In their incredibly thorough review, AudioFanZine put the Eris E8 through its paces and it would seem as though the monitor didn’t even break a sweat. I won’t waste any of your time getting all meta- and reviewing their review—suffice it to say that we’re flattered. Instead, a snippit:
“For their first attempt in the monitor speaker market, PreSonus start with an already technically mature product. The Eris E8 offers high-quality construction, comprehensive input connections and extensive setting possibilities (low-cut filter plus low, mid and high filters) at an affordable price ($250 for a single monitor). During our listening sessions, the speaker seduced us because it reveals no real weakness. The frequency response is very smooth, even smoother than the Mackie we liked so much two years ago, all frequencies are reproduced effortless. This also applies to the dynamic range and the stereo imaging. This E8 monitor speaker is the autumn hot deal in the lower mid-class market segment.”
Here’s a look at some of the “Why StudioLive” submissions that left us scratching our heads a bit. Laudable efforts all around made memorable with just a dash of mystery.
Scott P.’s “Digital Reflections” Explores an everyman’s StudioLive experience as viewed through the populist lens of stillwater kayaking.
Eric P’s “Agent Tiny e” Originally titled “The Blair Mixer Project,” this submission left our viewers both shaken and stirred.
Entrant unknown’s “Aw shucks,” makes us happy and confused in equal measure; it’s entries like this that make us feel OK about the fact that sometimes people don’t read the rules.
It stands to reasons that musicians would make music videos, right? Some of these turned out to be incredibly funny.
Dave E’s “Give it to Me” was one of the earliest submissions, and we were amazed the he cranked out such an incredible production in such short time, and deserves special recognition for that alone. I wound up with this song stuck in my head while trying to fall asleep many times in the past several weeks.
Leslie C.’s smooth, contemplative exploration of the subject at hand left some of us bewildered, but most of us chuckling in “Ain’t no Dummy”
StudioLive Preacher’s “Why StudioLive” video was an early favorite of mine, but Carl thought it was “Too weird.” I think the real issue here is that Carl isn’t weird enough.
Dan C.’s “Why Anyone Should have a StudioLive” asks—and answers—many of the most pressing questions of our day.
Jeff N.’s “Digital World” brings us something we’ve needed for a long time: a PreSonus theme song!
Matt F’s “Presonus Rhyme” is the feel-good hit of the fall. Watch out, Jay-Z.
Andrew R’s video boldy mixes the dispariging influences of 2NU and Rod Serling to great affect in “My Town PreSonus.”
PreSonus’ Rodney Orpheus and Sonic Sense’s Nick Batt had a great little Q&A bro-down at PLASA 2013. This was the first-ever hands-on public showing of the new StudioLive 16.4.2AI and 24.4.2AI.
Rodney covers the AI part of the StudioLive AI series in great detail here, and closes with a touch on the new StudioLive AI Loudspeakers. Definitely worth a watch! Thanks to Sonic Sense for bringing Nick, as well as the camera.
[This just in from Christopher McGilvray of Magic Wing Entertainment!]
Ladies and Gentlemen,
My StudioLive 32.4.2AI arrived yesterday, and after a long wait, you came through big time. Thank you. The same quick and familiar workflow on the desk, coupled with the VSL software makes this a world class mixer, for sure. I held out all summer waiting for this board, and as the minutes passed, I have to admit, my mind began to wander to the other options to fill the gap, but after plugging in the power cord and lighting the StudioLive off, I was positive that I had made the right choice to stick by the Presonus equipment. I could not be happier.
During my wait, I was enticed by the alternatives with flying faders like the Si3, but with the seamless integration of VSL and the “fader locate” feature of the StudioLive, those extra servos and belts are no longer an issue! This board has the horsepower and features of mixers at a much higher price point, while keeping the UI simple. I have been hopelessly lost in the endless system menu and setup of the Vi desks, and was going to add breadcrumbs to my FOH bag for my future journeys through that GUI black forest, but instead I can keep a thermos of coffee, and enjoy the mixing, instead of the messing around.
Please do pass along my praises. I got a chance last night to work the new StudioLive at a show, and let me just say “wow.” I am familiar with the StudioLive 24.4.2 desk, but Active Integration makes it the most powerful thing I have used this past season, hands down. As I mentioned, I have been on Soundcraft and Midas consoles this year. Our local venue installed a Peavey 32 FX (chosen for simplicity, not for any DSP abilities, btw). As a standalone board, the StudioLive 32.4.2AI is powerful! There is so much under the hood of this console that is not seen with the naked eye. Plug in a FW 800 cable to a quad i7 MacBookPro, however, and the desk is ready for anything! Add in SL Remote on iPad, and you have a mixer that is graphical superstation.
I routinely have an opener and a main band, and the mix scenes are a luxury that I also
thank you for. You guys and girls obviously know the deal as to what am FOH guy goes through in switching over acts, and this mixer saves me a minimum of 15 minutes in turn over time due to the scenes option. That is a lifetime in the live world!
