Let’s find out more about them and what’s new in the Pigface camp in these surreal times we’re in:
Martin: I’ve had a long storied career – starting in 1979 when I joined Public Image Limited (the band started by Johnny Rotten when the Sex Pistols imploded) for a 5 year spell that included world tours and their most successful albums. A few years with Killing Joke (who just opened for Tool last year) some work with Nine Inch Nails (appearing on the Grammy award winning Wish) touring with Ministry and founding my own band Pigface – an industrial ‘supergroup’ that has included Mary Byker (PWEI, Gaye Bykers On Acid), Chris Connelly (Revolting Cocks, Ministry), Randy Blythe (Lamb Of God), Danny Carey (Tool), Curse Mackey (Evil Mothers), En Esch (KMFDM), Lesley Rankine (Silverfish, Ruby), Charles Levi (My Life With The Thrill Kill Kult), Bobdog Catlin (Evil Mothers), Bradley Bills (Chant), Andrew Weiss (Ween, The Rollins Band), Greta Brinkman (Moby, Druglord), Orville Kline (Porn and Chicken), Gaelynn Lea, Dirk Flanigan (77 Luscious Babes), Leanne Murray (Beer Nuts), Chris Harris (Project 44), Mike Reidy (Worm), Leyla Royale, Andrew Apocalypse, Ali Jafri, Roger Ebner, Bruce Lamont, Jesse Hunt, Dai, C.A.M., J Lamar, Just Chris (courtesy of Add-2) and Rona Rougeheart.
I started my own label Invisible Records in 1988 and, after a few short years it was obvious I should open my own studio – I bought Steve Albini’s tape machines (an 8 Track ½” and a ¼” machine both by Otari.) As digital started to enter our lives my studio became a hybrid of cool quirky analog, circuit bent pieces, and whatever digital interfaces were affordable at the time.
More and more of my time was spent either in the studio or out recording live events with my band in the US or over in China where I travelled a couple of times. I’ve always been impressed by how supportive PreSonus is to artists– either with no nonsense customer support when needed or by carefully crafting new pieces of equipment that just make sense. I think the piece that illustrated their support of artists for me was the now “classic” Faderport– when most companies were trying to sell multi-fader automation they (and then I) realized that most of us only needed one channel to write volume and pan automation – so, that, I guess, cemented everything for me.
It feels like things are really coming to fruition now, with support from PreSonus and my good friend and audio engineer, Mark Williams. I got to see the StudioLive 64S Series III console mixer in action first at Mark’s studio in Baton Rouge where he laid out all of the tracks, but then we got to work at River City Studio, which is an amazing recording facility, right there at the PreSonus office building. Everyone was so welcoming, people jumping out of meetings to say hi that I had met speaking at PreSonuSphere years ago (you should bring that back!) and I even met the CEO. Mark and I were able to tweak the tracks there and then finish up any tweaks remotely from Chicago.
All of this made the need for a StudioLive 64S console essential for my studio– with so much catalog and multi-track sessions it will be an essential hub of our next few years of activity as a band and as a label. I have the ability to quickly communicate the power of these live shows we have been creating. We recorded many of the shows during our 2019 tour – the line up was just AMAZING and, just be reading through the names you’ll know this was nothing to roll the dice with – the new format allows seamless passing of sessions, follow up tweaks, and easy workflows. Not only has the StudioLive 64S made the mixing of the live tracks from the last tour possible, it’s enabling possibilities of making other shows available for the fans who want more material from us.
Mark: I met Martin the first time in 1993 while working in college radio at the University of Alabama. I worked for him as a field representative for Invisible Records for about 5 or 6 years. Martin contacted PreSonus about one of his ACP88’s and became an Endorser for the company. Throughout the years, PreSonus has outfitted his studio with products including: the ADL600, Central Station, Fadeport, Digimax 96, and their award-winning DAW software, Studio One.
I’ve worked on numerous recording projects and mixes throughout the years with Martin and in November 2016, we recorded the Pigface 25th anniversary concert at the Chicago House of Blues using 2 StudioLive RM32 rackmount mixers and Capture recording software.
In 2019, I supplied Martin with a Quantum interface to record all Pigface live concerts with. The front-of-house (FOH) engineer for the final concert at Thalia Hall sent me all 32 channels of the recording. I synced up the 26 channels from the multitrack with 6 additional channels from the board mix and FOH feed.
Breaking down the 32 channels, 48khz recording down by song was quite an undertaking, as it was a massive amount of data to go through.
Martin flew down the last week of February 2020 so we could mix the album in my studio. The heart of our system was an IMAC with 32 gigs of RAM with a few external terabyte drives, a StudioLive SL64 console mixer, Scepter 8 monitors and Avantone Mixcubes. We went through each song to evaluate what we would use. As we did that, we created template fat channels for each musician. We had 3 drummers, 3 bassists, 2 guitarists, a DJ, 3 saxophones, cello, viola, violin, sitar and more vocalists than I can remember.
Basically we mixed everything “live” using the StudioLive 64S, relying on the console for dynamics processing and effects. We did some simple edits in Studio One. However, to maintain the integrity of the recording, we didn’t repair or fix anything. We used the recording as is in all its chaos and beauty. We didn’t correct any timing, pitch (i.e. no Auto-Tune!). I wanted to stay true to the Pigface form for the live energy.
A couple of days went by of mixing in my studio and then went to River City Studio. I was able to store the presets for the StudioLive 64 on the iMac. We just carried it up to the studio and plugged it in. The scenes loaded up quickly and easily. The transition from my studio to the PreSonus studio was seamless. We were able to get a different perspective in PAE HQ due to the different room and monitoring.
Then, we finalized the mixing in my studio and I uploaded the mixes online for filesharing, as Martin had to fly home to Chicago. He and I tweaked the final mixes over the next month easily to get to the final product that has been pressed to a beautiful Double LP. Y’all need to check it out… click on the link below for more info!
The mix that we did there is what is being used for the live video concert on October 10th.
Around the end of 2019, We Don’t Ride Llamas (WDRL) was introduced to PreSonus by Grammy nominated music producer, King Michael Coy (Dr. Dre, H.E.R, Anderson .Paak, Ms Lauryn Hill, Busta Rhymes, Snoop Dogg, Bilal, Kendra Foster, Frank N Dank) who has been a Studio One Professional endorser for several years now.
By March of 2020, the group was armed with an AR16c mixer, a PX-1 condenser microphone, the PM-2 stereo pair mics and Studio One Professional DAW software, the kids have been upping their recording game while staying home during the time of COVID-19.
Being the super-duper creative explorers that they are, WDRL has maximized their use of these products in true DIY fashion:
From creating cool voice-overs (did y’all 👀 the trailer video above ☝️ yet?), producing band interviews and promotional videos to the more obvious use case of recording original music and cover songs… the band can now achieve high quality recorded or live streamed audio that kids from previous generations would not have been able to do.
As a matter of fact, We Don’t Ride Llamas recently just wrote a song called “Buddy” that is featured in Welcome To Sudden Death, now streaming on Netflix. You can check out both the “Groove” and “Dance” mix versions on Spotify here!!!
Synecdoche is the long awaited EP that’s on the horizon for release. The recording is an extremely personal project for WDRL as it explores feelings of being displaced, yearning for the future, their general melancholy at the current state of the world and how everything (for them at least) always comes full circle.
Here are a few things they had to say to us:
“We knew that he company has a longstanding reputation for products that are easy to use, sound great and within the budget for most rock bands. These are the reasons we initially were interested in PreSonus. Can’t wait to get our hands on one of those ATOM pad controllers (hint, hint)… :)”
“We love how user friendly and multifunctional everything is! Your products make us feel like sound alchemists even though we’re still fairly new to recording our own stuff at home.”
“The fact that the AR16c mixer is pretty simple to understand and we can just pick it up and go record somewhere is amazing. Also the amount of product videos and training tutorials PreSonus has available online now makes a huge difference.”
[For those of you who don’t know already about the talented New Orleans based jazz pianist David Torkanowsky, you are about to. Lucky for us, New Orleans is just an hour drive to the Southeast of Baton Rouge (where PreSonus is based out of).
We’re honored to have our relationship with David: not only is he a true master improvising musician from the city where Jazz was born, he is also in tune with the latest 21st century audio technology that helps artists actualize and share their sound to audiences world-wide.
Without any further ado, we’ll let him take it from here…]
I’m David Torkanowsky and I’ve been lucky to have grown up in New Orleans under the tutelage of Ellis Marsalis, Danny Barker, James Black, Al Hirt and other Smithsonian-level greats… too many to mention.
I’ve also toured and recorded with artists as different as Al Hirt and Al Jarreau, Boney James, and Joe Henderson. I’ve been M.D. for the great vocalist Dianne Reeves.
The touring and performance economic model for all musicians, regardless of genre, has been decimated by the COVID-19 pandemic.
Many artists, myself included, have navigated a sudden and steep learning curve regarding our social media presence. New Orleans has always tended toward the organic and away from the technical aspects of playing music, which I love… but that paradigm has proven to be a headwind as we move toward our new reality.
Posted by PreSonus Audio Electronics on Thursday, May 28, 2020
So, I’ve been producing, directing and playing in livestreams from The Bayou Bar at The Pontchartrain Hotel in New Orleans for the past month, with artists such as: Ivan Neville, Nigel Hall, The Tin Men, Zachary Richard, Meschiya Lake, Sasha Masakowski, Jason Marsalis, Herlin Riley, Davell Crawford, and jazz great Cyrille Aimée.
Many cats are teaching online, and many more are performing live. These live performances have completely replaced the in-person delivery of our art. Although, in many respects, it will never duplicate the transformative experience of being in the same space. The only way we can minimize this disparity is by presenting this content in the best possible way. Primarily, it has to sound good! Most of the streams that I’ve seen, some with world-class artists, don’t really touch me because they sound less than average. A solo acoustic instrument can sound just okay through an iPhone mic, but it’s never truly impactful. Add any other instruments, and you can just forget about it.
