PreSonus Blog

[This just in from Dave Hinson of Hinson Sound in Bethlehem, PA!]

Dave Hinson Sound has been one of the sound vendors at Musikfest in Bethlehem for 15 years. Musikfest is the nation’s largest free music festival, boasting performances on 16 stages over 10 days. Our line array rig is deployed at the Volksplatz tent.

This year we became the sound vendor at the Main Street stage. When the contract was awarded, I called Rick Scott at Parsons Audio to order a pair of StudioLive 328AIs with the companion sub—The StudioLive 18sAI.

PreSonus was my first and only choice since hearing these speakers at a Dante class in Philadelphia back in April. I was first impressed with their sound, and they became a must have when I learned they were Dante-ready, and fully compatible with my Yamaha CL consoles.

What I was most impressed with, however, was that we unboxed the speakers, plugged them in, and they worked beautifully. No hassles, no tuning and no tweaking. We found that the speakers delivered incredible musical clarity. I believe they are two or three notches above their competition. Before next year’s festival season, I hope to make an all-PreSonus system: more mains, subs and monitors all running on Dante.
I am even thinking about how I can use lighting truss to support two mains per side and placing the sub below the stack.  This year, I used my QSCs as monitors, I hope to replace them with StudioLive 312AIs, or I could always use the 328’s in that mode also. You have a great product that has risen above the competition. I am sure 2016 will be a great year for you. Keep up the good work!

The group depicted below The Boiled Owls, performing a mix of Americana, bluegrass & folk music.

Musikfest 2015

Category StudioLive PA Systems | 0 Comments »
Posted by Ryan Roullard



 

Ricki and the Flash poster (1)Hello everyone, I’m Phil Garfinkel, the Special Projects Liaison for PreSonus® Audio Electronics. I’m writing about the shooting of a new movie, Ricki and the Flash, discussing the PreSonus products that we used and how we used them.

First, a little about the film: Ricki and the Flash stars Meryl Streep as Ricki, an aspiring rock star who leaves the Midwest to “make it” in California. Her band, The Flash, features the talents of Rick Springfield on guitar, Bernie Worrell on keyboards, Joe Vitale on drums, and Rick Rosas on bass.

We set up the band in an authentic club configuration, with plenty of PreSonus equipment to reinforce their sound. We recorded with Capture™ and used Studio One® to create reference recordings. I was on site as the PreSonus tech, mixing the live show.

Here is a quick overview of what we used from PreSonus:

 

The movie is directed by Jonathan Demme and produced by Gary Goetzman and Marc Platt, all Oscar winning veterans. Jonathan and Gary wanted the band to play, not just pretend to play along to tracks; I was brought in to mix front-of-house and monitors and to take a 32-track feed to capture the music as it happened.

We faced some unusual challenges. Thanks to teamwork and a mutual obsession for excellence (and some pretty great gear), Mark, Neil, and I worked through it to help Jonathan and Gary make an excellent soundtrack for the film.

Special thanks to Roxanne Ricks at Audio-Technica for helping us get high quality microphones and wireless systems, Peter Janis at Radial Engineering for getting us some fantastic Direct Boxes, and Brad Graham at Rapco-Horizon for helping with cable needs.

Thanks also to my cohorts in audio-land, Mark Wolfson and Neil Citron, who led the charge for this journey. Also Jeff Pullman, C.A.S, the film’s Production Sound Mixer, who worked with us.

Ricky and the Flash opens in theaters everywhere on August 7.

 

Click here for part 2!

Category StudioLive PA Systems | 2 Comments »
Posted by Phil Garfinkel



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The five musicians that make up the band Ricki and the Flash are all top shelf players. Their credits are the stuff of legends; you hear them on the radio every day. Of the five, only bass player Rick Rosas and drummer Joe Vitale had played together before, as the rhythm section of the reunion tour for the legendary Buffalo Springfield (no relation to Rick Springfield).

Bernie Worrell is a visionary funk keyboardist and a member of the Rock ‘n’ Roll Hall of Fame. His credits include Parliament/Funkadelic and Talking Heads. Rick Springfield is a fantastic guitarist who also played Dr. Noah Drake on General Hospital.

Meryl Streep, of course, is one of the most renowned actresses in the world.

To get them to be Ricki and the Flash, we set up in the World Famous Rodeo Bar in the Murray Hill district of Manhattan. The Rodeo Bar is a long, narrow room with a brick wall behind the band. We were in a small space, and they were very LOUD.

We set up the band in an authentic club configuration and laid out the monitors for them. We used three StudioLive™ 312AI cabinets for the vocalists and keyboard position and a StudioLive 315AI for the drum wedge.

