A lot of holiday marketing hoo-haw talks about “stocking stuffers.” This sort of hype is intended to resonate with that segment of the Pinterest crowd that believes “good things come in small packages.” That’s cool and all, but I know for a fact that we musicians like nothing more than unwrapping a great big box full of pro audio gear and promptly getting it up and running. Preferably before the goose is served, and grandma falls asleep in the recliner, wine glass in hand. And besides, you already have a couple of stocking stuffers. They’re called “feet.”
Here’s a look at some opportunities to save some hay-pennies on our already reasonably-priced studio stuffers.
Buy a StudioLive 16.0.2, get a sweet, steely-grey carrying case. Even the most abominable of snowmen need to leave the cave now and again, and we feel the StudioLive should go with them. This fashionable, admittedly box-like gig bag will keep your StudioLive 16.0.2 warm and toasty through the most boreal of polar tundras. Save your receipt! This promo ends Dec. 31, 2013.
Usually the AudioBox VSL interfaces ship with Studio One Artist, but for a limited time you can get bumped up to Studio One Producer, which includes VST support, and the ability to import/export .MP3s. This offer ends Dec. 31, 2013. Your upgrade activation key will be provided via email.
These two products make a great team. The AudioBox 1818VSL offers eight XLR inputs. And if you need eight inputs, you probably have more than one musician in the room, which would imply that you need a few different headphone mixes for monitoring.
Unless, of course, you’re recording an octopus playing eight single-note melodies on eight different monophonic synthesizers. If that’s the case, please invite me to your Christmas party.
The AudioBox 1818VSL allows for monitoring your recording with effects but without latency, and when combined with the HP4 headphone amplifier, this game-changing experience can be shared with three of your friends.
This offer ends January 31, 2014.
If you’re going to get a pair of reasonably-priced, incredible-sounding speakers, it would do them (and you) a disservice to use less than a reasonably-priced, incredible-sounding DAW. For a limited time, if you purchase Eris E5 or E8 monitors, we’ll throw in Studio One Artist, FREE!
No rebate forms required on this one. All you need to do is purchase your monitor(s), and visit the brand-new my.presonus.com and register them. The download link for Studio One Artist will appear in your account. Note that you will only receive a single copy of Studio One per pair of monitors purchased.
This offer ends Dec. 31, 2013.
Category StudioLive 16.0.2 | 3 Comments »
Posted by Ryan Roullard
PreSonus was proud to be a part of the 2013 ASCAP Songwriters Retreat, held September 25th to October 4th at the 14th-century Château Marouatte in the Dordogne region of France—an inspiring place for the lyrically inclined.
And that’s the point. ASCAP has designed this retreat to bring out the best in talented writers. This year’s 30+ participants were divided into different groups, every day, to write and record, keeping collaborative spirits fresh and healthy. At the end of the session, attendees return home with renewed artistic vigor, their hearts and hard drives full of song.
In fact, a dozen of the songs written at the camp this year are already on hold for major label artists, including The Temper Trap, Kelly Clarkson, Melanie Fiona, Nylo, Jessie Malakouti, and Jon Bellion.
PreSonus was happy to provide a metric heap of equipment to foster the creative process, including:
- 4 pairs of Eris E8
- 3 pairs of Eris E5
- 1 ADL 700
- 1 ADL 600
- 2 Eurekas
- 1 BlueTube DP
- 2 StudioLive 16.0.2s
- 2 AudioBox 44VSLs
- 2 AudioBox 1818VSLs
- 1 Partridge (in pear tree)
Photos from the event follow, as well as a kind thank-you video from the songwriters themselves. You’re welcome, folks, and we hope you wrote enough hits to fill a 14th-century dining hall. Read more about it here.
Category StudioLive 16.0.2 | 236 Comments »
Posted by Ryan Roullard
So, ya wanna make a record? Have we got a deal for you. From now until January 31, 2014, if you buy an AudioBox 1818VSL interface, we’ll sweeten the deal in the form of an HP4 Headphone Amplifier. These two products work phenomenally well together. Not so much in a chocolate and peanut butter sense, as those are generally perceived as equal partners. This is more of a Batman and Robin-type relationship.
The AudioBox’s much-lauded VSL technology will allow you and your band to monitor your vocals (or guitar, or whatevs) with effects and without the heinous scourge of latency. Eight XLR inputs and a bevy of outputs and routing options make the 1818VSL a versatile solution for tracking a four-piece band, even with multi-channel drums.
It gets better. Previously proffered package of the AudioBox 1818VSL and HP4 headphone amp will allow up to four band members to monitor their performances during tracking. Hearing your vocals over the din of that 28” vintage crash/ride your drummer is rapidly destroying isn’t a luxury, it’s a necessity! And as headphone amps go, the HP4 is as loud as they come—if ya want. In more quieted environs, you can mix silently without waking your spouse/roommate/rugrat(s) via your HP4 and headphones.
This offer is available to most territories worldwide—check with your local distributor. You can find yours by clicking here.
Next, Click here to get the simple rebate form. Make sure you save your receipt when you buy the AudioBox, fill out the form, get it back to us, and we’ll ship out the HP4. It will back up your AudioBox time and time again. It’s like having R2D2, Tonto, and Short Round all come to your rescue at once.
Category Promo / Discount | 138 Comments »
Posted by Ryan Roullard
Category StudioLive Remote | 103 Comments »
Posted by Ryan Roullard
Ah, good ol’ AudioBox. It’s like a cross between an interface, pack mule, and member of the band. Ever the dependable ally, the AudioBox VSL interfaces have carried many an Artist through countless recording endeavors with reliability, consistency, and zero-latency monitoring. Perhaps that’s why I can’t find a user review for the AudioBox with less than 4/5 stars on the big online dealer websites.
In the spirit of complete solutions, we’ve always been happy to include Studio One Artist with the AudioBox VSL series. But in the spirit of completer solutions—and reliable friendyness—we’re tacking on a bonus for a li’l while.
From now through Dec 31st, 2013, you can get that included copy of Studio One Artist 2.6 upgraded to Studio One Producer 2.6 when purchasing the AudioBox 22VSL, AudioBox 44VSL, or the AudioBox 1818VSL. Both Studio One Artist and the upgrade to Studio One Producer are worth $99, so, that’s like getting $200 of free software. You’re welcome, and after all, what are friends for? Studio One Producer includes significant feature upgrades from Artist, including MP3 import/export and virtual instrument support.
This rebate offer is available until Dec. 31, 2013. Save your receipt, physical or emailed, as you’ll need it when the time comes to claim your upgrade via the handy form.
Your upgrade activation key will be provided via email; no physical product will be shipped. Allow four to six weeks for delivery. Processing time is subject to change depending on hurricane or Saints game tailgate party traffic congestion.
We have a couple other great promos going on right now that might interest you as well:
- Free Gig Bag with Purchase of StudioLive 16.0.2 Digital Mixer
Buy a StudioLive 16.0.2, get a sweet, steely-grey carrying case. Save your receipt!
- Save $50 on the AudioBox Studio
Buy an AudioBox Studio, save money. No forms, no hassle.
Category Studio One | 300 Comments »
Posted by Ryan Roullard
Spotted this on Peter’s desk. In Baton Rouge, team spirit knows no bounds, but we had to draw the line the last time Rick showed up in full purple and gold body paint. We told him that we sent him home for a shower, but fact is it was really posed a significant health risk.
Category Just for Fun | 97 Comments »
Posted by Ryan Roullard
[We decided it best to give some recognition to our more vocal advocates—and what better way than via a blog series.]
Steve Savanyu. Hudson Ohio, I am the educational services director at Audio-Technica and teach at Kent State University. I teach microphone and wireless workshops at universities around the country and have taught at all of the PreSounSphere events… In my spare time I operate Buford T. Hedgehog Productions, a local production company that does live sound, studio recording , live remote recording, video production and lights just for giggles. I also participate in really big events such as Presidential Debates, Papal visits, and Inaugurations….
How were you introduced to PreSonus?
Through a friendship with Rick Naqvi, at a church sound seminar where I was teaching a microphone class. I assisted with a live recording at the event where we used 3 FirePods aggregated together on my Mac laptop. It was a fun experience and we learned a lot. Ask Rick about hot patching into a non-transformer isolated 48-channel stage snake splitter. It made a big noise on a really expensive NEXO line array…. Oops.
What PreSonus software/hardware do you use and for what purpose?
Where shall I begin? I currently own 5 StudioLive 16.4.2’s, one StudioLive 24.4.2, and 1 StudioLive 16.0.2 which I use primarily for live gigs. I also have been known to carry the 16.0.2 out as the front end for remote tracking sessions using Capture. (I have recorded the orchestral score for two Kent State Student films this way). My original location rig is a FireStudio with 2 Digimax Pres to give me 24 inputs. (I multitracked a basketball game with it for an Audio Technica project. We were showing how different mics and positions affected game sound for broadcast.) In the studio I have a Central Station with remote for speaker management, and a FaderPort which I use as a controller for the audio part of my video edit rig. I picked up an AudioBox 44VSL for location video work (tied into a MacBook Pro laptop). I run a legacy Pro Tools rig in the studio with a DIGI-003 interface (back when ProTools required Digi hardware) with DigiMax D8 mic pre. The band I work with uses two of the 16.4.2s and performs about four nights a week on average (in different locations). The ease of operation on the StudioLive console and the ability to save scenes makes it a snap for the band to use.
On the software side, I use Capture to record almost every live event we do. The low overhead of capture allows me to use some pretty basic computers to record up to 32 tracks via two linked StudioLive 16.4.2s. In the studio, I have been using Studio One Professional 2.5 as my main edit software. I like it, as it’s intuitive and has low computer processing overhead so it runs great on a laptop. As an experiment, I mixed a seven-song EP of a band I work with on a flight from LA to New York! I was burning out the CD as the flight attendant was saying power down your electronic devices for landing. Of course my Audio-Technica ATH-M50 headphones made accurate monitoring possible in the plane’s less-than-fancy mixdown environment.
I have dabbled with iPad control on my larger rig, but not implemented it completely due to the expense of buying seven iPads, computers and routers. I am looking forward to the StudioLive 32.4.2AI with its built-in networking. I can beta test…
What’s so great about PreSonus, anyhow?
First and foremost is the people! I have called Justin and Rick on weekends and evenings with questions and they always get back to me promptly. I have participated in both PreSonuSphere events and like the camaraderie of the entire PreSonus Family.
Second, is the products just work and sound good. They are intuitive to learn making it easy for me to train a band’s engineer on using a digital board. We like the fact the processing is built-in to the StudioLive consoles. The presets sound great, and make it easy to get a mix up even if you have never done sound for the band before. True story: Early on we did a gig for a band who was unfamiliar with the power of a digital console. It was an outdoor event so I had the 16.4.2 out front with the snake and a power cable for FOH stuff. Their diva lead singer, who knew everything about sound and told me so, was being a pain in the butt. He walked out to FOH, looked at the “smallish” console and said “dude where is your effects/EQ rack?” I hesitated for a moment and looked him in the eye and said: “Dang, I knew we forgot something…” The look on his face was priceless…
And third of course, is the jambalaya…
Where can our readers learn more about you online?
First and foremost, check out the Audio-Technica.com website. A-T makes great studio and live mics that pair up well with PreSonus hardware. Our new AT5040 with its revolutionary capsule design and “pure, simple signal path” would pair up well with the ADL 700 Channel Strip (hint hint, I have the mic…) Our Artist Series and Artist Elite live sound mics are second to none.
As for me, check out my website www.bufordthedgehog.com and visit me on Facebook. I try to post a FOH picture of every gig I do either on my page or the PreSonus user group page. I am on LinkedIn but don’t do the Twitter thing.
You can see some of my video work on the A-T YouTube channel as well as other audio companies’ YouTube channels. I have several published articles about doing audio for video and I am the audio expert on the FilmSkills online training series produced by Jason Tomuric.
I attend all of the major trade shows: NAMM, INFOCOMM, NAB, etc. and do microphone and sound workshops at universities, church conferences (with my good friend Doug Gould) and trade shows. You can’t miss my distinctive look…. just ask for the blonde guy!
Category VSL | 111 Comments »
Posted by Ryan Roullard
Who are you, where are you, and what do you do?