I’ve gotten a massive amount of feedback (the good kind!) from the listening public about how amazing these artists are sounding on these social media live broadcasts, and there’s one reason:
The PreSonus StudioLive 32SC. Their newest Series III S line of consoles are exactly what the doctor ordered to mix streamed performances. I’m using the 32SC, the powerful and compact member of the Series III family. The Fat Channel technology makes tweaking the impact of a particular instrument intuitive and fast. The EQ, Compression and digital FX are all super usable. It’s a game-changer. It’s one serious piece of gear!
[Incidentally, from now until Aug 31, 2020, anybody who buys a qualifying StudioLive Mixer will get a pair of Eris E7 monitors for free!]
[Jakubu Griffin is truly one of Las Vegas and NYC’s most versatile drummers. Son of trombonist Dick Griffin (who played with the legendary Rahsaan Roland Kirk), he has been surrounded by music from an early age. Growing up with many musical instruments and influences around him, he was always drawn to percussion and can remember playing the drums as early as age 3 or 4. He started studying classical piano at age 5, and later added the trumpet.
Jakubu has performed and led groups all over the world. While living in Las Vegas in the early 2000s, He was featured in David Cassidy and Sheena Easton’s “At The Copa” at the Rio Resort. After that, he was musical contractor and drummer on a show featuring Chaka Khan, Peabo Bryson, and Melissa Manchester called Signed, Sealed, Delivered: a Celebration of Stevie Wonder’s Music at the Venetian Resort.
Griffin has also been a musical director for Kings Productions, as well as Norwegian and Premier cruise lines. Back in the NYC area where he grew up, he has performed and recorded with award winning jazz trumpeter Dave Douglas, Ryko/Warner recording artist Matt White, and Broadway stars Tracie Thoms (Rent, Case) and Shoshana Bean (Wicked). Jakubu is currently playing with the legendary Las Vegas singer Clint Holmes. He was also the house drummer for Cirque Du Soleil’s production of Zarkana which premiered at NYC’s world famous Radio City Music Hall in June of 2011, moving on to Madrid, as well as having a historic run at the Kremlin Theater in Moscow in 2012. Jakubu’s powerful, yet very musical drumming reputation has been highly appreciated by many musicians and music lovers both here and abroad.
When not on the road, he’s kept busy at home recording and teaching. But, with the recent stay-at-home measures implemented due to COVID-19, working in his own studio has become his primary focus.
Jakubu has graciously given us a virtual “walk-through” of his home studio environment, where the StudioLive 24R is the centerpiece and his dedicated audio interface to his DAW of choice, Studio One. Let’s check out his setup and how he’s been using our products in action at home.]
Jakubu: My first audio interface was the PreSonus Studio 192 along with the DigiMax DP88. As a drummer, I need to have at least 8 channels dedicated to drums in my space at all times for my own use. With the Studio 192 and DP88 giving me 16 total channels and great preamps, I was able to stack them in a rack and run my 8 drum channels into the DP88 using the Studio 192 rear channels for my keyboards, bass, extra drum channels etc. and even leaving the 2 front channels open for a vocalist or instrument to plug right in. As my studio evolved, I graduated to the StudioLive 24R rack mixer, as well as the NSB 8.8 AVB Networked Stage Box to expand channel inputs in my other rooms. Since I don’t have the space for a console mixer on my workstation, the StudioLive 24R is the perfect solution for me with UC Control as my console. I use the HP60 for 6 stereo headphone mixes. With a router plus the network control via Wi-Fi of the StudioLive 24R, my clients have the option of using the QMix-UC app to control their own headphone mixes. The PreSonus Monitor Station allows me flexibility to switch between my different sets of of studio monitors and speakers, and also gives me 4 more headphone outputs if needed. I’ve used other DAWs, but I’m completely sold on Studio One Professional because it’s just more user/musician friendly. I understood more about using Studio One in 24 hours than I’ve learned on other DAWs after countless months of usage. I’m a musician first, not an engineer.
Jakubudrum Studios is my home as well as my recording space. I have three isolated rooms on one floor. I have eight CCTV cameras installed, and video monitors in every room for visual communication. My main “studio” room is my acoustically-treated drum and keyboard room, as well as my control booth. My living room is my large room and features my Baldwin L grand piano. My smaller acoustically-treated room is great for acoustic bass as well as other instruments, and it also serves as a vocal booth and isolated amp miking room. I’ve done several live recording sessions in the studio with different configurations ranging from solo piano to live strings… and various band sizes, genres, horn combinations, etc. I do a lot of drum and percussion tracking for projects myself, but I’ve also engineered tons of keyboard track layering sessions, instrument tracking sessions, vocal tracking, and my space is perfect for tracking bass and drums together. I record voice-overs as well, and I’m currently producing an audiobook session.
Now that I have the StudioLive 24R, I have the luxury of using 14 dedicated drum channels just for myself. I usually use two different sets of overhead mics simultaneously, another stereo room mic, and a subkick along with my normal kick, snare, hi hat, and tom mic combinations.
I also use seven channels for my keyboards, and a channel for my bass amp to run direct with a pre amp. I use the NSB 8.8 Stage Box in the other rooms to mic the piano, horns, strings, vocals, etc. I use the 12 outputs from the 24R mixer to sum 2 outputs to each of the 6 stereo inputs of the HP60 headphone amp and made them stereo mixes from UC Control. Again, I have a router connected to the 24R mixer and a network setup so people have the option of using QMix-UC to control their own headphone mixes. I have two sets of studio monitors, but I also have small PA for the keyboards, rehearsals, gigs etc. The monitor station is actually one of my favorite pieces of PreSonus gear to be honest. I love the versatility I have with 2 sets of monitors, but I even use the PA as a 3rd reference sometimes. The Monitor Stations onboard talkback routed through the HP60 is perfect for my setup, plus I’m the type of guy that just needs a big volume knob in my life since I don’t have a console.
So, funny story: I actually learned about PreSonus through another drummer, Dre Boyd, who is also an Artist with them. We both met and quickly became good friends working for the Cirque Du Soleil company. I finally had the space and needed an interface to start getting into recording and he highly recommended the Studio 192 and DP88. I’m an impulse buyer, but he told me to wait so he could “hook me up” with his representative at PreSonus. Well I’m impatient and went ahead with the purchase of the interfaces anyway. I was ecstatic, but then a couple weeks later Dre let me know that the PreSonus Artist Relations Manager was none other than my college buddy, Perry Tee… so I should have waited!!! Not only do I love the products, PreSonus reconnected me with an old friend, who happens to be on guitar in this video below that we produced remotely with 4 other buddies using Studio One Professional:
I love the power and versatility that I have with the StudioLive 24R mixer, especially for low-end instruments. Now I have the ability to mic an acoustic bass and get a warm, powerful tone without any need for a DI or outboard preamp. Its considerably better for my drum miking as well. I get better headphone mixes, and I have plenty of room and power to hear my kick drum perfectly which can be a problem in regular interfaces without external pre amps. The ability to control mixes across Wi-Fi is a true bonus allowing my clients the flexibility to control their own mixes with QMix-UC. The HP60 is a great solution for my headphone needs with 6 channels, and stereo mixes plus the Monitor Station is one of my favorite additions to the studio, and has made my work flow much smoother and faster. The onboard talkback is perfect for my space. Studio One is absolutely the best DAW available, in my opinion. I know has everything I could possibly need for my studio. Everything in my setup works seamlessly. I couldn’t be more satisfied with the sounds, and results I get with my gear.
Every piece of gear is perfectly matched and catered to the needs of my workflow and studio ecosystem… thank you, PreSonus!
[Incidentally, from now until Aug 31, 2020, anybody who buys a qualifying StudioLive Rack Mixer will get a PX-1 microphone for free!]
And that’s why we’re excited to share the next episode of River City Sessions. This month, we’re sharing an original song titled “Papi Chulo,” by South Louisiana natives Sydney and The SAMS. Read more about the band, the song, and how it was recorded below.
Give us some background on yourself and the band. How long have you guys been making music?
We have been a band surprisingly for less than a year! I think we have a natural friendship and chemistry that makes people think that we’ve been together for years.
“Papi Chulo” Such a great song! Can you tell us when you wrote it? What’s the inspiration?
“Papi Chulo” was actually the first song I ever wrote! I (Sydney) recorded three years ago when I first started making music. When we got together as a band, we started incorporating some of my originals into our sets and this song became an instant hit with our fans.“Papi Chulo” is about liking a guy and wanting to hang out and smoke. It was actually about a guy I liked at the time and all we did was hang out in the car and talk.
Does writing a melody come naturally to you?
It depends. The beat has to be catchy. I have to find the melody and it kinda has to come to me. If I don’t feel it in a few minutes, I usually move on.
Where do your ideas for songs come from?
All my music comes from personal experiences. I feel like songwriting is therapy to me. The fact that it’s relatable to listeners is just extra. It feels good to know my lyric is relatable and people have been in the same positions as me and felt like I’ve felt at some point. That’s the point of music; to touch people in some way whether it be a happy emotion or a sad one.
Can you describe the first time you wrote a song?
I found this cool beat on YouTube and just started writing. It’s always something I’ve wanted to do but never really tried to do. One day I was like, “whatever, I’ll try.” I did a rough record on my phone and sent to NJ (my engineer) and told him “If this sucks, tell me. If not, I wanna book a session.” And it’s been history ever since.
Do you prefer performing your own music or covers? What’s the difference?
I enjoy both because even when we do covers, we always put our own little spin on it or rearrange it so it’s more our own. We also do medleys with our originals to kinda bring the crowd back and make them interact with us. Ultimately it’s about having a good time and making sure the crowd has an amazing, memorable time.
How has the Coronavirus affected your music?
We used to gig so much and it really put all our gigging and traveling at a complete halt. At first it was creatively discouraging but we decided to virtual concerts to continue to perform and connect with our fans in a different way. People really loved them and received it really well. Livestreaming is a way for us to reconnect and stay fresh. It also gave us time to finish our EP which will be released this July!
Now that the coronavirus has thrown a wrench in everything, What do you miss most about performing live?
