default PFL and SIP 8 8 3 AFL After Fade Listen AFL sends the channel or subgroup signal to the Solo bus post fader so that you can control the level of the soloed signal with the fader This is the StudioLive s default setting PFL Pre Fade Listen PFL sends the channel or subgroup signal to the Solo bus before it reaches the fader so the fader does not affect the soloed signal SIP Solo In Place This is also known as destructive solo When channels are soloed in this mode every channel that isn t soloed will be muted and only the soloed channels will be sent to their assigned outputs While useful in dialing in dynamics during soundcheck this mode is dangerous during a live show We recommend that this mode be turned off when mixing live events Using the Solo Bus for Monitoring When mixing live or when recording multiple musicians at once it is often necessary to quickly listen in on just one instrument or group 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
236. to move up and down if there is live audio on that channel in the StudioLive mixer Editing in Capture 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 Click on the Arm All button at the top of the Track Column to record enable every track at once Mouse Tools Mouse Tools allow direct interaction with Audio Events using the mouse It is helpful to remember that actions done using the Mouse Tools can be undone at any time so you can feel free to explore their functions without permanently altering anything The following Mouse Tools and related functions are available Once an audio track is record enabled you are ready to record audio to that track Refer to the Activating Recording section for more on this topic D m 26 SI 2L UO b V c 5 pue ainjde gt 5 oipnis Capture Studio One Artist lt v A o ot E Monitoring Live Audio Input 3 All monitoring of live audio input should happen the StudioLive mixer itself as normal There is no separate monitoring capability within Ca
237. to play the currently selected audio file Creating a Mix Click the Stop button to stop playback Click the Loop button to the playback of th tly selected The process of creating a mix with Capture and the StudioLive ies J mixer is quite simple You play back your recorded tracks through the StudioLive and record the main output of the StudioLive to the Auxiliary Stereo Track in Capture The process works as follows Export Audio Files 1 In VSL select Main L R for Auxiliary Inputs 25 and 26 Export to Audio File To export audio from your Session in Capture VES S l Da mE IE igate to Sessi E t to Audio File J 2 Be sure Record Arm is disabled for all input Audio cto ikea MOMS x Tracks in Capture and the FireWire returns for all input P P channels on the StudioLive mixer are engaged iat n Filename New Sesslon 2 Location 3 In Capture select the Auxiliary Stereo Track 25 and 26 and enable Record Arm Format The top section of the Export to Audio File is wh ill select a locati d 4 Bring the playback cursor position to the beginning of the Session Wave File Mua dnd a by clicking the Back to Beginning button in the Transport i aA ONE ANOA E EON ECON y 9 9 9 pons Bigger o button to choose a file location Double click 5 Activate recording by clicking on the Record button in the Transport Samplerate i on the
238. tomatically be Digital Effects Master Control menu inspires a sense of dread However with the EL Status ae parties assigned to the other half of the stereo pair For StudioLive you have nothing to fear The System Hasan SUB Group 1 i example if you assign GEQ 1 to Subgroup 1 GEO 2 will automatically be assigned to Subgroup 2 menu on the StudioLive serves just a few simple functions most of which have very little to do with mixing a show Push Recall to Flatten Each of the eight channels of Graphic EQ can be Graphic at controlled individually or odd even pairs can be B show Band controlled as a stereo unit To copy the left side odd Freg 20 Gain dB 15 9 z lt A Status GEQ settings to the right side even simply page 2 HE Pensa Sub Group 2 down to the ride side and press the Recall button E p go Push Recall to Copy From GEG 1 Pressing the Recall button while using an odd Prev numbered GEQ will flatten it Use the Page Up and Page Down buttons to navigate between Graphic EQs Use the Next and 3 Prev buttons to navigate through each GEO screen LCD Contrast and LCD Backlight J and the Value knob to change a parameter 1 Contrast L NE Press the System button to access the System E Like all other parameters on your StudioLive your oao adu eCo Graphic EQ settings can be stored an
