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StudioLive™ 24.4.2

1. e U 4 Controls PreSonus StudioLive 24 4 2 4 4 Aux Sends 44 internal Aux Send Controls Control Control Mute Button Mutes and Un mutes the Internal Effects Bus This button will mute or un mute its internal effects EFX flute 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 the effects buses are post EQ post dynamics processing and post fader and therefore are affected by fader settings 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 Output Level Control Adjusts the Master Level of the Effects Send This knob adjusts the master level of the internal effects send Internal Effects Send Enables Fat Channel Viewing Select Button As described in section 4 1 1 the Select button routes its aux send 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
2. a3 ss 995555 P 44 2 209008 SELL 731 What is Capture Capture is an audio recording application created exclusively for use with the PreSonus StudioLive series mixer To record from the StudioLive mixer into Capture you need to install the StudioLive driver and connect the mixer to a FireWire port on your computer The StudioLive manual includes installation and setup instructions Once the StudioLive mixer has been connected to your computer and Capture has been installed simply launch Capture and you are ready to record This section contains general information including the basic layout and workflow of Capture and is a great place to start for new audio recording software users e m ISI eArjoipnis pue ainjde gt c 5 lt D v N gt or 4 Versions There is one version of Capture which runs under the Windows and Mac OS X operating systems This manual explains both the Windows and the Mac versions Tips Several shortcuts and alternative methods or functions are presented throughout this manual 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
3. m Li 40 E o o e 5 ied MAIN MAIN Main Bus Meters Displays the Level of the Main Output In the upper right corner of the StudioLive are the Main meters which display the output levels of the main stereo bus 44 Owner s Manual 47 Master Section Aux Input A _ Aux Input B Controls 4 Master Section 4 7 The Master section of the StudioLive controls the IEILUET IE monitoring talkback output solo bus and aux and tape inputs Solo 2 Track In Phones hold cR mea 471 Aux inputs A and B Aux Input Select Button 472 Talkback System The StudioLive features an internal effects processor that allows you to load two different effects at the same time You also can patch processed 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 Enables Fat Channel Viewing 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 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 The StudioLive features a Talkback microphone input on the back panel This can be routed to the aux outputs and to the mains It is important to note that the aux outputs are grou
4. SERT DUNS ERR 1 22 959 ec qoc ee i 74 uem enr a a mi Cu asd Pers unen 1 MON anal ch 1 b adi 615 mea inen el le B cub ur P UU eng imm d Em m M lw El LL La E Habl Rub dae n ms F E gt 7 2 1 Virtual StudioLive Browser J When you first launch VSL notice the Browser window along the right side of the screen The Browser in VSL functions similarly to the Browser in Studio One o From the Browser you can see all of Scenes Fat Channel presets presets 5 215 and graphic EQ settings that are saved your StudioLive and on your computer You can also create new settings and can back up your entire library from this gt o S window Simply drag and drop a Scene or preset to load it on your StudioLive 26 Get Button Transfers All Scenes Fat Channel FX and Graphic EQ Presets Stored on the StudioLive to VSL ELI When you first launch VSL you will need to create a link between your StudioLive s internal memory and your computer To do this click on the Get button
5. om m 0 HIGH MID HI MID v MID HIGH MID ee A HIGH HIGH ss HIGH HAN kHz GAIN SHELF FREQ kHz L 95 dX Left Right Stereo Overheads LOW MID LOW MID us MID LOW MID ower ar Hz Hz 108 HIGH MID HI MID MID HIGH MID i ee HIGH HIGH jd HIGH ON OFF FREQ kHz m mE kHz A ow 136 Owner s Manual Tutorials 8 Equalizers 8 3 Kick Drum LOW LOW LOW LOW LOW LOW MID LOW MID ES MID LOW MID ON OFF SHERE FREQ Hz Q GAIN ON OFF FREQ Hz GAIN of os 0 s o 2 20 4 HIGH MID HI MID MID HIGH MID ks d HIGH HIGH HIGH ON OFF FREQ kHz SHELF FREQ kHz pr qo Fretted Instruments Electric Bass LOW MID LOW MID i MID LOW MID onor ME 2 en EE NN FREQ Hz GAIN om ew 4 HIGH MID HI MID MID HIGH MID ud HIGH HIGH pus HIGH ON OFF FREQ kHz FREQ kHz GAIN om ow os Acoustic Guitar LOW MID LOW MID MID LOW MID ower mar no Hz Le a A Hz S 15 HIGH MID HI MID me MID HIGH MID is te HIGH HIGH HIGH HIGH ON OFF FREQ kHz m m FREQ Q GAIN o 9 Distorted Electric Guitar LOW MID LOW MID MID LOW MID ower eana Hz _ EON T Hz CHE HIGH MID HI MID i MID HIGH MID bs p HIGH HIGH une HIGH a kHz GAIN P kHz Le Nr Keyboards Piano LOW MID LOW MID u MID LOW MID onor
6. Activating Studio One Artist Offline 9JeM3JoS e Once you have created a user account launch Studio One Artist From the Activate Studio One Menu click on the Activate Offline link Follow the instructions to log in to your previously created user account register the product and obtain a license file pue ain e c e r lt gt r Next copy the license file to the computer on which Studio One has been installed and locate the license file as instructed in the Activate Studio One menu The activation process is now complete Installing Bundled Content for Studio One Artist Studio One Artist comes bundled with an array of demo and tutorial material instruments loops samples and other third party content The Studio One Artist bundle includes all that you need to begin producing music e Upon completing the Studio One Artist installation and activation process the Studio One Content Installer will appear If it does not appear navigate to Help Studio One Installation At the top of the installation menu select the source from which the content will be installed as well as the location where you wish to install the content The 108 Owner s Manual SOFTWARE Universal Control Capture and StudioLive Artist 7 Studio One Artist 7 4 source of the content will be the same DVD from which you installed Studio One Artist By default Studio
7. Click Install 3 When the installation is completed connect your StudioLive to your Mac with a FireWire cable and power it installation ontoleded A 325 a Indrodection pow 9 on You are now ready use your StudioLive Install Succeeded Tra eres successi asy 64 Owner s Manual Connecting toaComputer 6 Using Your StudioLive as an Audio Interface 6 4 64 Using your StudioLive as an Audio Interface Your StudioLive features a 32x26 FireWire interface Any input and bus with a Select button including 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 StudioLive driver as the audio device driver for your software It is important to note that your StudioLive uses the same driver as the PreSonus FireStudio family of interfaces so its driver will be displayed as PreSonus FireStudio in all driver selection menus 641 StudioLive with popular audio applications 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 Ex
8. Device Window Button Opens the Device Window Click on this button to open the VSL Virtual StudioLive application To give your StudioLive a custom name double click on the default label StudioLive to open J a text field When you have finished entering your custom name hit the Enter key File Menu Opens and Closes Launch and Device Windows eo C 5 5 D E 5 From the File menu of the Launch Window you can open and close both windows as well S Close Window coin as quit the Universal Control application Show All Devices ctrl T Close Window Closes just the Launch window Close All Devices ctrl Y Show Devices Opens the Device window Quit cri 4 Q all of the connected FireStudio family interfaces Close All Devices Closes the Device window for all of the connected FireStudio family interfaces Quit Quits the Universal Control application Settings Check Firmware Scans Your StudioLive and Updates the Firmware A firmware updater is built into the Universal Control application Periodically a driver update will require that the firmware on your StudioLive be updated Whenever you install an update for the Universal Control or add a new FireStudio family product to your system you should use this feature to ensure that the firmware is up to date If the firmware needs to be updated the update applicat
9. 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 and created a new Song let s go through some of the basics of Studio One Artist so you can start recording 45 Creating Audio Tracks 1 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 2 In the Add Tracks window you can select the number and type of tracks you d like to create Mono Audio Stereo Audio Instrument or Automation and can customize the track name and color 113 gt 26 50 gt e c Capture and StudioLive Artist 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 4 Studio One Artist 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 If you would like to add a track for each of the available inputs and have the routing automatically assigned simply go to Track Add Tracks for All Inputs To begin recording create an audio track assign it to input
10. The even numbered GEO will automatically be assigned to the other half of the stereo pair For example if you assign GEQ 1 to Subgroup 1 GEQ 2 will automatically be assigned to Subgroup 2 Each of the 8 Graphic EQs can be controlled individually or as a stereo unit To copy the left side odd GEQ settings to the right side even simply page down to the ride side and press the Recall button Pressing the Recall button while using an odd numbered GEO will flatten it Use the Page Up and Page Down buttons to navigate between Graphic EOs Use the Next and Prev buttons to navigate through each GEO screen and the value knob to change a parameter Like all other parameters on your StudioLive your Graphic EQ settings can be stored and recalled If you have created a GEQ setting that you would like to save to the GEO Preset library press the Save button in the Fat Channel while that GEO is active You will notice that the LCD will display the GEO Save menu To begin use the Value encoder to scroll to an empty position in the GEQ Preset library Press the Next button again to navigate to the first letter of the preset name Turn the Value Encoder clockwise or counter clockwise to change the letter The StudioLive allows you to customize the name with uppercase and lowercase letters as well as a selection of numerals and punctuation marks You can insert a space by simply pressing the Tap button Once you are satisfied with your changes
11. Threshold Ratio Attack Release 1 1 dB 0 002 ms Owner s Manual Percussion Fretted Instruments Keyboards Tutorials 8 A Brief Tutorial on Dynamics Processing 8 2 Snare Kick This setting allows the first transient through and compresses the rest of the signal giving a hard snap up front and a longer release Threshold Ratio Attack Release 2 1 dB 300 ms Left Right Stereo Overheads The low ratio and threshold in this setting gives fat contour to even out the sound from overhead drum mics Low end is increased and the overall sound is more present and less ambient You get more boom and less room Threshold Ratio Attack Release 13 7 dB 128 ms Electric Bass The fast attack and slow release in this setting will tighten up the electric bass and give you control for a more consistent level Threshold Ratio Attack Release 4 4 dB 189 ms Acoustic Guitar This setting accentuates the attack of the acoustic guitar and helps maintain an even signal level keeping the acoustic guitar from disappearing in the track Threshold Ratio Attack Release 6 3 dB 400 ms Electric Guitar This is a setting for crunch electric rhythm guitar A slow attack helps to get the electric rhythm guitar up close and personal and gives punch to your crunch Threshold Ratio Attack Release 0 1 dB 24 193 ms Piano This is a special setting for an even level across the keyboard It is de
12. u 1 EMEN prm ur nint A fill i i 1771 LE ie 9B el Piper 41 1 TS tonne a gt 0908 1 Hilt Bl H un immi munt te w gt o M Bl 1 1 T we N 2 B 18 t4 gt 8 2 4 PreSonus www presonus com TOUT BN I9 7 GN a Tg Orga B OU DN oroe GiH SEHE ois Oin mI 1 0 08 OA OOS ha Oropa n on Caha CODE vee 119111 111111 1 1 11111 1111011 11011 111111 L gt amp STUDIOLIVE 24 4 allallal allel StudioLive 24 4 2 Owner s Manual 0 Mandatory Stuff 0 1 Important Safety Instructions PreSonus StudioLive 24 4 2 0 1 Important Safety Instructions The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance servicing instructions in this manual The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the produc
13. 743 Configuring Your MIDI Devices From the External Devices window in Studio One Artist you can configure your MIDI keyboard controller sound modules and control surfaces This section will take you through setting up your MIDI keyboard controller and sound module Please consult the Reference Manual located on your Studio One Artist installation DVD for complete setup instructions for other MIDI devices Before beginning this section you must first install the drivers for your MIDI interface or USB MIDI Controller keyboard Please consult the documentation that came with your MIDI hardware for complete installation instructions Setting Up an External MIDI Keyboard Controller from the Start Page A MIDI keyboard controller is a hardware device that is generally used for playing and controlling other MIDI devices virtual instruments and software parameters In Studio One Artist these devices are referred to as Keyboards and they must be configured before they are available for use In some cases your MIDI keyboard controller is also used as a tone generator Studio One Artist views the two functions of these types of hardware as two different devices a MIDI keyboard controller and a sound module The MIDI controls keyboard knobs faders etc will be set up as a Keyboard The sound module will be set up as an Instrument 1 You can set up your external MIDI devices from the Setup area in the Start page Before we set up a new Song for
14. When a Solo button is enable that channel or bus will automatically be selected and its Select button will illuminate TQ lit Mute Button Turns Muting On and Off 7 This button mutes its channel It will illuminate red jute 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 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 1 The white area above the fader can be used as a scribble strip Use only m 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 dem 5 20 i 5j o 44 Aux Sends The StudioLive has ten analog aux sends and two internal effects sends The aux sends are mono however two aux sends can be linked to create a stereo bus Section 8 5 discusses how to use these aux buses for monitor and effects mixing Aux 3 Aux 4 Aux 6 Aux 7 Aux 8 Ola Cla Ola Cla Cia Ou Output Output Output tput Output Output Control Control Control Control Control Control Control Control Control Contro 441 Analog Aux Send Controls Solo Button Turns Soloing On and O
15. the other channel s previous settings will be restored For instance if Channel 8 is selected when the Stereo Link button is engaged all of Channel 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 4 Controls PreSonus StudioLive 24 4 2 4 1 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 Main 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 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 th
16. 1 1 1 ED f S II ITE P m c Me mW sgg o u 111014 ab l b giu 5 i Ay a mia i vang n unu 5 vini bhi mt wy wt n 7 D d i HI I MOI Thank you for purchasing the PreSonus StudioLive 24 4 2 PreSonus Audio Electronics has designed the StudioLive utilizing high grade components to ensure optimum performance that will last a lifetime Loaded with 24 high headroom XMAX microphone preamplifiers a built in 32x26 FireWire recording and playback engine Fat Channel processing with 4 band EOs compressors limiters and expander gates DSP effects 10 aux buses 4 subgroups extensive LED metering mixer save recall channel strip save recall copy paste talkback and more StudioLive breaks new boundaries for music performance and production All you need is a computer with a FireWire connection a few microphones and cables speakers and your instruments and you are ready to record in the studio or in front of a live audience We encourage you to contact us at 1 225 216 7887 US Central Time Zone with any questions or comments you may have regarding your PreSonus StudioLive PreSonus Audio Electronics is committed to constant product improvement and we valu
17. A dialog will open prompting you to click the transfer button Any settings that are temporarily stored in the local cache i e settings that are currently visible in the Device Memory section of the Browser window will be overwritten 76 Owner s Manual SOFTWARE Universal Control Capture and StudioLive Artist 7 VSL Virtual StudioLive 7 2 Add to Disk Button Transfers all Scenes Fat Channel FX and Graphic EQ Presets from Temporary Memory to the Permanent Cache VSL allows you to back up your Scenes Fat Channel FX and graphic EQ presets and permanently store them on your computer Each type of preset can be added separately In this way you can back up only what you want when you want To move a Scene or preset from temporary memory into permanent memory simply select one preset or Scene and click the Add to Disk button To select multiple presets hold the Shift key while making your selections Browser Tab Buttons Displays the Different Preset Categories on Your StudioLive and on Your Computer LI FR GEG BACKUP All of your Scenes and presets are contained in dedicated folders in VSL To view a specific set of presets simply click on its tab SCENE e SCENE Displays stored Scenes e FAT CH Displays stored Fat Channel presets e FX Displays stored effects presets GEQ Displays graphic EQ presets e BACKUP Displays any backup logs that have been created in VSL
18. 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 0 to 56 dB 27 4 Controls 4 1 Gate Range N o Gate Attack 28 The Fat Channel Sets and Displays the Range Gate Release of the Gate This encoder sets and the meter displays the amount of gain reduction that the gate will produce You can set the range from 0 to 86 dB 2 8 6 A 2 0 8 7 6 E 4 3 2 1 os 11111 Release Sets and Displays the Gate Attack Setting for the Selected Channel This encoder sets and the meter displays the rate at which the gate opens on the selected channel or output You can set the attack time from 0 2 to 150 ms A fast attack rate is crucial for percussive instruments Slow rising signals such as vocals and bass guitar require a slower attack with these signals a faster attack can cause an audible click All gates have the ability to click when opening but a properly set gate will never click Comp _ L Ue LI m y 4 4 serene I
19. The sidechain jack interrupts the signal that the compressor is using to determine the amount of gain reduction it should apply When no connector is inserted into this jack the input signal goes directly to the compressor s control circuitry When a connector is inserted into this jack the signal path is broken The control signal can then be processed by an equalizer for example to reduce sibilance de essing in a vocal track The control signal is then returned to the unit via the connector One common application for a sidechain is when using a compressor to reduce the level of music or other background sound whenever a narrator speaks or vocalist sings allowing the voice to be clearly heard In this application the vocal signal is routed to the sidechain input while the music is routed through the main compression circuitry Now the compressor will automatically duck that is reduce the level of the music whenever the narrator speaks or the vocalist sings There are two basic types of expansion dynamic and downward Expansion increases the dynamic range of a signal after the signal crosses the expansion threshold Dynamic expansion is basically the opposite of compression In fact broadcasters use dynamic expansion to undo compression before transmitting the audio signal This is commonly referred to as companding or COMPression followed by expANDING By far the most common use of expansion is downward expansion In contrast
20. Using Your StudioLive as an Audio Interface 6 4 645 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 1 Goto Applications Utilities and launch Audio MIDI setup gt E L AL p I do 2 Click on the Configure Speakers button A 3 Deselect Stream 1 and select Stream 2 instead TO Stream 1 has 16 channels 1 18 1 Stream 2 has 2 channels 17 18 D Gos Cre U NIS rint dai ABMS SEs 4 Choose Channel 25 for the left speaker and Channel 26 for the right speaker trent 18
21. for your safety If the provided plug does not fit into your outlet consult an electrician for replacement of the obsolete outlet 10 Protect the power cord from being walked on or pinched particularly at plugs convenience receptacles and the point where they exit from the apparatus 11 Use only attachments accessories specified by PreSonus 12 Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with this apparatus When a cart is used use caution when moving the cart apparatus combination to avoid injury from tip over 13 Unplug this apparatus during lightning storms or when unused for long periods of time 14 Servicing is required when the apparatus has been damaged in any way such as if a power supply cord or plug is damaged or liquid has been spilled or objects have fallen into the apparatus or if the apparatus has been exposed to rain or moisture does not operate normally or has been dropped All PreSonus products in the USA should be serviced at the PreSonus factory in Baton Rouge Louisiana If your StudioLive requires a repair contact techsupport presonus com to arrange for a return authorization number Customers outside the USA should contact their local distributor Your distributor s contact information is available at www presonus com 15 The apparatus shall be connected to a Mains power outlet with a protective grounding earthing connection 16 Where the M
22. from 40 to 1000 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 an 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 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 Fat Channel EQUALIZATION Section Equalizer Turns the Equalizer On and Off for On Off the Selected Channel or Output Bus Button 5 M o I J m This button engages or disengages the equalizer for the selected channel or output bus It will illuminate Equalizer to indicate that the equalizer has been enabled The equalizer is available for all input and output buses Low EQ Activates Control
23. quitar amp plana inibi Lo piano gspeeially at softer mlaytmek wal ume n 0555 lines hirighhe mE ulig inare hardness or Patel fullness to vocal adis clarity amp paren more attack en ick amp pom heeninier vocals 12 Bass lines hone Allie more attack to TRIPEU SEDE imiten emi ur al einig amp gidtars 5 viuce n yesa More attack lene 1 igo Samples finger soured nni base mare CLARITY to OED mig Ser ess bo syntlts E guitars SES LIC guitar amp piano 100 Hz 200 2 400 800 2 1 5kHz 3kHz SkHz 7kHz 10kHz 15 decrease dullness ii hie and mnke background instrument sound mare distant decrease boom m guitars ecrease ambience m decrease duilrmess m ta increase clarity amina dezrease imudiliness In vocal TH breatfhilnasa in amp inli earsqe Ine Leen nes avertones Ineguillars decrease long bass overtones guise Wight In cymbals turis wacals and 833 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
24. the center frequency of the High Mid band The level of the center frequency can be set between 15 and 15 dB Activates Control for the High EQ for the Selected Input or Output Bus This button actives control of the High band for the selected channel or bus The button will illuminate to indicate control is active The High EQ band is available for all input and output buses Sets and Displays the Center Frequency of the High EQ This encoder sets and the meter displays the center frequency of the High band You can adjust the center frequency from 1 4 to 18 kHz 33 e gt Lm 2 un 4 Controls 4 1 The Fat Channel High EQ Q Control High EQ Gain Control Gain dB Sets and Displays the Q of the High High Shelving EQ Button Frequency Band This encoder sets and the meter displays the Q for the High band The Q is the ratio of the center frequency to the bandwidth 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 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 EQ band The level of the center frequency can be set between 15 and 15 dB NOTE See also GRAPHIC EQUALIZERS Section 5 3
25. 1 any signal levels above the threshold setting will be compressed at a ratio of 2 1 This means that for every 2 dB of level increase above the threshold the compressor s output will only increase 1 dB The ratio can be set from 1 1 to 14 1 29 4 Controls 4 1 Compressor Attack UO VA The Fat Channel Compressor Makeup Gain Sets and Displays the Compressor Attack Setting for the Selected Input Channel or Output Bus 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 input signal A slow attack time fully clockwise allows the beginning non harmonic component of a signal commonly referred to as the initial transient to pass through uncompressed whereas a fast attack time fully counterclockwise triggers compression immediately when a signal exceeds the threshold You can set the attack from 0 2 to 150 milliseconds Compressor Release Release Release 30 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
26. 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 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 842 Effects Group 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 What would an electronic band sound like if the vocal mix didn t dramatically trail of in a wash of reverb or a reggae band without delay on theirs The StudioLive allows you to assign either or both of the onboard effects buses to a subgroup So let s take the example of the reggae band 1 Int
