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Butcher Babies and the StudioLive CS18AI and RM32AI at Ozzfest Meets Knotfest in 2016!

BBabiesWatch!

Jason Klein, bassist of the Butcher Babies, tells us about how the band is using the PreSonus CS18AI & RM32AI systems for both their in-ear monitoring system as well as multi-track recording of their live shows via Capture and Studio One—all happening at Ozzfest Meets Knotfest 2016.

Learn more about the StudioLive Mix Systems here!

 

 

 

 

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The beach, an Airstream and the PreSonus AR12 Mixer

Don’t get us wrong–working at the PreSonus headquarters in Baton Rouge is awesome.

But if we had the option, doing what we love at the beach is high on our wish list. Somehow that’s just what Cory Davis, with 30A company based in Santa Rosa Beach, FL, has figured out how to do in his work at 30A Radio.

30A is a highway along Florida’s gulf coast offering visitors more than just a beach vacation. Fine dining, prefect sandy beaches, weekend farmers markets, bike trails… you’re not going to want to leave. It’s also where the Truman Show was filmed.  You may have seen a bright blue bumper sticker when driving around town–it looks like this:

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Davis is the Director of Sales for The 30A Company advertising department, and programs and manages 30A Radio. Davis recently got his hands on one of our AR12 Mixers and we wanted to hear how it was treating him and improving his workflow.

  • Tell us about yourself…
    • Graduated from LSU in broadcasting, been in radio for 25 years. We launched 30A Radio digitally over 2 years ago, broadcasting 100% online via our website, and our free 30A app for iPhone and Android. After leaving FM radio, I really wanted to find a fit digitally to take everything I had learned to the next level. Our main project is expanding the 30A lifestyle into perimeter markets and getting our 30A Radio Airstream to regional music festivals in the Southeast for interviews and sessions with our core artists.
  • What PreSonus products have you used and which do you currently use?30a1
    • We use the StudioLive AR12 USB for our Airstream performances, interviews, and podcasts.
  • What led you to choose the AR mixer?

    • The new AR 12 seemed to fit every capability we needed in such a tight space. We have performances and record in an Airstream. The ability to record directly on the mixer and PreSonus’ reputation was key… and being from Baton Rouge helped. GEAUX TIGERS!
  • Having used the AR Mixer, what do you like most about it? What are you using it for?
    • We use it for bands that stop in and they play songs which we produce and insert into rotation on 30A Radio. The easy to use functions, and recording on the board were key.
  • What mixer feature have proven particularly useful and why?
    • Recording easily was key. But the FX and low cut options help. We tend to record in areas that may have a lot of exterior noise, and we can limit some of that pretty easily with dynamic mics.
  • How does the AR Mixer compare to other mixers you have used? What’s better, what’s not as good, what does it give you that other mixers don’t?
    • It lets me work quickly, on the fly. Tuning up different mics is pretty easy for a guy that is learning to use a board for recording sessions. We have limited time to set up sometimes, and don’t want the band to have to wait too long. So making them sound great quickly is key.
  • Any features on your wish list for us to add in future updates?
    • Not sure if you can boost the headphone jacks a bit…but that would be one.
  • Any user tips or tricks or interesting stories based on your experience with the AR Mixer?
    • Recently had John Driskell Hopkins of the Zac Brown Band in the Airstream for a session. He has a home studio and helped fine tune his session. It was bike week at 30A so it was pretty noisy. John suggested using the low cut to get the “Harley” sound out… and it did! Bikes were passing right by us and we didn’t hear them at all on the recordings.

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  • What’s next for 30A Radio?
    • We are really not pushy with 30A Radio, it’s there for our fan base. We try to tell the story of our area, and give the vibe of what we see and do every day here. I guess what’s next is finding out what our limits are in the Airstream with bands and performances. Definitely have a bucket list of artists we’d love to host at some point. Either here or on the road.
  • Any final comments about PreSonus?
    • It really appears that you guys are user-friendly, and take suggestions and integrate them into upgrades and newer versions of your equipment. And that’s awesome!
  • What’s it like working at the beach?
    • It’s unreal to think what I have done in the past, got me to this great position. Working in a corporate environment and typical “sales” management for clusters of stations makes you age quickly. I took the best of what that environment was like, and came up with a new template for 30A Radio and our advertising department. Being able to have your feet in the sand, and do radio is quite amazing. We really do that…I swear. Now we can bring the beach to feeder markets for us with our Airstream studios.

