It’s always exciting to see where PreSonus gear shows up all over the world through social media and other various ways. But when PreSonus shows up at the biggest, most watched sporting event of the year, we can’t help but share! Here’s what PreSonus fan and sound reinforcement engineer Vic Thomas had to say about using PreSonus StudioLive at the the big game last week!
“The PreSonus StudioLive was used by the NFL Network at their Digital Media Set, The Huddle, in Super Bowl City,” says Vic. “Our set was located at Justin Herman Plaza in the heart of Super Bowl City in downtown San Francisco. We were one of four sights that did interactive hits back to NFL Network’s control room at Culver City for integration into all there social networking channels.”
On set, the large crowd proved to create somewhat of a challenge. With 34 years of experience, Thomas knew exactly what to do. “We had up to four talents on set, using RF microphones, which had to be routed directly to Culver City to be mixed into the show. The XMAX preamps proved to be vital, as I had to send each microphone, with no EQ or processing. For this I used the direct out function of the insert point of each channel. The quality and headroom of the preamps handled the changes of the talent’s levels masterfully. You can imagine with the cheering crowds behind them how their levels fluctuated.”
Thomas goes on to say, “I also had four mix minus, IFB feeds coming to me from Culver City. An IFB feed is an Interruptible Fold Back that is fed to the talent via an earpiece so they can hear program minus themselves, as well as the producer in Culver City directing them. You can probably call it an in-ear monitor mix with a cueing function.”
“The StudioLive proved great for this as I could mix each individual IFB to the talent’s taste and send it to their IFBs using the group outs. This gave me the option of having compression and EQ on each incoming feed. This was critical, as I needed to safeguard each of the talents’ hearing. They appreciated that.”
Thomas’s experience in San Fransisco highlights the ease of use and versatility of the StudioLive family. “The StudioLive made a long week very easy and definitely made my job a lot less complicated.”
[This just in from Lucy Willar, Co-Founder of iCanStudioLive. She took the time to answer a Q&A from Laz Harris, our very own Asia-Pacific Sales Manager, to tell us a bit about what makes iCanStudioLive lead the A/V production industry in Jakarta—and how PreSonus is a part of it!]
Lucy: iCanStudioLive is the leading audio/video live recording producer in Indonesia. We produce quality content every day, and provide a one-stop solution from creative design to pre- and post-production and digital distribution. Our production team works very closely with quality talent to create unique programs to attract the global netizen. We’re located in Jakarta. Please feel free to visit our fully-equipped studio!
The inspiration for the name came from our ability to do everything at one place—integrated and digital. Once you enter our studio, you will immediately think, “I can do this! I can do that! I can do everything I want!” Also, coincidentally, our other founder, Irsan Wallad’s nickname is “Ican.” So it was a perfect match with his vision on live recording, too. Then we named our studio “iCanStudioLive”—all one word, please!
Lucy: We specialize in live recording, and help with concept and creative design for both audio and video. We are the first, and now leading the industry in live recording. We cater to skillful musicians, younger musicians, and prodigies. Case study: Joey Alexander, who is now becoming very popular in the USA.
Lucy: We have full team: A General Manager who takes care of all studio activities, a Program Manager who take care of all programs—existing and future ideas. We’ve also have a Creative Manager who takes care of production, and a Post-Production Manager who takes care of post-production audio/video. Last but not least we have a two-person editor team, five production assistants for audio and video, general affairs, security, etc. All told, we are 16 people.
Lucy: It’s Ican’s vision. He started this dream 15 years ago while doing his own business in multimedia.
Lucy: PreSonus offers a single integrated control system for both live performance and recording.
Lucy: Capture 2.0 makes for easy multi-tracking and routing channels from the StudioLive to the DAW. For live use, we make heavy use of the Fat Channel in the StudioLive console mixer—it allows us to control Gate, EQ, and Compression when used for front-of-house. Furthermore, we can color the live sound with the StudioLive’s built-in FX. On the other hand, for studio recording—we need everything kept FLAT at the source, and the StudioLive’s clean preamps provide excellent clarity with no audible coloration. It’s great for both applications.
Lucy: Ican fell in love with music when he was nine years old, and got started with multimedia when he was 13. His parents worked at a multinational company (Mobil Oil) as a joint venture between Japan, Indonesia and US. After getting a degree in architecture, he started doing live recording in 2007, and was eventually invited to record the local Symphony Orchestra in 2011. He built iCanStudioLive in the same year. Now he’s recording almost every day!
Thank you Laz! It’s great to be one big family and we are looking forward to work closer for years to come.
Eric Welch, House Engineer at PreSonus HQ, discusses some of the projects we’ve recorded here at home. He discusses his use of the Studiolive 32.4.2 AI, QMix, Studio One, and myriad other PreSonus technologies.
For more on the StudioLive 32.4.2AI, click here: http://www.presonus.com/products/StudioLive-AI-Series
For more on Studio One, click here: http://studioone.presonus.com/
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.
