PreSonus Blog

Category Archives: Monitoring

FOCUS… on the PreSonus Sceptre S8s

FOCUS… is a California-based record producer signed to Dr. Dre’s Aftermath Entertainment who has produced tracks for Dr. Dre, Eminem, Snoop Dogg, Kendrick Lamar, Lil Wayne, Jadakiss, Christina Aguilera, Jennifer Lopez, Beyoncé Knowles, 50 Cent, Busta Rhymes, and more. He recently got a pair of Sceptres—and here’s what he has to say about them.



Follow FOCUS… on Twitter.

PreSonus R Series Monitors and Eris MTMs have Arrived in Select Stores in the USA!

Sure, we can talk all day about how great the R-series monitors and Eris MTMs are. Heck, we can even link to reviews and let OTHER people tell you how great they are. And we do.R-Series-Avail-near-you

But the fact is, when you’re going to spend some money on some serious monitors, you really owe it to yourself—and especially to your clients—to hear the darn things first to believe them and know what you’re getting. That’s not something any YouTube review can do for you. You just gotta leave the house.

Fortunately, the R-series and Eris MTM monitors have begun to arrive in select dealers’ inventories, and you can head on over to any of the shops listed below and give them a listen.

If your neighborhood isn’t on the list, that’s OK. Contact us at and we will set up a demo near you.

R Series Availability:

Dealer State Address Phone Website
Eatmybeats AL 4755 Jug Factory Road TUSCALOOSA AL 35404 205-758-9119
Sutherland Sight & Sound AL 3906 Jackson Highway Sheffield AL 35660 256-381-1995
Aspire Music CA 912 S. Victory Blvd BURBANK CA 91506 818-435-4553
Bananas At Large CA 1504 4th Street San Rafael CA 94901 888-900-1959
Sam Ash 66 CA 3418 College Ave San Diego CA 92115 619-573-9669
Sam Ash 95 CA 7360 Sunset Blvd. Hollywood CA 90046 323-850-1050
Skip’s Music CA 2740 Auburn Blvd. Sacramento CA 95821 916-484-7575
Westlake Pro, Inc. CA 4101 Lankershim Blvd NORTH HOLLYWOOD CA 91602 323-845-1199
Robb’s Boulder Music CO 2691 30th St. Boulder, CO 80301 (303) 443-8448
Music Arts Enterprises FL 3301 Davie Blvd. Fort Lauderdale FL 33312 954-581-2203
Sam Ash 32 FL 5460 W. Sample Rd. Pompano Beach FL 33073 954-975-3390
Sam Ash 33 FL 5360 NW 167 Street Miami Lakes FL 33014 305-628-3510
Sam Ash 52 FL Dolphin Mall 11421 NW 12th St Miami FL 33172 786-331-9688
Sam Ash 54 FL 4644 E. Colonial Dr. Orlando FL 32803 407-896-5508
Sam Ash 63 GA 2999 Cobb Parkway Atlanta GA 30339 770-818-0042
Sweetwater IN 5501 US Highway 30 W Fort Wayne IN 46818 800-222-4700
Big Dudes Music MO 3817 Broadway Kansas City MO 64111 816-931-4638
Sam Ash 51 NC 5533 WestPark Dr. Charlotte NC 28217 704-522-9253
8th St. Music NJ 7815 Airport Highway PENNSAUKEN NJ 08109 215-923-5040
Grandma’s Music NM 9310 Coors NW Albuquerque NM 87114 800-444-5252
Boynton Pro Audio NY 5463 NYS Hwy. 12 NORWICH , NY 13815 (607) 337-2676
Sam Ash 07 NY 333 West 34th Street New York NY 10001 212-719-2299
N Stuff Music PA 468 Freeport Rd. Pittsburgh PA 15238 412-828-1003
Northern Sound & Light PA 11 Shingiss St. McKees Rocks PA 15136 412-331-1000
Corner Music TN 2705 12th Avenue South Nashville TN 37204 615-297-9559
Century Music TX 214 W. Rhapsody Dr. San Antonio TX 78216 210-496-2050
Sam Ash 59 TX 25 N.E. Loop 410 San Antonio TX 78216 210-530-9777
Performance Audio UT 2456 S. West Temple Salt Lake City UT 84115 800-771-8330
Rising Phoenix Music & Sound UT 4598 S. 700 W. OGDEN UT 94405 801-399-1418
Beacock Music WA 1420 SE 163rd Ave VANCOUVER WA 98683 360-694-7134
Truetone Audio WA 1915 Larrabee Ave BELLINGHAM WA 98225 360-734-2500!sales
Full Compass Systems WI 9770 Silicon Prairie Pkwy Verona WI 53593 800-356-5844
Kraft Music, Ltd. WI 4700 W. Ryan Road FRANKLIN WI 53132 414-858-4002
Pixel Pro Audio, LLC. WI 601 W College Ave APPLETON WI 54911 855-269-0474

