[This just in from Sheldon Currington, titanium luthier extraordinaire. Cave and I got to interview these guys at NAMM 2013 and we just got this kind follow-up from them. We’re thankful to to have these guys on our buddy list.]
This is just a quick email to reconnect after our NAMM 2013 show experience.
We have just landed back here in New Zealand after what can only be described as a whirlwind tour of the USA and so this is the first chance I have had to make contact with you regarding our time talking at NAMM 2013.
I want to thank you for taking some time to show us around while we visited Baton Rouge and PreSonus after NAMM. We had a truly amazing time at NAMM for a first year, and learned an awful lot about what we can do for the years to come. And it was a great thing that you did for us to show us around the PreSonus facility on our way across the country. We had a total blast and were really well treated by everyone that we visited, it makes these trips so much more worth it when you can shake hands with the people that you connect with on a regular basis. I am sure my father would agree! Thank you so much for sharing your time with us! Also, please thank the others that spent time with us playing at PreSonus HQ. The amp sounded awesome and I think he is onto a great thing there, with the personalized features he combines into such great sounding units! Very cool!
Please also pass on my thanks to both Cave and Ryan for coming down to see us at the booth and shooting the interview. Those guys were great, funny and easy to get along with… which made my nervous interview just a little easier! Please let them know I am very grateful to them both!
Now that I’m back in New Zealand I will be running Bad Seed full steam ahead to build new and innovative custom guitars, I cant wait to get into it! We had such an amazing response to the guitars that we bought over to NAMM and it’s inspired me to put the creative hat back on and set off on some new projects.
Keep in touch and let me know if you have any thoughts or ideas, or if there is ever anything that I can do for you.
Bad Seed Limited
[This just in from Source Distribution! Thanks for the coverage, guys, and Rodney: good work!]
[This just in from Jan-Arend, StudioLive Wizard at Large and Executive Cable Manager.]
Want to show you something. I saw Big Joe Daddy’s Big Multi-Pin Panel-Box Thingy post on the PreSonus blog. It looked very professional! I too use the StudioLive 24.4.2 on various occasions and locations.
We all want to get the best mixing position for our bands and the easiest place for the console. But having said this, we all know that having at least 30 cables to the mixer on the other end of the stage isn’t easy. It gets messy. So I wanted a flexible solution for my band(s).
One band is very different from the other. One is almost completely acoustic, with 3 vocals, acoustic/electric bass and guitar, accordion, and drums. We use two auxes for wedge mixes. The other band is completely electric, with 3 vocals, drums, electric piano, guitars, and basses. No amps on stage, and four stereo in-ear mixes for monitoring. My StudioLive is also used in churches and other events.
I wanted to make a flexible and very compact snake-system that I could use in both situations. I wanted to have the possibility to get all 24 channels from the stage to the Studiolive, and to get the main and subgroup-outputs plus all the aux outputs back to the stage. Ordinarily, this would require a single 40-channel snake. Everybody knows that these cables are heavy, and not easy to use at all. And every time, I would have to plug in 40 cables into my mixer.
Now my solution:
I had a 30-meter 16.4 snake for a couple of years, and I thought, ”Why not have two of these 16.4 cables, with multi-pins in the mixer case?” So, I bought another 16.4.2 multi-core cable to make a total of 40 channels.
I keep my StudioLive 24.4.2 in a Thon mixer case, from Germany. This case was made for the SL and it fits perfectly. Nice thing about this case is the “semi” doghouse configuration. This gave me room to mount the multi-pin connectors in the case. It took me a week or two to make all the connections and to change connectors of the second stage box. Stage box one has 16 inputs and four outputs (A, B, C, and D). Stagebox two has eight more inputs, all 10 aux outputs from the mixer (with Neutrik combo sockets) and two more outs, E and F. This all gives us 24 inputs on the StudioLive and 16 outputs from the mixer on stage.
With our acoustic band, I only need one snake, and with the other band I use both snakes. Now we can put the mixer anywhere we like, setup time is much quicker than before and we don’t have to carry very heavy cables.
See the attached photos for the result. Maybe this helps other StudioLive users to get ideas about their set-up.
Greeting from a very happy StudioLive user!
[This just in from PreSonus Artist Olesya Star, who recently completed an unusual duet.]
As an independent artist, people always tell me that to survive you have to take 2 steps left whilst walking forward or you’ll go in circles, so I always keep an open mind to new ventures, avenues and pathways through this minefield called the music biz. One such diversion presented itself to me recently in the form of a country duet, originally meant for Dolly Parton, but sung by Tim Rose. Tim was an original American troubadour who was a founding Greenwich Village folk musician in the 1960s, and former band member with the likes of Mama Cass (Mamas and Papas), and later in life Andy Summers (The Police) and Mick Jones (Foreigner). Sadly, I never met Tim Rose before he died in 2002, but by pure chance I was asked by an old friend of Tim’s if I would supply “Dolly Parton-like vocals” and work the track, originally recorded in 1988.
The tracks were originally recorded on 2″ tape, so the tape needed to be baked and digitized prior to landing on my studio desk. I had 24 tracks to play with that had been encoded at 24bit/96khz, which I brought immediately into PreSonus Studio One Professional v2. The job of identifying the microphones that were used in the original recording was completely irrelevant with Studio One, as it was far simpler just to make the recording sound how it should by using the simplest included Studio One features: Channel Strip, Compressor, Pro EQ, OpenAIR reverb and, my favorite by far, the Mulitiband Dynamics effect on the Master channel which glues the track together—sometimes much better than using summing mixers that cost in the thousands.
I recorded my vocals through the PreSonus AudioBox 1818VSL, dropped the majority of unnecessary channels/recordings, and sculpted a rough mix before handing the final session over to my producer/mastering guru, Adam Mills. Adam added some heart-poundingly heavy kick drum and a sprinkle of the missing magic by adding just 2-3% OpenAir in the Mastering/Project section of Studio One, as an insert, with a tight room preset— and no more pre-delay than 15-20ms. There you go, now I’m even handing out secrets!
The result is “You Can Hurry Darling (And I’ll Walk Slow)” which now sounds like I was in the room with Tim Rose at the same time, All thanks to Studio One and PreSonus. Here’s a sample, the full single drops Feb. 14!
So, we’re growing. Like, bursting-at-the-seams-growing, and have become a little too big for our britches. Sure, all the jambalaya and Mountain Dew consumption around the Baton Rouge office is clearly a factor, but the real issue is that we’ve simply hired a lot of people to do a lot of work, and now there’s too many people to fit into our current facility. It’s like a pro-audio clown car up in here. We’re gonna need a bigger boat.
In my role as the Social Media Manager for PreSonus, I work from my home in the passive-aggressive capitol of the world, Seattle. Fact is, the only reason I haven’t moved to Baton Rouge yet is because Ron says “We’d love to have you here, but there simply isn’t anywhere for you to sit.” So, I’m glad to see they’re workin’ on it, because I’m overdue for some Crawdad and Three-Cheese Baked Macaroni and kindness from strangers.
While this might appear to look like some concrete in a muddy field, this is a big step toward arriving in our new home. Look at it as the architectural equivalent of having gotten our drums tracks committed to tape, and we just called our first-call bassist to come do his job.