PreSonus Blog

The StudioLive Debuts in Fiji at this Year’s “Tunes in the Tropics Tour!”

[This just in from Peter Scott, Production Manager of the “Tunes in the Tropics Tour” coming up in Fiji!]

Hey PreSonus! I wanted to let you know that we’ll be taking a StudioLive mixer with us on the “Tunes in the Tropics Tour” in Fiji!  This will be our third trip to this venue. The Hideaway Resort is near Sigatoka on the Coral Coast of Vita Levu the main island of the Fiji Island group.
The Tunes in the Tropics Tours were initiated by Chris Watson, a young entrepreneur who lives in Tamworth, which is Australia’s country music capitol. Chris has been a keen traveler, and has developed his own travel firm, Chris Watson Travel Partners, with his wife Gemma. They both love country music, and are well known in International Travel Line Dancing circles.
Chris’ idea was to take Australian country music to other parts of the world, and so five years ago the first Tour of Australian Country Artists headed to Fiji. There are usually six or seven A-list artists and a backing band who each perform their own music on one night of the tour. The last night of the tour features a showcase of every Artist. Chris invited 100 country music lovers to join him on the first tour, and this year he has completely sold out the Resort with 220 fans and nine acts for a week of great music and fun!
The Fijian people are very friendly, and local live production is usually undertaken by companies such as Sharma Music who have a network of music stores around the Fiji islands. The Fiji dollar is fairly weak in international terms, so purchase of equipment is an expensive exercise so much of the local equipment we hire from them is older analogue gear.
As I started gear shopping for this third tour, it became obvious we needed to run at least four sends of in-ear monitors plus up to four powered wedges. This prompted us to look at the available consoles. The best we could find locally was an analogue board with digital effects. It required a lot of outboard processing to make this work, adding pressure to our budget.

As I have been a PreSonus user for over two years, I knew PreSonus embraced good ideas. I sent off an email to Baton Rouge HQ to see if they could help. At the time, PreSonus didn’t have a local distributor in Fiji, so I approached Amit Sharma, the owner of Sharma Music, to see will he may be interested in the idea of becoming a new distributor. He was very keen to see PreSonus’ offering, and we explained the StudioLive advantage—it would streamline his production workflow while adding the ability to record performances. For me this a no-brainer, as the end user experience for me has been far better than all the other audio manufacturers I have dealt with to date.
With assistance from Nigel at Oceania Audio Sales, the PreSonus Distributer in New Zealand, we will have a Presonus Studiolive in the Fiji Islands for the very first time! As a sweetener we are going to do some training sessions for the local production people to show them the extensive features of the StudioLive range, including QMix, and record some live performances with Capture and Studio One.
There will be a Q and A session at the end of each session. Should anyone
want to join us, they can contact me via Facebook.
Bula Vanaka to all at team PreSonus!
Peter Scott
Production Manager
“Tunes in the Tropics Tour” to Fiji 2014

30 Day Worship Sound Tools #16: Mutes

Doug Gould of WorshipMD talks about how and when to use the Mute buttons on your mixer. Quiet on the set!


For info on the StudioLive AI digital mixers, click here.

For more from Doug Gould and Worship MD, click here.

30 Day Worship Sound Tools #15: Panning

Doug Gould of WorshipMD talks about how to pan your signal left and right, and why you might want to do so—or not.

For info on the StudioLive AI digital mixers, click here.

For more from Doug Gould and Worship MD, click here.

30 Day Worship Sound Tools #14: Phantom Power

Doug Gould of WorshipMD talks about how to send phantom power to your condenser microphones, and what sort of microphones require it.

For info on the StudioLive AI digital mixers, click here.

For more from Doug Gould and Worship MD, click here.

KATFYR on how he made his #1 hit “Lose Control,” in Studio One!

From Musikmesse 2014! The incomparable KATFYR describes the production of his #1 hit on the BeatPort dubstep charts, “Lose Control.”

Here, we take a look at his workflow and some of the methods to his madness. Pay attention, here’s a master at work!

PreSonus LIVE 05/08/14: Young Band Nation LIVE!

PreSonus Education Market Manager John Mlynczak and Doug Gay, Director of Programs for Baton Rouge Music Studios, brought in the incredibly talented youngsters from Baton Rouge Music Studios for this special look at PreSonus solutions for the classroom. Great stuff for talented kids, what else do you want? 🙂

Throwback Thursday: Associate Creative Director Cave Daughdrill

Here’s PreSonus Associate Creative Director Cave Daughdrill circa 452 AD. Since these humble beginnings, Caveman has evolved to wield a vorpal telecaster and the biggest, most ridiculous pedalboards (plural) I have ever seen. Cave’s myriad contributions to PreSonus marketing endeavors include photography, web, and a whole lotta pixel-pushin’.  He also has  advanced nonweapon proficiencies in Wacom Tablets and good times. Nowadays, Cave’s musical home is in your heart. Or, more specifically, in The Lazerus Heart.

30 Day Worship Sound Tools #13: Semi-parametric EQ

Doug Gould of WorshipMD talks about the advantage of a semi-parametric EQ over a fixed EQ.

For info on the StudioLive AI digital mixers, click here.

For more from Doug Gould and Worship MD, click here.

30 Day Worship Sound Tools #12: Sound Check vs. Rehearsal

Doug Gould of WorshipMD talks about how to make the best use of your sound check time and the band’s rehearsal. Prioritize accordingly and don’t lose sight of the big picture—dial in the entire band one at a time, but don’t spend too much time on little details—do that during their rehearsal.

For info on the StudioLive AI digital mixers, click here.

For more from Doug Gould and Worship MD, click here.

Pershing Wells on the RC-500


[This just in from Pershing Wells, who recently got the RC-500 and has been putting it through the paces at his studio, Digital Sac-a’-lait Productions. Pershing, thanks for the kind words!]

I’ve been eyeing this box since I first noticed it announced around the end of last year or so. I own some boutique gear made in the USA. I also own a PreSonus MP20 that I purchased about 12 years ago. I ALWAYS considered that mic pre a sleeper. It’s way more high-quality than it gets credit for! I bought the RC 500 from SoundPure about three weeks ago.
What I Like:
High-end clean! Clean! Clean! The EQ is very sweet! I’ve read that it’s not very “surgical,” but I’ve found I can change things pretty drastically. The
compressor is VERY good, but may take some getting used to because of the very small VU meter. Affordable!
In Use: So far I’ve used it on an acoustic guitar, direct from the guitar’s preamp, miked electric guitar cab, miked fiddle, and on vocals.
Acoustic guitar: This was my very first experience with the unit. I plugged in my Takamine TAN15 with a “cool tube” preamp into the instrument input.  I set the EQ on the guitar to flat. I was quickly able to dial in some very clean and musical EQ on the RC 500—I set a bit of boost at about 100hZ with the low band set to peak, some scooping at about 800hZ on the mid band and about 3dB of boost at 7 or 8K on the high EQ,switched to shelving.
When I engaged the compressor and began adjusting, I found myself getting a little too funky with the gain reduction. After looking more closely at the VU, I found I was in the ‘hood of 12dB of gain reduction! There was some pumping going on. After adjusting the threshold and getting the gain reduction to peak on the very loudest parts at 6dB of gain reduction, it started getting NICE! The guitar sat very nicely in the mix! I layered four parts and normally have to strap a software compressor on the buss to have it sit where I can hear it, but I haven’t had to do it with this thing. Impressed!
Electric guitar cab: I used a Les Paul>Marshall JVM205 with some nice crunch dialed in>a pair of Celestion V’30’s in a Mesa cab>Senneheiser e609>RC 500>Mytek A/D>Roland VS700 via AES>DAW (Sonar X3). This is where the EQ SHINED! Miking this rig has been a lot of hit and miss to get right. The combo of the guitar/amp/speakers seems to produce a bit too much brightness for my taste at around 4K, and not quite enough mids to cut through the mix. In this case, I left the bottom eq flat, boosted about 3 or 4dB at 1.6K and cut about 3dB at 4K using the high EQ set to peak.The guitar was near freakin’ perfect!  The mid’s help it cut through like I’ve not quite heard yet- very “Marshall-ish” sounding—the bomb, man!
Miking a fiddle: I had a local and well-known Zydeco fiddler in for a session. I used a Neumann TLM103>RC 500>Mytek A/D>Roland VS700 via AES>DAW.  I engaged the 80hZ high pass filter and cut everything below 150hZ by 16 dB. I cut a bit of the mids, about 2dB at around 1.2K. I added some air at around 10K (set to shelving) with a boost of about 3dB. The compressor was engaged, and on the loudest parts, I adjusted to get no more than 6dB of gain reduction. We were both very impressed with this. We cut three songs and as I was backing up a song, the fiddler continued to play as if he were digging what he was hearing more than he had before! 
Vocals: I used an SM7b>RC 500>Mytek A/D>Roland VS700 via AES>DAW. This mic has a well-known reputation for requiring a LOT of gain. NO PROBLEM with this box! I did have the gain up substantially from the Neumann, but didn’t notice the noise floor rising at all. I adjusted the compressor to the sweet spot, which seems to be about 3 to 6dB of gain reduction on the loudest passages. I engaged the 80hZ high pass filter.  The EQ was set to a bit of cut below 300hZ on the low EQ, set to shelving.  The mids were cut about 3dB at 500hZ. I added a little top end at about 9K with the high EQ set to shelving. The vocal sits beautifully in the mix! 
Bottom line:
This box is the real deal. No corners were cut from the sonic perspective.  Ok, it’s made in China. I live and in work down here in south Louisiana near where PreSonus is located. Sure, I wish it were built here in the USA, but I can understand cutting costs to produce a box with this kind of quality! For the record, I’m comparing this unit to some boutique mic pres in my studio made out in California that cost almost twice as much. If you can get past the import issue, you can rest assured that it’s $800 WELL-SPENT!
The RC 500 is hanging easily and evenly with the more expensive gear in my studio. I’ve used it exclusively for a week now. While I can get the compressor to pump if overused, the same is very true about the LA610 that sits in the same rack. I can’t see how anyone could go wrong with investing in this box!