PreSonus Blog

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!

30 Day Worship Sound Tools #11: Sub Groups

Doug Gould of WorshipMD discusses the use of subgroups on the StudioLive mixer, and how and why you would want to learn to use them. For example, routing all of your drum mics to a single fader makes the drum mix a LOT easier to control. Oh, and he’ll also show you how to assign your subgroups. It’s easy.

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 #10: Subtractive and Additive EQ

Doug Gould of WorshipMD discusses when to boost, when to cut, and when to leave things just the way they are when dialing in EQ during your band’s sound check. In short: think subtractively.

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 #9: The Talk Back Mic

Doug Gould of WorshipMD talks about the important of the talkback mic in communicating with your band during setup. Why scream your head off and ruin the band’s mood right before their performance?

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

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

John Fullbright Jams in the Van at Willie Nelson’s Ranch at #SXSW 2014, Album Drops on #Nimbit May 27

In between playing six other shows and engaging the PreSonus team in more than a few rounds of dominoes at Willie Nelson’s Ranch in Luck, TX during SXSW, John Fullbright managed to set up in the Jam in the Van van and knock out a couple of his hits for their cameras and recording gear. The results can be found below, and they’re really worth a look/listen.

We hadn’t had the opportunity to check in with Jam in the Van in a while, and while their video series has always been great, of late it has gotten really great—also evidenced below. Jam in the Van have been using StudioLive mixers for a while now, and recently upgraded to a StudioLive 24.4.2AI, and it’s a mainstay of their workflow. It’s literally always on the road, and looks and sounds to be holding up right fine.

Much of the same could be said of John. Be sure to get a listen to his new album, Songs, as the buzz around it is building rapidly—catching the attention of the Wall Street Journal, no less. It’s due to be released on Nimbit, and available nationwide in the U.S. on May 27, and in the U.K. on June 3.

For more on John Fullbright, click here.

For more on Jam in the Van, click here.

High Road:

She Knows: