PreSonus Blog

Category Archives: Mixing Systems


LH Dub on using the StudioLive 16.4.2 for live dub mixing

[This just in from Luis “LH Dub” Henrique, who is using the StudioLive 16.4.2 for live remixes of his band’s dub tracks! It’s not often that we see a StudioLive in the “mixer as instrument” application—but here it is! Check out the vid!]

Hello PreSonus! My name is Luis “LH Dub” Henrique, a Brazilian who is passionate about music production and mixing technology. In particular, I love mixing tracks with Jamaican rhythms to create new songs. I have always needed a high-quality interface in order to create my songs, and I have finally found it in the PreSonus StudioLive 16.4.2. It has everything to fulfill my needs, and meets my high standards of quality while offering a great variety of tools. It was love at first sight! I had no previous experience with digital mixers, and I was a bit afraid that I couldn’t manage it, but as soon as my 16.4.2 arrived home I quickly realized that StudioLive is a very easy interface to work with.

Personally, I really like reverb and delay effects. So when I first experienced the effects available on the 16.4.2, I was totally amazed. The delay filter is incredible. I also have been using StudioLive to record live bands and it does a great job! The compressor, gate and all other tools are very well placed. It’s easy to handle and work with.

The StudioLive 16.4.2 is also very resistant  By accident, it has fallen from 1.5 m height and it still works perfectly… only few scratches tell the story!

Because of my wonderful experience with StudioLive, I have decided to purchase only PreSonus products in the future due to the fact that I am very pleased to work with this equipment that, besides having a great design, has the best quality you can get.

LH Dub on YouTube

 

Brian BotKiller saves the day with his StudioLive 24.4.2

[This just in from PreSonus Artist and hybrid drummin’ badass Brian Botkiller]

Hi guys,

I wanted to share with you a great story about my StudioLive 24.4.2 for a gig I was running front of house for the other night.

I got to the venue, and found that there was an old Behringer console there, which I soon worked out to be a serious failure. The musician I was working with was named Willy Porter, and he was very specific about what he wanted in his mix. I knew I needed to make this happen for him, so I went back to my studio and got my 24.4.2, and set it up in the venue with only 40 minutes to doors. I dialed his mix in immediately, using my ipad while mixing in the room, as the console was off in a small booth. I then made custom mixes for his sets, and I was able to record the entire set in Studio One on my laptop for him. He was absolutely floored at how easily I was able to do this, and the quality of the mix was amazing.  He said the built-in reverb was the best and most tunable he’d ever heard in a mixer, and that he’d never had a better experience with a mixer. He was quickly made a PreSonus convert!
I just wanted to share this with you, as I think it is a testament to the quality of what you make.  No other product could have done this with the ease and speed that I was able to make use of with the 24.4.2.

Another Frog Leap Acoustic Cover: Teardrop!

Is that a StudioLive 24.4.2 I see in the background? Probably.

Check out more of these over at YouTube!

PreSonus LIVE—Shoot the Club is now up on YouTube!

In this episode of PreSonus LIVE, Justin showcases the PRM1 measurement microphone and the Smaart Wizard functionality that is included in the StudioLive 16.4.2 and 24.4.2 mixers.

Learn how to use Smaart Spectra to fine tune your live rig to your environment. We also take a look at ringing out your stage monitors using Smaart features.

George Mason University Indoor Drumline Team Places in World Finals With Help from StudioLive

[This just in from Stephen G. Mark from the George Mason University Indoor Drumline. The GMUID team just placed 8th in the WGI World Championships, and we’re proud as a new mom to learn that a PreSonus StudioLive 24.4.2 lent a hand. In fact, per Stephen, the team’s performance was praised for the audio quality of their presentation. Footage of the award-winning performance is below. Running live sound for a drumline is a whole ‘nother animal than running sound for the local Journey tribute band, so I asked Stephen to share some details on the hows and whats and mics. He obliged.]

Hey PreSonus! Just wanted to let you know how things went this past weekend at WGI World Championships. We came in 8th place with a 92.25. We were the only first year world class ensemble to break 90, and the only first year group to be in the top ten, an achievement that hasn’t happened in quite a while.

After the awards ceremony I was told multiple times how our ensemble “by far had the best balance of the entire evening.” I credit being able to manipulate our sound live in aiding this accomplishment, an accomplishment that would not have been possible without the support of PreSonus.

Here’s a video of our finals performance and picture from the performer’s perspective of the 4,000+ audience who watched us perform and listened to that perfect sound that was praised about all night. That audience could definitely see what equipment that we are very proud to endorse.

We miked each marimba with two Shure SM-57 Mic’s, evenly distributed around the individual playing zones. The vibraphones were miked in a similar fashion, but we used only one mic per instrument. We also amplified our drum set, we amplified each piece of the kit, with the exception of overhead mics for cymbals—you can tell from the video that we have enough cymbal sound to fill the arena that we perform in.
 We compete in various gymnasiums and arenas from February to April. Each competition site site is extremely different from one to the next, and we are given no time in that room prior to the performance. Multiple groups compete at each competition and are only given a certain allotment of time to enter the floor, perform their show, and get off the floor. Exceeding the predetermined time frame of 11 minutes can result in a penalty. So needless to say we do not get any time for a sound check! In fact, our sound check is determined by the first notes being played in the performance. In the past, while using analog mixers, we where forced to make best guesses on how the mix would sound in that room and cross our fingers and hope that would be OK. Now the StudioLive allows us to make those best guesses and if there something wrong we can adjust levels throughout the performance.
I believe having this capability allowed us to achieve an almost perfectly blended sound that was the talk of the town after our performance.
Regards,
Stephen G. Mark

KMFDM and the StudioLive 24.4.2

Long-haul industrial band KMFDM has been at it for 29 years. On their current U.S. tour, they are mixing monitors with a PreSonus StudioLive 24.4.2. At the Baton Rouge show, bandleader and multi-instrumentalist Sascha Konietzko cited ease of use and wireless control as primary reasons to choose StudioLive.

See pics from the show over at our Facebook page!

Alt-J Relies on the StudioLive 24.4.2 in Recent Tour

[This just in from Lance Reynolds, FOH for Mercury Prize winners Alt-J!]

Well, our tour is nearing its end. We have our last show today in Denver. On most shows for this tour, we used the StudioLive 24.4.2 as a monitor desk, powering our in-ears mixes. Occasionally, we used it at front of house, and in a couple of situations it was used to its fullest as a front of house desk /monitor desk /recording interface.

For example, last week we did a promo event at KRXQ in Sacramento where about 30 lucky fans won a contest to see the band perform a few songs in a very intimate setting. The performance was captured with the PreSonus desk, while also being videotaped. After mixing and editing, the video will be posted by the radio station. Meanwhile, here’s a promo photo we shot after the performance.

Pictured left to right is Joe Newman (lead singer /guitarist), myself (FOH engineer), Gwil Sainsbury (guitarist /bassist /singer), Thom Green (drummer), Ron Sharpless (seated, monitor engineer), and Gus Unger-Hamilton (Keyboardist /singer).

Bleep Blop is coming back for more with the StudioLive 16.0.2: Free livestream April 20

[This just in from Ramon Castillo—Bleep Blop is gaining some serious momentum! If you want to see the StudioLive 16.0.2 run as the beating heart of a symphony of strange hardware electronics, then don’t miss this event! You can view it online at stream.bleepblop.com. 7:30 p.m. April 20.]

Ramon Castillo and Pochun Wang present:

Bleep Blop, Nonduo, Cloud Ludum, Ensemble Robot.

7:30 p.m. April 20th, 2013.

Umass Lowell, Durgin Hall (concert hall) Or view online at: stream.bleepblop.com!

Bleep Blop comes to Umass Lowell with lots of friends and an exciting new program. (Recital Credit offered)

What does Bleep Blop sound like?

  • April 20th, 2013
  • University of Massachusetts, Lowell – Durgin Hall
    35 Wilder St., Lowell, MA, 01854
  • 7:30 pm
  • stream.bleepblop.com

The music will feature everything from electronically manipulated piano, analog synthesis, the Kronos Quartet Drum Machine, dynamically looped mbira, live video, to “third stream” free improvised experimental music, and a robotic glockenspiel controlled by Mike Testa.

Our prior performances have successfully merged the art of acoustic music with the mystique of audio technology, but for this concert, we are going to bring improvisation and technology to a new level.

Music by Ramon Castillo, PoChun Wang, Mike Testa, Loudon Stearns, Raleigh Green, Olga Karaseva, Deepak Gopinath and Karlheinz Stockhausen.

On Facebook
On the web
On Twitter

Selection of works to include:

Wonderland/Bounce for live synthesis and the Kronos Quartet Drum Machine
Gargantuan for violin, guitar, and electronic sounds
Karlheinz Stockhausen’s “Tierkeis” (Zodiac) arr. by Olga Karaseva for vibrophones, bass, electric guitar, drums
Six Six for dynamically looped piano
Spores for guitar synthesizer and 16mm projection by NonDuo
Improv for Robot and other things

and more…

A world of PreSonus product coverage from MusicStore TV at Musikmesse 2013!

Wow, MusicStoreTV really got all the good stuff from our presence at Musikmesse! Check out the videos below for coverage on our new Eris and Sceptre monitors, the StudioLive 32.4.2AI, our StudioLive AI PA Systems, and the ADL 700 channel strip!

Big big thanks to the MusicStoreTV team and Rodney Orpheus for this exceptional coverage.

 

 

 

 

 

Lesle Lewis and the StudioLive 24.4.2

[This just in from Sudhin Prabhakar of Pro Musicals, our distributor in India!]

Lesle Lewis is one of India’s well known pop stars, being one part of the Colonial Cousins, a rock/pop act that took the country by storm in the 80s, and has continued their run for decades.

Lesle used the StudioLive 24.4.2 at a concert in Chennai which incorporated a live rock band and full compliment of Bollywood-style dancers.
Lesle chose the StudioLIve for its amazing ease of use, instantaneous setup time, and virtual sound check capability. He also is full of praise for the SMAART technology built in that is used to ring out the room in minutes and control feedback in a jiffy. He’s also able to set up his delay stacks to perfection with no guesswork.
Lesle says, “It’s always amazing to see as to how this compact mixer replaces racks and racks of processing gear and endless tangles of interconnect cables. The preamps sound musically sweet,  have loads of headroom, and I get a 24 channel recording at the end of the show with a single touch of a button.”
Regards,
Sudhin Prabhakar