When we first set up the wedges, we decided to just use them in the standard DSP configuration. The speakers use Dave Gunness’ TQ™ (Temporal Equalization) settings to correct for the acoustical issues that arise in a coaxial design. In addition, each box has DSP settings designed to assist the user in different acoustic situations. There are four settings on the back of the speaker, accessed by a small button. The settings are: Normal (full range for front-of-house), LBR Source (for low-bit-rate digital audio, such as MP3 playback), Floor Monitor (for stage wedge), and a custom User preset.

Neil Citron is a long-time studio engineer, guitarist, and all around great guy. He ran the Mothership for Steve Vai for 15 years and is a member of the Sapphire Group, a bunch of audiophiles in Los Angeles. Neil has incredible ears and was brought in to teach Meryl guitar, be the music director, and record the performances.

Neil and I set up the wedges, supervised by Mark Wolfson, and we ran some program material through them. We really liked the sound of the default Normal setting, so we left it. As soon as the band showed up, we quickly realized that the stage mix just wasn’t “there.” A quick button-push, and the boxes were in Stage Monitor mode; they sat perfectly in the mix, with no additional EQ required.

We used one StudioLive 312AI plus one StudioLive 18sAI subwoofer per side of the “house” PA. We put the top boxes on using the SP1BK subwoofer pole; this also allowed us to steer the top box to reduce reflections off of the brick walls.

Thanks to Brad Graham, Rapco generously provided us with microphone cable and snakes to wire the stage. We wired the guitars using Radial JDX DIs to get the sound of the amplifier, not the guitar. We used Radial JDIs on the bass and keys. Thanks to Roxanne Ricks of Audio-Technica, we had A-T mics on the Leslie and hi-hat. We also used the fantastic A-T ribbons for ambient room miking. We had triggers on the drum kit; more about that later.

Here were the basic challenges:

  • Make sure the musicians can hear each other and the singers can hear their voices.
  • Make sure the levels into the recordings were right.
  • Get a good balanced mix for the audience.
  • Make it feel like a real show, which it was.

I’ll get into the recording aspect in the next part.

I need to give major props to Gary Goetzman, the producer, who took five musicians who had not played together before (with the exception of the rhythm section) and turned them into a real band in two weeks. Everyone was at the top of their game, and the professionalism of the band and producer really shone through.

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



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Photo Credit: Mark Wolfson

Continued from Part 2…

All of the inputs were routed into a StudioLive™ 32.4.2AI console. Besides doing the live mix, the other half of my job was to ensure that every note was “Captured” during both rehearsals and filming.

Here’s how we did it:

Neil Citron, Mark Wolfson, and I wired the stage and then set up two recording systems. The first was set up on my MacBook Pro, running Mac OS X 10.8.5 and connected to the console using FireWire. I was running Universal Control-AI (with Virtual StudioLive-AI control software) and recording with Capture 2.0.

We connected the DB25 outputs of the 32.4.2AI to a Tascam X48 recorder because we needed to track SMPTE time code. This way, we also had two copies of each recording; as anyone who has ever lost a file knows, you need to back up, back up, back up.

The great thing about recording with Capture™ is it is literally effortless. Once my FireWire connection was secure and I knew the computer and console were talking to each other, all I had to do was open Capture and make one mouse click, and we were rolling! Of course, it helps to have the drive path set and the files named. I find that, given the option, it helps to set this up in advance, although the only really crucial setting is the file path.

We noticed that, according to the X48’s meters, the DB25 analog output was 6 dB lower than the digital signal coming into Capture. I’m not sure why the levels were different but comparing the WAV files in Studio One confirmed the difference.

Jeff Pullman, C.A.S, was the Production Sound mixer for the film and was a pleasure to work with. He also was very helpful in getting some sound isolation products so we could have a cleaner recording.

We did some test tracks with Neil playing so we could make sure the rig was running; then we started rehearsals.

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



SLAIPA_Offer_Digitial_Flyer_3-3-15We thought you should know that for a limited time—until March 31st, 2015—music retailers across the US are offering a monster rebate on the StudioLive AI Loudspeakers:

  • Buy two, and save $500

  • Buy four, save $1000

 

No matter how you slice it, that’s a savings of $250 a piece for some incredible speakers. The StudioLive AI PAs feature our Active coaxial loudspeaker design, as well as sophisticated networking and DSP. With free PreSonus SL Room Control software, you can configure, tune, and monitor networked StudioLive AI loudspeakers from anywhere in the venue—Click here for a video on that. You can even visually display the room layout on a laptop or iPad!

But the StudioLive AI Loudspeakers aren’t just about brain—there’s a lot of brawn here, too. And when it’s time to put some boom in your room, these speakers offer irresponsibly high power—without the breakup and distortion typically associated with chest-resonating high volume. For more details on the minds behind the StudioLive AI Loudspeakers, click here for an interview with Dave Gunness.

But don’t take it from us. Check out some of these reviews:

Click here to find a dealer in the USA.