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Learn more about our StudioLive AR Hybrid Mixers here!

Introducing the new AIR Loudspeakers from PreSonus

Versatile, customizable, and easy to transport. Oh, and the sound? It will blow you away.

Learn more about AIR by clicking here.

Vintage Reverbs from Convology Now Available for Studio One

Convology Vintage Reverb Bundle

Convology Vintage Reverb Bundle

Convology Vintage Reverbs for Studio One

We’re proud to introduce this triple-pack of incredible vintage reverbs from Convology. These Add-ons, available at shop.presonus.com, have been meticulously modeled from many hard-to-find plate reverbs, spring reverbs, and digital reverb processors from across the globe. We can’t really overstate what an undertaking this was. The Convology Vintage Reverbs are available in a bundle pack, as well as individually.

These impulse responses work with Studio One 3 Professional’s Open AIR convolution reverb. Just download and install, and you’ll have all of the benefits of real-deal vintage ‘verb vibe… with none of the disadvantages:

  • eBay expense
  • Shipping damage and courier insurance claims
  • Expensive replacement components
  • Use of valuable studio space
  • Scarce qualified repair personnel

 


Vintage Reverbs — Digital

Convology Vintage Digital Reverbs

Convology Vintage Digital Reverbs

This powerful collection of impulse responses brings back the sound of the early 80s reverb units. While many of today’s digital reverbs are renowned for their realistic quality, there’s an undeniable sonic mojo to some of the early digital efforts.

Full Listing of sampled reverb units
Digital Reverb 245 – (10 files) New York and Switzerland
Digital Reverb 246 – (20 files) Austria and Switzerland
Digital Reverb 248 – (16 files) Nashville, TN, and Denver, CO
Digital Reverb 250 – (26 files) Nashville, TN

Digital Reverb 245
The 245 was the 244 with the addition of pre-delay and a reflections settings. While the other German units incorporated some of these same reflection settings in algorithms, the 245 gave you the flexibility to really dial in those settings. When you look at these files, under the microscope, it’s interesting to see the early reflections (spikes) in the audio files. There was a great deal of audio engineering science that went into the reflections, how far or close together they would be, to emulate different rooms, halls, etc. The 245’s longest reverb time is around 5 seconds.

Digital Reverb 246
uses the algorithms from the 250 as does the 248, with a great deal of user control and flexibility. It also encompasses a slot for expanded memory similar to the 248. It has 6 program modes with a programmable low pass filter, reflections, and decay.

Digital Reverb 248
The 248 was the last unit made in this series and is treasured by many as being solid and quite nice sounding. The 248 was loaded with all kinds of presets and adjustable algorithms including, Baroque Church, Cathedral, Romanesque Church with numerous size rooms, halls and even stairwells, bathrooms and a preset called “Tiny Room.” The 248 is a very able processor and is used even today, like so many of these vintage units, by major recording artists around the world. One of our units was used by leading country artists such as Reba, Carrie Underwood, and Luke Bryan.

Digital Reverb 250 REV 250
The first true DSP manufactured. The 250 uses 12-bit, 24k converters, low passed around 11Khz. This unit has large levers on top, weighs around 100 lbs and looks like it is from outer space – nicknamed the “R2D2.” No doubt, this is one of the finest DSPs from the era, with the few who own one of these remaining pieces of vintage outboard gear, still using them frequently and unabashedly. There is a 251 and 252 unit that are offshoots of this model. There were only around 250 of the original units made and then were adapted to the newer 251 interface and 252 upgrades with the 252 being a rack mounted version.

 


Vintage Reverbs — Plate

No two plate reverbs sound exactly alike. Even when made by the same company! Years of use, storage, re-conditioning,  re-tuning, driver condition, pickups, and upgrades made to a plate unit each impart a sonic consequence. There’s a reason that some studios still reserve the space for a massive, heavy, expensive plate reverb—they tend to age like fine wines.

Vintage Plate Reverbs

Convology Vintage Plate Reverbs

Full Listing of sampled reverb units
Plate Reverb Eco II (8 files) – Appleton, WI
Plate Reverb Eco III (13 files) – Sweden
Plate Reverb 140 Tube (16 files) – Nashville, TN
Plate Reverb 140 (19 files) – Finland
Plate Reverb 240 (15 files) – Los Angeles, CA
Plate Reverb Lawson (13 files) – Nashville, TN

Plate Reverb 140EMT 140 Plate Reverb
For many, the 140s are viewed as king of the hill for a number of reasons. They were the first and came to market in the late 1950s. They tend to be a little warmer, tend to replicate, as they were originally designed, the sound of a concert hall and with limited EQing can for the most part, more readily replicate a dark, bright or a warm sounding room, etc. There are beautiful sounding files in every 140 model sampled—try them all along with very cool hybrid impulses that really are a solid addition to anyone’s convolution library!

Plate Reverb ECO
Tend to be brighter and a little more metallic sounding. Useful to bringing certain production elements out in the mix when you need it to cut through. These units were a little smaller than the Plate Reverb 140.

Plate Reverb 240
The 240 is darker sounding. Weighing 148 lbs, with dimensions of 1’ X 2’ X 2’.  Some say better on shorter settings and for sound sources like drums. Originally designed as a way to make the original 140 (4’ X 8’) in a smaller and lighter box.  It really was a technological feat for its time. They use a gold foil plate and are a hybrid between the original large 140 plate and early analog to digital rack mount and smaller floor units, although the 240 is totally analog.

Lawson
Tends to be brighter, iwth a bump in the lower mids tends to warm them up. This unit was designed and built by Gene Lawson who continues to make microphones today at his shop in Nashville, TN.  His microphones are well regarded and his tenure in the business is remarkable.


Vintage Reverbs — SpringConvology Vintage Spring Reverbs

This impressive collection of impulse responses brings back the famous sound of no fewer than 26 spring reverb units, sampled in 6 different countries including Britain, Canada, Netherlands, New Zealand, Scotland, and the USA.

Many pieces of gear included in this Add-on have been used by major recording artists, like tube springs that have been used by The Rascals, Van Morrison, and in James Brown’s famous “It’s a Man’s Man’s Man’s World.” (K-100 Spring)

General Overview
For many who grew up in the era of plates and springs, most were drawn to plates for very good reasons. After careful consideration and reaching out to studios around the globe for the most interesting vintage springs that could be found and acoustically captured, some of these springs are just absolutely gorgeous with the spring and electronics of the units, really creating some fantastic sounding reverbs–the 3D audio quality that many engineers aim to find.

If you’Vintage Spring Reverbve always fancied yourself a plate reverb individual, this library will definitely change your mind. There are springs of all kinds, and yes, there are some boingy ones—gotta have a few for that vintage guitar, lead vocal, and organ sound, right? There’s also mono and stereo versions, along with a variety of lush and warm-sounding springs that nearly sound like a plate—they deliver the “reflections from nearby walls” as only a spring can—when light tremor and flutter of the spring occurs.

This spring reverb collection is complete with a wide range of springs, useful for a variety of applications. There are a good number of impulse response files in this library that you wouldn’t hesitate to apply to the lead vocal–they’re that good, and would absolutely compete with some of your favorite – digital or plate reverb presets. A number of leading engineers and producers use springs on a regular basis and some as their main “go-to” for reverb in general.

Click here to buy Vintage Reverb Collection at shop.presonus.com

The Rocket Summer on taking the StudioLive RM32AI Mixer on tour!

It’s been a long road since Bryce Avary first started putting out music under the name The Rocket Summer 16 years ago. With roots in pop and alt-rock, Avary showcases his talent by writing, producing and playing instruments on all 6 of his albums. The Rocket Summer is currently on tour for their newest record Zoetic which was released in February. We recently caught up with him to see how the tour was going and how the RM32AI Mixer was working for them.

Avary’s assembled a killer live band to take his songs on the road! They’re using the RM32AI Mixer for their in ear monitoring system and mixing everything on their own. Hear more of Avary’s thoughts in the video below.

 

The RM32AI is obviously a perfect fit for The Rocket Summer and it may be just what you’re missing. All summer long (and then some) select dealers in the USA are offering discounts of Kozmic proportions on StudioLive mixers – See more HERE!

Pete “Boxsta” Martin with Boxsta Music on Studio One 3.2

Pete “Boxsta” Martin with Boxsta Music is an award winning, multi-talented producer/songwriter and one of the most sought after mix engineer in the world. He has worked with a variety of top selling artists such as Arrow Benjamin, Jessie J, Sugababes, Alexandra Burke, and Missy Elliot. Here he discusses leaving Pro Tools for Studio One 3.2 and the ease of the transition.

“Studio One is an incredible platform because it’s the best of every DAW out there. It’s totally new and fresh; it encompasses everything you need.” – Pete Martin.

 

For more on Studio One 3.2, click HERE.

Try Studio One Professional Demo for FREE for 30 days!



Introducing the ULT Loudspeakers

PreSonus ULT-series active loudspeakers combine the widest horizontal dispersion of any loudspeaker in their class with a focused vertical dispersion for an ultra-long throw. The result is even coverage throughout the space, enabling the audience to hear clearly wherever they are. Featuring PreSonus’ proprietary Pivot X110 horn and plenty of Class D power in a lightweight design, ULT full-range loudspeakers deliver first-rate speech intelligibility and natural music reproduction. A companion ULT18 active subwoofer delivers a powerful, clear, and accurate low-end punch in a compact design, making ULT-series systems ideal for both mobile use and permanent installations.

Click here for more info on the ULT speakers.

 

 

 

PreSonus Sceptre Studio Monitors—Artist Impressions

Songwriters Retreat to 14th-Century Castle to Stoke Creative Fires with Help from PreSonus

ASCAP invited 18 top songwriters and producers to write the hits of tomorrow at its fourth annual songwriters retreat in France.

Held September 17-25 at the 14th-century Château Marouatte in the Dordogne region of France, the retreat was designed to produce hits and get cuts in a variety of genres. Each session placed a producer, a topliner and a recording artist together to write and record in a different room of the castle. By the end of the retreat, nearly all the participants had worked together. They left France with hard drives full of professional-grade demos, ready to pitch to artists and record labels.

Château Marouatte is owned by famed music industry executive Miles Copeland, founder of IRS Records. Copeland once brought music legends like Jeff Beck, Jon Bon Jovi, Belinda Carlisle and Desmond Child to high-level songwriting summits at the Château. In 2011, ASCAP convinced Copeland to revive the tradition, and has brought a new group of songwriters and producers to France every year since.

The 2014 participants hailed from around the world and across the genre spectrum. They were: Anjulie, Martin Brammer, Ashley Campbell, Mike Daly, Chris DeStefano, John Fortis, Elyar Fox, Dia Frampton, JT Harding, Brett James, Giovanni James, Brian Kennedy, Emmy Palmer, Autumn Rowe, Amir “Azeem” Salem, Sharon Vaughn, Peter Wade and Oren Yoel.

PreSonus provided the following for the event:

Recordings from the event can be heard on SoundCloud by clicking here.

AudioSavings video coverage of StudioLive AI, Eris, Sceptre, and SL Room Control from the PreSonus booth at NAMM 2014 (Video)

Kind press folks the world over swung by our booth at NAMM 2014, cameras in tow on tiring shoulders. Here’s some clips from AudioSavings exploring the StudioLive AI mixers, SL Room Control, and the Sceptre and Eris monitors. More videos from other sources to come!

StudioLive AI Mixers:

SL Room Control app:

Sceptre and Eris monitor speakers: