Baton Rouge, Louisiana, June, 2012…
PreSonus™ is shipping AudioBox 1.2, a free update that significantly enhances the performance and versatility of their AudioBox 1818VSL interface and also provides a number of new features for its AudioBox™ USB, AudioBox 22VSL and AudioBox 44VSL audio/MIDI interfaces.
One of the biggest enhancements for the AudioBox 1818VSL is that support has been added for AB1818VSL Remote for iPad®. With this free app, you can control virtually every parameter in Virtual StudioLive forAudioBox 1818VSL from an iPad, including volume, pan, aux sends, FX buses, and Fat Channel parameters.
As a result, users can use an AudioBox 1818VSL and USB-connected laptop as a full-featured mixer/recorder for small gigs, rehearsal spaces, and mobile churches, with the iPad serving as a touchscreen mixing surface. In the studio, manage the monitor mixes from your iPad while dedicating your computer screen to a DAW.
With the AudioBox 1.2 update, all AudioBox-series interfaces become compatible with USB 3.0-a rarity among audio interfaces.
This update also provides enhancements for specific AudioBox-series models:
This free update is recommended for all AudioBox-series users. AudioBox 1.2 can be downloaded from the Technical Support section of the PreSonus Web site.
AB1818VSL Remote is a free download from the Apple App Store.
Las Vegas, NV, June 2012… Join PreSonus for a very special live webcast, direct from the InfoComm Show in Las Vegas.
Tune in for Connecting Your Customers with StudioLive, a 30-minute presentation that will cover the broad range of advanced control and connectivity between PreSonus StudioLiveTM consoles and laptop computers, iPads®, iPhones®, and iPod touches®.
From iPad-based wireless mixer control with StudioLive-Remote and iPhone/iPod touch monitor control via QMixTM, to multitrack recording and production with CaptureTM and Studio OneTM Artist, PreSonus is the only compact digital mixer that offers such a wide range of software integration – for free!
The presentation will also take a look into the ever-expanding integration between PreSonus products and Rational Acoustics’ acclaimed SmaartTM audio-analysis technologies. Optimizing system EQ has never been this fast and easy.
Four 30-minute presentations will be broadcast live from the PreSonus Demo Room (N105) at InfoComm on Thursday, June 14, at 9:00 AM, 11:00 AM, 1:00 PM, and 3:00 PM. (All times are Pacific Daylight Time) A live Q&A from attendees will follow each session.
A special bonus for those attending the show in person: PreSonus will give away a free seven-port USB hub and free 2GB USB drive to attendees at the end of each presentation.
So join us online at http://livestream.com/
To schedule an email reminder, visit us at http://presonus.com/community/
[Editor’s note: The kind e-mails just don’t STOP around here. I asked Houston’s Tommy Kib to give us “a paragraph or two” about his experience with the StudioLive and QMix in his worship services, and instead I got the sea of text that follows. Oh, and the video. Read on, it’s all good.]
I volunteer with Adore Ministries (@adoreministries) running the audio: trying to capture, mix, master, and send recordings of our services up to SoundCloud for people that couldn’t attend. This allows us to share the message with all that want to hear it.
If there were a target audience for Adore, it would definitely be both young adults and the young at heart. Our services focus on staying very contemporary, while also keeping true to even the most traditional of Catholic traditions. A lot more information about Adore’s mission, vision, etc is on their website.
What we have been able to do with the wonderful PreSonus technology is a really tremendous thing. Since our particular venue doesn’t have the most reliable infrastructure, we have been bringing in our own audio gear. Most of the venue’s gear may have been state-of-the-art in the mid 1980’s… but it hasn’t really been refreshed, well… ever.
So, I bring in some good stuff to allow us to get in and set up a quality live sound and recording rig by ourselves. This allows us to barely touch, or have to trust (The faith pun is intended) the venue’s admittedly aging gear and leave without a trace. Typically the venue’s employees coming in for the service after us could easily be overwhelmed if we didn’t put everything back exactly like we found it. They also have a lot of folks re-routing signals, so input #40 on the snake near the altar might run to input #12 on the mixer. We learned early on that deciphering the existing setup this was a terrible waste of time.
On a typical Adore night at the Catholic Charismatic Center, I’ll haul over:
Most of the time, we send the main outs of the StudioLive to the venue’s front of house mixer, a very temperamental Allen & Heath GL4 that eats power supply fuses like I eat crawfish! Once in a while we’ll send a couple of signals allowing us to balance in some front fills or actually have a subgroup dedicated to front fills.
Using QMix means we don’t require a monitor engineer. I’ve noticed after 2 events that I can get a way better EQ and starting mix from being able to roam around the entire venue during sound check. We absolutely cannot be in there before about 3 p.m., and most of the band simply can’t arrive until 5 p.m., and the event has to start at 7 p.m.! And if we’re not out by 10 p.m., (service ends at 9 p.m.) we really make the janitor unhappy!