I miss having fun with the crowds mostly. Dancing and singing with them was the most fun part of it all. As a concertgoer, that was my most memorable time and now as an entertainer, I want every person in the room dancing and having an amazing time! I hope we do that every time.
Do you plan on doing any live streams?
We’ve done two live-stream virtual concerts. We’ll be live streaming our EP release concert and party as well. So y’all join the fun!
Ask yourself and your team things like:
As countries and cities around the globe slowly ease shelter-in-place orders, it’s vital to understand that even as we can begin to open the doors to our houses of worship, members of our congregation and newcomers as well may not feel comfortable coming together in confined spaces. With that said, many houses of worship are turning to outdoor services as a viable, serious, stand-alone option during this pleasant summer season as an easy, safe, and affordable alternative to reduced indoor occupancy.
Thankfully, you can easily put the pieces into place to accommodate an outdoor service… you might even have most of what you need already. PreSonus offers systems that are affordable, expandable, easy to use, and best of all, great-sounding. Find out what thousands of outdoor venues already know – PreSonus has a solution to fit your needs, regardless of budget, size, or skill level. With a three-year warranty on our mixers and an amazing six-year warranty on our speaker systems, you’ll have the peace of mind about your equipment that your people will have about your concerns for their well-being.
Learn more about the PreSonus Air Loudspeakers here: https://www.presonus.com/products/AIR-Loudspeakers
Find a StudioLive Series III Rack Mixer that’s right for you here: https://www.presonus.com/products/StudioLive-Series-III-Rack-Mixers
We recently had the opportunity to help out locally with an event called “Music Is Medicine” hosted by the Baton Rouge General Foundation and the Arts Council of Greater Baton Rouge. It was a small gesture, but our hope is that it leaves a lasting impact. Our friend JST DAVID was our connection to the event, and he did an incredible job producing, videoing, organizing, AND performing for the live-streamed event. This seems like a daunting task, but… as is the case in all things, hard work plus creative energy made for something awesome. He used a StudioLive AR12c to record each performance. We wanted to take some time and hear from David about how the experience was for him and how the StudioLive ARc performed. Read more from JST DAVID below.
JST DAVID says:
The “Music Is Medicine” event was an online benefit concert to raise funds for front-line health care workers, done in joint with the Baton Rouge General Foundation and the Arts Council of Greater Baton Rouge. I was initially asked to participate as an artist, and ended up producing the entire initiative. It was a thrill to be a part of such an incredible cause during these unprecedented times, and to play a small role in sharing God’s love with folks who are risking their lives to save others.
I honestly didn’t realize the number of limitations COVID-19 would pose in pulling together a production like this! The turnaround from start to finish was less than two weeks for a 90-minute, pre-recorded broadcast, along with a web platform that could display the broadcast stream and securely collect donations for the cause. Even though that’s incredibly ambitious, I’ve actually been responsible for executing projects with even tighter timeframes. Still, that was all pre-COVID, you know? Social distancing requirements forced us to either film and record these performances outside, or within venues that required a high level of health precautions for myself, my second shooter, and the talent. It was exhausting, to say the least. You can’t show up with a huge crew to these shoots, so I stepped in as the director, producer, audio engineer, and primary cameraman for all the performances.
On two of the shoots, we had to literally juice the AR12c from extension cords that were powered from our vehicle. Oh, and then I also had to figure out a way to record my own performance as well. I laugh thinking about it all, mainly because it all ended up being a success (we raised nearly $4000 for the hospital during the online event), and also laughing a bit at myself for thinking it would all be easier to pull off than it was.
And real talk, there’s absolutely NO WAY that we pull these off without that AR12c mixer provided by PreSonus. Lifesaver. After dialing in the levels and just the right amount of effects, I was able to record all of the performances straight from the mixer into my SD card. I didn’t even have to edit the audio once I was done! The time it saved me, and the utility of it being lightweight, portable, while still having so much to offer with effects and such, made the event happen. I basically had to stay up for 2 days straight to get this thing to the finish line and didn’t make it on-site with the final file to broadcast until an hour before. No way this thing gets completed if the AR12c doesn’t do such an incredible job of speeding up my workflow.
As a lot of artists and creatives are finding out, live streaming is tough. Sure, anyone can flip open their phone camera and “start streaming.” But in order to bring your fans or followers something of quality, it takes a combination of having the right gear and a really well-coordinated plan. Thankfully I had enough sense to pre-record the entire “Music Is Medicine” event, and it was also what Baton Rouge General Foundation and the Arts Council of Greater Baton Rouge wanted to do. Once the final video file was rendered, we streamed the entire performance via OBS to Facebook LIVE, and it all went off smoothly. But yea, for those who are desiring to up the quality of their live streams or do a combination of pre-recorded and live within the same broadcast, it’s not that simple.
Having a great mic and interface would be my basic prerequisites (I personally own the PX-1 and Studio 26c combo from PreSonus), and there are several other great video and audio switchers and controllers that could really get you in a great space to be creative and make your broadcasts really engaging. OBS is a free, open-sourced software that’s incredibly stable and useful for powering your live streams, and I’d just encourage anyone looking to take their broadcasts to the next level to do as much research as possible on what’s out there. That’s what I had to do and it paid off.