27. A D INPUT BUFFER TalkBack Level a ac Ic TalkBack Mic to Main P alkBack Mic to Aux Bus 120 10 dB Links to Output Dim Level TalkBack Mic 45e 14 dB Dig Out Tapeln Dig Out Tape Input A D INPUT BUFFER 2 Track In Level Left SS gt gt T A D ES OS OS A Right gt gt 120 10 dB Tape To Control Room ye Digital In To Control Room Dig In 17 18 SPDIF output selectable from any digital output stream 4 Digital Out 31 32 156 Owner s Manual 31 Band Graphic Equalizer Technical Information Block Diagram Stereo graphic EQs are assignable to Mains Sub 1 2 Subs 3 4 Aux 1 2 Aux 3 4 Aux 5 6 1 Master Bus E Master Meter AUX 7 8 9 10 Dig Out I TalkBack Mic to Main gt ot 31 Band Graphic Equalizer I CD 1 1 BALANCE LINE DRIVERS i Left 31 Band Graphic __ 4 Main Output Right Output Level 99 um Fat Channel 31 Band Graphic i Equalizer Solo Bus L 4 Solo Bus Links to Solo Bus R l Dig Out Output 120 410 dB Dim Level Mono Output Left gt Tape Output Right D A OUTPUT BUFFER From Two Track Tape Input Monitor Level SS Left X 7 Control Room Output D A From Two Track Digital Input C 7 D Right 120 410 dB v Phones Level D A 2 4 gt Phones Output 2 gt n S
28. Artist Scene Date Level AUX In SOURCE Level AUX In B SOURCE V OUTPUT OUTPUT AUX SENDS Level AUX SEND Level AUX SEND ey Notes OUTPUT Monitor Send OUTPUT Monitor Send 63 Notes OUTPUT Monitor Send OUTPUT Monitor Send ey Notes OUTPUT Monitor Send OUTPUT Monitor Send ey Notes OUTPUT Monitor Send OUTPUT Monitor Send 63 Notes OUTPUT Monitor Send OUTPUT Monitor Send SUBGROUP MAIN ASSIGNMENT ROUTING MATRIX Gas Gus AUX 8131415618191 11 12 13 14 15 16 17 18 19 20 21 22 23 24 B Technical Information Technical Information 10 10 1 Troubleshooting and Warranty Troubleshooting PreSonus StudioLive 24 4 2 10 0 Troubleshooting and Warranty 10 160 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 n
29. Aux Send mixes 47 A 3 et Le 4 Controls 4 7 Master Section 475 Monitor Bus Solo Bus Monitor Button 4 Solo Headphone Output Level Control Phones Control Room Monitor Level Control Monitor Tape Input Monitor Button Main Mix Monitor Button 48 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 input Because the Monitor Bus is a summing amp you can even monitor the World Series on your headphones while still 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 m
30. Don t install this driver software Vou check your manutactueer s lor updated doses fer your device A Install this driver software anyway Follow the onscreen instructions complete disc other martes mep harm your cermoster steel wo 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 If you see any Windows Security alerts click Install this driver software anyway Vista or Continue anyway XP the installation When the installer has finished it will prompt you to reboot your computer Click Finish to automatically restart your PC Once your computer has rebooted connect the StudioLive When the Found New Hardware wizard launches foll
31. EMPTY LOCATION 03 DRM Kick Funk 1 36 HRN Trombone 69 EMPTY LOCATION 04 DRM Kick Funk 2 37 Sax 70 EMPTY LOCATION 05 DRM Kick Hip Hop 38 Sax Solo 71 EMPTY LOCATION 06 DRM Kick Jazz 39 PRC Congas 72 EMPTY LOCATION 07 DRM Snare 1 40 PRC Bongos 73 EMPTY LOCATION 08 DRM FatSnare 41 PRC Cowbell 74 EMPTY LOCATION 09 DRM Snare Crackalak 42 PRC Tambourine 75 EMPTY LOCATION 10 Snare Snappy 43 VOX Male 1 76 EMPTY LOCATION 11 DRM Toms Mid 44 VOX Male 2 77 EMPTY LOCATION 12 DRM Toms Low 45 VOX Male 3 78 EMPTY LOCATION 13 DRM Toms High 46 Female 1 79 EMPTY LOCATION 14 DRM Overhead Rock 47 VOX Female 2 80 EMPTY LOCATION 15 Overhead Jazz 48 VOX Female 3 81 EMPTY LOCATION 16 DRM High Hat 49 VOX Speech 1 82 EMPTY LOCATION 17 BAS Electric 1 50 VOX Speech 2 83 EMPTY LOCATION 18 BAS Electric 2 51 EMPTY LOCATION 84 EMPTY LOCATION 19 BAS Slap 52 EMPTY LOCATION 85 EMPTY LOCATION 20 BAS Upright 53 EMPTY LOCATION 86 EMPTY LOCATION 21 GTR Rock 1 54 EMPTY LOCATION 87 EMPTY LOCATION 22 2 55 EMPTY LOCATION 88 EMPTY LOCATION 23 GTR Funk 56 EMPTY LOCATION 89 EMPTY LOCATION 24 GTR Metal 57 EMPTY LOCATION 90 EMPTY LOCATION 25 GTR Jazz 58 EMPTY LOCATION 91 EMPTY LOCATION 26 Acoustic 59 EMPTY LOCATION 92 EMPTY LOCATION 27 GTR Acoustic Strumming 60 EMPTY LOCATION 93 EMPTY LOCATION 28 GTR Acoustic Fingerstyle 61 EMPTY LOCATION 94 EMPTY LOCATION 29 KEY Piano Bright 62 EMPTY LOCATION 95 EMP
32. Fat Channel 4 1 Limiter Sets and Displays the Threshold of Threshold the Limiter for the Selected Channel Control or Output Bus This encoder sets and the meter displays the threshold of the limiter for the selected channel or output bus When the signal 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 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 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
33. Les pn Hz Le cam A Hz 108 HIGH MID HI MID E MID HIGH MID HIGH HIGH HIGH ON OFF FREQ kHz a a kHz lt 239 04 137 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 find many uses for subgroups nearly all of them make mixing more convenient and provide better control of your mix In this section we will 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 138 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 to group any type of instru
34. 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 Asan 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 now 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 etc The encoders below each meter control the channel send level to Aux 1 Use these enconders 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 to create the best mix for them Owner s Manual Tutorials 8 Aux Bus Mixing 8 5 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 EQ can also be used to increase the presence of an instrument by boosting that particular frequency range without necessarily boosting the volume in the mix This is great for getting the lead guitar to cut through in the guit
35. Out 17 24 Out 9 16 Out 1 B the balanced direct analog outputs for the 24 e channels The DB25 connectors divide the channels ufo into three groups of eight Balanced DB25 fan out snakes can be obtained in various configurations at most recording and live sound retailers amp amp 5 PRR REE wes9etrsssa s 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 direct outputs See Section 6 4 2 for more information DB25 Pin outs Hot C Cold Ground mm n Firewire Ports There are two standard 6 pin FireWire 400 ports on the back of the me oe StudioLive Either port can be used to connect your StudioLive to a FireWire port 0 0 on your computer If your computer has a 4 pin connector commonly found on laptops you will need purchase 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 la
36. PreSonus FireStudio 8 Goto Options Audio and click on the General tab 9 Setthe Playback Timing Master to PreSonus FireStudio DAW Out 1 10 Set the Recording Timing Master to PreSonus FireStudio Mic Inst 1 642 Firewire Sends and Returns rJ EQ amp Dyn Dig Out Ld 66 When using the StudioLive as an audio interface it is important to understand the terms FireWire send and FireWire return Because the audio interface in the StudioLive is completely integrated with the other functions of the mixer the FireWire is designed to work as independent bus You can route send signals from other buses to the FireWire bus and its output or return signal is hard coded to designated mixer channels Your StudioLive has 32 available sends and 26 returns FireWire sends 1 24 are hardcoded to be sent pre fader from the 24 input channels of the StudioLive These sends can be pre or post Fat Channel and dynamics To record the EO 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
37. Rear Panel Connections 3 0 Hook up 3 1 Rear Panel Connections 5 Oro AM PreSonus Oe Microphone Inputs Your StudioLive is equipped with 24 PreSonus XMAX microphone preamplifiers for use with all types of microphones including condenser dynamic and ribbon mics 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 noise and wide gain control allowing you to boost signals without increasing unwanted background noise 48 volt Phantom Power The StudioLive provides 48V phantom power for the microphone input on each channel This feature can be individually enabled for each channel using buttons on the top panel WARNING Phantom power is only required for condenser microphones and can severely damage dynamic mics especially ribbon mics Therefore switch phantom power off for all channels where it is not required XLR connector wiring for phantom power Pin 1 GND Pin 2 48V Pin 3 48V Line level Input Each channel of the StudioLive has a 1 4 inch balanced TRS connection for line level input When these inputs are engaged the microphone preamp circuit is bypassed Typical examples of line level connections are synthesizer outputs CD DVD player outputs and with exceptions signal processor inputs and outputs i Line ln Please note As with any mixer plugg
38. SIP to Set Up a Mix 146 Cascading Two StudioLive 24 4 2s 147 Configuring Multiple Units 147 Aux Mixing With Cascaded Mixers 148 Subgroups To Merge Or Not To Merge 149 Monitor Mixing Reverb Delay 144 145 Destructive Soloing 147 Internal Effects Buses 148 Scene Store and Recall 149 Local Versus Merged Buses And Inputs 150 Copy and Load 149 Technical Information Specifications 150 Channel Presets 154 Digital Effects Library 156 Session Data Recall Sheet 155 Block Diagram 158 Troubleshooting and Warranty 160 160 PreSonus StudioLive 24 4 2 Limited Warranty 162 Troubleshooting Owner s Manual Quick Start Level Setting 1 0 Quick Start Before you begin there are a few general rules of thumb that we recommend you follow e Always turn the Main fader and both the Monitor and Phones knobs in the Monitor section down before making connections Before plugging or unplugging a microphone while other channels are active mute the channel to which you are connecting e Your faders should be set on or near the U mark whenever possible The U indicates unity gain meaning the signal is neither boosted nor attenuated If the main output of you Studiolive is too high or too low when your faders are at or near unity you can use the output level knob on the rear panel of your StudioLive to adjust the level up or down until you have achieved your optimal volume Do not allow your input
39. Send Button Transfers Designated Scenes Fat Channel FX and Graphic EQ Presets from VSL to StudioLive Memory VSL makes reorganizing all the Scenes and presets stored on your StudioLive as easy as dragging and dropping a file To load your StudioLive with new Scenes and presets simply drag any Scene or preset from the On the Disk section of the Browser to any position in the Disk Memory section of the Browser A dialog will open asking you to verify that you would like to overwrite the Scene or preset at the new position This will not immediately overwrite what is stored internally on your StudioLive it will merely overwrite what is stored in the VSL cache memory Once you have organized the files you wish to transfer to your StudioLive press the Send button When the transfer is complete you can disconnect your StudioLive from your computer and take your chosen Scenes and presets with you 77 gt 26 BU 3 gt c Capture and StudioLive Artist 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 2 5 Virtual StudioLive Add New Button Creates a New Scene or Preset In the On the Disk and Device Memory sections of the Browser you will see the Add New button Clicking this button will immediately create a new Scene or preset If you want thi
40. 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 that 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 is 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 Owner s Manual Tutorials 8 Cascading Two StudioLive 24 4 2s 8 9 8 95 Scene Store and Recall 896 Copy and Load 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 scroll to an empty locati
41. 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 A touch of compression can tighten up that kick drum sound allowing it to punch through without having to crank the level way up A vocal performance usually has a wide dynamic range Transients normally the loudest portions of the signal can be far outside the average level of the vocal signal Because the level can 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 T
42. all recorded tracks are combined to mono or stereo The goal is to balance relative volume frequency and dynamic content in order to achieve a desired cohesive sound Mixing with Capture and StudioLive No mixing is done in Capture directly Instead the individual outputs of each audio track in Capture are hardwired to the FireWire returns for each corresponding input channel on the StudioLive mixer Thus with the FireWire returns engaged for each input channel on your StudioLive mixer the output of your multitrack Session is routed to the StudioLive mixer where it can be mixed just like any other audio inputs The process of creating a mix with Capture and the StudioLive mixer is quite simple You play back your recorded tracks through the StudioLive and record the main output of the StudioLive to the Main Audio Track in Capture The process works as follows 1 Besure Record Arm is disabled for all input Audio Tracks in Capture and the FireWire returns for all input channels on the StudioLive mixer are engaged 2 Select the Main input and enable Record Arm on the Main Track in Capture 3 Bring the playback cursor position to the beginning of the Session by clicking the Back to Beginning button in the Transport 4 Activate recording by clicking on the Record button in the Transport the playback cursor should begin to move from left to right and audio should be playing through each input on the StudioLive mixer The Main Track
43. 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 amp 4 e Aux Send 1 amp 2 e AuxSend 3 amp 4 e Aux Send 5 amp 6 e Aux Send 7 amp 8 Owner s Manual Connecting to a Computer 6 Using Your StudioLive as an Audio Interface 6 4 e 5 9 amp 10 e Aux Send A amp amp EFXB Send e Aux Return A Aux Input A e Aux Return B Aux Input B e FX Return A EFXA Return e FX Return EFXB Return e 2Track 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
44. are known as early reflections and their pattern provides psycho acoustic indications as to the nature of the space that you are in even if you can t see it As each reflection is then reflected off of more surfaces the complexity of the sound increases while the reverb slowly decays The reason for the widespread use of reverb in audio recording is fairly self evident human beings don t live in vacuum Because our brains receive cues as 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 to the listener The following parameters can usually be adjusted in a reverb effect Decay Decay is the time required for the reflections reverberation to die away In most modern music production reverb decay times 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 beginning of the first reflections being audible Imagine you re back on that stage in a large music hall This time you stand on the very edge of the stage and shout Hello world toward the center of the hall There will be a brief pause before you hear the first noticeable reflections of your voice because the sound waves can travel much further before encountering a surface an
45. at any point in time and drag down or up to zoom in or out 95 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 3 Capture J Using Markers In Capture the Marker Lane is used to place markers at desired places in the Timeline after which navigation to the markers is easy Markers are also helpful when exporting your Session to individual mixes or to work in another recording application The Marker Lane is always visible just below the Timeline Inserting Markers To insert a new Marker into the Marker Lane with playback running or stopped click on the Add Marker button or press Insert on the keyboard Each new marker will be numbered sequentially by default 1 2 3 To rename a marker double click on the marker in the Marker Lane type in a new name and then press Enter on the keyboard Navigating Markers It is possible to quickly jump the Playback Cursor between markers in the Marker Lane Click on the Previous Marker button in the Transport or press B on the keyboard to jump to the previous marker Click on the Next Marker button in the Transport or press N on the keyboard to jump to the next marker Jumping to markers during playback allows quick comparisons between different sections of your Session Looping EE Loop the playback of any range of your y rd Capture session do the fol
46. each file at the same start time D 15141 eAITOIPNIS pue ainjde gt c 5 gt lt D v N 5 ot 100 Owner s Manual 73 10 Capture Key Commands Key Commands Action File New Session Open Session Close Session Save Session Save Session As Quit Edit Undo Redo Cut Copy Paste Delete Select All Deselect All Zoom In Zoom Out Zoom Full Session Import File Export to Audio File Insert Marker Insert Named Marker Locate Next Marker Locate Previous Marker Recall Marker 1 9 Mute Track Solo Track Arm Track Tools Select Arrow Tool Select Range Tool Select Split Tool Select Eraser Tool Transport Toggle Start Stop Start Record Stop Return to Zero SOFTWARE Universal Control Capture and StudioLive Artist 7 Key Command Cntrl Cntrl Cmd N Cntrl Cntrl Cmd O Cntrl Cmd W Cntrl Cmd S Cntrl Cmd Shift S Cntrl Cmd Q Cntrl Cmd Z Cntrl Cmd Y Cntrl Cmd X Cntrl Cmd C Cntrl Cmd V Del Cntrl Cmd A Cntrl Cmd D Cntrl Cmd or E Cntrl Cmd or W F Command l Ins Shift Ins Shift N B NumPad 1 9 Command 1 9 M S Space Bar Enter NumPad NumPad 0 NumPad Capture 7 3 101 7 SOFTWARE Universal Control Capture and StudioLive Artist 7 3 Capture Navigation Focus Next Focus Previous Left Extend Selecti
47. in Capture 92 Editing in Capture 93 Capture Session Navigation 95 Mixing in Capture 97 Capture Key Commands 101 Capture Applications and Scenarios 103 Studio One Artist Quick Start 107 Installation and Authorization 107 Enabling the Audio Driver 109 Configuring Your MIDI Devices 110 Creating a New Song 112 Creating Audio Tracks 113 Creating MIDI Tracks 114 Adding Virtual Instruments and Plug in Effects to Your Song 115 117 Microphone Types 117 117 USB Microphones and Other Types 118 A Brief Tutorial on Dynamics Processing Tutorials 117 Condenser Dynamic 117 Microphone Placement 121 Common Questions Regarding Dynamics Processing 121 Types of Dynamic Processing 122 Compression Settings Some Starting Points 126 Corresponding Frequencies for Equal Tempered Scale 129 Equalizers 130 What is an EQ 130 8 3 2 8 3 3 8 4 8 4 1 8 4 2 8 5 8 5 1 8 5 2 8 6 8 6 1 8 6 2 8 7 8 8 8 8 1 8 8 2 8 8 3 8 9 8 9 1 8 9 2 8 9 3 8 9 4 8 9 5 8 9 6 8 9 7 9 0 9 1 9 2 9 3 9 4 9 5 10 0 10 1 10 2 PreSonus StudioLive 24 4 2 Equalization Settings How to Find the Best and Leave the Rest 132 General EQ Suggestions 138 138 135 Subgroup Mixing Instrument groups 139 Aux Bus Mixing Effects Group 140 140 Effects Processing 1417 Digital Effects 143 143 144 Level Setting Procedure in Detail The SoloBus 145 Using the Solo Bus for Monitoring 146 Using Solo in Place
48. is like a snapshot of your mix It stores each Fat Channel parameter for every input and bus as well as each fader s position the aux and effects mixes channel mutes and solos and the input selection analog input or FireWire playback stream Creating a scene requires simply dialing in a mix that you would like to use at a later date and Value saving it This has obvious benefits for both studio and live sound For example in the studio saving UP Prev 4 and recalling a scene allows you to move to another song or project and come back to the current mix Digital Effects Master Control 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 You also can save custom mixes for each venue that a band plays repeatedly 3 Page 2 Store To save a scene press the Scene button and page Memory EEN Empty Location down to the second screen The memory locations will be selected Use the Value Encoder to scroll to a free location in the Scene library Now name your Use TAP for space Push Store scene Press the Next button to navigate to the first letter of the preset name and turn the Value Encoder clockwise or counter clockwise to change the letter Name Monday Night Gia The StudioLive allows you to customize the name with uppercase and lowercase letters and a selection of numerals and punctuation mar
49. on just one instrument or group The Solo and Monitor buses can be used together for this purpose It is important to note that if you wish to monitor with speakers rather than headphones it is necessary to connect the speakers to the Control Room outputs on the back of your StudioLive rather than to one of the main output pairs First decide whether you want to listen to your soloed channels before or after the fader setting If you d like to monitor before the fader level press the PFL button in your Solo bus section Next press the Solo buttons on the channels 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 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 quickl
50. performing other actions on recorded audio can lead to unwanted results As simple as it may seem the act of listening while editing is often overlooked For instance when sizing the edges of a vocal part to remove unwanted sounds between words it is tempting to make the edits based on the visual representation of the waveform While this may work sometimes it is a much better idea to listen as you size the events to be sure you are not removing any critical part of the vocals Listening to your edits as you make them will save time and frustration in nearly every case 7384 Capture Session Navigation The ability to quickly navigate to certain areas of your Session is highly useful during the mixing process The following describes the ways in which you can quickly navigate throughout your Session Scrolling To scroll left and right through time in your Session click and drag the horizontal scroll bar near the bottom of the Edit window Timeline Zooming You can zoom in and out of your Session 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 Click and drag left or right on the Zoom scroll bar in the lower right hand corner of the Edit window to zoom in or out Press W on the keyboard to zoom out slightly Press E on the keyboard to zoom in slightly Click inside the Timeline ruler
51. press the Store button It will illuminate while the GEO preset is being written to the StudioLive s internal memory Once the GEO preset is saved the Store button will return to its unlit state GEQ Preset Page 1 Load Memory Maini Push Recall To load a preset to any channel on the StudioLive first press the GEQ button and Page down to the desired GEQ From the Fat Channel press the Load button You will notice that LCD now displays the GEQ Load menu 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 58 Owner s Manual Scene Presets and the System Menu 5 System Menu 5 3 Digital Effects Master Control Value p 54 System Menu In most digital console manuals the phrase System menu inspires a sense of dread However with the StudioLive you have nothing to fear The System menu on the StudioLive serves just a few simple functions most of which have very little to do with mixing a show LCD Contrast and LCD Backlight Page 1 Contrast Press the System button to access the System menu The first page allows you to adjust the LCD Contrast and LCD Backlight for optimal viewing in your working environment These settings are retained when the unit is powered down LCO Contrast LCD Backlight L
52. press the System button Page 4 Lockout Panel Status Unlocked in the Digital Effects Master Control section and Lockable Faders Ves navigate to Page 4 Lockout Your StudioLive cannot Master Yes Mir s be locked unless this page is active If you have two Scene Recall No StudioLive mixers linked you only need to lock the Master unit to lock both mixers in the chain At its lowest level of security Lockout mode allows you to freeze the current Fat Channel and effects settings Faders aux mixing and Scene recall can still be enabled Each of these mix functions can be added to Lockout mode To lock your StudioLive press the Select buttons that correspond to the 5 digit password you have set In this example the password is 12345 so you would press the Select buttons for Channels 1 2 3 4 and 5 in that order The Panel Status will switch to Locked indicating that Lockout mode is now active To unlock your StudioLive navigate back to Page 4 Lockout in the System menu if this page is not currently active Press the same sequence of Select buttons The Panel Status will change to Unlocked and you will be able to resume your mix 83 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 3 Capture 73 Capture a eui 9 ag hee ITIN y uw as el 0 U V o A
53. ready to use with Capture The Sample Rate window displays the currently configured sample rate as set on the StudioLive mixer About Capture To view information about Capture including your version number and acknowledgements choose About Capture from the Help file menu 733 The Session Capture features a single window user interface so you don t need to manage multiple windows and views When a new Session is created or an existing Session is opened you will be taken to the Session page This page contains all of the necessary tools to record and edit multitrack audio a 131i ele ije e ajb e 4 a A ts aif F eU el The following diagrams and descriptions of the Session interface Transport wk on EXE WW 44 1 KAZ Rama eo EJP COED ele 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 b
54. recording let s take a moment to configure external devices 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 2 Ihe 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 the manufacturer and device names 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 select all 16 Mobilis 3 Inthe Receive From drop down menu select Md o om 1 the MIDI interface input from which Studio e c One Artist will receive MIDI data In the Send To drop down menu select the MIDI interface output from which Studio One Artist will send MIDI data to your keyboard If your keyboard controller does not need to receive MIDI data from Studio One say for moving motorized faders and the like 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 110 Owner s Manual SOFTWARE Universal Control Cap
55. snare toms hi hat overheads Each instrument resonates primarily in a specific frequency band so if you are working on your kick drum mic start with the lowest band of the EQ Tune in the best sounding low end and move on to the attack It is not uncommon to hear an annoying ringing or twang mixed in with your amazing sounding low end and perfect attack so your next task will be to find that offending frequency and notch it out Once you are satisfied with your kick drum mute it and move on to the next instrument Taking your time with equalization is well worth the effort Your mix will have better separation and more clarity when each instrument s EQ is set so that it shines through the mix Additional advice You can only do so much Not every instrument can or should have a full rich low Owner s Manual Tutorials 8 Equalizers 8 3 end and a sharp attack If every instrument is to have the same effect it will lose its identity in the mix Your goal is not individual perfection it is perfection in unity Step away from the mix Your ears get fatigued just like the rest of you If you are working particularly hard on one instrument your ears will be quite literally numbed to that frequency range Your memory is not what you think it is Comparing a flat EQ and the curve that you ve created allows you to see and hear exactly what you ve done So be honest with yourself Sometimes that EQ setting you ve bee
56. that can be edited independently If multiple events are selected across multiple tracks the Split Tool will affect all of the selected events in the same way Eraser Tool 2 The Eraser Tool is used to delete Audio Event Click on the Eraser Tool button or press NumPad 5 on the keyboard to select the Eraser Tool e To delete any event using the Eraser Tool simply click on the event The Eraser Tool is unaffected by the current selection and will only affect the event that is directly clicked on 94 Owner s Manual SOFTWARE Universal Control Capture and StudioLive Artist 7 Capture 7 3 Common Editing Actions As with a word processor and most other software applications Capture supports basic Cut Copy and Paste actions Once a selection of events or a range of events has been made these actions can be performed as follows Cut Press Ctrl Cmd X on the keyboard to cut the current selection Copy Press Ctrl Cmd C on the keyboard to copy the current selection Paste Once a selection is cut or copied press Ctrl Cmd P on the keyboard to paste the selection The selection will be pasted to the current Playback Cursor position or to the beginning of the track from which the selection originated if the Playback Cursor is not currently set anywhere Suggestions Listen While Editing In audio production the editing process can be particularly unforgiving Small inaccuracies when splitting moving or
57. the following generic EQ settings for several different instruments As with the compression settings in Section 8 2 3 the right EQ setting for any given instrument will depend upon the room and the tonality of the instrument Vocals Pop Female Vocals LOW MID LOW MID LOW MID LOW MID pane me E Hz Le a FREQ Q GAIN ON os HIGH MID HI MID us MID HIGH MID HIGH HIGH HIGH p HIGH ON OFF FREQ kHz GAIN ON OFF GAIN Low m o 2 o or s 9 135 8 Tutorials PreSonus StudioLive 24 4 2 8 3 Equalizers Rock Female Vocals LOW LOW MID LOW MID rdi MID LOW MID ome aa M NS os Hz om m _ HIGH MID HI MID i MID HIGH MID iro HIGH HIGH P HIGH ON OFF kHz GAIN SHELF kHz GAIN Low w s o e ow 9 Pop Male Vocals LOW LOW LOW LOW LOW LOW MID LOW MID d MID LOW MID ON OFF SHELF FREQ Hz Q GAIN ON OFF FREQ Hz GAIN om or z as 3 o 9 w 0 HIGH MID HI MID is MID HIGH MID d d HIGH HIGH js HIGH ON OFF FREQ kHz m FREQ kHz oo w Rock Male Vocals LOW MID LOW MID d MID LOW MID onor Hz NC NE Hz L 355 7 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 96 ON ON 72 j 906 Percussion Snare LOW MID LOW MID MID LOW MID Ps E Hz Le m Hz
58. to Audio File menu Filename live mix 1 Location Format The top section of the Export to Audio File Wave File menu is where you will select a location and name for the audio file Click on the Location Teiltiiiels button to choose file location Double click on the filename type in a new name and then Options press Enter to choose a name for the file Export Master gt port Tracks Format Select the format of the mixdown audio file in the middle section of the Export to Audio File menu Choose from Wave WAV or AIFF and then choose the desired Resolution and Sample Rate If you wish to put your audio on a standard audio CD the format should be a Wave file with 16 bit resolution and a 44 1 kHz sample rate Options The bottom section of the Export to Audio File menu has several options that will affect how the file s is created Choose from Export Master or Export Tracks Export Master will export only the audio on the Mix track to a single audio file Export Tracks will export the audio from each track individually to its own file creating a file for each track separately D im 1 JshJy BAITOIPNIS pue ainjde gt 2 lt v N o 5 et Choose from Export Session Each Marker or Between Selected Markers The Export Session option will export the entire range of your Session which will be to the furthest poi
59. 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 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 a
60. you to temporarily disable nearly every feature on the StudioLive although analog features input trim knobs faders and cue tape input and monitor levels can still be adjusted Because of this after unlocking your StudioLive and before resuming mixing you should take a quick glance at your input trims and output levels If you have locked your fader position you will be able to recall your pre lockout fader positions using the Locate button in the meter section Until you connect your StudioLive to a computer the mixer cannot be locked so don t worry about accidentally locking yourself out 1 With your StudioLive connected and synced to your computer launch VSL and click on the Setup Tab 2 Click on the Lock button 3 Toset your custom password click on the box next to Device is Lockable At this point a cursor will appear in Desir Device is Lockabbe the password box Enter a 5 digit code using any number Using between 1 and 9 and click the Set button Your password Device mast ba 5 dighs 1 9 no characmrs will no longer be displayed Should you need to change your password simply click on the box next to Device is eph Lockable Your old password will be deleted and you will be able to enter a new password Once you have set your password the StudioLive can be locked with or without being synced to a computer 4 Tolock your StudioLive
61. 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 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 6 Connecting to Computer PreSonus StudioLive 24 4 2 6 4 Using Your StudioLive as an Audio Interface 643 Using Plug Ins Effects as Inserts gm gt Beat Deny Backworets 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 come back to their respective StudioLive channels you can quickly insert a plug in from your recording application into any channel strip and monitor it in re
62. 1 and connect a microphone to the first channel on the StudioLive Select Record Enable on your track in Studio One Artist Turn up the Channel 1 fader while speaking singing into the microphone You should see the input meter in Studio One Artist react to the input Adjust the gain so the input level is near its maximum without clipping distorting Connect a set of headphones to the StudioLive headphone output and select the Main button in the Monitor section on your StudioLive You may also wish to connect monitors to the StudioLive s control room outputs You are now ready to record For complete instructions please consult the Studio One Reference Manual which is located on your Studio One Artist installation DVD 46 Creating MIDI Tracks 1 Click on the Add Tracks button When the Add Tracks window launches select Instrument as the track format and click the OK button ISI eArjoipnis pue ainjde gt 043409 5 2 assign your MIDI input click on the MIDI Inputs list and select your external sound module If you have added virtual inputs to your session you will also see them as available inputs If you selected your MIDI keyboard controller as the default keyboard it will already be selected If not choose your MIDI controller from the Output menu directly below 3 Tothe left of the Add Track button you will find the Inspector but
63. 15 OIO OIO O OIC gl Q Gain Low Mid Limit Assign Attach r T1 Gain T Freq PreSonus StudioLive 24 4 2 Sets and Displays the Rate the Gate Closes on the Selected Channel This encoder sets and the meter displays the rate at which the gate for the selected channel closes The rate can be set from 2 to 0 05 seconds Gate 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 with percussive instruments Longer release times usually eliminate chattering and should be set by listening carefully for the most natural release of the signal Width Freq Width LU 20 21 22 ed High Mid Equalizer Selected Channel Owner s Manual Compressor On Off Compressor Soft Knee Toggle Button Soft Auto Mode Button Fat channel COMPRESSOR Section Compressor Threshold Turns the Compressor On and Off for the Selected Channel or Output Bus This button engages or disengages the compressor for the selected channel or output bus It will illuminate to indicate that the compressor has been enabled The compressor is available for all input and output buses Engages Soft Knee Compression In normal operating mode the compressor is set for
64. 152 PreSonus StudioLive 24 4 2 84 dB to 0 dB 0 5 ms 0 055 to 25 2 1 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 Q 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 Mb s 32 bit floating point 44 1 48 kHz 24 bits 18 dBu lt 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 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 153 ve en Ve 9 Technical Information PreSonus StudioLive 24 4 2 9 2 Channel Presets 9 7 Channel Presets 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 01 DRM Kick 1 34 KEY Vibes 67 EMPTY LOCATION 02 JDRM Kick2 35 HRN Trumpet 68
65. 2 Owner s Manual SOFTWARE Universal Control Capture and StudioLive Artist 7 Universal Control 7 1 11 Universal Control Launch Window Sample Rate Selector Changes StudioLive Sample Rate Set the sample rate to 44 1 or 48 kHz from the Launcher window when your StudioLive is connected to a computer Sample Rate m A higher sample rate will increase the fidelity of the recording It will also increase the file size and the amount of system resources necessary to process the audio To ensure the safety of the audio equipment connected to it the StudioLive will mute all post converter outputs for two seconds when the sample rate is changed or when the mixer is connecting to a computer This includes the main and the control room outputs as well as the aux and subgroup outputs While this offers a good measure of protection to your sound system it could put the brakes on a live show Because of this it very important that the sample rate be selected and locked in prior to beginning any recording or performance Clocksource Changes the Clock Source for Chained FireStudio family Devices Mock The StudioLive cannot slave to an external clock However if you are cascading it with FireStudio lv StudioLive Internal MAN family products that do feature digital inputs i the clock source becomes selectable The clock source setting will determine where the device chain is receiving word clock in
66. 3 on the keyboard to select the Range Tool To select a range within events using the Range Tool click and drag over the area to be selected a gray box will be drawn over the target selection area Release the click once the box is drawn over the range of the events you wish to select The range of the events you have selected is now treated as a single consolidated event e Acommon use of the Range Tool is to quickly select and delete a range of audio within events rather than using the Split Tool to make two splits then selecting and deleting the section with the Arrow Tool This process is shown in the pictures below e Once arange has been selected the Range Tool will automatically become the Arrow Tool when the mouse cursor is floated over the selected range This makes quickly selecting and editing any range of an event very simple e The Range Tool can be temporarily toggled when the Arrow Tool is selected by pressing and holding Ctrl Cmd on the keyboard Splice Tool Using the Splice Tool single Audio Events can be split into multiple Audio Events Click on the Split Tool button or press NumPad 4 on the keyboard to select the Split Tool ae Click on any Audio Event with the Split Tool to split the ta A 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
67. 3 3 Qooac OSSIAN 900 ACS SN t O 00 ANN 9 N l 500 00 900 30000 9 p U c wo Un ning Universa T LLL it EH ial illi Mac or PC run th VSL Capture or W Owner s Manual Vocal Monitor Bass Monitor Vocal Mic Guitar Is Vocal Monitor Vocal Mic Hook up 3 Typical Band Hook up 3 3 Guitar Vocal Monitor Vocal Mic PreSonus StudioLive 24 4 2 Hook up 3 4 Typical Church hook up 3 Typical church hook up 34 00 ac gt 000688 00 0 NN 900 7900 200 gt 00 Cc c20 e350 00 e350 52 20 00 c250 Control Studio One Artist ning Universa or PC run with VSL Capture or 20 Owner s Manual Hook up 3 Typical Church Hook up 3 4 Guitar Amp Guitar Monitor Guitar Bass D I Bass Monitor _ Vocal Monitor Vocal Mic Vocal Monitor Vocal Mic Vocal Monitor Vocal Mic Vocal Monitor Vocal Mic 21 3 Hook up PreSonus StudioLive 24 4 2 3 5 Typical Recording Hook up 3 5 Typic
68. 5 When are finished click Apply and then Done 71 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 7 1 Universal Control 7 0 Software Universal Control with VSL Capture amp Studio One Artist You StudioLive 24 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 i Universal Control 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 VSL Virtual StudioLive application VSL provides bidirectional control of channel subgroup and main bus levels Fat i Channel parameters aux mixes effects and the graphic EQ It also provides visual overview of your StudioLive settings so that you can see adjust and organize them VSL includes a librarian allowing you to easily manage your presets and Scenes Controlling your StudioLive with VSL is as easy as drag and drop Load Fat Channel presets and scenes by simply dragging them onto the channel or mixer overview Y
69. 5 16 ur 18 19 I Pi 1 2m 5 i i lia m e q B a 1 Freg iu fain Freg fii Gain E al Compressor Arras gt Limit Equalizer co EI Channel a Selected Channel The heart of the StudioLive is the revolutionary Fat Channel The Fat Channel makes dynamics routing and panning for every input and output on the 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 Select 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 two auxiliary inputs and the main output bus Eac
70. 9 Technical Information PreSonus StudioLive 24 4 2 9 4 Block Diagram 94 Block Diagram XxXnuDDDD 35535309000 o c c 22 0009090900 lt 5565055555555 555555 gt lt lt lt lt lt lt lt lt lt lt Digital Input 1 16 Input SOO HM es t o Channel Meter b de Gain 1 1 Output Channels 1 24 Mic 6 65 dB Line 20 20 dB Mic Input Q Channel Insert Phase Equalizer Compressor M PE ES de C3 wwe TPT TT 1 Pan 1 Solo Line Input 0 Direct Output Fat Channel 4 I Digital Output 1 16 Aux Bus Output sub 1 Aux Bus Output Post Fat Ch Sub Group1 Post Gate Link Mode Pan enabled 52 GI sco 553 1 Sub Group3 CX Li 5 Sub4 Link Mode Pan enabled sve Sub Group4 BEBE Pre1 2 Post at vel n p EEEBEEB Luc f QE Aux Input A A D INPUT BUFFER Aux Return Level Main 120 10 dB Left Mono gt gt Mm gt Right Fat Channel Aux Return 4 DigOut Aux Input B A D INPUT BUFFER Equalizer Aux Return Level Left Mono gt gt 7 Right gt 22 120 10 Fat Channel Aux Return Bae DigOut Mic 6 65 dB TALK Talkback Mi i
71. Control 4 8 482 Digital Effects Library Your StudioLive contains a library of 50 custom Reverb and Delay presets designed by PreSonus In addition to these presets there are 50 free locations for you to build your own custom effects library The Factory Presets can be altered renamed and overwritten P B SMALROM Closet 7 HM O JjsSuiA O R8j oaea O B StudioB _ F6 Bedroom Bof P31 PltVebDrums F8 P2 JatVebVr F9 Tile Bathroom H0 Concrete Floors 35 Me LongSlap MeTriplet F2 H7 Me Triplet F3 BigClub 39 AnalogTrip Fis i Linoleum FAO Analog TileRoom FB Fis Wood Floors HB Spacey 5 508 FM ong all o Cd igh Ceilings FAS Ping pong Slap 2 eGtVebMed 1 PingpongDel 3 FM8 PingzpongSpacey Fa 9 Ping Pong Purple Haze pe 89 51 5 Scenes Presets and the System Menu PreSonus StudioLive 24 4 2 5 1 Creating and Recalling a Scene 5 0 Scenes Presets and the System Menu 5 1 Creating and Recalling a Scene The StudioLive allows you to create and store a library of scenes A scene
72. F Out Min Firewire Link ID Subiroup Merge Status Driver Linked Master 3 Sampling Rate S POIF Out Firewire Link ID 2 SubGroup Merge On Status Driver On Linked Slave 892 Aux Mixing With Cascaded Mixers Press the System button on the first unit and page 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 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 Press the System button on the cascaded unit and page down to Page 3 Digital Use the Next button to move to Firewire Link ID field and give each unit a unique ID Any value larger than that of the Master can be used for the cascaded unit 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 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 Cre
73. ION 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 53 Graphic Equalizers The StudioLive 24 4 2 features 4 stereo split mono 31 band 1 3 octave graphic EQ 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 20Hz to 20 kHz If these were analog graphic equalizers each would look like this The frequency for each band CGC EQ O Matic n is fixed Bands 5 28 are controlled by encoders 1 24 respectively 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 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
74. Live Artist PreSonus StudioLive 24 4 2 Insert Markers While Recording 104 It is highly recommended that markers be inserted during the recording of a live performance as the markers will make the rest of the production process much easier Each of the examples that follow begins with the same scenario You are mixing and recording a live show using the StudioLive mixer and Capture You start recording before the start of the actual performance and you will not stop recording until the end of the performance During the performance you insert a marker during the break between each song of the ten song set At the end of the set you stop recording and save the Session You are then ready to shut down your system Remember to shut down in the proper sequence first turn the master level down on the StudioLive mixer then turn off power amps and speakers shut down the computer and power down the StudioLive in that order Basic Example The band you recorded the previous night comes 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 bu
75. O w V o0 s c Capture and StudioLive Artist 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 93 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 3 Capture 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 e Click on any event and then while holding Ctrl Cmd on the keyboard click on any other event s to select them This allows you to select multiple events that are not close in proximity to each other All selected events can now be edited at once Range Tool The Range Tool is used to select a range or area within an Audio Event s Click on the Range Tool button or press NumPad
76. One Artist will point to your DVD drive as the content source Listed in the installation menu are separate entries for each available item Click the checkbox next to each item you wish to install then click on the Install Packets button at the bottom left of the menu to install the selected content m e When finished installing content click on the Done button to exit the menu Studio One Artist content can be installed at any time by accessing the Help Studio One Installation menu If you choose not to install a any portion of the content you can install it at a later time 742 Enabling the Audio Driver Studio One and Studio One Artist were designed with PreSonus interfaces in mind Your StudioLive is already integrated into Studio One Artist so setup is quick and easy When Studio One Artist is launched by default you will be taken to the Start page On this page you will ind document management and device configuration controls as well as a customizable artist profile a news feed and links to demos and tutorials from PreSonus If you have an Internet connection on your computer these links will be updated as new tutorials become available the PreSonus Web site Complete information on all aspects of Studio One Artist is available in the Reference Manual PDF located on the Studio One Artist installation disc The information in this tutorial covers only the basic aspects of Studio One Artist and is intended to ge
77. Range Release Comp foto Attack r 1 Gain 7 c 5 gt 8 T T Lo s AL Threshokd t Attack Arieaw MI amp Compressor Limit SIC Q Gain ue Low Mid 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 EQ is like a treble control knob on a stereo In this mode the Center Frequency control selects the shelving frequency Gan 7 Fre Width Witdth Eai EN ele alle rua High Mid on MEM Equalizer E c EB ED amp amp Channel Stereo Channel Assign Owner s Manual Fat Channel LIMITER Section Limiter Turns on the Limiter for the Selected On Off Input Channel or Output Bus When the limiter is engaged the button will illuminate The threshold for the limiter is set to 0 dBFS The Ratio is 1 414 Fat Channel Panning and Stereo Link Channels 1 and 2 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 Stereo Controls 4
78. TY LOCATION 30 KEY Piano Warm 63 EMPTY LOCATION 96 EMPTY LOCATION 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 154 Owner s Manual 93 Digital Effects Library Technical Information Digital Effects Library Your StudioLive contains a library of 50 custom Reverb and Delay presets designed by PreSonus In addition to these presets there are 50 free locations for you to build your own custom effects library The Factory Presets can be altered renamed and overwritten TYPE NAME 5 StdoB O F6 F9 Tile Bathroom Concrete Floors j Smlldb F3 BRIGHT H6 JjTleRom H8 Wood Floors 9 F20 2 P3 F24 GateVerbExtreme TYPE A JjGthda 7 Gymnasium 8 4 daea P30 jPlateVebThik B2 B5 MlongSap B6 H7 O O Me Triplet F38 H9 Analog Trip Analog H2 1009 9 HM5 Ping pong Dela Ping pong Space F49 1 F50 1 Ping Pong Purple Haze 89 9 9 3 155
79. a parametric EQ Enabling the Shelf button turns the Low band into a low shelving EQ that alters by a fixed amount a band of low 31 4 Controls 4 1 The Fat Channel Low Mid EQ On Off Button Low Low Mid EQ Frequency Control Freq Hz 32 frequencies at and below a user selected shelving frequency A Low Shelving EQ is like a bass control knob on a stereo In this mode the Center Frequency control selects the shelving frequency Activates Controls for the Low Mid EQ for the Selected Input or Output Bus This button actives the controls for the equalizer s Low Mid band for the selected input or output The button will illuminate to indicate control is active The Low Mid EQ is available for all input and output buses Sets and Displays the Center Frequency of the Low Mid EQ This encoder sets and the meter displays the center frequency for the Low Mid band You can adjust the center frequency from 75 Hz to 1 2 kHz Low Mid EQ Q Control Low Mid EQ Gain Control High Mid EQ On Off Button High Mid PreSonus StudioLive 24 4 2 Sets and Displays the Q of the Low Mid Frequency Band This encoder sets and the meter displays the for the Low Mid band The is the ratio of the center frequency to the bandwidth 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 Bo
80. ace 644 Advanced WDM Features PC only Like the FireStudio family interfaces the StudioLive features advanced WDM features to enhance its use as an audio interface In the upper left hand corner of the Universal Control Launcher window you will find the Settings 3 menu From here you can configure your WDM input and output streams For more information on Universal Control please consult the next section Mac users Please skip to the next section for important information J about using your StudioLive as your main Core Audio device 1 Inthe Launch window go to Settings WDM setup 2 The WDM Channel Mapper window will open By default WDM Outputs 1 and 2 are routed 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 eo C e 5 A 5 Your stereo WDM playback will now routed directly to the main FireWire return buttons in the 2 Track In and Monitor buses in the StudioLive Master Section 70 Owner s Manual Connecting to a Computer 6
81. ach time you create a Session By default the new Session location will be the Capture folder You can choose a different file location by clicking on the Browse button and browsing to a new location The last known save location will appear as the default the next time you create a new Session 89 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 3 Capture Capture Audio I O Setup There is no need for audio inputs and outputs to be set up in Capture as it automotically detects which type of StudioLive mixer 16 4 2 or 24 4 2 is connected and self configures Each input from your StudioLive mixer is represented with a mono input track in the Track column of the Session and each input track has a corresponding level meter in the meter bridge The following diagram illustrates the one to one relationship 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 Digital Recording and Performance Mixer It is possible to process each StudioLive mixer input channel with the Fat Channel before the input signal is routed to Capture To do this you will need to engage the Post button in the Dig Out section of the Fat Channel for each channel in your StudioLive mixer This routes the signal post EQ and post dynamics processing The following diagram illustrates
82. ages and disengages the Key Listen function 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 Key Filter Gate Threshold Gate Turns the Noise Gate into an Expander Expander Button 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 practice expanders and noise gates are used almost identically lt The main difference is that an C expander is smoother and more gradual so that it is easier to set the attack and release times correctly Threshold 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 on 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
83. ain at their stored position until they are moved manually Once a knob is turned its value will jump to to the value of its current physical position Therefore if you intend to save and recall a scene 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 A Quick Note About the AutoStore Feature 54 It is not necessary to create scene for your StudioLive 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 Please 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 Owner s Manual Scenes Presets and the System Menu 5 Saving and Loading Channel Pr