239. trument section in a live mix 8 42 A drum group is especially useful when every piece in drum kit has a microphone on it In this example our drums will be connected to the StudioLive as follows Channel 1 Kick Channel 2 Snare Top Channel 3 Share Bottom Channel 4 Floor Tom Channel 5 Tom 1 Channel 6 Tom 2 Channel 7 Overhead Left Channel 8 Overhead Right Channel 9 Hi Hat 1 Wewill create a stereo subgroup by linking Subgroups 1 and 2 The first step in creating a subgroup is to get a good mix of the instruments you are grouping in this case the drums With the drummer s assistance set the input trim EQ and dynamics for each drum separately As you select and solo each channel assign each channel to be routed to Subgroup 1 2 After you have gone through the entire kit and are satisfied with each channel s level EQ and dynamics unsolo your final channel Have the drummer play the entire kit and set the relative volume and panning for each mic in the mix Choose the Select button above Subgroup 1 Owner s Manual Effects Group 5 Output Control Mix Tutorials 8 Subgroup Mixing 8 4 3 Inthe Fat Channel s Stereo section to the right of the Pan display enable Link and turn the Pan knob all the way clockwise to set the stereo pan to hard left and right Now Subgroups 1 and 2 are linked with Sub 1 panned hard left and Sub 2 panned hard right The channel panning is preser
240. ttings If the button is disabled by default the EFX sends use the Pre 2 setting in which the sends are post EQ and post dynamics but pre fader However in the System Menu you can switch the EFX sends to the Pre 1 setting in which the sends are pre fader and pre Fat Channel dynamics processing and EQ Please review Section 5 4 for details bo oes Output Level Control Adjusts the Master Level of the Effects Send This knob controls the overall output level of the internal effects mix return Internal Effects Send Enables Fat Channel Viewing Select Button As described section 4 1 1 the Select button routes its Effects bus through the Fat Channel allowing you to add dynamics processing and EQ and routing the aux send to outputs Mix Button Enables Aux Bus Mixing and Metering in the Fat Channel When this button is enabled the 24 encoders in the Fat Channel become Control fx send level controls for each of their respective input channels The meters will Mix display the send level of each of the input channels 42 Controls 4 Subgroups 4 5 As explained in Section 8 4 subgroup mixing is very useful for grouping channels for master level control of a submix e g drums and for providing a fader level for effects 451 Subgroup Controls TO Subgroup Channel Select Button Solo Button Solo Enables Fat Channel Adjustments of Subgroup As
241. two buttons Create Session and Open Session A Session is a document in which you can record and edit 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 Also note that 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 audio 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 89 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 73 Capture Audio Device and Sample Rate Capture was specifically created for use with the PreSonus StudioLive series mixer and will only work with that device It is not possible to configure any other audio device 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
242. udioLive driver as the audio device 29 Install PreSonus StudioLive 1 You will be directed to the Welcome screen Click driver for your software It is important to note that your StudioLive uses Continue and follow the onscreen instructions the same driver as the PreSonus FireStudio family of interfaces so its driver Introduction will be displayed as PreSonus FireStudio in all driver selection menus License You will be guided through the steps necessary to 2 install this software 641 Using the StudioLive with Popular Audio Applications Summary Complete setup instructions for PreSonus Studio One Artist and a brief tutorial on its features are located in Section 7 0 of this manual Below are basic driver setup instructions for three popular audio applications Apple Logic Pro Express 7 qu PreSonus 50 Back Continue 1 Launch Logic Pro Express Go to Logic Preferences Audio 9 Install PreSonus StudioLive 2 You will be directed to choose the hard drive onto gic eee ee ee which you want to install the drivers and Universal Introduction Control Panel You must choose your system drive License ala al rl Storage drives and partitions cannot be used as Destination Select Click Install to perform a standard installation of this software the volume Macintosh hosts for the driver Click on
243. unch Window you can open and close both windows as well as quit the Universal Control application Close Window ctrl W A CloseWindow Closes just the Launch window 4 Show All Devices ctrl T Close All Devices ctri y Show All Devices Opens the Device window for all of the connected FireStudio family interfaces Quit ctrl Q Close Devices Closes the Device window for 2 of the connected FireStudio family interfaces Quit Quits the Universal Control application 75 74 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 7 2 VSL Virtual StudioLive VSL Virtual StudioLive 7 2 MM Settings WDM Setup Opens the WDM Channel Mapper 72 1 WSL Browser e The StudioLive features advanced WDM features Please see Section 6 4 4 When you first launch VSL notice the Browser window along the right for further details side of the screen The Browser in VSL functions similarly to the Browser in Studio One From Browser you can see all of the Scenes Fat Channel presets 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 Get Button Transfers All S
244. ur FireWire cable is connected both to your computer and to your StudioLive Navigate to Page 3 Digital in the StudioLive System menu and verify that the FireWire status is locked No Output on a Channel Press the Input button in the Metering section and verify that there is signal on that channel If no signal is present check the cable and the input source If signal is present press the Select button for the channel in question Make sure that the channel is assigned to the main output in the Assign section of the Fat Channel Fader Movements Have No Effect on Audio Verify that your StudioLive is not locked by navigating to Page 5 Lockout in the System menu Verify that your StudioLive is not in Fader Locate mode Select Output in the Metering section and verify that your fader movements are affecting the output signal If so make sure your channels are assigned to the main outputs 171 vece aes 50 0 5 oj 10 Troubleshooting and Warranty PreSonus StudioLive 24 4 2 Owner s Manual Troubleshooting and Warranty 10 10 2 Limited Warranty Current Sub Section 10 0 No Internal Effects in the Main Bus Notes Press the Aux button in the Metering section and verify the output levels of the internal EFX A and B aux buses If the level is too low use the Output knob to increase the master level for the effects mix Press the Select
245. us 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 Capture will be preserved when the Capure session is opened in Studio One Installation and Authorization Once you have installed the StudioLive drivers and connected your StudioLive to your computer you can use the PreSonus Studio One Artist music production software included with your StudioLive to begin recording mixing and producing your music To install Studio One Artist insert your installation disc into your computer s DVD drive Follow the onscreen instructions to complete the installation process Online Activation Please enter usemame and password of your PreSonus Account and the Product Key of the Studio One version you purchased PreSonus Password Product Key VFHD 12KJ F JEKD 8F J3 JFK3 92JV Remember my credentials have purchased an upgrade of Studio One e Click on the Activate Online link and enter your previously created account username password and the product key you received with the Studio One Artist installation disc Click on the Activate button to finish the activation process 113 im z 26 50 2 5 1 gt 2 Capture and Studio One Artist
246. 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 that stage in a large music hall This time you stand on the very edge of the stage and shout Hello world toward the center of the hall There will be a brief pause before you hear the first noticeable reflections of your voice because the sound waves can travel much further before encountering a surface and bouncing back There are closer surfaces of course notably the floor and the ceiling just in front of the stage but only a small part of the direct sound will go there so those reflections will be much less noticeable Adjusting the predelay parameter on a reverb allows you to change the apparent size of the room without having to change the overall decay 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 hi
247. ve This tutorial will take you through the basics of dynamics processing and will explain the various types of dynamics processors 821 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 cB The average dynamic range of an orchestral performance can range from 50 dBu to 10 dBu on average This equates to a 60 dB dynamic range Although 60 dB may not appear to be a large dynamic range do the math and you ll discover that 10 dBu is 1 000 times louder than 50 dBu Rock music on the other hand has a much smaller dynamic range typically 10 dBu to 10 dBu or 20 dB This makes mixing the various signals of a rock performance together a much more tedious task Why do we need compression Consider the previous discussion You are mixing a rock performance with an average dynamic range of 20 dB You wish to add an uncompressed vocal to the mix The average dynamic range of an uncompressed vocal is around 40 dB In other words a vocal performance can go from 30 dBu to 10 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 hea
248. ved 4 Now assign Subgroup 1 to the Main outputs since Subgroup 2 is linked to Sub 1 it is automatically assigned to the Main outs as well You can now use the Fat Channel section to add dynamics processing and EQ to the stereo drum group Subgroup 15 fader controls the level for the left side of your drum mix and Subgroup 25 fader controls the right side The aux bus enables you to create and send auxiliary mixes that are separate from the main and subgroup mixes The StudioLive 24 4 2 is equipped with 12 aux buses Auxes 1 through 10 which have physical output jacks and EFX A and B which are the internal effects buses Aux buses can be used for many applications the two most common of which are creating monitor mixes and inserting external effects processors into the mix As with the subgroup buses the StudioLive allows you to add global dynamics processing and EQ to these aux buses in addition to the individual channel processing This is perhaps one of the most creative ways in which a subgroup can be used By assigning an effects mix to a subgroup the front of house engineer can become in effect a member of the band This is especially useful when employing specialty or signature effects For instance a typical vocal mix for an electronic band dramatically trails off in a wash of reverb whereas a reggae band usually has delay on vocals The StudioLive allows you to assign either or both of the onboard effects buses to a subgroup
249. ver how to set up a Song and will discuss some general workflow tips for navigating through the Studio One Artist enviroment 744 Creating New Song Song My First Song Users wesley Documents StudioO ongs m Sample Rate Resolution 9 FireStudio Lightpipe Se 4 Recording session for Fires Timebase P FireStudio Mobile Song Langth 4 FireStudio Mobile multitrac FireStudio Project Stretch Audio Loops to Song Tempo 0151 01 01 000 FP rn Options __ Audio Device MIS Control Panel Device Block Size 512 samples Single 32 WI Enable Multi Processing Use CPU Cores Input Latency 27 30 ms 1204 samples Output Latency 15 69 ms 692 samples Sample Raie 44 1 kHz Bit Depth 32 Options Song Setup 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 4 When the Song window launches launch the Audio Setup window by going to File Options Windows or Studio One Prefere
250. verything 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 Owner s Manual Fretted Instruments Tutorials 8 A Brief Tutorial on Dynamics Processing 8 2 823 Compression Settings Some Starting Points Soft This is an easy compression with a low ratio setting for ballads allowing a wider dynamic range It s good for live use This setting helps the vocal sit in the track Threshold Ratio Attack Release 8 2 dB 0 002 ms 38 ms Medium This setting has more limiting than the Soft compression setting producing a narrower dynamic range It moves the vocal more up front in the mix Threshold Ratio Attack Release 3 3 dB 0 002 ms 38 ms Screamer This setting is for loud vocals It is a fairly hard compression setting for a vocalist who is on and off the microphone a lot It puts the voice in your face Threshold Ratio Attack Release 1 1 dB 0 002 ms 38 ms Snare Kick This setting allows the first transient through and compresses the rest of the signal giving a hard snap up front an
251. would like to have access and can give them names We recommend that you create a mono output for each for the 24 FireWire returns on your StudioLive as well as one stereo output assigned to FireWire returns 25 26 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 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 Studio One Artist 7 4 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 can also access the audio setup from here Input R Mic 2 Input 1 Line 3 If you would like to add a track for each of the available inputs and have the routing automatically assigned simply Inpu
252. ws Security alerts click Install L E E this driver software anyway Vista or Continue D Operating Systems V amp Windows can t verify the publisher of this driver software may XP e Mac OS X 10 5 2 or higher including Mac OS X 10 6 nanaon let gt Don t install this driver software the onscreen instructions to complete You should check your manufacturer s website for updated driver software 1 i H iain dacs the installation When the installer has finished it will prompt you reboot your computer Install this driver software anyway j Minimum PowerPC G4 1 25 GHz or Intel Core Only install driver software obtained from your manufacturer s website or 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 ic now synced to your computer and ready to use Solo 1 5 GHz processor 1 GB RAM i ee software from other sources may harm your computer or steal e Recommended Intel Core Duo or Intel Xeon processor 2 GB or more RAM Windows o 8 2 5 5 2 e Operating Systems 5 2 Windows SP2 or greater 32 bit and 64 bit D 9 e Windows Vista 32 bit and 64 bit e Windows 7 32 bit and 64 bit e Hardware e Minimum Intel Pentium 4
253. y 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 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 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 51 FW323 06 TI TSB43AB23 VIA VT6308 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 Troubleshoo

StudioLive™ 24.4.2

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StudioLive&trade; 24.4.2

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StudioLive™ 24.4.2