More than one wise grandmother has said, “When life gives you lemons, make lemonade.” In this new time of social distancing and sheltering in place, why not squeeze in (see what we did there) a little professional development into your busy schedule of Netflix, walk the dog, make a snack, Hulu, think about exercising, make another snack.
Learning about AVB doesn’t have to involve stacks of IT manuals. PreSonus has put together all the resources you need to discover what this exciting audio networking technology can do for you.
Here are Ray “The Beard” Tantzen and Mike “The Brainiac” Cole to tell you a little more about a little thing called AVB:
Ready to learn more? Awesome!
Before taking a deep dive down the AVB rabbit hole, take a quick refresher on what audio networking is and some of the fundamentals. As its name implies, audio networking allows you to transport large amounts of data over a single cable. This means that audio can be moved quickly over long distances without signal degradation or the expense of conventional analog cabling.
From distributed audio to network foundations and addressing, this article will get you started:
AVB (Audio Video Bridging) is an extension to the Ethernet standard designed to guarantee that audio samples will reach their destinations on time. AVB allows you to create a single network for audio, video, and other data like control information, using an AVB-compatible switch. It’s also the networking technology that all PreSonus StudioLive Ecosystem products use.
AVB networking offers several features that make it ideal for audio applications, find out more here:
P2P? Star? Daisy-chain? Whether you’re connecting a mixer straight to a stagebox using AVB or configuring a large system for broadcast, figuring out the best way to create your network is critical to ease of use and system performance. Check out this article to learn which configuration or combination of configurations will work best for you:
Okay, not that kind of hop, but it’s still pretty hip (Dad joke Level 16: unlocked). A hop on an AVB network is counted by the connections between AVB switches in a series. Luckily, you can make up to six hops before your network stability is effected, but it is something to consider when configuring your network. Find out why here:
Like all digital audio systems, all the audio traffic on an AVB network is synchronized using a global clock so that audio can be played and recorded while remaining in time from multiple sources. Obviously, the more audio traffic on a network, the more critical this becomes. For users familiar with traditional digital audio devices (ADAT, S/PDIF, etc.) the idea of a global clocking device will not seem unfamiliar. PreSonus AVB devices have two clocks: one wordclock and one PTP clock. Get out your pocket protector, we’re about to get geeky:
OMG. Stop. Go for a walk or something, you’re about to read a technical article on Ethernet cables!
You asked for it…
AVB networks rely on a set of standards for cabling to ensure that network performance is both reliable and consistent. These standards include specifications for the cable construction itself, as well as specifications for the termination of cabling and physical connections to devices. Deviations from these specifications can result in reduced performance and even data loss, so it’s important to use the right cable for the job, and to use good quality cable that meets the necessary specifications. Find out why here:
Nineteen year-old Anna Clark works as a Grammy-nominated vinyl mastering engineer at Welcome to 1979 Industries. Nine years ago, she founded 501(c)(3) organization Guitars 4 Gifts, which has given over 1,000 youths access to their first musical instrument.
As a lifelong singer/songwriter/musician, Anna has performed live on Lightning 100 (Nashville’s premier independent radio station), she holds a Certificate in Music Business from the Berklee College of Music and is currently on track to graduate from Belmont University in 2022.
When not working on one of her passion projects, Anna loves to spend time with her dogs or attend concerts with her friends and family.
Let’s find out more about how she’s been navigating through and actualizing all of these different creative sonic environments!
What hardware and software tools help you with your audio work at home these days?
I currently use a StudioLive 16 mixer, a Central Station Plus, HP4 headphone amp, a pair of Sceptre S6 monitors, and Studio One DAW software.
Originally, a friend introduced me to your monitors and I basically fell in love with using them. Because I work in many different areas of audio engineering, I needed products that I could use for any area that I was working in, so that I wouldn’t have to have different setups.
I use my StudioLive mixer pretty much every day. It is great because I save different scenes so that if I am recording a guitar/vocal demo, I have some EQ and compression settings saved, and I can bring them up super easily. I love that I can A/B EQ settings using the A/B button, and I also love the vintage EQ and tube compressor. I also have scenes saved for full band sessions, piano/vocal sessions, and more. The StudioLive mixer makes it super convenient for me to walk up and start working. I will also say that I carry it with me everywhere to run sound for live shows and recordings, and have even used it for a live broadcast of a show. It has never let me down and has always been very easy to set up! Because I am able to save settings from my recording sessions, it makes it even easier to set up for a live show.
Basically, I have various synths, mics, instruments, etc. that I leave set up so that I can record an idea at any time and they go directly into the mixer. From there, I use the Central Station which outputs to my Sceptre monitors along with other monitors and a PreSonus HP4.
We’re curious about your work as a vinyl mastering engineer… can you tell us about that sound-world?