Our free StudioLive training series has been such a smash that it’s been extended due to popular demand—and this time around, we’re upping the stakes. One attendee at each of these training seminars will receive a free upgrade to Studio One Professional—and a single lucky winner who attends an SAE training in January, February or March of 2015 will be entered to win a StudioLive RM16AI digital mixer! You must be present to win.
SAE Institute branches in New York, Atlanta, Miami, Los Angeles, Nashville, San Francisco, and Chicago have free classes coming up on the following dates:
[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
[This just in from Vince Walker, Music Teacher at Tasmania’s Deloraine High School!]
Last week Deloraine High School (Tasmania, Australia) held our 4th annual Battle of the Bands, and once again our PreSonus StudioLive didn’t miss a beat! We use our desk for live performances as well as recording our CD each year—thanks to you guys for supporting our school!
The desk was fully tricked out this year, running all six Aux channels (six foldbacks) and the two effects channels, all Fat Channels were being used on effects, auxes, busses, main outs and the normal channels. It is the best desk ever! We use iPad integration to assist tune the foldbacks, and use the Smaart Wizards to tune the whole PA system. Thanks, PreSonus, for building a great desk as well as great software.
We love using Studio One 2 Professional for recording and mastering our own music. The native plugins are very useful, the DAW is so easy to use, and we get a great sound from the software every time. My students have learned to use PreSonus gear and software, and they can take the knowledge they learn to other outboard gear or DAWs… but why would they change?
Deloraine High School
[This just in from Jean Madani, producer and recordist in Beirut! Jean has been an audio professional for his entire adult life, and PreSonus has been a part of his process for nearly as long. Lately, he has begun using Studio One (and a few other pieces of PreSonus gear) for all of his digital audio needs. But enough from me—let’s hear about it from the man himself!]
MY STUDIO ONE STORY
I have been recording, mixing, performing, and producing for and with different artists and different types of music for more than thirteen years, in genres ranging from traditional Arabic music, to pop, rock, hip hop, and jazz.
I have probably used every major DAW available, but Studio One has been my DAW of choice ever since I came across it in a studio session two years ago. Khalil Chahine, an excellent engineer and friend of mine from Germany recommended it to me. I had been complaining during a tracking session about how slowly the session was going with the DAW we were using at the time. I found it to be so needlessly time-consuming and clunky. So, we promptly switched to Studio One mid-session, and I never looked back. In all honesty, it’s the single best decision I have made in my career as an audio engineer.
The wealth of good things I have to say about Studio One could fill a whole book, but for the sake of brevity, I’ll try to summarize what I like best here. My very first impression was that of pleasant surprise at how fast the software started up. I have tons of plug-ins, so launching any DAW used to be a painfully long wait. Studio One got up and running for me in less than fifteen seconds, and in a matter of two hours I was running Studio One like a pro. It was just simply that intuitive.
The drag and drop features really speed up my workflow, and I’m not exaggerating when I say that they were like a gift from audio heaven. Tasks that took me hours to complete in other DAWs take up mere minutes now. Also, the ease in which audio quantizing is handled in Studio One beats any other DAW out there in my opinion, and the native plug-ins like Pro EQ are simply amazing, and very transparent.
I often record traditional Middle Eastern instruments such as the oud, buzuk, and riq. I’ve found that applying algorithmic EQ can be destructive to the unique character of these instruments’ sound. EQing these instruments while faithfully retaining their desirable frequencies used to be very tricky, but with the “Pro EQ”, this previously critical and sensitive process has become like second nature to me. I almost never use any other EQ in my sessions at all anymore.
I also really like the thorough one-click integration Studio One has with Melodyne; with just one click, audio becomes MIDI. Another favorite feature of mine is the bank scenes. It’s extremely helpful when wrestling with intimidatingly large sessions. At the moment, I’m mixing an Arabic Fusion album, in which smallest session weighs in at about seventy tracks, minimum. Suffice to say, the ability to save and re-load specific channel selections is helping to immensely un-clutter both my workflow and my monitor screen.
To sum up, Studio One has made my workflow faster and my mixes translate much better than ever before. I don’t think I will be using any other DAW again in the foreseeable future, and I feel that it deserves to be the new industry standard.
In addition to Studio One, I also use a PreSonus Studio Channel and the BlueTube DP preamps. The quality of results I get from both products is consistently outstanding. I get a clear, warm sound when I use the BlueTube’s solid state option, and when I want those extra harmonics, the tube option does the job and then some. I ran a comparison test with so-called “high-end” preamps, and got results that stand toe-to-toe with the supposed best out there. Also, I recently tried adding tube saturation to the signal chain while recording an oud in an acoustic session with the Studio Channel, and it yielded very pleasant results.
Finally, I use a FaderPort in conjunction with Studio One, making its already fast workflow even faster and easier. I like the smooth fader and response so much, that I wish PreSonus would make a larger DAW controller with even more faders!
I choose PreSonus for the simple reason of that they really deliver what they claim to offer, with quality that far exceeds the price point.
Here are some shots of Jean teaching a Studio One / StudioLive workshop at LAU!
Jean Madani’s current projects: