[This just in from Fluff, AKA GuitaristFacts, who has an absolutely KILLER YouTube channel full of heavy metal riffage, gear demos, facial hair, and all the endeavors where the three coincide. He produces his videos as skillfully as produces his music, and he’s chosen some PreSonus gear to help him along the way. He was kind enough to share a few paragraphs about his recording tricks and experiences with PreSonus gear.]

Hello, my name is Ryan, but my friends call me “Fluff.” I make guitar-related gear demos on YouTube in my home studio for companies all over the world. Pickups, speakers, guitars, pedals, microphones, you name it. I also produce the occasional record and re-amp guitars for rock albums, and record about five days a week. For all of this work, I rely exclusively on couple of pieces PreSonus gear that I simply would be lost without.

I should probably mention that I try to capture every kind of guitar tone, from brutal to chiming. In order to produce a wide array of tones, I need an interface that offers flexible signal routing, low latency and high-quality instrument inputs, as well as low noise on the outputs. The PreSonus FireStudio Project is perfectly suited for all of these needs. Two instrument inputs, (I keep one set for guitar, one set for bass) loads of inputs and outputs and +48V power when needed to run my condenser microphone for when I do voice work. WIN!

I also use the PreSonus Studio Channel as my go-to mic preamp. The built-in EQ and compression make it extremely versatile for clean guitar tracks, vocals, huge distorted guitars, and bass cabinets. I am also a tube nut, and I find that replacing the stock tube (a high-gain tube with good midrange) with an inexpensive NOS 12AX7 JAN tube (usually about $30 on eBay) can really round off the harsh highs I sometimes experience while recording high-gain guitars, and fattens up my signal prior to going into my FireStudio Project.

When it comes time to record, I use a Heil PR30 about 90% of the time for guitars, as that mic has a very flat frequency response. Knowing this, I can get the microphone placed in the ballpark (usually around the area where the dust cap meets the speaker cone, on-axis) and then use the Studio Channel’s EQ to fine tune the highs and mids (I typically boost about 2dB in the 3K range with a medium Q) until I find a nice sonic pocket for the guitars to sit in the mix. If I want to add a bit of flavor, I will add a Shure SM57 plugged directly into the FireStudio Project and then bring the volume up on the SM57 to add some bite and ‘oomph’ for palm mutes on the distorted guitars.

As for the aforementioned re-amping, I plug straight into the FireStudio Project and adjust the input level so I am seeing an average -16dB, with peaks no louder than -12dB. This way I have some wiggle room when outputting the DI through my re-amping box (I use a Radial ProRMP), as sometimes I need a stronger signal to go over a long lead or something like that.

I am asked quite often which interface people should get when diving into home recording, and I always say PreSonus for two reasons: first, they have the computer driver experience that allows their products to work the first time, right out of them box, problem-free. Second, the customer service and support is outstanding. I found out first hand when I called about my 8-year-old FirePod interface and was treated like I was in The Rolling Stones.

Seriously, why can’t more companies operate this way?

-Fluff

Twitter

YouTube

Hey! If you missed this incredible presentation, it’s no big deal. Because you can see it on YouTube. Or heck, just click that familiar little triangle-shaped “Play” button below.

We flew Briana in to Baton Rouge, assembled a killer band, and had them track a few songs using Rick’s monster rack of ADL 600 and ADL 700 preamps—because we can. EVERY channel of audio in this production was run through the ADLs.  How do you think it sounds?

“Damn, these sound awesome on acoustic guitars! Can’t wait to start recording vocals!”

Warren working hard at Dockside, but we have more to come on this story in the coming weeks as production on this record continues. Stay tuned!

What do you suppose he’s planning for THIS rig?

The coolness just doesn’t STOP with SonicSense Pro Audio! Following up their killer bass DI demo of the ADL 700, now it gets put to the REAL test: vocals!

And when I say a REAL test for vocals, I mean it’s tested with none other than Queen’s “Somebody to Love,” which is like the hardest song to sing ever, as p̶e̶r̶f̶o̶r̶m̶e̶d̶ knocked out of the park by American Idol finalist Mathenee Treco.

Big big thanks to Sonic Sense Pro Audio for this awesome demo of the new ADL 700!

Check out the latest heavy metal recorded via the PreSonus Studio Channel from @guitarist_facts!

Halocene has been using PreSonus since their first purchase of a FireStudio years ago. Of late they’ve picked up a StudioLive console, a Eureka, and Studio One Professional 2… and in-between they’ve opened for Jimmy Eat World and Blink-182.

Lesson learned: You don’t need to be signed to a major with world-class studio access to open for a band who is. Just get some PreSonus.

Oh, also be sure to write good songs and be young and enthusiastic. That helps, too.

 [This just in from Scott Detweiler, New Orleans composer, lyricist, and PreSonus advocate. He had some nice things to say about our hardware, software, and foodware via e-mail, which makes my blogwriting REALLY easy.]

Scott Detweiler

Hi guys, hope you are doing well.

I wanted to give you and update on Nimbit and on my new BlueTube DP V2!

Last year I ended my relationship with my old online distribution account for several reasons, so I was really happy when I received your email regarding the Nimbit accounts for PreSonus Artists… but I wasn’t sure what to expect.

So far, we have uploaded two of my albums to Nimbit, and all of the descriptive info. Nimbit is great! It’s very user-friendly and offers many more options than other online distribution platforms. It’s a great product! We will go live when we get three more CDs up. The uploading of my entire catalog will take some time (13 already-released albums and about another dozen or so unreleased!) but hopefully it will all be up within the next few months. I will also provide more feedback to you after we go live. Thanks to PreSonus and Nimbit!

>As for the BlueTube DP V2, I use it for live shows: one channel for guitar, and the other for vocals. I like it better than my old preamp for several reasons.

I notice an increased fullness of the voicing and more clarity in the higher range of my guitar.

The power cord is much more rugged and hearty, and is not as delicate as the electrical cord that came with the previous model. There were a couple of times when the power cord got kicked out. As said, I use it for live gigs—not to say that the old cord was a dealbreaker, but for live gigs the new one is really durable—it’s inevitable that sometimes the end that plugs into the power strip accidentally gets stepped on and pulled, but this cord can take it.

Believe it or not, I liked the owner’s manual! It is way more user-friendly! I have never been a very technical guy. Not to say that the old manual was Greek to me, or anything like that… but the new manual is laid out really well and the organization of the information works better for me.)

Also, the unit seems to be just a little bit bigger. That’s good because it sits in myeffect rack better!

Last but not least, the Jambalaya recipe. I cooked some up and it’s great!

Again, thank you and thank PreSonus. Please give my regards to Mark Williams. I look forward to seeing y’all at NAMM. I will be sure to pass by and say hello!