Eris MTM  Availability:  Eris-MTM-Near-You

Name State Address Phone Website
Eatmybeats AL 4755 Jug Factory Road, TUSCALOOSA 205-758-9119
Sutherland Sight & Sound AL 3906 Jackson Highway, Sheffield 256-381-1995
The Midi Store AZ 40 W. Cortez Drive Suite 3, SEDONA 928-284-1619
Bananas At Large CA 1504 4th Street, San Rafael 415-457-7600 CA 2818 W. Main Street, ALHAMBRA 626-282-7001
Aspire Music CA 912 S. Victory Blvd, BURBANK 818-435-4553
PSSL CA 10743 Walker St, Cypress 714-891-3990!zHU2ep7IELoG7PH5KyqZIQ!/
Westlake Pro, Inc. CA 1711 W. Burbank Blvd. Suite 101, BURBANK 323-845-1145
Robb’s Boulder Music CO 2691 30th St. Boulder, CO 80301 (303) 443-8448
Eternal Light & Sound LLC CO 3262 Sea Gull Ct, LOVELAND 970-222-8313
B & B Educ. Music DE 3443 S. Dupont Highway, Camden Wyoming 302-697-2410
Discount Music FL 3301 Gardenia Ave., ORLANDO 407-423-4171
Music Arts Enterprises FL 3301 Davie Blvd., Fort Lauderdale 954-581-2203
Music Masters FL 1114 N. Monroe St., Tallahassee 850-224-6158
Scitscat Music FL 12302 SW 117th Court, MIAMI 305-595-3002
Total Entertainment DJ Inc. FL 501 W. International Speedway Blvd., Daytona Beach 386-254-8727
Sam Ash 44 FL 7726 Cheri Ct., Tampa (813) 888-7876
Dirt Cheep Music GA 2415 South Cobb Dr., SMYRNA 770-433-0196
Portman’s Music GA 7650 Abercorn St, SAVANNAH 912-354-1500
UpTempo Music IA 2114 Beaver Ave, DES MOINES 515-277-0145
West Music IA 1212 5th St., Coralville 319-351-2000
FTS Studios (Sound) IL 201 W. Jefferson, Suite 4, EFFINGHAM 217-343-0906
Sweetwater IN 5501 US Highway 30 W, Fort Wayne 800-222-4700
C&M Music Center LA 2515 Williams Blvd. KENNER 504-468-8688
Matt’s Music LA 3235 Breard St., Monroe 318-387-3628
Chuck Levin’s Washington Music Center MD 11151 Veirs Mill Road, Wheaton 301-946-2300
Big Dudes Music MO 3817 Broadway, Kansas City 816-931-4638
Fazio’s Frets & Friends MO 3100 S. Freemont Ave, SPRINGFIELD 417-881-1373
Morgan Music MO 689 N Washington Ave, LEBANON 417-588-1970
P.C. Sound Inc. NC 1826 W. 5th St., Washington 252-946-6100
Sam Ash 51 NC 5533 WestPark Dr., Charlotte (704) 522-9253
Dietze Music House NE 13015 W Center Rd Suite A-1B, OMAHA 402-333-1535
8th St. Music NJ 7815 Airport Highway, PENNSAUKEN 215-923-5040
Prymaxe Vintage, LLC. NJ 56 North Avenue, GARWOOD 908-232-7122
Grandma’s Music NM 9310 Coors NW, Albuquerque 800-444-5252
Imperial Guitar & Sound NY 2A Cherry Hill Rd., NEW PALTZ 845-567-0111
Boynton Pro Audio NY 5463 NYS Hwy. 12 NORWICH , NY 13815 (607) 337-2676
Corner Music TN 2705 12th Avenue South, Nashville 615-297-9559
Rik’s Music and Sound, Inc. TN 1505 Downtown West Blvd., KNOXVILLE 865-691-9590
Hermes Trading Co., Inc TX 409 S Broadway, MCALLEN 956-686-8742
Hermes Trading Co., Inc TX 9941 NORTH FWY, HOUSTON 281-820-0011
Mundt Music TX 2312 Judson Rd, LONGVIEW 903-758-8872
Rock & Roll Rentals TX 1420 W Oltorf, Austin 512-447-5305
Sound Productions TX 6631 N. Beltline Rd.Suite 100, IRVING 972-550-0001
Strait Music Co TX 2428 W. Ben White Rd, AUSTIN 512-476-6927
Performance Audio UT 2456 S. West Temple, Salt Lake City 800-771-8330
Rising Phoenix Music & Sound UT 4598 S. 700 W., OGDEN 801-399-1418
Audio Light and Music VA 6029 E VIRGINIA BEACH BLVD, NORFOLK 757-853-2424
Bellevue American Music WA 14340 NE 20th Street, Bellevue 425-641-5005
BSW WA 2237 South 19th Street, Tacoma 253-565-8114
Essential Audio Group WA 6700 NE Silver Springs Lane, POULSBO 206-335-6192
Focus Worship WA 6007 Thynewood Loop, WEST RICHLAND 425-422-5904
MUSIC 6000 WA 3738 Pacific Ave SE, Olympia 360-786-6000
Cascio Music WI 13819 W. National Ave., New Berlin 262-789-7600
Full Compass Systems WI 9770 Silicon Prairie Pkwy, Verona 800-356-5844
Kraft Music, Ltd. WI 4700 W. Ryan Road, FRANKLIN 414-858-4002
Pixel Pro Audio, LLC. WI 601 W College Ave, APPLETON 855-269-0474
Route 60 Music WV 60 Peyton St., BARBOURSVILLE 304-736-7466

Vahagn Sepanyan’s Bass Skills on Display in “ConFusion”

Check out this great video from Vahagn Stepanyan—tracked using an AudioBox USB and Eris E5s!

Vahagn says: “I am bass player, composer and arranger, and for my work I had to choose good audio equipment with high quality. I tried many studio electronics, before I found my favorite with great quality—PreSonus! Compared with other electronics, PreSonus is inexpensive and available to any user, and the most important fact is that it’s not inferior to others. It sounds great and has a true sound production.”

Thanks Vahagn!

PreSonus Sceptre Studio Monitors—Artist Impressions

Perry Sorensen, Head of Mastering at Naxos, Chooses Sceptre S8

[This just in from Perry Sorensen, Head of Mastering for leading classical music distributor Naxos of America! He’s chosen the Sceptre S8s as his new weapon of choice, and used them on the upcoming Live From Music City: The Best of Giancarlo Guerrero and the Nashville Symphony, which releases on August 14!]Perry-Sorenson-and-Sceptre


Q. Can you provide some background on Naxos of America?

A. Naxos of America is the leading independent classical music distributor in the U.S. and Canada. They specialize in state-of-the-art distribution and marketing and promotion. We distribute nearly 65,000 SKUs to traditional brick and mortar retail, as well as offering a comprehensive suite of services tailored to consumer direct fulfillment. Naxos of America is also one of the world’s largest digital distributors of independent classical music and video, supplying a catalog of over 1.6 million tracks and 65,000 album discs to hundreds of digital platforms and mobile outlets across the globe. We offer marketing, publicity, physical and digital e-commerce services, licensing opportunities, streaming services, sales support and customer service for all new releases and active catalog titles of Naxos Records and nearly 700 distributed labels. It’s a thriving company, and I really enjoy working there. We’re headquartered in Franklin, Tennessee, just a few miles south of Nashville.

Q. How did you become a mastering engineer?

A. I’d have to say it started out when I was in my teens. Like a lot of guys that age, I loved speakers…and bass! I think my affinity for audio was a bit different from other kids, because instead of listening to music and doing something else while listening, I would just sit myself in front of a home stereo system – the kind with the 10 inch woofers – and just listen. I would take it all in: the way the bass thumped in my chest and how the emotion of a song made me feel. What I didn’t realize was that I was actually doing critical listening, albeit an unprofessional form, but I loved it! Years later, I got my hands on some gear and started recording. One of the first things I did after getting some gear was to edit together entire soundtracks for shows for the performing arts. This included producing narrative pieces, as well. I actually met the girl who later became my wife, pop artist Jessie Kol, when I had the opportunity to record demos for her, when she was a vocal student at the performing arts center my family owned. It was around the time that I began working with my future wife that I realized audio engineering was my career “calling,” so to speak.

A few years later found me living and working in Nashville, Tennessee at one of the publishing arms of Universal Music Publishing Group. My time at Universal was fun, and it involved keeping track of their archives and also working in their studio, running sessions for dozens of songwriters and artists. Universal was where I learned how to “make a record.” The process of producing a record from start to finished was learned during my time there. I would also do engineering work on the side for various Grammy nominated producers, which landed me some credits on a few major label recordings. Throughout working as a recording and mix engineer, and producing a couple EP’s and countless demos for my wife, I was always fascinated with the “art” of mastering. “How do they make it ‘sound better’?” “Does the mastering phase give a recording that ‘punch’ and ‘wow’ or is it the mixing phase, or a combination of both?” Those were all questions that I researched long and hard to find out. In my quest for the answers I learned so much about mastering – what it can do, and what it can’t do.

Mastering seemed like an ideal fit for me for several reasons. I enjoy critical listening—just ask my wife how often I interrupt our conversation to say “do you hear that?” I love music and music production. And I enjoy making things sound “that much better.” There’s a thrill to lending your skill set and wisdom to a creative project in order to help make it all that it can be. You know, bringing out that potential and making it sound that much better. Naxos of America has been a great place for me to practice the art of mastering, by helping them and the labels they distribute to produce a great recording. It’s a fun environment. It doesn’t feel corporate to me. And I’m thankful to have been given a place like Naxos of America, whereby I can master some great music. There’s always plenty to do at Naxos, because we distribute a lot of music globally.

Q. How did you come about to selecting Sceptre S8s?  Was it the company’s reputation, audio quality, specific features, price, other factors?

A. I first saw the Sceptres in TapeOp Magazine. The first thing that caught me was their unique design. Realizing that they were coaxial and time-aligned, I immediately began wondering how in the world PreSonus was pulling that off, and at that price point. I started thinking of how I could get my hands on a pair! A few months down the road, I decided to reach out to PreSonus, and hear for myself what the hype was about.

Q. Have the Sceptres met your expectations?

A. I have to say that before they arrived, I was a bit nervous about hearing these monitors and being disappointed. Not because I’ve heard anything bad about PreSonus, but because I was wondering if they would really deliver, and if they didn’t, how was I going to politely tell PreSonus that I didn’t like them. Haha. Almost immediately, though, I was blown away. An engineer friend of mine, who is also a co-worker, and myself set them up for an A/B session in our company’s listening room. Right away he said that the Sceptres were “punchy.” We were both so excited about them that we brought in our other co-worker, who’s also an engineer. He too, was very impressed with the transient response they have.

The Sceptres are punchy, but when I say “punch,” I’m not referring to bass. I’m referring to the mid, upper-mid, and upper frequencies. The transient response amazed us. Side by side with the competition (who shall remain anonymous, but be assured, was not at all a shabby monitor) – which was an audiophile 8 inch design with air motion tweeter – the transient response, depth, and clarity were obvious. We were playing some classic R&B songs, and instruments that were getting masked over by the competition’s monitors were clearly and beautifully represented by the Sceptres! The difference was night and day! And yes, the Sceptres represent the low end quite well. There’s no disappointment there.

Q. Now that you have been using the S8s for awhile what do you find special about or that you have come to appreciate (regarding frequency response particularly, with how the midrange frequencies are represented, detail, channel spread, etc.,)?  What do you notice in the coaxial delivery?

Put a different way, what features have proven particularly useful and why?

A. As a lot of engineers know, the mid-range frequencies are where the definition, the nuance, the texture, of any audio piece lives. The Sceptres have completely blown me away with how they lay open to expose every little nuance and detail of the music I master, whether it’s classical, jazz, or even a country album. Every instrument comes through. I honestly cannot over emphasize how the Sceptres really shine in allowing me to hear every bit of vital mid-range information. They don’t hype. They simply, effortlessly, and accurately reveal everything that’s there. That in turn, allows me to make any fixes and adjustments that need to be made so Naxos can give the client the best results. Seriously. Listening to the Sceptres is enjoyable. I can’t quite explain why, but the word I would use to describe how the Sceptres reveal the music to the listener would be “effortless.”

Q. Did S8s replace other speakers?

A. Yes!

Q. In the box, or out?

A. My mastering needs allow me to stay primarily ITB (in the box). I enjoy the workflow that being ITB allows.

Q.You mentioned that the S8s are extremely accurate and that it’s hard to believe so, at their price point. Could you embellish that statement?

A. Like I said, it’s amazing what PreSonus has packed into these monitors. I’m still trying to figure out how they’ve come up with such an offering at this price point. They’re not cheap, but they sure are a lot less than I’d expect to pay for something that offers this level of accuracy and imaging.

Q. Any user tips or tricks or interesting stories based on your experience with?  Any war stories you want to share?

A. One thing that I’ve realized about any craft, is that it’s not so much about the tools, but about the person using the tools. Sure, tools are important, but I think in the audio field we’ve gone overboard in believing that simply having the grand converter or pre-amp is what makes a recording sound incredible. I believe that having great gear is very important. But, when I began engineering, I learned how to make recordings sound great with a Mackie 1402, a NanoVerb, and standalone CD recorder. I would produce demos for vocalists. It turns out, they were impressed. That encouraged me to get my first DAW – the original MBOX with Pro Tools. Nothing ultra, but it’s what I was able to get. From there, I produced more demos for vocalists. One of the guys I created a demo for was so impressed that he told me my recording and mix sounded better than the demo that he had shelled out a bunch money for on Music Row a few years earlier. That, for me, was when I started realizing that it’s not so much about the tools, but the engineer – his ear, his understanding of what gives a recording “that” sound.

Again, high quality tools are definitely important, but what precedes that is the understanding and ability of the engineer. My take on it, is that a great engineer can make extraordinary use of minimal gear. Great engineering is also about process, just as much as it is about knowing your tools. There have been countless times when I’ve caught something that needed correcting, simply because the process I use in my approach to mastering a project was being used. In other words, it had little to do with the gear. I believe it’s crucial for an engineer to develop process – a protocol of how you approach and run through a project. Be thorough. Double check your work. Give a QA listen through of that disc or DDP master before you hand it off to the client. Make sure you really got the sequencing correct…for the 3rd time. If you notice something that may seem to be out of place, ask the client if that was their intent.

Q. Any interesting musical projects that you’ve mastered recently?

A. Yes! Definitely! Naxos is always getting interesting projects but aside from that, back in November, Naxos did a re-release of the acclaimed “Jazz at the Pawnshop” album that was recorded live in 1976 at the Jazzpuben Stampen (Pawnshop) in Stockholm, Sweden. That was a fun project to re-master. The history behind it and the fact that it was a re-release of the original 12 track recording made it to be a very exciting re-mastering project for me. Most recently, I’ve just wrapped up mastering a really cool project of the Nashville Symphony. Naxos has put together a “Best Of” project in partnership with the Symphony. It’s called “Live From Music City: The Best of Giancarlo Guerrero and the Nashville Symphony.” The Nashville Symphony and Naxos of America enjoy a great business and creative relationship and we’re both very excited to release this special project in August!

Here’s the details on the above mentioned release:

LIVE From Music City: The Best of Giancarlo Guerrero and the Nashville Symphonyunnamed-2
Cat ID: 9.50141
Composers: Piazzolla; Sierra; Daugherty; Danielpour; Paulus
Artists: Nashville Symphony + Giancarlo Guerrero
Digital Release Date: May 5, 2015
Physical Release Date: August 14, 2015
About: Drawn from seven years’ worth of commissioning and recording projects, Live From Music City captures the full breadth of the Nashville Symphony sound, from Michael Daugherty’s pop-culture inspired tone poems to Roberto Sierra’s fiery, Latin-flavored symphonies. Hear an orchestra that’s truly in tune with its place and time, recorded live at the world-class Schermerhorn Symphony Center.




And here’s details on Ancient Voices, also recently mastered on the Sceptres.

Ancient Voicesunnamed-3
Cat ID: 8.578311-12
Composer: Richard Danielpour
Artists: Hila Plitmann; Nashville Symphony; Giancarlo Guerrero; Pacific Chorale; John Alexander; Pacific Symphony; Carl St. Clair
Digital Release: June 2, 2015
Physical Release: June 9, 2015
About: One of the most sought-after and decorated composers of his generation, Richard Danielpour refers to himself as “an American composer with a Middle Eastern memory”.  His distinctive voice is part of a rich neo-Romantic heritage which includes 20th century American and European composers alike. Darkness in the Ancient Valley, a symphony in five movements inspired by recent events in Iran, utilizes a wide range of Persian folk-melodies and Sufi rhythms.  Toward a Season of Peace is an oratorio which explores violence and war in the name of religion, using the season of spring as a metaphor for change and transformation towards songs of peace through forgiveness.  Danielpour’s insistence on music having “an immediate visceral impact” can be heard throughout his oeuvre, and the beautifully translated Persian poetry and rich spirit of harmony in Toward a Season of Peace make it symbolic of a brighter future for our time.

