Don’t miss this Thursday’s PreSonus LIVE: Using the StudioLive CS18AI to Control Studio One!
Until June 30, we’re offering $200 the purchase of the StudioLive RM16AI in the USA. No rebate forms, no mail-in anything, just money in your wallet. This is a similar offer to the $300-500 off we’re offering on the StudioLive AI Console mixers, which you can learn more about by clicking here.
Make no mistake—because we kinda did. The StudioLive RM16AI is a 32-channel mixer. While it boasts 16 analog XLR inputs on the face, (I bet your face only has 5) there’s another 16 digital inputs available under the hood that allow you to pipe in multi-channel audio from a workstation or laptop. This positions the RM16AI as an exceptional choice for a gigging band that makes heavy use use of backing tracks—a model that is becoming increasingly common. For example, Check out what Startisan has been doing with it:
Of course, since there’s no faders, you also get UC Surface control software (for Mac, Windows, and iPad), Capture 2, QMix AI, and Studio One Artist. The mixer additionaly features monstrous onboard Fat Channel DSP, Wi-Fi and wired networking—plus built-in AVB. It’s a real powerhouse, despite an inability to adhere to long-established conventions of nomenclature. Click here to learn more about all that good stuff.
But perhaps coolest of ALL, and why this is such a good deal right now—the RM16AI is designed to be elegantly controlled by the StudioLive CS18AI moving fader Ethernet/AVB Control Surface, allowing complete hardware control of all mixer features.
Oh, and the StudioLive RM16AI is also one of Mix Magazine’s “Most Innovative Products of 2014.” We’re flattered and thankful for the recognition.
[This just in from John Taglieri from Dawg Pound Studios!]
Hey there, I’m John Taglieri from Dawg Pound Studios. Based in Hanson, Massachusetts, our studio boasts a 200 square foot live room full of drums, vintage amps, a ’64 Hammond, and close to 30 mostly-vintage guitars and basses to choose from. Our control room is full of great digital and outboard gear to help make sure we capture the music as accurately as it is performed—and make it sound amazing. I’ve produced close to 20 CDs for myself and clients, and as an engineer/producer have had two Billboard charting CDs (a #74 and a #112), a #1 single on Amazon, a total of 11 top ten singles on Amazon & iTunes, as well as a Best-Selling Alternative EP on iTunes. The studio has been touted as having a great-sounding live room, and a control room that sounds true. What you hear at the mix area is what it sounds like out in the real world as well.
One thing I’m proud of is that we use a lot of PreSonus gear in the studio. When I had my studio at its old location in New Jersey, it was very piecemeal. I started really working with PreSonus when I moved the studio to Massachusetts three years ago. I did the studio build from scratch and wanted the best gear that I would feel comfortable with. The room didn’t exist, so I worked with an acoustic engineer to get the design right, got some help from Auralex to tune it, and then chose PreSonus for workflow, live room monitoring and control room mixing. Currently I’m using the following;
For my latest EP, Days Like These, we had a great and fun situation. We assembled top musicians from all over the country, including Kenny Aronoff (John Mellencamp, John Fogerty, Michelle Branch), Rich Redmond (Jason Aldean, Ludacris), Alan Bowers (Rachel Allyn), Chad Cunningham, as well as myself on drums. We also got Lee Turner (Darius Rucker) & Eric Ragno (Kiss, Alice Cooper) on keys and Greg Juliano on bass. Keith LuBrant, Joe Gilder & myself handled guitars, and we used writers from the US & Australia.
Tracks were cut in eight different studios around the country, as well as at Dawg Pound Studios, and on all different DAWs. We then used DropBox to get the .WAVs to Dawg Pound Studios, where Studio One Professional 2 was used to assemble and mix all the tracks. Dozens of tracks were done in-house as well as sent in. All songs started at my studio with acoustic guitar, vocals, and click tracks, and ended with final mixes. The workflow was effortless. Working with Studio One and my FaderPort, mixing was a great experience. I had just added the FaderPort to the system and I can’t tell you how much it streamlines mixing. It makes subtle mix, pan and FX moves far easier than using my trackpad. I run a tricked-out Mac Mini with a Bluetooth keyboard and trackpad. We must have done something right because the EP debuted on release week on the Billboard Independent Album chart at #112, which was quite an honor.
Running PreSonus in my studio has brought my studio up to a level of quality that I can truly be proud of. I am putting out sounds rivaling any other studio thanks to the quality of my inputs, the workflow, the ease of mixing, true quality stock plugins, great preamps, and I know my clients love the custom monitoring setup in the live room during tracking. Stop by the studio’s website and Facebook and check us out!
Seattle’s Brandon Scott has been saying nice things about us for a couple years now. Beneath his infinitely approachable demeanor, the guy is completely PreSonuCore. His home studio is almost completely draped in familiar silver and blue; a rack-mount roll-call finds the AudioBox 1818VSL, FireStudio Mobile, Studio One, and now the FaderPort all present and accounted for. The FaderPort is Scott’s latest acquisition, and he’s already singing the praises of portable power placed in the ‘Port’s petite profile—check out the cool video he made on the matter, below.
Hey Brandon – now that you’ve had some time to learn to love the FaderPort, try taking it away for a week and see what it does to your workflow. I DARE YOU!
Brandon’s been staying busy in true Scott form:
“Of late, I’m still writing some newer songs, recording some cover songs, doing a lot of video, and of course being a new daddy to a 7-month old has been challenging, but also amazing all at the same time. That’s probably my best job ever over anything else.”
“I’ve been doing a lot of mixing projects for people, of course using the amazingly beautiful Studio One. I’ve also gotten into video lately, I use Studio One to render any needed audio effects, and then bounce it back out to Final Cut or Adobe Premiere—and it lines up perfectly!”
“I want to thank you all for what you do for someone small like me. I appreciate you all at PreSonus and love you and Rick. Next time you all are out in Seattle let me know so we can hook up!”
Who are you, where are you, and what do you do?
My name is Spud Too Tight based out of Minneapolis, MN, I’m a producer/keyboardist and host of The Producer’s Corner with Spud Too Tight—A celebrity-driven music production & tech talk show since 2009. It’s the new hot spot where Billboard chart-topping, award-winning, Grammy-award winning & platinum-selling icons sit down and discuss their craft. I’ve interviewed some of the biggest names in the business such as George Duke, Jeff Lorber, Larry Graham, Brian Culbertson, Gerald Albright, Fourplay, Marion Meadows, Gloria Loring, Mindi Abair, Joyce Cooling, DJ BattleCat, The Justice League, Cool & Dre, and a long list of others.
I am also the Inventor of V.S.C. (Virtual Studio Configuration) A new studio wiring configuration that allows musicians to stream audio directly from any DAW (PC or MAC) or analog setup over the Web in stereo without any feedback or audio looping issues. I use WebRTC chat services that provide real-time communication. As musicians, we can run into obstacles preventing us from making rehearsal or recording sessions that may require us to fly out of town. The traditional days of playing music over the Internet would consist of either using your internal microphone on your laptop or desktop, or using a USB microphone. It’s an instant turn-off to collaborate online effectively without good audio clarity. As musicians, we need to be able to hear what’s going on in the song. If we are going to collaborate online, we need to be able to hear the low end of the bass, some nice punch from the midrange and brightness from the high end of the mix. When your studio is configured with V.S.C., you will be able to stream and monitor music online directly through your studio. I also use various screen sharing and remote desktop control programs to give me more of an interactive experience working as a virtual musician.
How were you introduced to PreSonus?
I had the pleasure of chopping it up 1×1 with legendary music producer Teddy Riley. He introduced me to PreSonus and Studio One. Teddy Riley is my biggest influence as a keyboardist, producer and tech expert, so I was all ears when he started sharing with me what PreSonus had to offer! Our conversation got really HEAVY on production and engineering—and at that time, I was using another DAW for all of my work but I wasn’t truly happy or inspired to create. After my conversations with Teddy, I was eager to make a big change including switching from Mac to PC as well, which was a hard sell. So I purchased Studio One Pro and Teddy advised me for starters to first create some generic test tracks, tracking with my hardware and software MIDI instruments. He recommended to quantize them and listen to the timing of tracks on playback and compare it with my other DAW. The difference was night and day and worlds apart. I was immediately sold!
What PreSonus software/hardware do you use and for what purpose?
I use Studio One Professional for all of my tracking, recording, editing, and sound design projects. It is my main platform for all of my musical ideas. Studio One has changed the way I create as a composer. I feel more inspired as a musician than ever before. I have over 100+ plug-ins so the drag-and-drop functionality and the search bar in the browser for my VST’s and samples really helps me narrow the search down. The automatic time stretching feature and Melodyne integrated right in the DAW: priceless! I also use the PreSonus FaderPort to assist with my editing and recording tasks. I love having the layout and the feel of the FaderPort, excellent build quality, quick access to my Mix, Edit, and Browser windows, and adding a motorized fader was the icing on the cake! I also converted A.Rapheal, (film and music producer as well as my beta tester for V.S.C.) from another DAW over to Studio One and he hasn’t looked back since.
What’s so great about PreSonus, anyhow?
I see nothing but passion behind the extraordinary PreSonus products. From interfaces, mic preamps and headphone distribution amplifiers, and now the new Eris & Sceptre studio monitors, finally we have the perfect tools for musicians and recording engineers created and built by some of the most prolific tech experts, musicians, and recording engineers. It’s always exciting to see new product releases and it’s so easy to recommend PreSonus to other musicians… a true one-stop shop. I look forward to their new lines in the future!
Where can our readers learn more about you online?
Hey PreSonus team!
This just in From Jean-Jaque in Aalen, Germany! He runs Asskan Studios, where many PreSonus products have found a caring home. He sent some photos for me to put on our Facebook album of user studio photos, and I instead found them completely blogworthy. Jean-Jaque shares a few words:
Asskan started as a little home recording project. But perfectionism led to a complete little studio, with all the stuff I need. The studio was finished just about 6 months ago.
I searched for a recording solution with a analog-like usage that’s covering a wide range of requirements. I wanted to record mobile, for example in good sounding rooms, I wanted to record bands live, and most of the time, use it in my studio. The solution was the StudioLive 16.4.2. It gives me many channels of recording, great neutral preamps, and the opportunity of mixing my monitors, all in just one device. The HP60 was the perfect extension—now I can give all members of the band what they need in live recording situations.
I also use several pieces of outboard gear, and I’m a total microphone freak. The studio is equipped with a full drum set, guitar amps and many instruments. The combination especially of vintage gear and modern recording gear is what I like. I’m a singer and guitarist myself and so I understand the wish of recording a real 412 guitar-cabinet and not via VST…. although I’m using VST instruments as well. 🙂
With Studio One I’ve found a classic, but easy-to-use DAW with many time-saving features. And the FaderPort adds ease to my fader adjustments. I do not like to do fine adjustments via the mouse, but also I searched for a controller with just one single control.
What I’d like to have? The Studio Channel could be a good follower for my actual outboard preamps. Maybe the ADL600?!
Photos by Andy Nowakowski
Big thanks to SoundsAndGear.Com for their flattering demo/review of the PreSonus FaderPort!
“I give the Faderport 4.5 out of 5 subs, it’s definitely improved my workflow in Studio One or any DAW I use it in as I can use it based on muscle memory so I don’t have to think about it much.”
Read the full review here.