The first thing I do when I’m mastering a project for vinyl is look at all of the files and create a session for them. I then check the length of both of the sides. For each speed and size of disk, there are certain limits for how long the side can be. Next, I typically adjust the overall level of the project. Usually, the project is too loud, even if it hasn’t been mastered before. The louder the project is, the wider the grooves are. If the grooves are too wide and take up too much space, the project won’t be able to fit on the lacquer (the type of disk I cut on to make a vinyl master). I then mono the low end and use an EQ to filter out any frequencies that may give me problems. Sometimes if the vocal has too much sibilance it can cause issues, especially if there are also a lot of hi-hats/cymbals. I then run the project down to make sure it will fit and also to make sure there won’t be any trouble areas. If everything looks good, I’ll cut the project after that! Before I cut a lacquer, though, I have to use a microscope to look at a couple test cuts and make sure the stylus is working properly and that there is enough space in between the grooves.
Moving back to your home studio working environment; tell us more about how you’ve been using Studio One and what led you to our DAW?
For producing, tracking, mixing, and mastering. I will also occasionally use it for live recordings with my StudioLive 16 mixer. It has been a very helpful tool!
One of the main factors that lead me to it was when I was producing, being able to bounce between ideas easily and combine ideas from different files. I tend to either work with an “engineer” mindset or a “creative” mindset. Because of how easy Studio One is to use, I am able to start tracking a song while I am writing it, and I am able to keep my “creative” mindset. It helped me when I would be writing and producing at the same time, because it allowed me to be able to keep my creative hat on while still being able to engineer a track.
It is very quick and easy to use, which is helpful when recording live shows. It makes the show go a lot smoother when you’re not having to worry about having to spend a lot of time setting up a session, etc. I also love how well all of the PreSonus gear works together; it is extremely nice to have products that all communicate together so that I’m not wasting time trying to fix something. If I have an idea, I can walk right into my studio and know that I’ll be able to get everything down fast.
This was especially helpful when I was just getting started as an engineer, because everything was very straightforward when I was setting it up.
All of the PreSonus products work in many different settings. For example, I originally purchased my StudioLive board for live events, but I use it in a studio setting as well and love it there, too!
Finally, let’s talk about you as a creative musical artist!
My main influences for my own music are artists like Maggie Rogers, Florence and the Machine, and St. Vincent. I have a love for analog synths and was lucky enough to get my hands on a couple for this project. I used a Roland Juno 6 and a MOOG Sub Phatty for most of the songs, and then had a drummer/guitarist/bassist add parts to each of the songs as well. I love using basic tools like EQ and reverb to make new sounds that I haven’t heard before. Typically, I will use the Pro EQ plugin that comes with Studio One to take out certain frequencies. The majority of EQ’ing I do is subtractive, because I like to make sure that every instrument has its own space in my songs. A lot of my time is spent experimenting with lots of different effects to try to get the sounds that I can hear in my head. I love the depth that an analog synth and live instruments can bring to a session, but I also love being able to edit a project easily. Even though I’ll record a lot of different instruments, I like to be able to edit each of the parts so that you can feel the song “build up” from each of the verses to the chorus. Studio One makes it really easy for me to audition different parts and figure out what I like. I am also known for creating a bunch of different versions of the same song, and Studio One is able to make my workflow seamlessly. I use the Scratchpad function because I typically write a song while I am also recording it, so I am able to try out different ideas without having to commit. That is one of the things that Studio One does best, is it works for Engineers, but also Songwriters, Artists and Producers of creative content these days online.
I feel very lucky that I found your products because it has really helped me grow my studio and career. Thank you, PreSonus!
Nashville-based Lij Shaw sure stays busy year-round as an audio engineer and podcast producer!
Recording Studio Rockstars is a #1 iTunes podcast that invites you into the studio to learn from recording professionals so that you can make your best record ever and be a “Rockstar” of the studio yourself. Lij started the podcast because he had loved the excitement of being an intern in the control room during a real session with professional recording engineers and producers. He remembered listening in on the amazing stories they would tell, and realized that he had a chance to help people everywhere have that same experience through podcasting.
Podcasting now allows him to help people all over the world by doing the very thing that he and other producers and engineers love to do anyway, which is talk about making great records in the studio.
During the first part of his career, Lij focused on the idea that a record that he helped to create could impact thousands of listeners. But now podcasting gives the platform to help more people—who love recording—impact many thousands more through their music that he’s been helping them create.
What is mind-blowing is that Lij’s musical and creative impact has grown exponentially through podcasting! We sat down with Lij and asked him a few questions about it all.
Q: How long have you been in the audio industry?
A: I started recording music in my teens with a four-track cassette tape machine, eventually went to MTSU for their college recording program, and have now been recording professionally for 30 years.
Q: How has the audio industry changed since your early days?
A: Recording studios used to be huge industrial spaces that required massive budgets to create and operate with 2” tape machines and wide mixing consoles. Today the recording studio has evolved and shrunk down to the size of a portable smartphone. With a simple laptop, interface, and software you can have a complete professional recording studio for a tiny fraction of what it used to cost. This year five of the top Grammy awards were swept up by Billie Eilish and her brother Finneas O’Connell for producing a record in their bedroom recording studio. Times have definitely changed!