The musicians (other than 2 that plug their ears right into the iPods) have really preferred using QMix over anything used before, even the Aviom system that this venue has. When we did rely on the Aviom, it was patched differently each and every time so there was 30 minutes of prep going in to re-patching and labeling the monitor mixes. With QMix, I think there’s only one “wish list” item I’d ask for… and that’s to save the channel labels or board tape part when recalled.
To say QMix is a game changer is a severe understatement. I’d credit it with at least 10 minutes savings during sound check, which is spent getting a much nicer sound. I thought the same when SL Remote for iPad came out, and now I don’t lose an hour spent running and connecting through a snake. Having the Store, Recall, and FAT Channel on the StudioLive takes anything we do anywhere to the next level, but being able to start with a recalled scene as a start point is PRICELESS! Probably another 10 minutes saved per night there…
What’s that add up to..? 2 hours saved per service? At least 80 gray hairs saved! When we only have 2 hours to set up and sound check, every minute counts!
Enjoy the little video! That should be enough for a “paragraph or two,” right?
My hunch is the online-page-turning-reader thing that Mushroom Magazine is using won’t embed in our blog, so here’s a link to all the flattery that PreSonus artist and producer wunderkind Luke Mourinet has to say.
Grammy-nommed Luke presented at MusikMesse a number of times for us this year, and his presentations were among the most well-received.
Between the title above and the big image below, I don’t have much more to write! It’s simple: buy Studio One Pro for $399 and get a free FaderPort. Click the jumbo-tron large image below to get the PDF required for entry.
Very clever! Markusgalla over at YouTube has found a way to stream your Mac’s audio into any channel of your StudioLive using a tool called “SoundFlower,” which is what I believe is what happens when a SoundCloud drops some SoundRain on the SoundGrass.
English speakers may choose to make use of the provided subtitles. What sort of applications can you think of for this? The possibilities are quite limitless.
International SuperSales Agent and all-around sharp dresser Mark Williams sent me these recently. MAN, who’s camera IS that?
Corona, CA, May 2012… Located in the heart of this bustling Southern California city, the Fender Center for Music Education is a busy place. The 33,000-square foot building is home to a music school, a museum, two performance venues, and a recording studio, and the Center is buzzing with activity throughout most of the year.
Run by the nonprofit Fender Museum of Music and the Arts Foundation, the Fender Center’s main focus is to provide music education to young people at low or no cost. As the Center’s audio engineer Kelly McGuire explains, the program has made an impact on a great many kids’ lives.
“Our program is called Kids Rock Free,” says McGuire. “It’s a low-cost lesson program for kids from 7 to 17 years old. We’ve been doing this for going on about 12 years now, and over 12,000 kids have been through the program.” The Center is also home to two live performance venues. “We have an outdoor concert venue where we do summer concerts like Steve Miller Band, and we also have a smaller nightclub venue,” says McGuire.
As a non-profit, the Center doesn’t rely on deep corporate pockets, counting instead on the support of donors. “Steve Miller and Paul Rogers have been really supportive,” says McGuire. “They’ve both put on benefit fundraisers for us, and companies like PreSonus have been there for us since the beginning.”
McGuire has been mixing a variety of projects on the Center’s StudioLive 24.4.2 console. “For one of our first projects, we put together a three-concert TV series starring Deana Carter.” The project was a collaboration with nearby Lucas Oil. “They’re our neighbors here in Corona,” says McGuire, “and they have a full TV production studio that turns out about 100 shows per year. There are lots of musicians working over there, and they’re huge supporters of our program, and they came up with the idea of doing a show with us, originating from our venue, and aired on their network.”
McGuire approached Carter and her band about the idea. “When I approached Deana, Max and David about doing this show, I just had a really good feeling about it,” he says. “I said, ‘Let’s try it out because I think you’re really going to like it. The audio’s going to be good, and the video’s going to look fantastic.’ And that’s exactly how it turned out.”
As McGuire points out, the StudioLive enabled him to wear multiple hats during the shows, handling the live mix, monitors, TV feeds, and live recording. “I was able to mix the show live, mix a couple of other sources for the TV track, and run five monitor mixes for the band, and at the same time I was tracking the show to a MacBook, using Studio One to edit it later. That’s what’s so cool about the StudioLive. There is really nothing else that I can think of that makes the whole process so effortless and streamlined.”
While the initial show with Deana Carter was put together as a showcase, the response both at the Center and at Lucas Oil has been so positive that plans are already in the works for several new productions. Upcoming shows will include members of Grand Funk Railroad, .38 Special, and Jack Mack and the Heart Attack.
But the StudioLive has been busy on more than just TV shows. “I’ve also been using the console for other stuff, including some shows, some studio recording, and some projects with the kids,” says McGuire. “It’s going to be in use all summer, pretty much all the time, including some of our outdoor concerts.”