 

One other thing: if you want some nitty-gritty technical data, help yourself to any of these informative .PDF downloads:

 

Category StudioLive PA Systems | 19 Comments »
Posted by Ryan Roullard



PreSonus offers you a full solution for jazz band rehearsal and recording. Take a look at how the Louisiana All State Jazz Ensemble takes advantage of the StudioLive AI family!

Category StudioLive PA Systems | 20 Comments »
Posted by Ryan Roullard



David Gibbs is the Executive Director of The Blue Devils, the best drum and bugle corp in the world. They’ve come to rely on the StudioLive AI digital mixers as well as the StudioLive AI PA Loudspeakers.

Category StudioLive PA Systems | 229 Comments »
Posted by Ryan Roullard



[This just in from the Press Office of MIDIMusic ProAudio, our distributor in Italy!]

Today, Midi Music has hosted an important event for the Italian key dealers featuring the two main new products recently introduced by PreSonus: The new generation of StudioLive RM Series Rackmount mixers, and the new range of StudioLive AI PA Loudspeakers. About 50 retailers and operators, as well as journalists from Italian commercial audio magazines attended the event.

Francesco Galarà, Midi Music’s new product advisor for the Pro Audio division, described the philosophy and technical characteristics of the RM series, focusing on the unique features and intuitive ease-of-use offered by UC Surface. He also addressed the versatility that makes StudioLive RM16AI and RM32AI suitable for applications in different fields: live sound, studio recording, radio and TV Broadcast, and system integration.

After going deep into the specific details of CoActual and Temporal Equalization technologies, it then has been the turn of the set of StudioLive AI PA speakers.

We conducted a listening test, covering various genres of music from pop to rock, from the classics to jazz and then—the icing on the cake—Tchaikovsky’s famous “Waltz of the Flowers,” which was very suitable for highlighting the magnitude of the StudioLive AI Loudspeakers’ dynamic response, linearity and definition playback—all without compromise at any listening level. The clarity and definition immediately captured the attention and curiosity of the audience, who remained long after the demo with many questions and insights about the features and capabilities of both products.

The event was followed by a nice dinner party, with typical Italian seafood and a fine Piedmont Hills wine selection, offering the participants another opportunity to continue to deepen the discussion about technical and commercial aspects of PreSonus products.

Midi Music ProAudio
Press Office

 

Category StudioLive RM Series | 232 Comments »
Posted by Ryan Roullard



ToFree-iPad_300x300_10-01-14_jn01 the point: Buy a StudioLive AI rig before December 31, 2014, and we’ll give you an iPad for free—but you have to promise that you’ll install SL Room Control on it. Why?

SL Room Control grants you fingertip, wireless access from your iPad to the advanced DSP processing of the StudioLive AI loudspeakers. Click here to get all the details on why SL Room Control is amazing, but here’s the brief version:

  • Quickly customize your PA for any venue – compensate for room anomalies, create time-align delay systems, eliminate feedback, and apply limiting, notch filtering, or whatever else meets the acoustic demands of the venue.
  • Adjust FIR filters, alignment, and crossover settings on a per-speaker basis. Every speaker in your system can be tuned ideally for its application.
  • Edit, save, recall, and share speaker-setup parameters for when you return to the venue in a few months. You can even group speakers in order to manage specific parts of the system, then save all settings for the entire system in a single preset.
  • Monitor speaker performance in real-time, including thermal levels, over-excursion, and hot signals headed into the converters.

 

So how’s this deal work?

This offer is good for those who purchase both a pair (2) of StudioLive 18sAI subwoofers AND a pair (2) of either StudioLive 312AIStudioLive 315AI, or StudioLive 328AI between the dates of November 1, 2014 and December 31, 2014.

Save your receipt! You’ll need it. You’ll also need this rebate form, which also contains some lawyer-appeasing leagalese-ing. Fill it out, send it in, and you’re good to go.

 

Still not sure these are the right speakers for you? Check out this review of the from Jersey Jonny, a Sweetwater customer.

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Category StudioLive PA Systems | 231 Comments »
Posted by Ryan Roullard



[This just in from Byron Gaither, our very own consummate audio expert and Studio One know-it-all!]

Here are some photos from the 2nd L.A. PreSonus Meetup. We had an open mic for anyone to perform on. We recorded them via Capture, and the entire show was run through the StudioLive 32.4.2AI and StudioLive AI PA speakers. We were then able to open up their songs in Studio One for quick mixes. This is only the second event like this we’ve done, and we had double the turnout of the first!
If you live in the Los Angeles area and are interested in PreSonus, industry networking, or both, you should come on out to the next event; they are hosted monthly. You can learn more and sign up at our Meetup.com page by clicking here.

Category StudioLive PA Systems | 70 Comments »
Posted by Ryan Roullard



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