PreSonus Blog

iCanStudioLive Multimedia Studio in Jakarta Chooses PreSonus for Full Solution

[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!]

  • What is iCanStudioLive? What was the inspiration for the name?

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!

  • What does your studio specialize in? Who do you cater to?

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.

  • Who is iCanStudioLive? (your team, their roles)

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.

  • Whose vision was it to start the studio? When did it start?

Lucy: It’s Ican’s vision. He started this dream 15 years ago while doing his own business in multimedia.

  • Can you give us some information about why you have chosen the complete PreSonus solution over all of the available choices?

Lucy: PreSonus offers a single integrated control system for both live performance and recording.

  • Can you give us an explanation as to how it’s all hooked up? Perhaps explain a bit about the wiring between the control room and studio and your basic signal flow?

    Ican

    Irsan”Ican” Wallad

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.

  • Last but not least, perhaps some background on Ichan, how he got into audio, etc.

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.

Best regards,
Lucy Willar

 

iCanStudioLive

PreSonus LIVE: Using Plugins Live with Nothing More now Available on YouTube

The guys in Nothing More tour with a StudioLive RM mixer, running their favorite plugins at their live shows. Here’s how they do it.

Learn more about StudioLive RM here
Get the acoustic version of “Jenny” here

Studio 192 Available Now!

The Studio 192 is now arriving in the hands of customers!

Here’s a great overview Rick did with the kind folks at Sweetwater.

 

.@NothingMoreRock’s Acoustic Performance of “Jenny” from PreSonus LIVE

 

Nothing More delivered this incredible performance of “Jenny” for our recent PreSonus LIVE webcast. Of course, they absolutely NAILED it.

RAVEN from @slateproaudio—Multi-Touch Control Surface For Studio One 3

How would you like to mix in Studio One using a 27″ touchscreen?

Well, now you can, thanks to Slate Digital LLC—check out the Raven Console running Studio One 3! For several months, our Hamburg team worked closely with Slate to get the best user experience out of this solution.

Learn more about it at http://www.slatemt.com

 

.@Charlie_Hunter and @TheLoopLoft Sessions from PreSonus LIVE now Available on YouTube

Here’s the recording from a two-day behind-the-scenes look at pro-level loop production! Our friends at The Loop Loft arranged to bring in none other than the incomparable Charlie Hunter (bass/guitar), Johnny Vidacovich, and Simon Lott (drums) to PreSonus HQ!

They put down some serious grooves while we recorded multi-tracks live at our in-house studio. Some major chops are on display here—while Charlie Hunter’s 8-string guitar “Bass and guitar at the same time” chops are well-documented, there’s some serious drum witnessed here, as well.

Stay tuned to The Loop Loft’s site for more on the release of NOLA Beats – The Lineage of Groove, Volumes 1 and 2.

 

New Lower Prices on StudioLive RM-Series Mixers

RM_Lo_Price_Digital_Flyer_8-26-15I’ll keep this short: everybody wins!

From this day forward, the pricing of StudioLive RM-series Rack Mixers have dropped. Prices are lower worldwide and vary by region, but here in the US they have been reduced by $200 USD, each. That brings the StudioLive RM32AI down to $1,799.95, and the RM16AI down to $1199.95.

You may or may not decide that it’s a coincidence that this price drop coincides with the availability of the StudioLive CS18AI touch sensitive control surface for RM mixers. It makes the idea of a complete AVB mix system, with motorized faders, no need for a digital snake (because it’s replaced by a single ethernet cable) and no need for a separate stage box more appealing, now doesn’t it?

If you’re still not sure about getting an RM mixer, read more about them by clicking here. And if you don’t want to take our word for it, you can read an excellent review from FOH Online here.

“The RM-Series mixers break through the touch barrier with a compact, affordable rig that can double as a stage box (no snakes required), while offering a versatile, flexible merging of hardware and software control to form a powerful mix solution.”

This is not a rebate or limited time offer. This is a permanent price drop.

 


Two new Studiolive CS18AI videos: AVB!

Here’s Ray geeking out in your favor—illustrating how to set up and network the StudioLive CS18AI using AVB and Direct Connect Ethernet. Enjoy!

Live Webcast Thursday, Sept. 24: Using the StudioLive CS18AI to Control Studio One

Don’t miss this Thursday’s PreSonus LIVE: Using the StudioLive CS18AI to Control Studio One!

 

Click here to watch or sign up for a calendar reminder.

CS18AI-Webcast

Ricki and the Flash Rocks with PreSonus, Part 5

 

Ricki and the Flash poster (1)Rehearsals started on Monday, September 15. Everyone came in with instruments: Joe had already set up his drums, and the film had rented a B3 and Leslie for Bernie. Rick the Bass Player had one of his Laklands, Rick Springfield had his Gibson SG, and Meryl had a Fender Telecaster. We had backup instruments, as well, and Danelectro sent us a couple of guitars (more on those later).

Neil, Mark, and I made several trips to the 14th St. Guitar Center to get pedals for Rick Springfield’s setup, and Line 6 sent us a guitar wireless system for Meryl. The premise is that Ricki (Meryl) is trying for stardom and is currently slugging it out in clubs in the San Fernando Valley, playing every Tuesday night at the Salt Well.

Gary Goetzman is the producer of the film, and he led the rehearsals, with assistance from Neil and Mark.

We started with a basic line check; the kick drum was miked with an ATM 250. All the other drums were triggered. Joe has triggers built into his custom Drum Workshop kit, and we just plugged out of the trigger module into my Radial DI boxes. We needed to make sure we had signal; one great thing about recording with PreSonus® Capture™ is that the send is pre-fader, so the fader position on the StudioLive AI console is irrelevant; the recording software uses the input gain level you set on the head amp actuators (trim knobs). It’s a really nifty design because it allows the house mixer to change the fader levels for the live house mix without affecting the recording.

Along the same lines, once we had the guitar amp levels where we wanted them with the Radial JDX boxes, we also took a “clean” feed, plugging the guitars directly into my Radial ProDI boxes before the amplifier, in case Neil and Mark wanted to “re-amp” the guitars during mixdown.

A quick aside: I’ll bring it up again later but I want to stress that Gary and director Jonathan Demme wanted authenticity, and they got it. Every note you hear is what was played by the musicians; there are no overdubs of instruments in this movie. There were a few extra band takes for vocals because of bleed but all of what you experience in the movie is Ricki and the Flash performing as you watch.

It was a treat to watch these professionals at work. Gary took five people who had never played together in this configuration and turned them into a band. Each song got a workout. Gary kept the band focused; they worked on one song at a time until they felt they had it down. From where I sat, it really paid off; by the end of rehearsals, I felt like I was mixing a band, not a loose knit group of musicians jamming, but a real, tight band.

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