PreSonus Blog

Studio 192 Available Now!

October 9,2015

The Studio 192 is now arriving in the hands of customers!

Here’s a great overview Rick did with the kind folks at Sweetwater.


Category Studio 192 | 0 Comments »
Posted by Ryan Roullard


Nothing More delivered this incredible performance of “Jenny” for our recent PreSonus LIVE webcast. Of course, they absolutely NAILED it.

Category Artist | 0 Comments »
Posted by Ryan Roullard

How would you like to mix in Studio One using a 27″ touchscreen?

Well, now you can, thanks to Slate Digital LLC—check out the Raven Console running Studio One 3! For several months, our Hamburg team worked closely with Slate to get the best user experience out of this solution.

Learn more about it at


Category Studio One | 0 Comments »
Posted by Ryan Roullard

Here’s the recording from a two-day behind-the-scenes look at pro-level loop production! Our friends at The Loop Loft arranged to bring in none other than the incomparable Charlie Hunter (bass/guitar), Johnny Vidacovich, and Simon Lott (drums) to PreSonus HQ!

They put down some serious grooves while we recorded multi-tracks live at our in-house studio. Some major chops are on display here—while Charlie Hunter’s 8-string guitar “Bass and guitar at the same time” chops are well-documented, there’s some serious drum witnessed here, as well.

Stay tuned to The Loop Loft’s site for more on the release of NOLA Beats – The Lineage of Groove, Volumes 1 and 2.


Category PreSonus LIVE | 0 Comments »
Posted by Ryan Roullard

RM_Lo_Price_Digital_Flyer_8-26-15I’ll keep this short: everybody wins!

From this day forward, the pricing of StudioLive RM-series Rack Mixers have dropped. Prices are lower worldwide and vary by region, but here in the US they have been reduced by $200 USD, each. That brings the StudioLive RM32AI down to $1,799, and the RM16AI down to $1199.

You may or may not decide that it’s a coincidence that this price drop coincides with the availability of the StudioLive CS18AI touch sensitive control surface for RM mixers. It makes the idea of a complete AVB mix system, with motorized faders, no need for a digital snake (because it’s replaced by a single ethernet cable) and no need for a separate stage box more appealing, now doesn’t it?

If you’re still not sure about getting an RM mixer, read more about them by clicking here. And if you don’t want to take our word for it, you can read an excellent review from FOH Online here.

“The RM-Series mixers break through the touch barrier with a compact, affordable rig that can double as a stage box (no snakes required), while offering a versatile, flexible merging of hardware and software control to form a powerful mix solution.”

This is not a rebate or limited time offer. This is a permanent price drop.


Category StudioLive RM Series | 0 Comments »
Posted by Ryan Roullard

Half_Off_Eris_Digital_Flyer_8-24-15The Eris monitors have enjoyed overwhelmingly positive reviews since launch—more on that below. While much of this is due to their small footprint and admirable signal-to-noise ratio, there’s also an incredible bang-to-buck ratio to be had with these bad boys.

Well, guess what? The latter ratio is now even better, if just for a little while. From now until Nov. 30, 2015, we have cut the price of an Eris E5 or E8 in half when you get a pair of them. (A pair of monitors is the preferred deployment method for working in stereo, BTW.)

Gotta admit, “Buy One, Get One 1/2 Off” has a nicer ring to it than “Save 25% on a pair of Eris Monitors.” But that’s basically what the deal is here.

But don’t take our word for it—after all, these are speakers we’re talking about. You really ought to hear them. This offer is available in the USA—click here to find a dealer so you can hear them in person—and take advantage of this offer.



Here’s those nice reviews I was talking about:


“Ultimately, someone looking to setup a home studio or who needs portable monitors ought to go with the PreSonus Eris E8. The quality’s professional level, the functions are versatile, and the design is fairly portable – so how much more could you want?”



“For their first attempt in the monitor speaker market, PreSonus start with an already technically mature product. The Eris E8 offers high-quality construction, comprehensive input connections and extensive setting possibilities (low-cut filter plus low, mid and high filters) at an affordable price ($250 for a single monitor). During our listening sessions, the speaker seduced us because it reveals no real weakness. The frequency response is very smooth, even smoother than the Mackie we liked so much two years ago, all frequencies are reproduced effortless. This also applies to the dynamic range and the stereo imaging. This E8 monitor speaker is the autumn hot deal in the lower mid-class market segment.”



“This is a speaker that could easily take care of all recording and mixing possibilities in a small studio.”

Click through to MusicRadar to read the full review!


Category Promo / Discount | 0 Comments »
Posted by Ryan Roullard

Here’s Ray geeking out in your favor—illustrating how to set up and network the StudioLive CS18AI using AVB and Direct Connect Ethernet. Enjoy!

Category StudioLive CS18AI | 0 Comments »
Posted by Ryan Roullard

Don’t miss this Thursday’s PreSonus LIVE: Using the StudioLive CS18AI to Control Studio One!


Click here to watch or sign up for a calendar reminder.


Category StudioLive CS18AI | 0 Comments »
Posted by Ryan Roullard


Ricki and the Flash poster (1)Rehearsals started on Monday, September 15. Everyone came in with instruments: Joe had already set up his drums, and the film had rented a B3 and Leslie for Bernie. Rick the Bass Player had one of his Laklands, Rick Springfield had his Gibson SG, and Meryl had a Fender Telecaster. We had backup instruments, as well, and Danelectro sent us a couple of guitars (more on those later).

Neil, Mark, and I made several trips to the 14th St. Guitar Center to get pedals for Rick Springfield’s setup, and Line 6 sent us a guitar wireless system for Meryl. The premise is that Ricki (Meryl) is trying for stardom and is currently slugging it out in clubs in the San Fernando Valley, playing every Tuesday night at the Salt Well.

Gary Goetzman is the producer of the film, and he led the rehearsals, with assistance from Neil and Mark.

We started with a basic line check; the kick drum was miked with an ATM 250. All the other drums were triggered. Joe has triggers built into his custom Drum Workshop kit, and we just plugged out of the trigger module into my Radial DI boxes. We needed to make sure we had signal; one great thing about recording with PreSonus® Capture™ is that the send is pre-fader, so the fader position on the StudioLive AI console is irrelevant; the recording software uses the input gain level you set on the head amp actuators (trim knobs). It’s a really nifty design because it allows the house mixer to change the fader levels for the live house mix without affecting the recording.

Along the same lines, once we had the guitar amp levels where we wanted them with the Radial JDX boxes, we also took a “clean” feed, plugging the guitars directly into my Radial ProDI boxes before the amplifier, in case Neil and Mark wanted to “re-amp” the guitars during mixdown.

A quick aside: I’ll bring it up again later but I want to stress that Gary and director Jonathan Demme wanted authenticity, and they got it. Every note you hear is what was played by the musicians; there are no overdubs of instruments in this movie. There were a few extra band takes for vocals because of bleed but all of what you experience in the movie is Ricki and the Flash performing as you watch.

It was a treat to watch these professionals at work. Gary took five people who had never played together in this configuration and turned them into a band. Each song got a workout. Gary kept the band focused; they worked on one song at a time until they felt they had it down. From where I sat, it really paid off; by the end of rehearsals, I felt like I was mixing a band, not a loose knit group of musicians jamming, but a real, tight band.

Category StudioLive PA Systems | 0 Comments »
Posted by Phil Garfinkel

[This just in from Steve Cook, session bassist extraordinaire!]

This music business is a funny one. We have our steady gigs, we have producers that like to call on us for different sessions, then there’s the ‘X’ factor: the random gig calls. Sometimes they are for a used car lot sale or a hot dog stand dedication, however sometimes they are from the largest pickup manufacturer in the world. I like hot dogs, and I like Seymour Duncan pickups a whole lot as well.

The voice on the other end of the phone was Kathy Duncan, the head of Seymour Duncan, and her request was a simple one: “Can you record samples of every one of our bass pickups? You have creative liberty to do whatever you like, we just need the samples to be consistent, and representative of the pickups their truest form.”

Well, that narrows it down a bit, doesn’t it?

There were a couple of hurdles to leap in order to make this happen. First, we needed to find all the instruments required in which to install the pickups. Second, I found a tech that would come to the recording sessions and basically work on an assembly line of removing and installing pickups. For example, as I tracked the first P-bass pickup, he would be installing the first Jazz bass pickups, then we’d swap instruments, and move on to the second in each type, and so on.

Where the logistics were a bit daunting, the one constant on which I could rely was my recording set up. For this project (and all my home recording projects), I run PreSonus Studio One through a couple of FireStudio Projects, controlled with a FaderPort. The Class-A preamps in the FireStudios sound amazing, and Studio One is an incredibly fluid and easy platform in which to work. The FaderPort made the whole process easy. I had controls under my left hand with a bass in my right. The finished files sound great, and I (and thankfully Seymour Duncan) were happy with the results.

The project was really a lot of fun for me for several reasons. Rarely do we get to sample dozens of pickups at the same time. As I go back and listen to the individual tracks, I have been able to pinpoint exact tones I like paired with certain instruments, and I know exactly which pickups to install in my personal basses—mission accomplished! I also liked getting to know my Studio One software and other PreSonus products more in-depth, and that I have great sounding tools at my fingertips.

Thanks PreSonus, for continuing to impress, and for keeping us Nashville musicians rockin’! You can hear the demos over at the new Seymour Duncan site.

Steve Cook


Category Studio One | 0 Comments »
Posted by Ryan Roullard