PreSonus Blog

[This just in from Mauricio Yáñez Polloni, of our distributor partner, Croma Limitada.]

The guy at the StudioLives in these pictures is Mauricio Romero, my friend, who has lived for 10 years on Rapa Nui! He did all the audio production for the Tapati, an annual festival that lasts for 10 days! Tapati was first performed during the first ten days of February, 1975. The festival began as a one among islanders, but now is an instance to share culture with tourists visiting around that time of year.

Two linked StudioLive 16.4.2s were the heart of the sound of this important event, running the live sound and recording the bands simultaneously. The show was recorded in Capture and then edited, mixed, and mastered in Studio One 2.5.

Mauricio Romero is the founder of the most important sound company of the island, Matau Producciones. He also has produced many albums with ethnic music of Rapa Nui.

This year, Matau Producciones did all sound and lighting for Tapati as well. Saludos!

Category StudioLive 16.4.2 | 5 Comments »
Posted by Ryan Roullard



[This just in from Tone from Live at the Loft, an amazing music video production cleverly disguised as a music venue. All shows are invite-only, free, recorded by a StudioLive 24.4.2, and filmed by a really nice camera. As a result, their website is rife with high-quality live performance footage from about a zillion bands, and if you look close you'll spot a StudioLive in some of them! Tone gave us a little more info about his recording rig for The Loft. It follows.]
We’ve got a  50′ 16 channel XLR stage snake connected right to the StudioLive 24.4.2.  The stage snake also connects our stage monitors from the AUX outs of the board. The StudioLive is connected to an i7 Mac Laptop running Capture. We record the DJ sets and live performances through the console and Capture, which usually run about 4 or 5 hours in total.  From there, I export the stems from Capture, zip them and upload to WeTransfer for download by our audio engineer in California.
The main reason the StudioLive 24.4.2 kicks butt for us is its ability to control the house mix separately of the mix to disk. That, and its rock-solid reliability, and that it records 24 tracks over FireWire.

 

Category StudioLive 24.4.2 | 0 Comments »
Posted by Ryan Roullard



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?

Category PreSonus LIVE | 2 Comments »
Posted by Ryan Roullard



Riker

[This just in from three-time Grammy winning Producer/Engineer Warren "WAR" Riker! He's using using two ADL 700's on Anders Osborne's latest recording at Dockside Studio in Maurice, LA. He says...]

“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!

 

Category Artist | 0 Comments »
Posted by Ryan Roullard



Our friends at Sweetwater spent some time at our NAMM booth getting details on the StudioLive 32.4.2AI from Rodney, our European Product Marketing Manager and technocrat. Big thanks to both!



Category StudioLive 32.4.2AI | 0 Comments »
Posted by Ryan Roullard



[This just in from Mike Dawson, Engineer/Voice/Producer on The Adam Carolla Show!]

Hey PreSonus!

I wanted to share a bit about our use of the StudioLive 24.4.2 on our broadcast. It’s awesome to have all the built-in effects. I never know what’s going to happen at any given moment on the Adam Carolla Show. Debbie Gibson was a guest on our show during  her and Adam’s run on Celebrity Apprentice together.  She started singing “Billy, Don’t be a Hero,” by Bo Donaldson. I immediately mixed her mic into the reverb I’ve selected for solo vocal performances (always impromptu!)  and she sounded pretty bitchin’.  She looked at me through the glass and winked, saying something like “Hey, you’ve got an engineer that knows what he’s doing.” Adam joined in the song, and with the touch of a button they have perfect studio quality reverb on vocals. After the show, Debbie Gibson hugged me.

Most recently, David Alan Grier was doing a hilariously dirty Teddy Pendergrast impression. Again, in milliseconds, reverb is up and easily engaged and disengaged without having to fumble through auxiliaries and faders. This is a bad-ass piece of machinery. I use it in my own production studio, and even travel with it for on-site recording and engineering gigs.

The StudioLive console is so easy to set up for impromptu live performances in the studio. In the past few months, I’ve engineered and mixed live performances by Barry Zito and Kelley James, Susanna Hoffs and Hoobastank, and they all sounded like they were supposed to.

Damn good.

 

Category StudioLive 24.4.2 | 1 Comment »
Posted by Ryan Roullard



[This just in from Ghostfeeder, electro-rockers and FireBox enthusiasts from Rochester, NY.]59779_564662676885117_1231343093_n

For three years strong, my PreSonus FireBox has been a companion for Ghostfeeder on the stage as well as in the studio, and not once have we experienced artistic differences. The ‘Box is an undeniable asset when it comes to simplicity. When I was initially getting into recording for Ghostfeeder, I was a bit apprehensive about the amount of gear and technological know-how that seemed necessary to properly equip Ghostfeeder for self-sufficient recording. The fact that I literally just had to plug in the FireBox in to my computer in order to get great sound right off the bat pretty much squashed that apprehension. I was able to leave the diagnostics and troubleshooting to the online message boards catering to those who bought products made by the competition. As a result, every guitar, bass and vocal on every Ghostfeeder release has been recorded through the Firebox.

My preference for simplicity extends beyond the studio and into performance gear as well. My FireBox can push sound just as smoothly as it accepts it. It is an indispensable part of Ghostfeeder’s live presentation, pushing enough juice behind our backing tracks to fill any sound system without a hiccup, all while feeding our drummer a custom mix to his headphones. We house the Firebox in a custom-built tripod rack. It allows us to have our FireBox, our DMX light controller and our laptop all mounted onto one module for easily moving all of our technology onto and off of the stage with little fuss. The PreSonus Firebox is the unofficial fifth member of GhostFeeder.

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Category Artist | 23 Comments »
Posted by Ryan Roullard



[This just in from Sonic Sense Pro Audio! They just got a hold of the new Eris monitors, and had this to say:]

Today Sonic Sense had a visit from our buddies Mark Stone and CJ Lewis from PreSonus. We were lucky enough to get first listen on PreSonus’ new Eris line of studio monitors. All of us here were VERY impressed. Stay tuned for video demos and comparisons!

 

Category Studio Monitors | 0 Comments »
Posted by Ryan Roullard



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

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Category ADL 700 | 0 Comments »
Posted by Ryan Roullard



Check out this killer video from mecprosound over on YouTube! He just uploaded this tutorial on setting up the Akai MPC Renaissance controller to control transport in Studio One like a boss.

 

Category Studio One | 0 Comments »
Posted by Ryan Roullard