Okay, and here is another point where I had to sit back and smile, pleasantly impressed: the built-in effects are spot on. Since I was with a band that I know well last night, I had the chance to tweak and play more then chase the sound all night, and I was so very impressed with the quality of the effects, as well as the effects level control. My experience with mixers of a similar price point have been terrible with regards to DSP engines. The Peavey 32 FX I mentioned earlier is useless in this area; it’s like a two-stroke engine trying to pull a trailer uphill when it comes to anything more then some simple EQ. Other hybrid boards as well as other digital boards also get left in the dust by the 32.4.2AI. Call up an effect, assign some inputs to it, send it on an encoder that isn’t scratchy or jumpy, and suddenly you can hear a very rich and satisfying reverb or delay gently enter the mix. THAT’s the way it should work, and you folks got it right! Delays didn’t build up and run away, reverbs didn’t sound like tin warehouses, and the crowd didn’t need to pound seasick pills by the end of the night. Perfect in my opinion.
I could write a review on this board, but that is not my intent. I really just want to say that as I waited with much anticipation from the announcement at NAMM until the shipment date of this board, I grew to find myself second-guessing and worrying a bit. Last night sealed the deal as far as my decision is concerned, and I am confident that I made the best choice. I knew it in my heart anyway. I have a rack full of FirePods that still serve me very, very well. They kept me in business as far as the recording aspect was concerned between SL boards. Oh, yeah—FW 800 deserves a huge thank you as well. A ThunderBolt option in the future will be a blessing as well, if it is in the cards.
I look forward to driving hell out of this thing. Last night was a 24-channel spin around the neighborhood. When I did need to push it a bit, there was plenty of power to spare.
Well done, folks. You’ve had me as a loyal customer for a while. Now I am a vocal one, as well, best wishes! On behalf of myself, and the folks involved in my small but extremely passionate live sound company, thanks! PreSonus got this one right from beginning to end. Still looking forward to cooking up the recipe in the manual, too!
Magic Wing Entertainment
This video was recently uploaded to YouTube by 5aint, A-list producer for The Spice Girls, Pet Shop boys, and many, many others. He recorded this video with his cell phone to document his reaction to hearing the new Sceptre S8 monitors as compared to the Event 2030s and a pair of Yamaha NS-10s.
While the audio quality here is clearly a product of his cell phone’s mic, audio quality is not what this video is about. Well, it is about audio quality… but you get my drift. The standout here is 5aint’s reaction upon hearing the Sceptres, which starts at around the 8:16 mark. The video below is embedded to begin at that point, but feel free to skip back a bit if you want to see his thoughts on the other speakers.
Suffice it to say; the man’s got ears, and they like what they hears. The golden moment includes notable sub-moments like:
I’ve said it before and I will say it again: you guys did some incredible work. We had so many astonishing submissions to the Why StudioLive video contest that we had to up the ante on our prizes significantly. We had planned to give away two prizes, and expanded this to four big prizes, a dozen copies of Studio One Professional, and a sizeable order of T-shirts that caused a cotton shortage in Kentucky.
Included below are some of our favorites that may not have made the final cut, but certainly cut out a little place in our hearts.
David B’s “Why PreSonus StudioLive at LocalMotive Studios” was a close, close contender.
“Why Not Presonus StudioLive?” from T-Bone pitches the StudioLive as exactly what it is: an all-in-one solution. “It’s so advanced, but also so simple.” This guy really gets it!
Chris’ “Get Connected with PreSonus” offers great cinematography, music, and detailed feature walk-through, while also extrapolating upon the mixer’s namesake: applications in both Studio and Live use.
Some of our fine friends from Rational Acoustics are coming down to Baton Rouge for PreSonuSphere, and they’re arriving a few days early. It’s good that they’ll have a little extra time to see the sights and sniff the smells, but the lead-up time to #PreSonuSphere isn’t all sensory indulgence. These guys are up to something, and you’re invited to take part. And if you choose to take part, we’ll get you into PreSonuSphere for FREE. What the heck.
While we may be known for our hospitality down thisaway, fact is the Rational Acoustics team are no strangers to conviviality. On Oct. 24, they’ll make an effort to top our no-longer-so-secret Jambalaya recipe—by serving y’all up a steaming-hot kettle of garlic & cumin-seasoned knowledge.
Specifically, this is an opportunity for you to learn all about Smaart v.7 Di straight from the guys who invented it—horse’s mouth and whatnot. Smaart V.7 DI is a simplified, streamlined, two-channel version of the standard Smaart v.7 analysis software—the ideal bridge between the limited features in the VSL Wizards, and the full-blown V.7 program. This eight-hour intensive course will teach you all there is to know about Smaart v.7 Di from software installation to Spectrum & Transfer Function Measurements.
Here’s the official course overview, taken from this PDF, which contains more details.
“The Smaart v.7 Di Training Class covers the fundamentals of using Smaart v.7 Di to make basic RTA, Spectrograph and Transfer Function measurements. Special attention is paid throughout the course to the subject of how to make valid and useful measurements, as opposed to simply making cool squiggly lines appear on the screen. This course focuses on providing the attendee with a functional knowledge of how Smaart v.7 Di operates as a tool and demonstrates techniques and processes for utilizing Smaart v.7 Di in essential system engineering tasks. Both classroom lecture and lab formats are utilized as well as in-class measurements via a signal distribution system to distribute the instructor’s stereo measurement signals to the entire class.”
So, since you’re going to be in town for PreSonuSphere anyhow, you really ought to come out to this thing.
Class registration is available either via the online class registration form in the
training section of the Rational Acoustics website, or by contacting Rational Acoustics directly: +1-860-928-7828