Home Recording Weekly Reviews the Ceres 4.5BT, Gets Wowed

Check out this very flattering and thorough review of the Ceres 4.5BT monitors from Kern Ramsdell of Home Recording Weekly. We loaned him a pair of the Ceres 4.5BT for review—and he did an excellent job.

A couple quick snippets: “The PreSonus Ceres C4.5BT monitors are incredible sounding, and you will be blown away. I know I was,” and my favorite: “it stinks that I have to send these back.” Click here to read the full review that accompanies this video.

For more info on Ceres, visit

Sceptre & Monitor Station the new studio “Power Couple”

Award_BestProduct_2014By now you should realize that we think the Sceptre High Definition CoActual Studio Monitors and the Monitor Station V2 Desktop Studio Control Center are a match made in heaven. And they are, but like all great couples, they are also amazing individuals in their own right… so amazing, in fact, that they each received back to back awards as part of glowing reviews of their character. I guess you could can start calling them our studio “power couple.”

Sceptre S8 Receives Everything Audio Network “Stellar Sound Award”

“The first audible attribute I noticed on casual play of 24/192 music, was how accurate the Sceptres are. The speakers have an audiophile­-class midrange and top­ end with a focused, tight bottom end in the 50­Hz to 100 Hz range. Most powered pro speakers that sound this good are well above the $1,000 per speaker. I am impressed… Consequently, we have awarded it our Everything Audio Network Stellar Sound Award.”

Read the full Sceptre S8 Review at the Everything Audio Network

Monitor Station V2 Receives AudioFanzine “Best Product 2014” Award

“The Monitor Station is back with a new S/PDIF input and several improvements (speaker level controls on the rear), while preserving the features it’s known for. In practice, the Monitor Station revealed itself very pleasant to use.  If you are looking for a somewhat advanced monitor controller with a talkback circuit for $300, you should definitely consider the Monitor Station”

Read the full Monitor Station V2 Review at

They Might be Giants’ New Live Album Mixed on Sceptres by Scott Bozack

Scott Bozack with Sceptre MonitorsThey Might Be Giants’ uniquely avant-nerd brand of pop/rock has seen a lot of evolution over the band’s career of 30+ years. While the band remained a plucky duo for the first phase of their career—John Linnell and John Flansburg—the release of John Henry found the band to take on… well, a band. While some critics might be inclined to leverage this transition to allege some sort of “maturation,” longtime fans know better. Short-time fans just need to throw “Doctor Worm” for a spin to see what I’m getting at.

Given TMBG’s somewhat surprising sonic evolution—a move that alienated what few boneheads existed among the ranks of their fans—it’s great to see (hear) First Album Live—a live full-band treatment of TMBG’s eponymous 1986 debut, informally/aka Pink. Hearing classic tracks updated with full-band arrangements (and the infectious hollerin’ of enthused concertgoers) brings us a tasty mix of the familiar and the new-ish—a real treat for longtime fans. And that band. Chops tapeworthy.

Or discworthy. Or Edison cylinder-worthy. Whatever. Point is the live arrangements of these songs as interpreted by said band deserved to be committed to history, and it’s happened—in part due to fan demand, and in part due to Sceptre monitors!

First Album Live was mixed by Scott Bozack, “Prez” of Big Gig Productions, who has been touring the world over with the ‘Giants since 2008 as their Tour Manager, Production Manager, and FOH engineer. He says, “I really love the CoActual horn design. It really creates an amazing image, and helps me visually place instruments in the music. Less EQing is required to to carve out space. Love them!”

John Flansburg, guitarist and vocalist of the band notes, “With the definition of the Sceptre S6 monitors, Scott Bozack was able to translate the power of They Might Be Giants’ live sound to a proper recorded mix.”

First Album Live is free, and can be downloaded by clicking here. Enjoy!


FREE Live Webcast | $5,000 in prizes! Dec. 11 2014

Click here to register for this event!

FREE Live Webcast | $5,000 in prizes!


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.