84. ains 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 PBB or PBDE is intentionally added to this device Any traces of impurities of these substances contained in the parts are below the RoHS specified threshold levels REACH This product is compliant with the European Union Directive EC1907 206 for the Registration Evaluation Authorization and Restriction of chemicals REACh and contains none or less than 0 196 of the chemicals listed as hazardous chemicals in the REACh regulation WEEE As with the disposal of all old electrical and electronic equipment this product is not to be treated as regular household waste Instead it shall be handed over to the applicable collection point for the recycling of electrical and electronic equipment hse 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 0 2 Table of Contents StudioLive 24 4 2 0 1 Important Safety Instructions 2 0 2 Table of Conten
85. al recording hook up Drum Headphones gt N A Drum kit ELLE oog 00 c or running Universal Control with VSL Capture or Studio One Artist Reference Monitors 22 Owner s Manual Typical Recording Hook up 3 5 imm Guitar Guitar Headphones Headphones p d b Guitar Amp Guitar Amp Vocal Headphones Bass Headphones qd Bass Condensor Mic e PreSonus HP60 Headphone Distribution PreSonus HP60 Headphone Distribution eeeeeeeeeeseseses O Oe PreSonus HP60 Headphone Distribution 23 C 3 4 Controls PreSonus StudioLive 24 4 2 4 1 The Fat Channel 40 Controls 4 1 The Fat Channel E T EN lt a Attack Comp Attack Gi Gain Prec T Gain With xL LIE aL 1 ati 43 i l i 1 i i Ju E i A T 1 a i J at Leu g High Mid High z a BIL a a 4 1 1
86. al time In this example we will insert the Beat Delay plug in from PreSonus Studio One onto Channel 16 of the StudioLive 1 To begin create a mono audio track in Studio One Assign its input to Channel 16 and its output to Output 16 Several DAW applications including Apple Logic do not offer mono output buses If this is the case you must route the output stream to Channels 15 16 and pan the channel all the way to the right so that it will only be sent to output 16 Please consult your software s user manual for specific instructions 2 Once you have the routing set up in Studio One drag and drop the Beat Delay plug in onto your track and record enable it Software monitoring will be enabled automatically 3 Pressthe 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 of the output buses on the StudioLive A Quick Note About Printing Fat Channel Dynamics and EQ 68 You probably will want to use the Fat Channel dynamics processing and EQ during post production The question is how to print these changes to your recording An easy way to do this is through the subgroup FireWire returns Begin by routing a playback stream to an individual channel on the StudioLive from within your recording application With the FireWire return selected as the signal source for that channel press the channel s Select button and assign the c
87. any of your 24 input channels This is a 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 Owner s Manual Controls 4 Master Section 4 7 Tape Input On Off Sends the Tape Input to the Main Outputs Button 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 FireWire Source On Off Button Sends the Master Out from the Audio Application to the Main Outputs FireWire Source On Off Sends the Master Out from the Audio Application to the Mains Button This button routes the main left right FireWire returns Outputs 25 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 and 6 4 4 6 4 5 P Yen 474 Solo Bus The StudioLive features a solo bus for flexible monitoring In this way you can fine tune a vocal compressor in your control room monitors or headphones while the rest of the band is warming up or audition an aux mix for more accurate adjustments For more information on using the Solo bus pleas
88. arist 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 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 sent to a single processor and you can vary the level sent from each channel to the processor allowing you to create an effects mix The StudioLive features two internal effects buses These are used much in the same way the aux buses are used to create monitor mixes as described in the previous section This section will detail how to use an external effects processor with your StudioLive mixes 5 STUDIOLIVE 244 2 StudioLive Back PEEN Aa m E External Effects Front 141 8 Tutorials PreSonus StudioLive 24 4 2 8 5 Aux Bus Mixing 1 Inthis example we will use Aux 3 to feed an external effects processor To begin T b connect your external effects processor to your StudioLive as detailed in the hookup diagram below 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 3 Pressthe Mix but
89. ass 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 is sometimes referred to as squashing the sound All ranges of release can be useful at different times however and you should experiment to become familiar with the different sonic possibilities Hard Soft Knee With hard knee compression the gain reduction applied to the signal occurs as soon as the signal exceeds the level set by the threshold With soft knee compression the onset of gain reduction occurs gradually after the signal has exceeded the threshold producing a more musical response to some folks Auto Places a compressor in automatic attack and release mode The attack and release knobs become inoperative and a preprogrammed attack and release curve is used Makeup Gain When compressing a signal gain reduction usually results in an overall reduction of level The gain control allows you to restore the loss in level due to compression like readjusting the volume Compressor Sidechain
90. ating an aux mix with multiple mixers works exactly the same way as with one mixer Each of the encoder beneath the meters in the Fat Channel control the amount of send level for each of their corresponding channels on that mixer to the enabled aux For example Channels 1 24 reside on the Slave Channels 25 48 will reside the Master unit Let s say that you want to create an aux mix on Aux 3 To begin press the Aux 3 mix button on either mixer The Fat Channel meters and encoders on both mixers will be ready for you to create an Aux 3 mix you 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 resulting mix is then routed from the Aux 147 8 Tutorials PreSonus StudioLive 24 4 2 8 9 Cascading Two StudioLive 24 4 2s 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 Note that the Aux outputs on the slaved mixers are still active but they 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 the 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 f
91. based on inconvenience or on loss of use of the product and to the extent permitted by law damages for personal injury Some states do not allow the exclusion of limitation of incidental or consequential damages so the above limitation or exclusion may not apply to you This warranty gives you specific legal rights and you may also have other rights which vary from state to state This warranty only applies to products sold and used in the United States of America For warranty information in all other countries please refer to your local distributor PreSonus Audio Electronics Inc 7257 Florida Blvd Baton Rouge LA 70806 Owner s Manual Added bonus PreSonus previously Top Secret recipe for Jambalaya Ingredients e 5 lbs link andouille sausage e 3 Ibs boneless chicken 2165 ground beef e 3 bs onions yellow or purple 2 stalks of celery e 116 bell peppers green or red e 1 batch green onions e 3 lbs rice e Tony Chachere s Cajun Seasoning e 1 bottle chicken stock concentrate 3 cubes chicken bullion e 1 can Rotel tomotoes with chilies diced regular hot e Tabasco sauce Cooking Instructions 1 Ina 16qt pot or larger slice link sausage and pan fry until brown 2 Add ground beef and brown 3 not remove from pot Add diced onions celery and bell peppers 1 can Rotel Original diced tomatoes w chilies 3 oz concentrate chicken stock 2 teaspoon of Cajun seasoning 1 teaspoon o
92. bathroom so an audience member standing in the center of the room 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 60 Owner s Manual Sustem Page 5 Lockout Lockable Faders Vez Master Yes Mikes Yes Scene Recall No Status Unlocked Scene Presets and the System Menu 5 System Menu 5 3 Lockout Mode Your StudioLive features a lockout mode that allows you to create a password and lock the controls your StudioLive This is especially useful in situations where several people will be running sound but only one or two are knowledgeable enough to set up dynamics processing and the like Right out of the box the StudioLive cannot be locked so don t worry about hitting the wrong button To enable the Lockout feature you must first connect and sync your StudioLive to a computer Please review Section 7 2 6 for more information on this feature Page 6 About Firmware Version 8 97 Firmware Version Press the Page Down button to view the firmware version currently loaded on your StudioLive You normally will only view this screen when performing a system update in order to confirm that the new firmware was successfully loaded 61 6 Connecting to Computer PreSonus StudioLive 24 4 2 6 1 System Requirements 6 0 Conn
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94. d 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 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 91 92 93 94 95 96 97 98 99 PreSonus StudioLive 24 4 2 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 LOCAT
95. d bouncing back There are closer surfaces of course notably the floor and the ceiling just in front of the stage but only a small part of the direct sound will go there so those reflections will be much less noticeable Adjusting the predelay parameter on a reverb allows you to change the apparent size of the room without having to change the overall decay time This will give your mix a little more transparency by leaving some space between the original sound and its reverb HF and LF decay The types of surfaces in a space also affect the sound Carpet and soft furnishings will absorb more high frequency waves thereby reducing the high frequency decay time while hard surfaces such as tile or stone reflect sound extremely well resulting in a brighter ambience Similarly the high frequency 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 143 c et 8 Tutorials PreSonus StudioLive 24 4 2 8 Level Setting Procedure in Detail 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 simp
96. dioLive 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 105 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 4 Studio One Artist Punching 106 If you record enable the Audio Track that corresponds to the guitar input channel in Capture you should see that track s level meter showing live input in the meter bridge With the Aux 1 2 mix set so that the guitarist can hear his live guitar playing and the tracks from Capture you are ready to record the lead guitar You can position the playback cursor to any point in the Timeline so that recording starts there or just start recording from the beginning of the Session Once you have the lead guitar part recorded you might find a few things you would like to correct in the part This is where punching as described in the next section comes in handy Recording can be activated at any time even during normal playback Among other possibilities this enables you to record over parts of existing Audio Events on the fly which is usually called punching To punch in on any Audio Tracks the first step is to record enable the tracks Then start playback near the area where you wish to record When the location in which you wish to start recording is reached you can quickly enable recording by pressing R on the keyboard A new Aud
97. e 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 And 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 mp3 or OpenTL files 24 Summary of StudioOne Artist software features All PreSonus audio interfaces now 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 Dynamic Processing Channel Strip Compressor Gate Expander Limiter Tricomp Equalizer Channel Strip Pro EQ Modulation Autofilter Chorus Flange Phaser X Trem R
98. e StudioLive is equipped with two auxiliary inputs which are generally used as effects returns In Section 8 5 2 we discuss using an aux bus to send several channels to an external effects processor similarly the aux inputs can be used to return the processed signal to the 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 simply connect it to the left input and the signal will be routed to both sides of the stereo mix Subgroup Outputs These are balanced mono outputs for each subgroup Aux Outputs The StudioLive is equipped with six 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 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 Hook up PreSonus StudioLive 24 4 2 3 1 Rear Panel Connections CR Output 14 Talkback Mic Level This is the gain control for your talkback microphone Mono Output This balanced output ca
99. e review Section 8 8 Cue Mix Volume Control Adjusts the Overall Volume of the Solo Bus This knob adjusts the overall level for the Solo bus PFL AFL Toggle Button 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 PFL SIP Solo In Place On Off Button 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 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 un mute 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 hold To enable SIP press and hold the button until it illuminates red This ensures that you cannot enter into destructive Solo mode by accident It is important to note that when SIP is engaged channel mutes will only apply to the Subgroup and assignments SIP does not mute input channels in
100. e unprocessed audio to your computer or including the Fat Channel settings in the recorded EQ amp Dyn 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 Dig Out 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 bus Every Select button on the StudioLive except the button for the currently selected channel will begin to flash The Select button for the selected channel will not illuminate You can copy a Fat Channel setting from any channel or bus to any combination of channels and buses The Load button will also start to flash Load To paste the current channel s Fat Channel setting to a
101. e your suggestions highly We believe the best way to achieve our goal of constant product improvement is by listening to the real experts our valued customers We appreciate the support you have shown us through the purchase of this product We suggest that you use this manual to familiarize yourself with the features applications and correct connection procedures for your StudioLive before trying to connect it to your computer This will help you avoid problems during installation and setup 2 Overview PreSonus StudioLive 24 4 2 2 2 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 revolutionizes music production opening endless creative possibilities 22 Summary of StudioLive 24 4 2 hard
102. ecessary 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 Try closing all unnecessary programs increasing the buffer size in the Universal Control console and optimizing your operating system for audio Other known causes of this issue are wireless networks and running other FireWire devices FireWire 400 or FireWire 800 in parallel to your StudioLive Because of this it is recommended that PC users disable their wireless network from their System Control Panel and Mac users turn AirPort off while the StudioLive is connected to their computer If 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 in
103. ecting 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 Macintosh e Operating Systems e Mac OS X 10 5 2 or higher including Mac OS X 10 6 e Hardware e Minimum PowerPC G4 1 25 GHz or Intel Core Solo 1 5 GHz processor 1 GB RAM e Recommended PowerPC G5 Intel Core Duo or Intel Xeon processor 2 GB or more RAM Windows e Operating Systems e Windows SP2 or greater 32 bit and 64 bit e Windows Vista 32 bit and 64 bit e Windows 7 32 bit and 64 bit Hardware e Minimum Intel Pentium 4 1 6 GHz processor or AMD Athlon 64 3000 Turion 1 GB RAM e Recommended Intel Pentium 4 2 8 GHz EM64T or better or AMD Athlon 64 XP 3000 or better 2 GB or more RAM NOTE The speed of your processor amount of RAM and capacity size and speed of your hard drives will greatly affect the overall performance of your recording system A faster processor and more RAM can reduce signal latency delay and improve overall performance Subject to change check www presonus com for updates 62 Owner s Manual Connecting toaComputer 6 Installation for Window 6 2 6 2 Installation for Windows
104. el 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 150 PreSonus StudioLive 24 4 2 XLR Female balanced 20 40 kHz 0 0 5 dBu 20 20 kHz 0 5 dBu 1kQ lt 0 005 4 dBu 20 20 kHz unity gain unwtd 0 00596 4 dBu 20 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 40 kHz 0 0 5 dBu 20 20 kHz 0 5 dBu 10 0 000796 4 dBu 20 20 kHz unity gain unwtd 0 00596 4 dBu 20 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 Outputs Type Rated Output Level Output Impedance Subgroup Outputs Type Rated Output Level Output Impedance Tape Outputs Type Rated Output Level Output Impedance Control R
105. em 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 161 10 10 2 162 Troubleshooting and Warranty PreSonus StudioLive 24 4 2 10 0 Limited Warranty No Internal Effects in the Main Bus 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 button for each EFX bus and make sure it is assigned to the main output in the Assign section of the Fat Channel No Output on the Solo Bus While Monitoring Verify that both the Cue volume and the headphone or monitor volume is at a reasonable level for comfortable listening Make sure that you only have Solo selected in the Monitor section of your StudioLive PreSonus StudioLive 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 protected by this warranty the purchaser must complete and return the enclosed warranty card within 14 days of purchase During the warranty period PreSonus shall at its sole and absolute option eithe
106. encoders in the Fat Channel become the aux send level controls for each of their respective input channels Mix The meters will display the send level of each of the input channels Control 42 Owner s Manual Controls 4 Subgroups 4 5 45 Subgroups 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 B1 B 2 UB 3 4 Subgroup Channel Enables Fat Channel Adjustments of Y Select Button Subgroup ts E aie lca 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 9 Solo Button Turns Soloing On or Off for the 5 Subgroup Bus This button will solo its channel either to the main outputs or the monitor outputs depending on whether PFL or SIP is selected in the Solo bus section Please review Section 8 4 for more details 1 i Lud n a When a Solo button is enabled that channel or bus will automatically be selected and its Select button will illuminate 1 10 Mute Button Turns Muting On or Off for the Subgroup Bus 8 This button mutes its channel lute It wi
107. ency 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 no frequency ripple The StudioLive EQ is also capable of very sharp notches To widen a notch or a bump on a particular band just bring the adjacent bands closer to that band s gain and the bandwidth will change accordingly 57 5 Scene Presets and the System Menu 5 2 Graphic Equalizers Graphic Show Freq 28 Gain ldEl 15 9 EG Status Assign Sub Group 1 Push Recall to Flatten Graphic EG Show Band Freq dB 15 9 EQ Status Assign Sub Group 2 Push Recall to Copy From GEQ 1 GEO Preset Memory G6 Maini 2 B Use TAP for space Push Store PreSonus StudioLive 24 4 2 When you press the GEQ button on your StudioLive the Graphic EO menu will be displayed on your LCD screen There are 8 mono Graphic EOs in your StudioLive 24 4 2 These Graphic EOs are assignable in stereo pairs Each GEQ can be assigned to the Mains Subgroups 1 4 or Aux 1 10 The bus assignment can only made from an odd numbered
108. erminology Threshold The compressor threshold sets the level at which compression begins When the signal is above the threshold setting it becomes eligible for compression Basically as you turn the threshold knob counterclockwise more of the input signal becomes compressed assuming you have a ratio setting greater than 1 1 Ratio The ratio is the relationship between the output level and the input level In other words the ratio sets the compression slope For example if you have the ratio set to 2 1 any signal levels above the threshold setting will be compressed such that for every 1 dB of level increase into the compressor the output will only increase 0 5 dB This produces a compression gain reduction of 0 5 dB dB As you increase the ratio the compressor gradually becomes a limiter 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 125 8 Tutorials PreSonus StudioLive 24 4 2 8 2 A Brief Tutorial on Dynamics Processing Expansion 124 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 p
109. esets 5 2 52 Saving and Loading Channel Presets F Page 1 Load Memory DRM Punchy Kick Load To Channel Strip 1 Channel Preset Page 2 Save 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 into which the preset will be loaded Use the Value encoder to locate the preset you would like to use Once you have Push Recall made your selection press the Recall button If at any time you would like to cancel this operation simply press the Load button again If you have created a channel 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 Henoru ORM Punchy Kick position in the Channel Preset library Press the ais DRM Punchy Kick Next button to navigate to the category location Create the category in which your preset wou
110. etails 412 What You Can Process with the Fat Channel and Firewire Sends The following table provides a quick guide to the processing that is available for each bus in the StudioLive Bus Phase High Pass Noise Compressor Limiter FireWire Reverse Filter Gate Send wem pe ewm p pe lt lt EFI emen meme pe We F mma 0 um lt pewse 25 4 Controls PreSonus StudioLive 24 4 2 4 1 The Fat Channel Gate Attack Release Comp Attach cr ji 1 Gan feg Gain 1 Withih ET T Freq ITE 1a i LI j i amp T E 1 BI A Up i 1 Im FAT OIC Fren ii g Dai High Mid Selected Channel 413 Fat Channel Dynamics and Processing The main function of the Fat Channel is to provide dynamics processing and filtering for every input and output on your StudioLive The rotary encoders work in conjunction with the meters directly above them to adjust the dynamics processing and EQ The Fat Channel s processing section consists of five parts High Pass filter Noise Gate Compressor Limiter and parametric EQ Each can be turned on or off and controlled separately The signal flows as follows em N o Phase Reverses the Phase of Reverse
111. everb MixVerb Room Reverb 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 2 2 5 25 10 Overview PreSonus StudioLive 24 4 2 Summary of Virtual StudioLive software features Summary of Virtual Studio Live software features The Virtual Studio Live application is completely integrated with your StudioLive 24 4 2 VSL is a highly advanced editor librarian and control panel Because of the continuous bi directional 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 plus the graphic and effects Quickly drop entire Scenes to the mixer for instant recall of all channel effects and graphic settings Load effects quickly by simply dragging presets into the GUI Makes StudioLive as easy to use as Studio One Use the mouse to quickly assign channels to multiple buses mute solo etc Time stamp back ups o
112. f Tabasco hot sauce or more maybe lots more Cook until onions are translucent Add chicken and cook until it turns white Add diced green onions 1 tsp salt V gallon water and bring to a boil Add rice and bring to a boil Cook on high for 8 minutes covered stirring every 2 minutes Cook covered on low for 10 minutes stirring only once S owl ewe Turn off and let sit for 30 minutes 10 Serve and enjoy Serves 20 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 names mentioned herein may be trademarks of their respective companies All specifications subject to change without notice except the jambalaya recipe which is a classic RM V A 163 The back page of the 9 R u n LITE MAIN nint NEM Inti t E PreSonus d Heung r U eee is 4 W I RE ld TI 7 1511 ul i NJ 4 will r ti 4 323 4 ni mii ls nimirum qu 3 ong E pay 4 n
113. f 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 Mixer Overview e See all 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 Owner s Manual Overview 2 Whatis in the box 2 6 2 6 Whatis in the box In addition to this manual your StudioLive package contains the following e PreSonus StudioLive 24 4 2 digital recording and performance mixer gt 2 gt 6 1 8 m 6 pin to 6 pin FireWire 400 cable e 6 1 8 m 6 pin to 9 pin FireWire 400 to 800 cable e IEC power cord e StudioLive Software Library containing PreSonus StudioLive Artist program DVD plus gigabytes of 3rd party material PreSonus CAPTURE CD with demo Sessions PreSonus Virtual StudioLive and Universal Control CD 3 Hook up PreSonus StudioLive 24 4 2 3 1
114. 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 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 frequ
115. ff This button will solo the aux bus 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 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 TE When this button is enabled the send levels to that aux send 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 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 Controls 4 Aux Sends 4 4 Adjusts the Master Output Level of the Aux Send This knob adjusts the master output level of the aux send Enables Fat Channel Viewing As previously described in section 4 1 1 the Select button routes its aux send 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 Chan
116. for the Low Band On Off EQ for the Selected Input or Output Button Bus Low This button actives control of the equalizer s Low band for On the selected channel or bus The button will illuminate to indicate control is active The Low EQ band is available for all input and output buses Low EQ Sets and Displays the Center Frequency Frequency of the Low EQ band Control This encoder sets and the meter displays the center frequency of the equalizer s Low band The center frequency is the middle of the passband the mean between the lower and upper cutoff frequencies that define the limits of the band You can adjust the center frequency from 30 to 555 Hz Low EQQ Control Low EQ Gain Control Low Shelf EQ Button Shelf 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 Q is the ratio of the center frequency to the bandwidth 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 Turns on the Low Shelving EQ for the Selected Input or Output Bus When the Shelf button is not engaged the Low band is
117. forcement 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 a line input on a different channel of the StudioLive For recording place these signals on separate tracks During mixing you can blend the direct and amplifier signal to taste This technique can also be used in live applications 119 E 8 Tutorials 8 1 Microphones PreSonus StudioLive 24 4 2 Drum Overheads XY example Place two small diaphragm condenser microphones on an XY stereo microphone holder bar P
118. formation This keeps the chained devices in sync with other digital devices and with each other The menu options are determined by the available digital inputs in the chain In general you will want the StudioLive to be your Master Clock in which case set the clock to StudioLive Internal Operation Mode Changes How the StudioLive Driver s Buffer Size is Set aae SefeModet Normal Mode Input and Output buffers are Normal both identical to the Buffer Size setting w Safe Mode 1 Safe Made 2 Safe Mode 1 3 Increases the output buffer size for Safe Made 3 added stability 75 7 SOFTWARE Universal Control Capture PreSonus StudioLive 24 4 2 7 1 Universal Control Buffer Size Selector PC only Changes the StudioLive Buffer Size You can set the buffer size from 64 to 4 096 samples The buffer size determines the roundtrip time it takes audio data to be converted from analog to digital and back to analog As a general rule the higher the buffer size the better the system performance but the less playable virtual instruments and the like become J m In general 512 samples 11 to 12 milliseconds will provide you with a large enough buffer for optimum system performance but low enough to be unobtrusive You should set your buffer size and sample rate prior to launching your host application On the Mac the buffer size is set from inside your host application
119. gh Quality Audio Capture features a new 32 bit floating point audio engine An audio engine is the number cruncher that does the math required to record and play back digital audio To put it simply Capture will process your audio as accurately as current technology allows and maintains the highest quality possible All you have to do is make great music When Capture is launched by default you will be taken to the Start Page Create and Open Session At the upper left of the Start Page are two buttons Create Session and Open Session A Session is a document in which you can record and edit 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 85 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 3 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
120. h 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 Selected Channel 24 Owner s Manual Controls 4 The Fat Channel 4 1 A12 indicate EFX A and EFX B and F1 and F2 indicate Aux inputs A and B Selected Selected Channel meters addition two meters part of a set of seven Channel meters located in the top right section of the mixer are dedicated to LVL 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 OL It should be noted that while the noise gate compressor EQ and limiter are available on every input and bus the phase reverse and high pass filter are 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 d
121. hannel 1 of your StudioLive 7 Turn on your amplifier or powered monitors 8 Press the Input button the Meter section 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 it is lighting up a little more than half of the green LEDs 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 U 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 12 Bring up the Main fader until you can comfortably listen to your microphone through your speakers 13 With Channel 1 selected you can use the Fat Channel to add dynamics processing and EQ For more detailed level setting procedures and techniques refer to Section 8 7 on page 144 Owner s Manual Overview 2 Introduction 2 1 2 0 Overview 2 1 Introduction STUDIOLIVE 24 m we T 113 PreSonus mire Overview TT no Bios ET gio 90 5 0 HO Ros 6 BID Bie 810 HO Bip Eire A ed Bias 8 BB
122. hannel to a 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 be removed from the session or used in tandem with the processed track as 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 Owner s Manual Connecting toaComputer 6 Using Your StudioLive as an Audio Interface 6 4 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 unprocessed signal will still be routed to these buses as well as to the FireWire bus but the Fat Channel processing will not If you wish to add Fat Channel processing to a FireWire return you must disable Dig Out D D Gos Vo Cre 5 69 6 Connecting to Computer PreSonus StudioLive 24 4 2 6 4 Using Your StudioLive as an Audio Interf
123. hard knee compression meaning that the gain reduction applied to the signal Occurs as soon as the signal exceeds the level set by the threshold When the Soft Knee button is engaged the onset of gain reduction occurs gradually after the signal has exceeded the threshold Enables Automatic Attack and Release Mode Threshold Compression Ratio When Auto mode is active the Attack and Release controls become inoperative and a pre programmed attack and release curve is used In this mode the attack is set to 10 ms and the release is set to 150 ms All other compressor parameters can still be adjusted manually Controls 4 Fat Channel 4 1 Sets and Displays the Threshold of the Compressor for the Selected Channel or Output Bus This encoder sets and the meter displays the compressor threshold for the selected channel or output bus When the signal s amplitude level exceeds the threshold setting the compressor engages Turning the knob counterclockwise lowers the threshold so that compression begins at a lower amplitude The threshold can be set from 56 to 0 dB Sets and Displays the Compression Ratio for the Selected Input Channel or Output Bus This encoder sets and the meter displays the compression ratio or slope for the selected channel or output bus The ratio sets the compression slope which is a function of the output level versus the input level For example if you have the ratio set to 2
124. he attack hold and release times Noise Gates Threshold The gate threshold sets the level at which the gate opens Essentially all signals above the threshold setting are passed through unaffected whereas signals below the threshold setting are reduced in level by the amount set by the range control If the threshold is set fully counterclockwise the gate is turned off always open allowing all signals to pass through unaffected Attack The gate attack time sets the rate at which the gate opens A fast attack rate is crucial for percussive instruments whereas signals such as vocals and bass guitar require a slower attack Too fast of an attack can on these slow rising signals cause an artifact in the signal which is heard as a click gates have the ability to click when opening but a properly set gate will never click Hold Hold time is used to keep the gate open for a fixed period after the signal drops below the gate threshold This can be very useful for effects such as gated snare where the gate remains open after the snare hit for the duration of the hold time then abruptly closes Release The gate release time determines the rate at which the gate Closes Release times should typically be set so that the natural decay of the instrument or vocal being gated is not affected Shorter release times help to clean up the noise in a signal but may cause chattering in percussive instruments Longer release times usually el
125. he 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 session 3 To begin a new Song select Empty Song from the Templates list At this point you should give your Song a name and select your preferred sample rate and bit depth You can also determine the length of your Song and the type of time format you would like to use Notation Bars Seconds Samples or Frames Click the OK button when you are finished pue ainjde gt 043409 et lt gt n 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 Preferences Mac and click on the Audio Setup button 5 Click on the Song Setup button to open the Song Setup window then click on the Audio I O Setup icon Song Setup 112 Owner s Manual SOFTWARE Universal Control Capt
126. he manufacturer and device names Capture and StudioLive Artist gt 26 50 3 gt c 5 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 In the Send To drop down menu select the MIDI interface output from which Studio One Artist will send MIDI data to your sound module 111 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 4 Studio One Artist In the Receive From drop down menu select the MIDI interface output from which Studio One Artist will receive MIDI data from your sound module If your sound module will not need to send information to Studio One you can leave this unspecified Click OK and close the External Devices window You are now ready to start recording in Studio One Artist The rest of this Quick Start Guide will go over how to set up a Song and will discuss some general workflow tips for navigating through the Studio One Artist enviroment 744 Creating a New Song Now that you ve configured your MIDI devices let s create a new Song We ll start by setting up your default Audio 1 From the Start page select Create a new Song 2 Inthe browser window name your Song and choose t
127. his 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 according 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 let s 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 your meter section locate the send encoders for channels 10 and 11 and turn them to a little more than 5096 5 Pressthe 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 DUM Output m this point as well Control 139 8 5 oe 8 Tutorials 8 5 Aux Bus Mixing Aux Bus Mixing Monitor Mixing 140 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 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 control
128. hough the device will install and sync as well as erratic audio performance Rarely combo cards will prevent the device from installing or achieving a stable sync We recommend FireWire cards that have s400 FireWire connections only FireWire cards with NEC chipsets Symptoms include installation issues erratic audio and extraneous static and noise Motherboards with nForce4 chipsets Symptoms include reduced or very poor performance especially if using the onboard FireWire connection Installing a PCle not PCI FireWire 400 only card with an approved chipset is a known workaround but may not allow full performance StudioLive Control Panel Will Not Launch The StudioLive Control Panel will not launch if the StudioLive is not connected and synced to your computer Verify that your FireWire cable is connected both to your computer and to your StudioLive Navigate to Page 3 Digital in the StudioLive System menu and verify that the 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 Syst
129. ile placed at the position to which you dragged it If you drag the to an existing track the file will be placed as a new part on the track Owner s Manual 8 0 Tutorials 8 1 8 1 1 8 1 2 Tutorials 8 Microphones 8 1 Microphone Types Condenser Dynamic The StudioLive works with most types of microphones including dynamic ribbon and condenser microphones Condenser microphones generally capture sound with excellent fidelity and are one of the most popular microphone choices for studio recording and increasingly for live performance as well Condenser microphones require a power source which can be provided by a small battery an external power supply or phantom power which is usually provided by a mixer preamplifier or direct DI box Phantom power is sent over the same mic cable that carries the audio signal the term derives from the fact that there is no visible power cord and the voltage is not perceptible in the audio path The StudioLive sends 48 VDC phantom power from the XLR inputs only Dynamic microphones are possibly the most widely used microphone type especially in live shows They are relatively inexpensive resistant to physical damage and typically handle high sound pressure levels SPL very well Unlike condenser microphones dynamic microphones typically do not require a power source In most cases phantom power has no effect on a dynamic microphone s audio quality or sensitivit
130. iminate chattering and should be set by listening carefully for the most natural release of the signal Range The gate range is the amount of gain reduction that the gate produces Therefore if the range is set at O dB there will be no change in the signal as it crosses the threshold If the range is set to 60 dB the signal will be gated reduced by 60 dB etc Key Listen The key listen allows the user to listen to the signal that is being filtered by the gate 125 8 Tutorials PreSonus StudioLive 24 4 2 8 2 A Brief Tutorial on Dynamics Processing Noise Gating 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 is the process of removing unwanted sounds from a signal by attenuating all signals below a set threshold As described the gate works independently of the audio signal after being triggered by the signal crossing the gate threshold The gate will remain open as long as the signal is above the threshold How fast the gate opens to let the good signal through is determined by the attack time How long the gate stays open after the signal has gone below the threshold is determined by the hold time How fast the gate closes is determined by the release How much the gate attenuates the unwanted signal while closed is determined by the range Noise gates were originally designed to help eli
131. in Capture should be recording a new Audio Event which is the main mix from the StudioLive mixer The new Audio Event that has been recorded from the StudioLive mixer will be stored as a stereo WAV file at the sample rate to which the StudioLive mixer is set It is possible to import WAV and AIFF audio files into your Session To import an audio file select Import Audio File from the Session menu to open the Import File menu Browse to the desired file and click on it to select it Then click on Open to import the file into your Session An Audio Event for the imported file will be created and placed on the currently selected track in your Session at the current playback cursor position Preview Player When browsing for files in the Import File menu itis possible to listen to the audio files as you are browsing in the Preview Player Click the Play button in the Preview Player to play the currently 97 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 3 Capture selected audio file Click the Stop button to stop playback Click the Loop button to loop the playback of the currently selected audio file Export Audio Files Wl potio Audio T 7 To export audio from your Session in Capture navigate to Session Export to Audio File Location or press Ctrl Cmd E on the keyboard to C Users jonathan Documents Capturellive mi iles open the Export
132. ing in a microphone or a line level A 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 12 Owner s Manual Return in in one i Hi VE al y mmi Aux Outputs Talkback Mic processor To processor Hook up 3 Rear Panel Connections 3 1 Insert Each channel of the StudioLive has a direct insert point These unbalanced 1 4 inch connectors can be used to connect external processors such as 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 bus The return goes straight to the digital bus In other words 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 e Insert connector wiring Tip send output to inserted device Ring return input from inserted device e Sleeve common ground put To mixer channel insert put Aux Inputs Th
133. initial spike Threshold Ratio Attack Release 0 dB 0 001 ms Owner s Manual 6 24 Correspondi c 0 do d 0 Tutorials 8 A Brief Tutorial on Dynamics Processing 8 2 ng Frequencies for Equal Tempered Scale The Noise Gate on the StudioLive 24 4 2 feature a Frequency Key Filter Use the table below as well as the tables in section 8 3 2 to help orient yourself in finding the best Key Filter to use to trigger the gate Please note the Hertz measurements below are rounded to the nearest Hertz the Kilohertz measurements are rounded to the nearest 10 Hertz 16 Hz Pte er se ea es _ c 6 18Hz d2 73Hz d4 294Hz d6 21Hz e2 82Hz e4 330H e6 26Hz g2 98Hz g4 39Hz 96 29Hz a2 a4 440Hz 6 6 32Hz b2 123Hz 654 494Hz 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 129 8 Tutorials 8 3 Equalizers 83 Equalizers 831 What is an EQ Parametric EQ 130 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 functions as well as some charts to help you navigate the frequency ranges of various instruments so you ca
134. io Event will begin recording from that point on the record enabled tracks When you reach the location where you wish to stop recording punch out by pressing R on the keyboard again A continuation of the example from the Overdubbing section above would look as follows The guitarist missed a few key notes while recording his killer lead part You tell him to play the same part again as before but with the corrected notes while you record another take The guitar s track is still record enabled Don t add the guitar track from Capture to the aux mix you created before the guitarist needs to hear his live playing on his guitar s StudioLive input channel not the recorded track This time around you will punch in the right notes by starting recording in the Transport just before each bad note and stopping recording just after each bad note Playback will continue to roll the entire time so the guitarist will hear everything normally Owner s Manual SOFTWARE Universal Control Capture and StudioLive Artist 7 Studio One Artist 7 4 74 Studio One Artist Quick Start a a AAAA eh a Beo Te EE V tecum ee Vue Lm D hd Ed 0 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 50th Studio One Artist provides you with all of the tools necessar
135. ioLive Artist PreSonus StudioLive 24 4 2 7 3 Capture 736 Recording in Capture Record Enabling an Audio Track To record to an audio track the track must be record enabled or armed To record enable an audio track click on the Record Enable button once This button which sports a red dot should turn entirely red in color when enabled and the track s corresponding meter in the meter bridge should begin to move up and down if there is any live audio on that channel in the StudioLive mixer Click on the Arm All button at the top of the Track Column to record enable every track at once Once an audio track is record enabled you are ready to record audio to that track Refer to the Activating Recording section for more on this topic Monitoring Live Audio Input Setting Input Levels All monitoring of live audio input should happen on the StudioLive mixer itself as normal There is no separate monitoring capability within Capture Setting the proper input levels is critical to making a good live mix and recording The basic idea is to set the input gain on your StudioLive mixer as high as possible without overloading the input Overloading the input will cause clipping a nasty type of distortion which will ruin the recording This damage cannot be undone in software There is a clip indicator for each input on the StudioLive mixer for this purpose If an input channel is not clipping on your StudioLive mixer you can be sure tha
136. ioLive chain 59 5 Scene Presets and the System Menu PreSonus StudioLive 24 4 2 5 3 System Menu 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 in which case you need to use the Universal Control Device Window to make your S PDIF assignments and change your sample rate See Section 7 1 1 for more details When two StudioLives are cascaded together the Status will read Linked and you will be able to see which StudioLive is the Master unit For more information on using multiple StudioLives please review Section 8 9 To ensure the safety of the audio equipment connected to it the StudioLive will mute all post converter outputs for two seconds when the sample rate is changed and while it 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 Sub Out Delay On Page 4 of your System menu you will find the Sub Out Delays Your StudioLive provides SUE SUBE SUBS 04 you with the ability to delay the audio from each d 4 e EN 55 of your subgroup out
137. ion will launch automatically 74 Owner s Manual SOFTWARE Universal Control Capture and StudioLive Artist 7 Universal Control 7 1 Settings Run at Startup Launches the Universal Control Application Automatically on Startup Windows Only When this is enabled the Universal Control application will automatically launch each time you boot your Windows PC Run at Startup Settings always on Top Allows the Launch Window to Stay in View When Other Applications Are in Use 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 Settings WDM Setup Opens the WDM Channel Mapper The StudioLive features advanced WDM features Please see Section 6 4 4 for further details 5 D cS s i gt ER o o9 Y oo 5 Un 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 2 VSL Virtual StudioLive VSL is a highly advanced editor librarian and control application that is completely integrated with the StudioLive 24 4 2 Because of the continuous bidirectional communication between your StudioLive and VSL whatever you J do on the StudioLive s control surface will be reflected in VSL and vice versa x
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139. ks Press the Tap button to quickly insert a space Continue this process until TAP you are Satisfied with your changes then press the Store button It will illuminate while the scene is being written to the StudioLive s internal memory Once the Scene is saved the Store button will return to its unlit status Located at position S1 is a scene named Zero Out Board Reset This scene cannot be overwritten and returns your StudioLive to its defaut factory setting All you have to do it lower the faders and return all trim knobs and output volume knobs Solo bus 2 Track In Phones and Monitor to their lowest position Your StudioLive will be zeroed out as follows 52 Owner s Manual INPUTS amp BUSES Scenes Presets and the System Menu 5 Creating and Recalling a Scene 5 1 SETTINGS PRE 1 MAIN BUS MONITOR BUS METERS The Fat Channel will 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 EN _ MISES Before beginning any new mixing situation it is always recommended to recall the Zero Out Board Reset scene This is the easiest way to ensure that there are no lingering parameter settings that could cause you some trouble in your new mix To recall a Sce
140. l Studio One Artist insert your Studio One Artist installation DVD into your computer s DVD drive e Windows Users Launch the Studio One Artist installer and follow the onscreen instructions e Mac Users Drag the Studio One Artist application into the Applications folder on your Macintosh HD Creating a User Account After installing Studio One Artist launch the program and the Activate Studio One menu will appear If you are a new Studio One user you Stuchig nu LJ 3 will need to create a user account Follow the Create Account link if your computer is connected to the Internet Once you have created your account continue activating Studio One Artist online If your computer is not connected to the Internet visit the Studio One product page at www presonus com on Internet connected computer to create your account After you have created your account skip to Activating Studio One Artist Offline Activating Studio One Artist Online e Now that you have created a user account you can activate your copy of Studio One Artist Launch Studio One Artist and the Activate Studio One menu will appear 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 de gt 5
141. l on the meter Be careful not get the signal above 0 dBFS You do not want to clip the ADC converters e When all else fails remember button button knob button knob button knob 144 Owner s Manual 8 8 The Solo Bus 8 8 1 Tutorials 8 The Solo Bus 8 8 The StudioLive features an independent Solo bus This feature is extremely useful in setting levels for monitor mixes dialing in dynamics on each channel and fixing issues during a live show without interrupting the main mix The Solo bus has three different modes AFL default PFL and SIP AFL After Fade Listen AFL sends the channel or subgroup signal to the Solo bus post fader so that you can control the level of the soloed signal with the fader This is the StudioLive s default setting PFL Pre Fade Listen PFL sends the channel or subgroup signal to the Solo bus before it reaches the fader so the fader does not affect the soloed signal SIP Solo In Place This is also known as destructive solo When channels are soloed in this mode every channel that isn t soloed will be muted and only the soloed channels will be sent to their assigned outputs While useful in dialing in dynamics during soundcheck this mode is dangerous during a live show We recommend that this mode be turned off when mixing live events Using the Solo Bus for Monitoring When mixing live or when recording multiple musicians at once it is often necessary to quickly listen in
142. ld fit Use TAP for space Push Store DRM VOX GTR etc Press the Next button again to navigate to the first letter of the preset name Turn the Value Encoder clockwise or counter clockwise to change the letter The StudioLive allows you to customize the name with uppercase and lowercase letters as well as a selection of numerals and punctuation marks You can insert a space by simply pressing the Tap button Once you are satisfied with your changes press the Store button It will illuminate while the 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 521 ChannelPresets Library Your StudioLive comes with 50 Fat Channel presets custom designed by professional PreSonus users These presets can be altered renamed and overwritten however there are 50 additional empty storage locations for you to build your own custom library of channel strip settings Chart follows on next page 55 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 56 Scenes Presets and the System Menu Creating and Recalling a Scene 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 Overhea
143. led by the Subgroup 3 fader and you can use it to season your 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 You can quickly add or subtract the effect by grabbing a fader The effect can be muted or soloed 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 the best performance possible The Aux Bus provides outputs to create auxiliary mixes that are separate from the main and subgroup mixes The StudioLive is equipped with 8 aux buses Aux 1 6 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 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
144. lest 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 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 Procedure in Detail Setting the proper levels is an important part of getting the right sound The following steps will assist you in quickly setting your levels STUDIOLIVE 24 1 1 Turn each of the 24 trims to 0 20 1 d 9 Se i W 4 3 4 WM vw w M 4 m HR EN EN E B U S 2S E EH B E E E 9 8 8 2 B 9 93 383 9 3 Meters 2 Pressthe Input button in the Meter section 3 Inthe Solo bus section select PFL and turn the Cue level to 12 o clock 4 Selectthe Solo button in the Monitor section and adjust the volume for your headphones or control room monitors 5 Solo your first channel and turn the trim to the desired leve
145. ll illuminate red when the channel is muted Channel Fader Controls the Level of the Subgroup Bus 5081 SUB2 SUB3 SUB4 The fader controls the overall volume of the signal on its subgroup output toh cnn 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 L M To clean the scribble strip use a lightly damp cloth to remove the writing 43 4 Controls PreSonus StudioLive 24 4 2 4 6 Main Output Bus Subgroup Meters Displays the Level of the Subgroups In the upper right corner of the StudioLive are the Subgroup meters which display the levels of the subgroup outputs SUB1 SUB2 SUB3 SUB4 46 Main Output Bus Main Select Button Enables Fat Channel Viewing As previously described in section 4 1 1 the Select button routes its channel through the Fat Channel allowing you dB to add dynamics processing EQ panning etc 10 _ Controls the Level of the Output eem The fader controls the overall level of the main stereo output The white area above the fader be used as a scribble strip Use 22 only oil pencils Other types of pens or pencils cannot be wiped ZISA To clean the scribble strip use a lightly damp cloth to remove the ERU T writing Spit works good too Am
146. lowing Er 5 ipms e 1013009 EZEN ETA di pue ain 1 Select an Event with the Arrow Tool or select a Range with the Range Tool that you wish to loop 2 Press the keyboard to set the loop range your selection The range will be indicated by a bar drawn in the timeline with a left and right flag on either end 351 3 Click on the Loop button the Transport or press L on the keyboard to engage Loop mode Start playback before the end of the Loop range and when the end of the range is reached playback will jump back to the beginning of the Loop range automatically for as long as Loop is engaged Engaging Record in the Transport will disable Loop Mode and begin recording at the current playback cursor position It is not possible to engage Loop while recording 96 Owner s Manual one Creating a Mix Importing Audio Files Lock in gt Places Desking janathan Computer Ms H3 h t AB D kHz 24 hit Mana AT min aude to Les wih Name FACI S B3 hi R 83 Io BARI 5 BASS amp J BASS di 862 863 BRIDGE GTR GEEK Tie Pies of type 158 2007 208 37 SOFTWARE Universal Control Capture and StudioLive Artist 7 Capture 7 3 Mixing in Capture Mixing is the part of the production process where
147. m 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 one to one Meter 1 shows the level of Channel 1 etc Output Metering Button Turns Post Fader Output Metering On and Off Switches the meters to display the post dynamics post fader level of the Input bus Meters are one to one Meter 1 shows the level of Channel 1 etc 37 4 Controls 4 3 Input Channel Strip Gain Reduction Metering Button Aux Metering Button Fader Locate Button Faders PreSonus StudioLive 24 4 2 Turns Gain Reduction Metering On and Off Displays the gain reduction of the input bus Meters are o
148. m power for every microphone 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 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 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 Input Channel Select Enables Fat Channel Processing and Routing Button As previously described in Section 4 1 1 the Select button routes its channel through the Fat Channel allowing you to add dynamics processing EQ and panning assign the output routing and more Solo Button Turns Soloing On and Off This button will solo its channel to the 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
149. mbience in the studio and will add clarity to bass and lower frequency instruments The range between 500 Hz and 2 kHz can make midrange instruments guitar snare saxophone etc honky and too much boost between 1 kHz and 2 kHz can make your mix sound thin or tinny High Mids 2 kHz to 4 kHz The attack portion of percussive and rhythm instruments occurs in this range High mids are also responsible for the projection of midrange instruments Presence 4 kHz to 6 kHz This frequency range is partly responsible for the clarity of a mix and provides a measure of control over the perception of distance If you boost this frequency range the mix will be perceived as closer to the listener Attenuating around 5 kHz will make the mix sound further away but also more transparent Brilliance 6 kHz to 16 kHz While this range controls the brilliance and clarity of your mix boosting it too much can cause some clipping so keep an eye on your main meter Equalization Settings How to Find the Best and Leave the Rest Included at the end of this section are some general principles to guide you through the wonderful world of equalization but these are far from set in stone So how do you find the best and worst each instrument has to offer and adjust them accordingly Here s a quick guide First solo just the instrument with which you are working Most engineers start building their mix with the drums and work from the bottom up kick
150. ment section in a live mix A drum group is especially useful when every piece in the 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 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 together 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 aR with each channel s level 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 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 preserved 4 Nowassign Subgroup 1 to the Main outputs since Subgroup
151. meters but the is usually fixed 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 much higher at 2 to 5 kHz By setting a narrow bandwidth and boosting the attack a bit you can achieve a punchier kick drum without overpowering the rest of the mix Owner s Manual Shelving EQ Graphic EQ Tutorials 8 Equalizers 8 3 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
152. minate extraneous noise and unwanted artifacts from a recording such as hiss rumble or transients from other instruments in the room Since hiss and noise are not as loud as the instrument being recorded a properly set gate will only allow the intended sound to pass through the volume of everything else is lowered Not only will this strip away unwanted artifacts like hiss it will add definition and clarity to the desired sound This is a very popular application for noise gates especially 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 823 Compression Settings Some Starting Points Vocals 126 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 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 Screamer This setting is for loud vocals It is a fairly hard compression setting for a vocalist who is on and off the microphone lot It puts the voice your face
153. 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 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 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
154. mplitude 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 These very low 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 muddy mix Bass 60 Hz to 250 Hz Because this range contains the fundamental notes of the rhythm section any EQ changes will affect the balance of your mix making it fat or thin Too much emphasis will make for a boomy mix 131 8 8 3 bow 132 Tutorials Equalizers PreSonus StudioLive 24 4 2 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 a
155. n quickly choose the best EQ settings for your recordings and live mixes and to help you get the most out of your StudioLive An equalizer is a filter that allows you to adjust the level of a frequency or range of frequencies of an audio signal In its simplest form an EO 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 and semi parametric EQ are the most common equalizers found in recording and live situations because they offer continuous control over all parameters A parametric EQ offers continuous control over the audio signal s frequency content which is divided into several bands of frequencies most commonly three to seven bands A fully parametric EQ like those in the StudioLive 24 4 2 offers control over the bandwidth basically the range of frequencies affected the center frequency of the band and the level boost cut of the designated frequency band It also offers separate control over the Q which is the ratio of the center frequency to the bandwidth A semi parametric EQ provides control over most of these para
156. n working on for 15 minutes is not the right choice so move on Never be afraid of taking a risk The best EO tricks were found by mad scientists of sound With every instrument there are frequencies that can be attenuated or boosted to add clarity or fullness And of course the wrong frequencies can make an instrument shrill muddy or just downright annoying The following two charts suggest frequency ranges that should be accentuated or downplayed for the most common instruments These are just suggestions these frequencies may need to be adjusted up or down depending on the instrument room and microphone 133 8 Tutorials PreSonus StudioLive 24 4 2 8 3 Equalizers Table 1 Instrument What to Cut Why to Cut What to Boost Why to Boost m o E 777 NN ACT CORN e Betomend E vaste mou Sf _Bottomens __ e e _ EEUU pu c c 120 Hz and below Muddy 400 600 Hz Lush and full 134 Owner s Manual Tutorials 8 Equalizers 8 3 Table 2 mpr presenze adds harder pass to law more attack kitk amp tor regugvzy Laund am Bis adds F ullness tg quitar E gr hore attack plimo Hr vocals clarity 26 boss arnmustic
157. namic range of the vocal say 10 dBu such that the gate would shut out the unwanted signals between the phrases If you have ever mixed live sound you know the problems cymbals can create by bleeding through the tom mics As soon as you add some highs to get some snap out of the tom the cymbals come crashing through placing the horn drivers into a small orbit Gating those tom mics so that the cymbals no longer ring through them will give you an enormous boost in cleaning up the overall mix Dynamics processing is the process of altering the dynamic range of a signal thereby enhancing the ability of a live sound system or recording device to handle the signal without distortion or noise and aiding in placing the signal in the overall mix 822 Types of Dynamic Processing Compression Limiting 122 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 compre
158. ndation So rather than turning the aux send level for the kick drum channel all the way up turn it to the 7 or 8 o clock position so that 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 EO 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 The StudioLive includes astereo effects processor that features the two most common type of effects is use today for live sound reverb and delay 142 Owner s Manual 8 6 8 6 1 Digital Effects Reverb Tutorials 8 Digital Effects 8 6 The StudioLive includes a stereo effects processor that features the two most common type of effects is use today for live sound reverb and delay Reverberation or reverb as it is more commonly known is perhaps the most widely used effect Natural reverb is created by sound waves being reflected 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
159. ne press the Scene button and use Memory Monday Night c the Value encoder to scroll through the Scene AGED Assigns Ho Pots library When you have found the Scene you wish EG amp Dyn Mo GEG No to recall press the Recall button By default the Mute Aux b y Faders Push Recall StudioLive will recall all of the available stored parameters Fat Channel settings fader and knob positions channel muting and soloing aux mixes and internal effects parameters If you do not wish to recall a certain set of parameters simply use the Next and Prev buttons to navigate 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 recallable 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 e Assigns All output and bus routing Mains Subgroups Stereo Linking Solo and Monitor bus assignments and Master Control Assignments 5 Scenes Presets and the System Menu PreSonus StudioLive 24 4 2 51 Creating and Recalling a Scene Faders EQ and Dyn All Fat Channel dynamics processing and filter parameters Phase High Pass Noise Gate Compressor EQ and Limiter for e
160. ne to one Meter 1 shows the gain reduction of Channel 1 etc Turns Aux Bus Master Out Metering On and Off 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 Turns Fader Recall Metering On and Off Displays the fader position of the stored scene When recalling a fader position adjust the fader until only the center LED is visible in its meter 43 Input Channel Strip The StudioLive is equipped with all of the standard input controls of an analog mixer In addition the StudioLive provides the added flexibility of routing a playback stream from your audio recording software to the mixer via the FireWire bus just as if it were an analog input This lets you incorporate digital audio tracks into the main mix as well as inserting plug in effects and software instruments from your audio program 431 Input Channel Controls Trim Control Phantom Power Button 48V 38 Adjusts the Input Gain Level The Trim control adjusts the gain of the channel s analog input It is VERY IMPORTANT to properly adjust this control in order to minimize noise and avoid overload distortion Follow the Quick Start Level Setting instructions on page 00 before operating a channel Turns Phantom Power On Off The StudioLive is equipped with individual phanto
161. nel 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 Pressing the Mix button a second time will switch re me vee 9031 113 T 1 E EET o 0000100 5 1 100017 SSH Ewe Lm bm m fa te m3 1 Mix Pan Button Geojaidge 2D 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 button will remain illuminated and LEDs at the top middle and bottom of meters 7 24 will also illuminate s i ikio Press the Mix button 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 sends 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
162. nother 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 36 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 4 1 6 You can save your Fat Channel settings for future use To store the Save currently selected channel s Fat Channel settings press the Save button For complete channel preset storage instructions see Section 4 1 6 42 Metering T tana Pata g ELI b a The StudioLive offers flexible metering at the touch of a button e 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 post 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 e 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 the
163. nt in time that any Audio Event on a track extends The Export Each Marker option will export separate files for each range between the markers in the Marker Lane The Export Between Selected Markers option will export an audio file s between the range of any two selected markers in the Marker Lane Export Your Final Mix to an Audio File The most common medium to which recordings are physically published is the audio CD order to put your final mix 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 Mix track in Capture it is recommended you export the audio from the Mix track to an audio file for this purpose In the Export to Audio File menu you should choose to Export Master and select the aforementioned format settings for an audio CD 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 98 Owner s Manual SOFTWARE Universal Control Capture and StudioLive Artist 7 Capture 7 3 Mixing a Capture Session in Studio One For users who want to use Capture strictly as track recording tool and mix the recorded tracks later in a DAW application PreSonus has included a copy of Studio One Artist with your StudioLive for just this purpose Both Studio One Artist and Studio One Pro can open Capture Session files All markers edits track names etc will be preser
164. 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 dBu The passages that are 10 dBu and higher will be heard over the mix However the passages that are at 30 dBu and below will never be heard over the roar of the rest of the mix A compressor can be used in this situation to reduce compress the dynamic range of the vocal to around 10 dB The vocal can now be placed at around 5 dBu At this level the dynamic range of the vocal is from 0 dBu to 10 dBu The lower level phrases will now be well above the lower level of the mix and louder phrases will not overpower the mix allowing the vocal to sit in the track The same points can be made about any instrument in the mix Each ins
165. ol Capture and StudioLive Artist 7 Studio One Artist 7 4 File menu s Options section select Export Tracks and Each Marker and set the Format to the desired file format settings Then click OK Capture will then automatically generate separate audio files for each track in each song The names and files will be based on the name you specified in the Export to Audio File menu the names of the markers and the track names in your Session Export Name Track Name Marker Name You can then import the files for each song into a new Capture Session or into a different audio recording application to be mixed with the StudioLive mixer A few days after the original performance you have finished producing a ten song live album for the band you recorded and they could not be more impressed The studio recording process often appears very different from the live recording process However the StudioLive mixer and Capture are equally at home in the studio and in concert The following describes aspects of the studio recording workflow using the StudioLive mixer and Capture In a studio recording session as opposed to recording live you might wish to record on only a few tracks or on a single track at a time and then record more later This process of adding to your recorded tracks later is called overdubbing Using Capture and the StudioLive mixer you can play recorded audio on any tracks through the StudioLive mixer and simultaneously rec
166. ompatibility 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 Piano 118 The following are a few recording applications to help you get started with your StudioLive These are by no means the only ways to record these instruments Microphone selection and placement is an art For more information visit your library or local bookstore as there are many books and magazines about recording techniques The Internet is also a great source of recording information as are instructional videos Some of these microphone placement suggestions can be used in live applications as well as for studio recording Place one microphone above the high strings and one microphone above the low strings Experiment with distance the farther back the more room you will capture This technique can be used for live and studio applications Place a dynamic microphone an inch or two away from the speaker of the guitar amplifier Experiment with exact location If you are recording an amp with multiple speakers experiment with each one to see if one sounds better than the others 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 rein
167. 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 pue ainjde gt 04300 EXIT VIT ot c le ET lt gt S 2 et Loading a Scene 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 T and Omm See section 5 1 for more details DESDE PESE SERERE 3 80 Owner s Manual SOFTWARE Universal Control Capture and StudioLive Artist 7 VSL Virtual StudioLive 7 2 Loading an Entire Fat Channel Preset 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 i e 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
168. on Left Extend Selection Left Add Skip Left Right Extend Selection Right Extend Selection Right Add Skip Right Up Extend Selection Up Extend Selection Up Add Skip Up Down Extend Selection Down Extend Selection Down Add Skip Down Page Up Extend Selection Page Up Extend Selection Page Up Add Skip Page Up Page Down Extend Selection Page Down Extend Selection Page Down Add Skip Page Down Start Extend Selection Start Extend Selection Start Add Skip Start End Extend Selection End Extend Selection End Add Skip End 102 Tab Shift Tab Left Arrow Shift Left Arrow Cntrl Cmd Shift Left Arrow Cntrl Cmd Left Arrow Right Arrow Shift Right Arrow Cntrl Cmd Shift Right Arrow Cntrl Cmd Right Arrow Up Arrow Shift Up Arrow Cntrl Cmd Shift Up Arrow Cntrl Cmd Up Arrow Down Arrow Shift Down Arrow Cntrl Cmd Shift Down Arrow Cntrl Cmd Down Arrow Page Up Shift Page Up Cntrl Cmd Shift Page Up Cntrl Cmd Page Up Page Down Shift Page Down Cntrl Cmd Shift Page Down Cntrl Cmd Page Down Home ShifttHome Cntrl Cmd Shift Home Cntrl Cmd Home End Shift End Cntrl Cmd Shift End Cntrl Cmd End PreSonus StudioLive 24 4 2 Owner s Manual SOFTWARE Universal Control Capture and StudioLive Artist 7 Capture 7 3 73 11 Capture Applications and Scenarios When recording live most people usually make a single continuous multitrack recording This involves record enabling Audio Tracks in Capture
169. on 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 897 Local Versus Merged Buses And Inputs As discussed earlier the two Internal effects buses are local only meaning they are controlled from each mixer separately 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 mics 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 Section While the Tape Input on both mixers in the chain is active this button only patche
170. onitor 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 Owner s Manual Controls 4 Digital Effects Master Control 4 8 FireWire Monitor Button 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 computer application producing the audio e g Studio One and then by knob in the 2 Track In section m 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 next section 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 Effec
171. oom Outputs Type Rated Output Level Output Impedance System Cross Talk Input to Output Ref 4 dBu 20 20 kHz unwtd Adjacent Channels Ref 4 dBu 20 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 151 mt vo ve 2 o Cd 3 y e 21 2 1 9 Technical Information 9 1 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 Processing Sampling Rate A D A Bit Depth Reference Level for 0 dBFS Clock Jitter Jitter Attenuation
172. ord new audio to tracks in Capture To do this it is a good idea to first establish a good mix to listen to while recording Just as when creating monitor mixes for a live performance with the StudioLive mixer you can create a number of mixes to listen to as required For instance you might create a stereo mix of the playback from Capture on Auxes 1 and 2 for a guitarist who is about to overdub a lead guitar part To accomplish this do the following For all input channels on the StudioLive mixer on which you wish to play tracks from Capture engage the FireWire return by pressing each channel s FireWire 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 a mix for the linked Aux1 2 by adjusting the level for each input channel that has playback coming from Capture This is a stereo aux mix So you can also access the pan for each input channel in the mix by pressing the Mix Pan button for Aux 2 For details on how to set aux mixes see Section 2 7 of the StudioLive manual Now you can plug the guitar or guitar amp mic into an input channel on the Stu
173. osition the microphones so that each one is at a 45 degree angle pointed down at the drum kit approximately 7 or 8 feet up Experiment with height This technique can be used in live applications as well 120 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 ABrief Tutorial on Dynamics Processing The heart of the StudioLive is the Fat Channel dynamics section What follows is an excerpt from brief tutorial on dynamics processing written by PreSonus president and founder Jim Odom It is included to help you get the most out of your StudioLive This tutorial will take you through the basics of dynamics processing and will explain the various types of dynamics processors 82 1 Common Questions Regarding Dynamics Processing What is dynamic range Dynamic range can be defined as the ratio between the loudest possible audio level and the lowest possible level For example if a processor states that the maximum input level before distortion is 24 dBu and the output noise floor is 92 dBu then the processor has a total dynamic range
174. ost of the Center Frequency for the Low Mid Band This encoder sets and the meter displays the Gain cut or boost at the center frequency of the Low Mid band The level of the center frequency can be set between 15 and 15 dB Activates Controls for the High Mid EQ for the Selected Input or Output Bus 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 Owner s Manual High Mid EQ Sets and Displays the Center Frequency Frequency of the High Mid EQ Control Gain Control This encoder sets and the meter displays the center frequency of the High Mid band You can adjust the Q from 380 Hz to 5 kHz 4 3 2 2 2 1 1 1 SERBBR Gain dB Freq Hz igh E High Mid EQ Sets and Displays the of the High High EQ On Off Q Control Mid Frequency Band Button This encoder sets and the meter displays the O for the High Mid band The Q is the ratio of the center frequency to the bandwidth The bandwidth is inversely proportional to the Q so as you raise the Q you narrow the bandwidth High EQ Frequency Control Controls 4 Fat Channel 4 1 High Mid EQ Sets and Displays the Gain Attenuation or Boost at the Center Frequency This encoder sets and the meter displays the gain cut or boost at
175. otek woe om 23 LS ea ed Filter Delay aed Kick Share w Hat I Scribble Strip Ei qon Stereo Delay 9 S AN pes OS T b EE 1 TITZZITEZT 79 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 2 Virtual StudioLive 723 VSL Channel Tab The Channel Tab provides a detailed over view 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 bi directional control If you wish to grab a point in the EQ with your mouse for example you will be changing the parameters both in VSL and in real time on your StudioLive To access the Fat Channel for Auxes 1 6 as well as Aux Ins and you will need to press the Select button on the StudioLive You can then load presets and make adjustments using VSL from within the Channel tab 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
176. ou can load Fat Channel presets as a complete channel strip or as individual gate compressor or EQ presets Through VSL you can back up all of the Scenes and presets stored on your StudioLive These stored settings can be loaded from disk or sent to and stored internally on the StudioLive You can even drag presets out of the browser and email IM or disk swap them with other StudioLive owners PNIS MES 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 o D c lt tp gt vo 315 ag 2 lt gt c WH et 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 out unauthorized users See Section 7 2 6 for details From the Launcher J window you can set basic parameters such as buffer size and sample rate In addition you can use the Launcher window to configure your WDM outputs PC only see Section 6 4 4 Note that the Meter Style and Meter Decay options in the Launcher window are not active when only a StudioLive is connected to a computer 7
177. ow Aux Pre Position Aus EZS 2 1 Prei 4 1 Press the Page Down button to access the Aux Que 5 1 6 Prel O Prei EB Prei Pre Position page By default all ten Aux buses are set to Pre 1 This routes all 24 channels to each aux bus before the fader limiter EQ and compressor and after the phase reverse switch high pass filter and noise gate HP gt Gate Prel Comp gt EQ gt Lim lt Pre2 gt The two 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 Digital Information 1 irel imc Se ae Press the Page Down button to access the Firewire Link ID 2 Digital Information page From here you can SubGroup Merge Status Driver Linked Slave change the Sample Rate view your FireWire Status No Driver Linked Slave g p y connectivity route a stereo mix to the S PDIF output assign which StudioLive in a cascaded chain is the Master and merge or unmerge the subgroups in a Stud
178. ow the recommended steps Your StudioLive is now synced to your computer and ready to use 63 6 Connecting to Computer PreSonus StudioLive 24 4 2 6 3 Installation for Mac OS X 6 3 Installation for OS 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 1 You will be directed to the Welcome screen Click Continue and follow the onscreen instructions Welcome to the PreSonus installer Inarrdisrctinm Vou alll be Pires This sepi nenesa Fre install tee 4 f 2 You will be directed to choose the hard drive onto which Standard Install Macintosh you want to install the drivers and Universal Control GAL Panel You must choose your system drive Storage drives Installation Type hot uim tee votum and partitions cannot be used as hosts for the driver Imrodwction Licensa This wil take 11 8 of vence on your Once the installation is completed you will find the Universal Control program in your Applications folder It is recommended that you place this in your Dock
179. pects of recording tracks in Capture including Session creation and setup Audio Tracks and Events and more Audio Device Before recording anything in Capture please Your Audiodevice take a moment to be sure your StudioLive mixer is properly connected to the computer via FireWire and that Capture displays the StudioLive Samplerate as your audio device on the Start page No Audio Device 44 1 kHz When the StudioLive mixer is not connected to the computer successfully Capture will display No Audio Device in the Audio Device window Creating a New Session MI New Session mE sm A Session is the document type in which all recording takes place in Capture To create a Session Title new Session do one of the following phat hat live session 1 Session Folder 1 From the Start page click on the New Session button C Users jonathan Desktop studioliv ions 2 Navigate File New Session 3 Press Ctrl Cmd N on the keyboard Session Setup When a new Session is created a setup menu with the following options will pop up Session Title This will be the title of your Session This name will be the Session file name Title Session as well as the name of the new folder that contains all data related to your Session Session Location This is where new Sessions and all related data will be saved The Session location can be chosen e
180. ped in this section For example if you are using Aux 3 as mono monitor send to the bass player s floor wedge and Auxes 5 and 6 as the stereo send to the keyboard player s in ear monitors the talkback signal will be sent to both monitors so don t say anything you wouldn t want both to hear 45 24 e CY O 5 2 7 4 Controls 4 7 Master Section Talkback Mic Level Talkback Button 473 2 TrackIn 2 Track In Volume Control 2 Track In 46 PreSonus StudioLive 24 4 2 Sets the Input Gain of the Talkback Mic This knob adjusts the gain of the external talkback mic 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
181. press 7 Steinberg Cubase 44 1 Launch Logic Pro Express Go to Logic Preferences Audio Click on the Devices Tab On the Core Audio tab check Enabled Select PreSonus FireStudio from the device menu You will be asked if you d like to relaunch Logic Click try reJlaunch DU ea d iv X Your StudioLive features custom labels for faster work flow To enable these labels for use in Logic go to Options Audio Labels 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 9 Youare now ready to use your StudioLive 1 Launch Cubase Go to Devices Device Setup Select VST Audio System from the Devices column in the Device Setup Select PreSonus FireStudio from the ASIO Driver dropdown list Click Switch to begin using the StudioLive Driver oW SY Once you have successfully changed the driver go to Devices VST Connections to enable your input and output buses 65 6 Connecting to Computer PreSonus StudioLive 24 4 2 6 4 Using Your StudioLive as an Audio Interface Cakewalk Sonar 6 1 Launch Sonar 2 Goto Options Audio and click on the Advanced tab 3 Change the Driver Mode to ASIO 4 Click the OK button 5 Restart Sonar 6 Goto Options Audio and click on the Drivers tab 7 Highlight all input and output drivers beginning with
182. puts by 2 to 400 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 4 Sub Gut Delays 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 rear and stage speakers at the same time This is also true for the audience in the balcony While the balcony speakers will provide the loudest source of audio the balcony audience will still be able to hear the stage speakers so a delay must be set for the balcony speakers You will need to calculate approximately 0 885 ms of delay time per foot So if your balcony speakers in the above example are 61 feet from your stage speakers you will need to set their delay time to 54 ms Speaker delay can also be used to correct off axis phasing issues in small clubs Because of space restrictions you can t always place your main speakers for the best possible sound reproduction Sometimes your left side speaker will need to be closer to the audience to make room for a pillar or a staircase or the
183. r repair or replace free of charge any product that proves to be defective on inspection by PreSonus or its authorized service representative To obtain warranty service the purchaser must first call or write PreSonus at the address and telephone number printed below to obtain a Return Authorization Number and instructions of where to return the unit for service All inquiries must be accompanied by a description of the problem All authorized returns must be sent to the PreSonus repair facility postage prepaid insured and properly packaged PreSonus reserves the right to update any unit returned for repair PreSonus reserves the right to change or improve the design of the product at any time without prior notice This warranty does not cover claims for damage due to abuse neglect alteration or attempted repair by unauthorized personnel and is limited to failures arising during normal use that are due to defects in material or workmanship in the product Any implied warranties including implied warranties of merchantability and fitness for a particular purpose are limited in duration to the length of this limited warranty Some states do not allow limitations on how long an implied warranty lasts so the above limitation may not apply to you In no event will PreSonus be liable for incidental consequential or other damages resulting from the breach of any express or implied warranty including among other things damage to property damage
184. rge format mixing console 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 x the auxiliary FireWire returns can be routed to the S PDIF output either through DIGITAL QUT the System menu in the Digital Effects Master Control section or in the StudioLive Control Panel See Sections 5 4and 7 2 5 for more information Because the StudioLive cannot be synced externally you will need to use it as the master clock 15 3 Hook up PreSonus StudioLive 24 4 2 3 1 Rear Panel Connections 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 16 Owner s Manual Hook up 3 Basic Hook up Diagram 3 2 3 2 Basic Hook up Diagram Keyboards Monitor Keyboard Guitar Amp PreSonus StudioLive 24 4 2 Hook up 3 3 Typical Band Hook up Typical band hook up 3
185. rom all cascaded mixers in addition to its own local channels Because Aux mixes are sent to the Master unit before the Fat Channel 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 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 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 bus and press the desired assignment button in the Fat Channel 894 Subgroups To Merge Or Not To Merge Subbroup Merge On 148 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 either be merged together or local only This is determined from the Master unit i e if SubGroup Merge is enabled on the Master the
186. rowser window which displays all of the available virtual instruments plug in effects audio files and MIDI files as well as the pool of audio files loaded into the current session Drag and Drop Virtual Instruments To add a virtual instrument to your session click the Browse and Instrument buttons to open the instrument browser Select the instrument or one of its patches from the instrument browser and drag it into the Arrange view Studio One Artist will automatically create a new track and load the instrument as the input gt BY 2 c gt Capture and StudioLive Artist To add a plug in effect to a track click the Effects button and select it or one of its presets in the effects browser then drag it over the track to which you would like to it 115 pue ainjde gt D m 150 eArjoipms c 2 lt v m 5 ot 7 SOFTWARE Universal Control Capture and Studio One Artist PreSonus StudioLive 24 4 2 74 Studio One Artist Drag and Drop Audio and MIDI Files 116 Audio and MIDI files can also be quickly located auditioned and imported into your Song by dragging them from the file browser into the Arrange view If you drag the file to an empty space a new track will be created with that f
187. rries 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 dB 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 both the XLR and TRS main outputs The signal can be attenuated to 40 dB and boosted up to OdB 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 Hook up 3 Rear Panel Connrections 3 1 s i is IH Dn n row ae In I 18 5 tup A STUDIOLIVE 24 Y 4 by PreSonus Electores my the USA vi Cena en Oure e M b m a 17 24 Dut 1 8 gp peu 4l PreSonus e Pre Insert Balanced Direct Outputs These are
188. s 48 Digital Effects Master Control 49 The Digital FX effects Menu 49 Digital Effects Library 51 Scenes Presets and the System Menu 52 Creating and Recalling a Scene 52 Saving and Loading Channel Presets 55 Channel Presets Library 55 Graphic Equalizers 57 System Menu 59 Connecting to a Computer 62 System Requirements 62 Installation for Windows 63 Installation for MacOSX 64 Using your StudioLive as an Audio Interface 65 StudioLive with popular audio applications 65 Firewire Sends and Returns 66 Using Plug Ins Effects as Inserts 68 Advanced WDM Features PC only 70 Configuring the StudioLive for Core Audio Mac Only 21 Software Universal Control with VSL Capture and Studio One Artist 72 Universal Control 72 Universal Control Launch Window 73 VSL Virtual Studio Live 75 Virtual StudioLive Browser 76 VSL Overview Tab 79 VSL ChannelTab 80 Loading Scenes and Presets from VSL 80 VSL Set up Tab 82 Enabling Lockout Mode 83 02 7 0 7 3 7 3 1 7 3 2 7 3 3 7 3 4 7 3 5 7 3 6 7 3 7 7 2 9 7 3 9 7 3 10 adad 7 4 7 4 1 7 4 2 7 4 3 7 4 4 7 4 5 7 4 6 7 4 7 8 0 8 1 8 1 1 8 1 2 8 1 3 8 1 4 8 2 8 2 1 8 2 2 8 2 3 8 2 4 8 3 8 3 1 Table of Contents Software Universal Control with VSL Capture and Studio One Artist continued Capture 84 What is Capture 84 Start Page 85 The Session Page 86 The Edit Window 88 Getting Started in Capture 89 Recording
189. s 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 za prefer to have this new preset stored permanent 4 memory on your computer use the Add New button in the On the Disk section In either case the new preset can be sent to your StudioLive at any time Remove Button Deletes a Stored Scene or Preset In the On the Disk section of the Browser notice the Remove button Clicking this button will delete a stored Scene or preset Back up Tab Creates and Restores Backups of Your StudioLive The Backup tab allows you to create complete snapshots of your StudioLive This can be especially useful when completing a project that may need to be revisited in the future To create a backup simply click on the Backup button To restore any backup file select it the On the Disk portion of the Browser and click the Restore button You will be warned that any Scene or preset currently loaded in the Device Memory section of the Browser will be overwritten Once your Backup is restored you can click the Send button to transfer your Scenes and presets back to the StudioLive D isnay eArjorpnis pue ainjde gt lt e eC o 5 ot ex 78 Owner s Manual SOFTWARE Uni
190. s the 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 signal 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 149 E 3 3 ty 5 e21uu a 9 Technical Information 9 Specifications 9 0 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 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 Lev
191. s to clip Watch the level meters when the LEDs near the Clip mark the top LED will illuminate indicating that the analog to digital converters are in danger of being overdriven Overdriving the converters will cause digital distortion which sounds terrible The XMAX preamps in your StudioLive provide plenty of headroom take advantage of it Your PA and studio equipment should be powered on in the following order A Sound sources keyboards direct boxes microphones etc connected to the StudioLive inputs B StudioLive 24 4 2 C Computer if applicable D Power amplifiers or powered monitors When it s time to power down your system should be turned off in the reverse order Now that you know what not to do let s get some audio going 1 Graba microphone and a mic cable and plug it into the StudioLive s Channel 1 mic input 2 Connectthe Main Outs TRS or XLR of your Studio Live to your power amplifier or powered monitors 1 Quick Start Level Setting PreSonus StudioLive 24 4 2 3 If you re using passive speakers connect them to your power amplifier using speaker cable EXER 22015 Uu D et 5 4 Bring down all the faders on your StudioLive to the OO setting Make sure that the Trim knob on Channel 1 is all the way counter clockwise 5 Plug your StudioLive into a power outlet and turn it on 6 If your microphone requires phantom power engage the 48V 48V button on C
192. signed 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 Synth The fast attack and release on this setting can be used for synthesizer horn stabs or for bass lines played on a synthesizer Threshold Ratio Attack Release 11 9 dB 0 002 ms 85 ms 127 8 Tutorials PreSonus StudioLive 24 4 2 8 2 A Brief Tutorial on Dynamics Processing Stereo Mix Effects 128 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 Attack Release 5 5 dB 0 001 ms 98 ms Contour This setting fattens up the main mix Threshold Ratio Attack Release 13 4 dB 0 002 ms 182 ms Squeeze This is dynamic compression for solo work especially electric guitar It gives you that glassy Tele Strat sound It is a true classic Threshold Ratio Attack Release 4 6 dB 93 ms Pump This is a setting for making the compressor pump in a desirable way This effect is good for snare drums to increase the length of the transient by bringing the signal up after the
193. ss the Recall button to load it sae 2 Fu Press the Page Down button to move to the next FX Type RHEIRHCE page of the FX menu Pages 2 and 3 of the FX Decayls 1 68 menu display the rest of the parameters for FX PreDiyis 16 8 A and FX B respectively These parameters will Erly Ref dE 12 0 change depending on what type of effect you have chosen Again use the Next and Prev buttons to PG DN navigate through the screen and use the Value encoder to change the selected parameter For example if you would like to change the effect from a Large reverb to a Room Ambiance reverb press the Recall button to load the effect and then change the various parameters to taste Press the Page Up button again to move to the full parameter view of FX B When you choose a delay algorithm you will notice two parameters Time ms and Time X Time is the delay time discussed in Section 8 6 2 which is the time between the source sound and the echo This can be adjusted manually with the Value encoder or you can use the Tap button to enter a delay time in tempo with the music being played Time X is the value of the beat you are using as a reference for the tempo TAP 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 wa
194. ssor limiter allows to pass through thereby causing automatic gain reduction above some predetermined signal level or threshold Compression refers basically to the ability to reduce by a fixed ratio the amount by which a signal s output level can increase relative to the input level It is useful for lowering the dynamic range of an instrument or vocal making it easier to record without distorting the recorder It also assists in the mixing process by reducing the amount of level changes needed for a particular instrument Take for example a vocalist who moves around in front of the microphone while performing making the output level vary up and down unnaturally A compressor can be applied to the signal to help correct this recording problem by reducing Owner s Manual Tutorials 8 A Brief Tutorial on Dynamics Processing 8 2 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
195. stall 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 Agere LSI 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 Owner s Manual Troubleshooting and Warranty 10 Troubleshooting 10 1 at 44 1 or 48 kHz 16 channels at 88 2 or 96 kHz As of the publication of this manual PreSonus only recommends the following Express cards ADS Pyro 1394a StarTech EC13942 Known Incompatible Hardware ATI Radeon 9000 9001 IGP video chipset Symptoms are consistent clicks and pops during audio playback This video chipset is only found in PC laptops and is entirely integrated as the computer s only video controller PreSonus strongly recommends that users do not purchase a system with this chipset as there is currently no workaround for this incompatibility USB FireWire and s400 s800 combo cards Symptoms usually include no audio recording playback even t
196. t button The Fat Channel will now 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 have finished with all the instruments press the SIP button again and slowly bring up your faders to set up your mix Owner s Manual 89 Cascading Two StudioLive 24 4 2s Tutorials 8 Cascading Two StudioLive 24 4 2s 8 9 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 cascaded StudioLives however you can also 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 explain how two StudioLive 24 4 2 function as one 48 channel mixer 891 Configuring Multiple Units 1 Tocascade two StudioLive 24 4 2 to create a standalone system without a computer first connect a FireWire cable from the first unit to the second unit 2 Sampling Rate 48 KHz S POI
197. t 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 A 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 A 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 a gt Do not block any ventilation openings Install in accordance with the manufacturer s instructions 8 Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat 9 Do not defeat the safety purpose of the polarized or grounding type plug A polarized plug has two blades with one wider than the other A grounding type plug has two blades and a third grounding prong The wide blade and the third prong are provided
198. t there it will not clip in Capture Refer to the StudioLive documentation for more information on this topic Activating Recording in Capture 92 Once you have the desired tracks record enabled the next step is to record To activate recording click on the Record button in the Transport The Record button will turn red and the Play button will turn green in the Transport the Playback Cursor will start to scroll from left to right from its current position and a new Audio Event will be recorded to any record enabled track s 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 time stamps for when recordings start within a Song When recorded Broadcast Wave audio files get bigger than four gigabytes in size the RF64 file format is automatically used as the standard file format The recommended file system for the recording partition on your computer is NTFS on Windows and HFS on Mac OS X After recording the next step in production is usually editing In the editing process recorded events are manipulated in many ways to achieve a desired sound Owner s Manual SOFTWARE Universal Control Capture and StudioLive Artist 7 Capture 7 3 73 7 Editing Capture All audio that exists wi
199. t you set up and recording as quickly as possible Start Page Setup Area Shows Active Audio Driver and Sample Rate and Provides Quick Links to Configure Audio and MIDI In the middle of the Start page you will see the Setup area Studio One Artist automatically Praia scans your system for all available drivers kH and selects a driver By default it will choose a PreSonus driver if one is available Start Page Setup Area Selecting a Different Audio Driver from the Start Page Your StudioLive uses the same driver as the FireStudio family of interfaces If you do not see PreSonus FireStudio on the Start page when you launch Studio One click on the Configure Audio Devices link in the Setup area to open the Audio Setup Options window In the Audio Device menu select PreSonus FireStudio Click the Apply button and then OK After you have verified that the PreSonus FireStudio Universal driver has been detected please continue to the next sectionto set up your external MIDI devices If you do not have any MIDI devices to connect at this time please skip to Section 7 4 4 109 15144 eAr oipnis pue ainjde gt esJaAlU a12MYOS 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 4 Studio One Artist
200. that names the function that the tool button or window serves 84 Owner s Manual od Start Page O Capture SOFTWARE Universal Control Capture and StudioLive Artist 7 Capture 7 3 Key Commands Many operations in Capture have associated key commands keyboard shortcuts that can be used instead of navigating menus with the mouse Several of these key commands use modifier keys some of which differ depending on the operating system Windows or Mac OS X When discussed in this manual key commands with modifier keys are shown with the Windows modifier key first as follows Win modifier key Mac modifier key key For example Ctrl Cmd C means press Ctrl C in Windows or press Cmd C in Mac OS X Where there is no difference between the Windows and Mac version of a key command only one key command will be displayed for example F3 Menu Functions Many functions can be reached via hierarchical menus Where menu navigation is referenced in this manual section it will appear as follows Menu Menu Entry Function Non Destructive Editing and Undo Redo Almost every user action in Capture can be undone and redone There is no limit to how far back actions can be undone and how far forward undone actions can be redone Thus Capture users can feel free to explore without fearing they will permanently alter anything In fact just pressing buttons might be the quickest way to learn Hi
201. the Selected Channel High Pass Adjusts the High Pass Filter Button Filter Push this button to invert the phase go of the selected channel s signal that is to alter the phase 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 or 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 filter is off Remember that all frequencies below a high pass filter s threshold are attenuated See section 8 3 1 for more details Phase reverse is only available on the 24 channels of the input bus oO Ll F The high pass filter is only available Freg uz on the 24 channels of the input bus 26 Owner s Manual Fat Channel GATE Section Gate On Off the Gate On and Off for the Gate Key Button 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 Gate Key Listen Button Enables Key Listen in the Solo bus Output This button eng
202. the signal flow in this scenario next page 90 Owner s Manual SOFTWARE Universal Control Capture and StudioLive Artist 7 Capture 7 3 Digital Recording and Performance Mixer 0906 poggi 10 if Capture Main Source Selection The Main channel in Capture is a stereo channel intended to be used to record a stereo mix from your StudioLive This mix could be recorded while recording the 24 individual input channels so mix is available immediately after a live show This channel is also where you will record your final studio mixes from the StudioLive The StudioLive mixer features a software control panel to enable various channel routing options In this control panel there is a dedicated stereo selection for Capture channels 25 26 which determines what the source will be for the Mix track The sources you may choose from include the following physical outputs from your StudioLive mixer Main L R 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 2Track TalkBack EFX Return A EFX Return B and the Solo Bus Thus you have many options when choosing which stereo source to record to the Mix track in Capture The default source is Main L R The audio from the output you select will be mirrored to the Mix track in Capture and does not affect the normal operation of the physical output on your StudioLive mixer 91 7 SOFTWARE Universal Control Capture and Stud
203. thin 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 as described as follows Mouse Tools The 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 functionality without permanently altering anything The following Mouse Tools and related functions are available This is the default selected tool Click on the Arrow Tool button or press 1 on the keyboard to select the Arrow Tool The following describes various possible functions using the Arrow Tool Move an Audio Event To move an event using the Arrow Tool click anywhere on the event and drag left right up or down Dragging the event left or right will move the event backward and forward in time relative to the Timeline zoom Dragging the event up or down will move the Audio Event to the adjacent Audio Track Size an Audio Event Events can be thought of as windows into audio files where what you see is what you will hear Sizing is a fundamental technique wherein Audio Events are made shorter or longer so that only a portion of the audio they contain is seen and therefore heard gt 26 U
204. tion 9 5 Session Data Recall Sheet 9 5 Old Fashioned Analog Session Data Recall Sheet Old Fashioned Analog Session Data StudioLive 24 4 2 Track Trim Instrument Mic used Notes Instrument Mic used Notes Instrument Mic used Notes Instrument Mic used Notes I Instrument Mic used Notes Instrument Mic used Notes Instrument Mic used Notes Instrument Mic used Notes Instrument Mic used Notes Instrument Mic used Notes EB Instrument Mic used Notes Instrument Mic used Notes E no 158 Production Notes Track Trim Instrument Mic used Notes Instrument Mic used Notes 14 Instrument Mic used Notes Id Instrument Mic used Notes 16 Instrument Mic used Notes Instrument Mic used Notes 10 Instrument Mic used Notes 19 Instrument Mic used Notes 00 Instrument Mic used Notes 0 Instrument Mic used Notes ee Instrument Mic used Notes 03 Instrument Mic used Notes ell PreSonus StudioLive 24 4 2 Production Notes Owner s Manual Technical Information 9 Old fashioned Analog Data Recall Sheet 9 5 S h eet print out on US tabloid or Euro paper or 2 page letter size or A4
205. to change the effect and create new presets E n 7 TT i i Lr al To load a graphic preset select the preset from the Browser window and drag it over any part of the graphic EQ in the Master section of the Overview 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 on the page in the System menu to have control over the graphic EQ in VSL from the StudioLive See section 5 4 for details re im 26 50 3 o gt c Capture and StudioLive Artist ET i nr TT 15 li S 81 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 72 VSL Virtual StudioLive 725 VSL Set up Tab Main Mix L R Sub Group 1 2 Sub Group 3 4 Sand 1 2 Aux Send 3 4 Aux Send 5 6 Send ATA Aus Return Aux Return Return A EX Return 2 Tracks L R TalkBack L R Colo As discussed the section 6 4 2 the StudioLive allows you to route any 8 of 20 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 32 first decide which buses and inputs you would like to record in addition to your input channels Once
206. 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 Owner s Manual Expansion Terminology Tutorials 8 A Brief Tutorial on Dynamics Processing 8 2 determined by the expansion ratio For example a 2 1 expansion ratio reduces the level of a signal by a factor of two e g if a level drops 5 dB below the expansion threshold the expander will reduce it to 10 dB below the threshold 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 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 t
207. ton Click it to display more parameters for the selected track 114 Owner s Manual SOFTWARE Universal Control Capture and Studio One Artist 7 Studio One Artist 7 4 4 Atthe bottom of the Inspector menu you will see your Bank and Program selections From here you can remotely change the patch on your sound module MIDI data does not contain audio signals To hear your sound module you must connect the audio output of the sound module to a StudioLive input then connect the StudioLive s audio outputs to a sound system You also can listen on headphones using the headphone output When you are ready to mix your Song you must convert the recorded MIDI data to an audio waveform by recording a new audio track 7 4 7 Adding Virtual Instruments and Plug in Effects to Your Song You can add plug ins and instruments to your Song by dragging and dropping from the browser You can also drag an effect or group of effects from one channel to another drag in customized effects chains and instantly load your favorite virtual instrument patch without ever scrolling through a menu Opening the Browser In the lower right corner of the Arrange window are three buttons The Edit button opens or closes the audio editor or the MIDI piano roll editor depending on which type of track is selected The Mix button opens and closes the mixer window The Browse button opens the b
208. ton for Aux 3 The meter section of the StudioLive will now show 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 multi effects processor and how much will be sent Control Ratio Attack Release Gain Freq Gain e o i i ILICE 2 Eis Bia R hamini eo BILL gt E m n i moo ALLL hammma 1 3 T EAN H Jg 10 12 5 M he Mi i Mp i is T a Freg rz Threshold Release Ratio Attack Gai z 3 egli Gain an wel Wie Gain s0 c e or 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 fou
209. 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 Worry Free Live Recording 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 EQ to the signal before it is sent to the computer To switch between pre post processing press the Post button Dig Out subsection in the Fat Channel section for each input channel on the StudioLive mixer If the Post button is illuminated the channel s signal will be sent to your computer after it is processed in the Fat Channel if the Post button is not illuminated the signal will be sent without Fat Channel EO and dynamics processing After setting the input channels on the StudioLive mixer for pre post processing the next step is to launch Capture and create a new Session Once in the new Session record enable each Audio Track you wo
210. trument 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 121 8 Tutorials PreSonus StudioLive 24 4 2 8 2 A Brief Tutorial on Dynamics Processing Why do the best consoles in the world put compressors on every channel The answer is simply that most instruments need some form of compression often very subtle to be properly heard in a mix Why do you need noise gates Consider the compressed vocal example above 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 dy
211. ts Master Control Value GC D 481 The Digital FX effects Menu The StudioLive features two internal effects processors Each processor can access the StudioLive s selection of high quality reverbs and delays As described 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 Page 1 QuickView The first page of the FX menu is the QuickView screen Vocal Candy AMBIANCE It displays both of the effects assigned to the internal Decauls 1 60 Aux 123456 effects buses the main parameter for each and to which Aux buses the effect is being routed Effect Decauts 499 PAK 169456 is assigned to A bus and Effect is assigned to EFX B bus Use the Next and Prev buttons to navigate through the screen To change a parameter use the Value encoder directly beneath the LCD screen The color will invert for each parameter when it is selected for modification 49 4 Controls PreSonus StudioLive 24 4 2 48 Digital FX Master Control The Next button will scroll through this screen in the following order FX A library selection FX A main parameter FX B library selection FX B main parameter When choosing your effects preset use the Value encoder to scroll through the library When you have arrived at your selection pre
212. ts 3 1 0 QuickStart 5 2 0 Overview 7 2 1 Introduction 7 2 2 Summary of StudioLive 24 4 2 hardware features 8 2 3 Summary of CAPTURE software features 9 2 4 Summary of StudioOne Artist software features 9 2 5 Summary of Virtual Studio Live software features 10 2 6 What is the box 11 3 0 Hook up 12 3 1 Rear Panel Connections 12 3 2 Basic Hook up Diagram 17 3 3 Typical band hook up 18 3 4 Typical church hook up 20 3 5 Typical recording hook up 22 4 0 Controls 24 4 1 The FatChannel 24 4 1 1 Select Buttons Meters andthe Fat Channel 24 4 1 2 What You Can Process with the Fat Channel and Firewire Sends 25 4 1 3 Fat Channel Dynamics and Processing 26 4 1 4 Fat Channel Panning and Stereo Link 35 4 1 5 Fat Channel Output Assignments 36 4 1 6 Copying Loading and Storing Fat Channel Settings 36 4 2 Metering 37 4 2 1 StudioLive Metering Controls 37 4 3 Input Channel Strip 38 4 3 1 Input Channel Controls 38 4 4 AuxSends 40 4 4 1 Analog Aux Send Controls 40 4 4 2 Internal Aux Send Controls 42 4 5 4 5 1 4 6 4 7 4 7 1 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 1 7 1 1 7 2 7 2 1 722 7 2 3 7 2 4 7 2 5 7 2 6 Table of Contents 02 Subgroups 43 Subgroup Controls 43 Main Output Bus 44 Master Section 45 Aux Inputs AandB 45 Talkback System 45 2 TrackIn 46 Solo Bus 47 Monitor Bu
213. tton in the Capture Transport to quickly advance to the next marker which is the first song of the set and the band perks up The band thinks they played terribly during the first song and they want to skip to the next song to see if they did any better You click on the Next Marker button again and the next song starts immediately The band listens to a bit of each song and you skip through the whole set within a few minutes as if you were skipping through finished tracks on a CD The band is so impressed with the quality of the recording and your production skills 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 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 Owner s Manual Overdubbing SOFTWARE Universal Contr
214. tudioLive Artist PreSonus StudioLive 24 4 2 7 3 Capture 734 The Edit Window The Edit window is the main view of the Session page which provides an overview of the Session for editing E Orr HN n 28 d LJ L i m n aono ut T Y The Edit Window contains the following e Timeline Ruler Displays time increments in seconds e Marker Lane Displays user inserted markers e Arm All Click this button to arm all inputs for recording e Marker Click on the plus button to add a marker at the current playback cursor position Select a marker and click on the minus button to remove the marker e Track Column Contains a dedicated mono audio track for each audio input into Capture from the StudioLive mixer including a Main stereo track e Vertical Zoom Increases or decreases the size of the tracks and audio files D m isnay eArjoipnis pue ainjde gt c 5 lt D im 1 v N ot e Horizontal Zoom Zooms the session in or out 88 Owner s Manual SOFTWARE Universal Control Capture and StudioLive Artist 7 Capture 7 3 35 Getting Started in Capture Tracking is the first stage of audio production The following chapter discusses as
215. ture and StudioLive Artist 7 Studio One Artist 7 4 4 If this is the only keyboard that you will use to control your external synthesizers and virtual instruments you should check the box next to Default Instrument Input This will automatically assign your keyboard to control all MIDI devices in Studio One Artist M Default Instrument Input 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 3 If not you can close this window and skip to Section 7 4 4 Setting up an External MIDI Sound Module from the Start Page MIDI instrument controllers keyboards MIDI guitars etc send musical information in the form of MIDI data to tone modules which respond by generating sound as instructed Tone modules can be standalone sound devices or can be integrated into a MIDI instrument such as a keyboard synthesizer Studio One Artist refers to all tone generators as Instruments Once you have set up your MIDI keyboard controller take a moment to configure your sound module 1 Connect the MIDI In of your external sound module to the MIDI Out of your MIDI interface In the External Devices window click the Add button C 2 The Add Device window will launch From the menu on the left select New Instrument At this point you can customize the name of your sound module by entering t
216. ub Meter 120 10 dB LZ 1 1 1 UR ll d E t T gt gt Sub Group1 l Sub Out 1 gt gt Sub Group2 Sub Out 2 e e e d EN Sub Group3 Sub Out 3 id gt O Fat Channel NN Sub Group4 Sub Out 4 b r w aD am EH AUX 172 AUx 3 6 7 10 Solo o 02 eae o ET DO 5 Sub Group TalkBack Mic to Aux Bus Aux 4 J Dig Out Bu 20 Aux Meter Links to 1 Output Dim 1 1 Level 1 14 dB D A OUTPUT BUFFER p L i Aux Out 1 evels 1 10 v 7120 10dB 1 i gt gt Aux 2 Aux Out 2 Aux 3 Aux Out 3 D A gt gt Iu 4 Aux Out 4 gt gt Aux5 DP D Aux Out5 Equalizer N Out 6 x 8950509 did zo gt Aux7 PEET gt Aux Out 7 Q OQ 28012512 gt Axi AuxOut8 Fat Channel V M gt 9 gt Aux Out 9 gt 10 gt gt Aux Out 10 Aux Bus Dig Out Solo re 3 1 et Internal dre 1 Processor i S KA v FX Return A 9 Fat Channel DigOut 1 1 1 1 1 1 Internal FX Unit FX Return Fat Channel Dig QUE 1 EFX 1 1 1 157 9 Technical Informa
217. uld like to use or just record enable all of the Audio Tracks by clicking on the Arm All button at the top of the Track column If audio is streaming in from the StudioLive and the Audio Tracks are record enabled you should see each track s input level displayed in the track s level meter in the meter bridge You should set input levels for each input channel on the StudioLive mixer while preparing to mix the live performance If the hardware inputs on the StudioLive mixer are not clipping you do not need to worry about clipping in Capture Once the desired tracks are record enabled and you have verified input levels in Capture s meter bridge you are ready to begin recording 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 beyond Capture s control This is why the StudioLive mixer has been designed to be completely independent of any computer to which it is connected The FireWire connection to the computer simply allows the computer to receive audio outputs that are completely independent from all other channels in the StudioLive mixer Even if the computer blows up during the live show your live mix will be completely unaffected You can mix and record a live performance using the StudioLive mixer and Capture with complete confidence 103 7 7 3 SOFTWARE Universal Control Capture and Studio
218. ure and StudioLive Artist 7 Studio One Artist 7 4 6 Click on the Inputs tab in the Audio 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 7 Clickon 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 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 17 18 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
219. us pair 25 amp 26 is link enabled e Record Arm Button Below each meter you will find the Record Arm button for that track When this button is active Capture will record audio from that input 86 Owner s Manual Mouse Tools Transport Controls SOFTWARE Universal Control Capture and StudioLive Artist 7 Capture 7 3 Arrow Tool The default tool for access to most functions Range Tool Select the range of an Audio Event for editing Splice Tool Splice Audio Events Eraser Tool Erase Audio Events Sample Rate Display Displays the current Capture StudioLive Sample Rate Loop Engage Disengage Loop Mode Back to Beginning Return to the beginning of the Session Rewind Rewind for the duration this button is held down Fast Forward Fast Forward for the duration this button is held down Stop Stop playback Play Start playback at the current playback cursor position Record Start recording at the current playback cursor position Previous Marker Jump the playback cursor to the previous marker Next Marker Jump the playback cursor to the next marker Main Output Meters Peak LED style meters for the main stereo output of Capture Time Display Displays the time at the current playback cursor position Remaining Time Displays the remaining time that can be recorded based on the size of the available storage left on the hard drive to which you are recording 87 7 SOFTWARE Universal Control Capture and S
220. ve 24 4 2 Owner s Manual Baton Rouge Louisiana 70806 7257 Florida Boulevard USA 1 225 216 7887 4 PreSonus www presonus com
221. ve mi iles Filename live mix export ssion Audio Files Directly Format Wave File M applications digital audio workstations or DAWs do Resolution TL format which makes the options somewhat limited ssions created in other programs In this case you must Audio Events from your Capture Session into the audio using whatever means possible in that program Refer to 1 of your software for more information on this process gt 26 e ao c D Capture and StudioLive Artist camplerale Options Export Master Tracks cases you may have more than one Audio Event Sessian opposed to a single continuous Audio Event In Each Marker y recommended that you first export the audio for Between Selected Markers ittempting to import into an audio editing program Export Audio Files section of this section You will want to be sure to have the Export Tracks 99 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 3 Capture option selected in the Export Audio File menu as shown so that the result of the process will be a single continuous audio file for each track in the session Once you have single continuous audio files 3 for each track directly importing the files into an audio editor is much easier All that is required to reconstruct your Capture Session is to align
222. ved no further effort is required simply launch Studio One and open your Capture session See Section 7 4 for more detailsO Mixing a Capture Session in a Different Recording Application It is anticipated that some users will want to use Capture strictly as a track recording tool and will mix the recorded tracks later in a different recording application There are several ways in which this is made possible as described in the following Save a Capture Session as Open TL Many audio recording programs provide support for opening a document type called Open TL Open Track List An Open TL file provides a reference for all of the audio tracks and Audio Events with their corresponding positions in your Capture Session so that another audio program can reconstruct your Session automatically This makes it possible for you to open your Capture Session and work as you normally do in your favorite recording application To save an Open TL version of your Session select Save Session As in the File menu of Capture Name the file as usual and choose Open TL tl in the Save As Type selection box port to Audio File 2 ve your Session as an Open TL document and confirm the Location ng Yes in the confirmation window This file will be placed session folder and will not overwrite the original Capture nat the Open TL format will not save your markers Ci Users onathan DocumentsiCapture li
223. versal Control Capture and StudioLive Artist 7 VSL Virtual StudioLive 7 2 722 VSL Overview Tab At the top of the VSL window you will see three tabs Overview Channel and Setup The Overview tab provides you with a complete graphical representation of your StudioLive As you adjust parameters on the StudioLive you will notice that the VSL overview is also updated If you use your mouse to adjust a parameter in VSL the StudioLive will be updated remotely It is important to remember that every button knob slider and fader on the VSL corresponds directly to a button knob slider or fader on your StudioLive The graphic below identifies shows each controller labels with its corresponding control on the StudioLive VSL Channel Tab GRAPHIC EL eran par pem We c ay a Phantom Pw Ire er FW Return ye j Graphic EQ On Off button it A Passi pm Tp d T AF Sub 3 Assign Eri s ia Emm mmm gt 5E Quickview gt QuickView Compressor IQuickview Ed L b XE Small hall FX Mixes llam Bright hall z E i Wam hall 1 Gated hall Select SELRET ec sELECT 1 DR B Large hall O alm M sou sow Plate
224. very channel and bus Aux Mix All aux mixes analog Aux Mixes 1 10 FXA and FXB and Pre1 Pre2 positions Faders All fader positions Pots All 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 If you enable Fader positions as part of your Scene recall the StudioLive will automatically put the meters in Fader Locate mode after you press the Recall 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 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 recall 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 rem
225. ware 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 or mixing your audio real time to a stereo audio file Capture software was designed to interface with StudioLive 24 4 2 perfectly to allow instant setup and recording of performances In addition to recording the 24 channels of the StudioLiv
226. y Dynamic microphones especially ribbon microphones tend to generate low output voltages so they typically need more preamp gain than condenser microphones Ribbon Ribbon microphones are a special type of dynamic microphone and get their name from the thin metal ribbon used in their design Ribbon microphones capture sound with very high fidelity especially higher frequencies However they often are very fragile many newer models are less so and typically cannot handle high sound pressure levels Most ribbon microphones do not require phantom power In fact unless a ribbon microphone specifically calls for phantom power sending phantom power to a ribbon microphone can severely damage it usually beyond repair USB Microphones and Other Types There are many microphone types available and as technology increases it is very likely more will be developed One type of microphone to emerge recently is the USB microphone These may be dynamic or condenser mics but many of them have built in preamps and need drivers to work with computers Because a USB microphone is in effect an audio interface we recommended that you not use them with the StudioLive as the likelihood of conflicting drivers is great If you are using a new or nonstandard type of microphone e g 117 Tutorials Microphones PreSonus StudioLive 24 4 2 USB headset laser MEMS please consult your microphone s user s manual for power requirement and c
227. y This application is also useful in heading off a feedback problem 145 8 8 8 8 8 2 8 8 3 146 PreSonus StudioLive 24 4 2 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 i e if Channel 3 is soloed you will only hear Channel 3 in your Mains This makes a great fine tuning tool but it can quickly destroy a live mix It is highly recommended 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 Selec
228. y 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 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 Page 5 Store XN Turn the Value Encoder clockwise or counter Memory Vocal Candy clockwise to change the letter The StudioLive allows you to customize the name with uppercase and lowercase letters and a selection Use THP for space Push Store of numerals and punctuation marks Press the Tap button to quickly insert a space Name Uocal Candy 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 50 Owner s Manual Controls 4 Digital FX Master
229. y to capture and mix a great performance As a valued PreSonus customer you are also eligible for an upgrade discount for Studio One Pro when you are ready to master your work create a digital version for the Web or incorporate third party VST plug ins into your recording process For more details on the Studio One Pro upgrade program for PreSonus customers please visit www presonus com gt 26 50 3 gt c gt Capture and StudioLive Artist 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 741 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 complete the installation process 107 7 SOFTWARE Universal Control Capture and StudioLive Artist PreSonus StudioLive 24 4 2 7 4 Studio One Artist Running the Studio One Installer To Instal
230. you ve determined your input 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 EQ where applicable The inputs and buses selected in the Auxiliary Input Router will be displayed in your recording application with the name of their routing For instance the routed pairs in the above picture would translate as follows in your host recording application PHYSICAL SOFTWARE Main Mix Left Auxiliary In 25 Main Mix Right Auxiliary In 26 Subgroup 1 Auxiliary In 27 Aux Send 2 Auxiliary In 32 82 The Auxiliary Input Router also allows you to designate a specific bus to the S PDIF output as well as to select which stereo pair will be recorded on the Main Track in Capture When the StudioLive is not connected to a computer the S PDIF output is routable through the System Menu see Section 5 4 However when your StudioLive is synced to your computer you can route any of the 14 routable buses to the S PDIF output by routing them to FireWire sends 31 and 32 In addition to being available for recording via Aux In 31 and Aux In 32 these sends are normalled to the S PDIF output Owner s Manual SOFTWARE Universal Control Capture and StudioLive Artist 7 VSL Virtual StudioLive 7 2 726 Enabling Lockout Mode Your StudioLive features a Lockout mode that allows

StudioLive™ 24.4.2

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StudioLive&trade; 24.4.2

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StudioLive™ 24.4.2