A: I had been a podcast fan for a couple of years listening to business-focused podcasts like Pat Flynn, and John Lee Dumas. In fact, I started listening because I wanted to learn more about running the business side of my recording studio. Pretty soon I thought, “why not start a podcast of my own to talk about making records? It’s what we all do anyway!”I saw a wide-open opportunity through podcasting to bring my expertise and network of music professionals together to create something that I had already devoted my life to: the recording studio. I also realized that many of us making records shared the same feeling of being somewhat in the shadows of the bands and artists we recorded every day. We want to say, “Hey we are Rockstars too!”
So the title, Recording Studio Rockstars, is a nod to the listeners who are “The Rockstars” or would like to be one day, and it is also a compliment to the guests that I invite onto the show who are already there.
Q: How does your first podcast compare to your most recent?
A: My first podcast was terrible! I spent all day trying out different positions on my microphone just to see what my voice sounded like. I recorded my intro ideas over and over again and spent hours mixing one minute of voice and music. I’m sure it sounded like a mess! Then one a long drive I listened to them repeatedly and began to get excited about the possibility that this might actually work.
It took me a few years to finally launch Recording Studio Rockstars. In fact, this is my fourth podcast! My first show was called “Bitcoins and Gravy,” and was all about cryptocurrencies. I created that show with a co-host and we did quite well, getting plenty of press and were quickly added to a growing network of podcasts. But after 8 months of hard work with 30 episodes and 60 interviews conducted the partnership blew up. I had started my podcast with the wrong partner. So I had to start all over again. Plus I realized that I was being pulled in a direction that while fascinating wasn’t really where my heart was in making music.
My next podcast started with a group of four co-hosts and again fell apart after eight months of hard work. This time it just fizzled out because the four parents didn’t have the same vision for the podcast. Partnerships are tough.
Then I started my music podcast called The Toy Box Studio Show and began interviewing producers and musicians but soon realized that the show title and focus didn’t really help anyone understand why they should listen. The title made it sound like the show was all about me rather than all about the listener and helping them in some way. So eventually I got the message and launched Recording Studio Rockstars which has now grown to over a million downloads and over 250 interviews with weekly fans that love the show.
Q: There are so many podcasts these days. How do you stand out?
A: Having an easy to understand title is a great start. Recording Studio Rockstars has two keywords in it that a listener is likely to search for “recording studio.” The interview-style podcast also gains some traction by tapping into the existing networks of many of its guests. And the most important thing of all is the simple act of being unshakably consistent. By publishing on the same day every week and being consistent in the content and message, it allows the audience to know what to expect and feel like its worthwhile to give their time to listen to your show. Treat your audience with great respect and they will likely treat you with great respect, too—by listening to your show.
Q: Do you ever take your podcast on the road?
A: At first I offered to bring my laptop studio over to my guests’ studios to conduct the interviews but quickly discovered that I could be much more efficient if I had the guest come over to my studio. It took me too long to set everything up remotely. But now that the technology for recording a mobile podcast has improved so much I am looking at using new portable options like the ones offered by PreSonus.
They’re now making the AR8c portable USB interface/mixer that would easily allow you to have a professional podcasting studio in any location.
Using their high-quality, built-in Class A XMAX mic preamps, you can connect it you a laptop to record multiple mic inputs for group podcasts, and add bumper music in real time for fast-paced podcast production… OR simply record in stereo directly to an onboard SD card for convenience that doesn’t even require a laptop!
The ioStation 24c gives you a simple interface that would allow you to plug in your mic, and one for your guest to record to Studio One on your laptop. It also doubles as a powerful single-fader control surface. Plus you can record in high-quality resolution: 24-bit/192kHz.
Q: What’s your favorite podcast right now?
A: I certainly have some podcasts about music and recording that I enjoy like Working Class Audio, Six Figure Home Studio, The Mastering Show, Roadie Free Radio, Produce Like A Pro, Bobby Owsinski’s Inner Circle, and Song Exploder. Some of my favorite business-related shows are Smart Passive Income, Entrepreneur On Fire, and the Graham Cochrane Show. And there are many other great marketing podcasts like The Art Of Paid Traffic, and Perpetual Traffic. But I also love listening to podcasts that have nothing to do with my usual work topics, like The Singularity, FM podcast, or Data Dash and Crypto Zombie.
A: Get very clear on who you would like to help with your podcast and why they would want to dedicate many hours of their life to listening to you. I have fans that regularly will tell me they have listened to nearly every episode of my show. That means they have literally spent hundreds of hours listening to me interview my guests. Wow!
So, why do they do this? Because it helps them name better records. Why will your fans want to give you that much of their time? Also, why do you want to do the podcast in the first place?
It takes a huge amount of effort and time and you will definitely get to the point where you are completely sick of creating your own podcast and wish you could just take a break. But you don’t want to take a break if you are trying to be consistent. So you want to pick a topic that you absolutely love that will carry you through those very difficult moments.
Lastly… be very clear with yourself whether you want this to become a business and learn how to outline the path from a fan listening to your show all the way to you offering them the massive value that you could make the foundation of your business. What is your mission statement in one or two sentences? Get clear and then get even clearer. And then take your topic and narrow it down further. Then take that focus and narrow it even further until you have something very specific for your audience.