My name is Johnny Geib and I live in Wheeling IL, 24 miles northwest of downtown Chicago. I work 3rd shift for a company contracted by the IL Tollway to do maintenance and systems support of their Toll Collections systems. 45+ hours a week and never a dull moment. Part time, I run a home-based recording facility for both clients and my own music, and have been doing so for more than 25 years. I started out with a 4-track Tascam, then a Fostex Open Reel 8 track, graduated to a VS2480 in 1998 and Akai DPS24 a year later.
I was a Cubase\Nuendo user from 2003 till I discovered Studio One 1.0 when I bought a Firestudio Mobile. I used the FS Mobile with Cubase and a FaderPort till I upgraded to Cubase 5. The update was a disaster and put me out of business for a month. That’s when I remembered the free copy of Studio One Artist that came with my FS Mobile. Since I had to get something done while I waited for tech support to get back to me, I installed Studio One Artist and was totally blown away. I was recording and mixing within an hour and saved two clients that were ready to walk because of the delay. From that point, I never looked back and purchased Studio One Professional that following Friday. I have been a PreSonus fan boy since. And now, with PreSonus making studio monitors, my studio is about 95% PreSonus!
Well, not sure you’ll have room for this list in the blog but here goes: Studio One 2.5.2, Capture, Monitor Station, FaderPort, Audiobox 22VSL, AudioBox 1818VSL, Studio Channel, FireStudio Tube, FireStudio Mobile, HP-60 headphone amp, Eris E5 monitors, two M7 mics, two SD7 mics, three HD7 headphones, DIGITube and a StudioLive 16.4.2!
Category StudioLive 16.4.2 | 240 Comments »
Posted by Ryan Roullard
John Mlynczak, Education Market Manager for PreSonus, shows us some of the basics of running live sound AND recording a school jazz band with the AudioBox 1818VSL. He shares his channel breakdown and monitoring setup.
With the AudioBox 1818VSL, you can track the entire band, and send students their own parts for study—or whatever submix you feel is best!
Category Education | 97 Comments »
Posted by Ryan Roullard
[This just in from PreSonus Artist Olesya Star, who recently completed an unusual duet.]
As an independent artist, people always tell me that to survive you have to take 2 steps left whilst walking forward or you’ll go in circles, so I always keep an open mind to new ventures, avenues and pathways through this minefield called the music biz. One such diversion presented itself to me recently in the form of a country duet, originally meant for Dolly Parton, but sung by Tim Rose. Tim was an original American troubadour who was a founding Greenwich Village folk musician in the 1960s, and former band member with the likes of Mama Cass (Mamas and Papas), and later in life Andy Summers (The Police) and Mick Jones (Foreigner). Sadly, I never met Tim Rose before he died in 2002, but by pure chance I was asked by an old friend of Tim’s if I would supply “Dolly Parton-like vocals” and work the track, originally recorded in 1988.
The tracks were originally recorded on 2″ tape, so the tape needed to be baked and digitized prior to landing on my studio desk. I had 24 tracks to play with that had been encoded at 24bit/96khz, which I brought immediately into PreSonus Studio One Professional v2. The job of identifying the microphones that were used in the original recording was completely irrelevant with Studio One, as it was far simpler just to make the recording sound how it should by using the simplest included Studio One features: Channel Strip, Compressor, Pro EQ, OpenAIR reverb and, my favorite by far, the Mulitiband Dynamics effect on the Master channel which glues the track together—sometimes much better than using summing mixers that cost in the thousands.
I recorded my vocals through the PreSonus AudioBox 1818VSL, dropped the majority of unnecessary channels/recordings, and sculpted a rough mix before handing the final session over to my producer/mastering guru, Adam Mills. Adam added some heart-poundingly heavy kick drum and a sprinkle of the missing magic by adding just 2-3% OpenAir in the Mastering/Project section of Studio One, as an insert, with a tight room preset— and no more pre-delay than 15-20ms. There you go, now I’m even handing out secrets!
The result is “You Can Hurry Darling (And I’ll Walk Slow)” which now sounds like I was in the room with Tim Rose at the same time, All thanks to Studio One and PreSonus. Here’s a sample, the full single drops Feb. 14!