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!
The Eris E44 and E66 deliver an expanded and highly accurate frequency response and the widest stereo field available in their class. The nested Midwoofer-Tweeter-Midwoofer (MTM, also known as “D’Appolito”) configuration offers improved off-axis response and spatial resolution. The result is a more consistent listening experience, smoother frequency response, and an ultra-wide, detailed stereo soundstage.
“There is plenty of sonic depth while maintaining clarity, regardless of the audio source.”
—Chris Devine, Performer Magazine
Pricing will vary a little bit regionally, but in the USA, the E44 is now $199, and the E66 is now $299.
To learn more about the EarMix 16M, click here!
Richard Gaspard takes you on a deep dive on configuring and using the EarMix 16M for a whole band scenario in this five-part series. Check it out!
We’ve temporarily dropped the price of some Eris monitors in the USA and Canada; there’s never been a better time to get your own pair of our best-selling monitors! Hurry, this offer ends 12/31/18!
Eligible monitors include:
The Eris MTM Monitors have a discount price right now—no rebate form or paperwork required, just less cash at the register! The Eris E66 and E44 are 25% off NOW until October 31, 2017!
In case you were wondering, MTM stands for Mid-Tweeter-Mid and describes the physical layout of the E44 and E66 drivers—twin mid-range drivers (actually bass/mid drivers) located on either side of a high-frequency driver. Read more about the monitors from our friends at Sound on Sound here!
And check out what Performer Magazine had to say about the family:
PROS: Perfect sound in vertical or horizontal placement, tunable to room space, excellent frequency range.
This offer is available worldwide and ends October 31, 2017 so hurry up!
We can’t wait to get this deal in your hands.
Baton Rouge-based Thou—winners of Pitchfork’s Metal Record of the Year in 2014—recently took a Studio 192 on the road to record rehearsal sessions and demos for a forthcoming full-length.
Opportunities for collaborative songwriting had become more difficult for the band, as their members have scattered across the country. They typically only get together for tours and shows, making songwriting and recording opportunities somewhat scarce.
Not anymore. Recording straight into Studio One via the Studio 192 allowed the band to write and record in whatever impromptu spaces their tour found them in. Josh Nee (Drums) took recordings home to edit and mix demos for the record after returning from their most recent tour. The full-length, Magus, is on its way.
It’s August which means the first day of school is right around the corner. Why not start the school year right with a complete recording solution that’s perfect for dorm rooms, bedrooms, and can even be taken on the go? You can also enhance your set up with studio quality sound that fits nicely in a student’s budget (and space).
Now, through September 30th we’re offering $25 savings on the AudioBox iTwo Studio and our Eris E4.5 studio monitors.
“These are not expensive monitors but they punch well above their price point. We hadn’t expected that much from the Eris 4.5 but the sound quality was remarkable. 9 out of 10 stars!”
The AudioBox iTwo Studio is convenient, portable, bus-powered USB 2.0 and iPad® audio and MIDI interface that offers two combo mic and switchable line and instrument inputs allowing you to record in your dorm room or anywhere on campus with a Mac®, PC, or iPad. Also included Studio One Artist, Capture and a Nimbit account! Check out this overview video from Guitar Center below.
If you think back-to-school deals are just for parents and students, you may be missing out some awesome deals! We’d love to fully stock up your dorm room, class room and studio with this deal!
If you’ve been looking to upgrade your studio monitors and listening environment, July’s a great time. You’ll get a free pair of the ISPD-4 Monitor Isolation Pads when you buy a pair of refurbished PreSonus studio monitors from shop.presonus.com!
This offer is available to customers in the USA, and only via our online store.
In case you’re wondering about why you would want studio monitor pads, consider this: When the driver in your studio monitor vibrates, the entire box vibrates along with it. These vibrations are subsequently transferred to any surface the studio monitors are resting on. That includes your desk, and once the desk gets moving, it’s likely to have a resonant frequency or two. This transforms your desk into something of a crappy studio monitor in its own right. This will most certainly lead to louder, inaccurate bass response in your studio.
That might even sound cool to you, at first. But the fact is that this resonance results in an inaccurate portrayal of your mixing work in the worst of all possible places—your studio! A recording might sound great in your studio sans isolation pads. But it will render thin and without much bottom-end when played on other audio systems.
The ISPD-4 Monitor Isolation Pads are the solution to this problem. While admittedly low-tech, they’re an important component to creating honest, accurate, pro-level mixes. And they’re here, for you, included with your purchase of studio monitors from shop.presonus.com.
A word about our refurbished products: Hardware from shop.presonus.com has been fully tested, includes our one-year warranty, and isn’t missing any parts, documentation, or cabling like you might find from other manufacturer’s “B-Stock” items. This stuff is good as new, guaranteed. We call it B+ stock.
Eligible product families for this offer include:
Yeah, Temblor, the subwoofers. While not recommended for use with the monitor pads, we figure some of you out there already have monitors, but no sub or iso pads, and we didn’t want to leave you out.
PreSonus E44 and E66 MTM Studio Monitors:
While MTM technically stands for “Midwoofer—Tweeter—Midwoofer,” you ought to know that they’re good from Mixing-To-Mastering. The MTM speaker configuration allows the MTM studio monitors to deliver the widest stereo field available in their class. You get a more consistent listening experience from varied listening perspectives. They’re also louder than they look, since the combined signal of the two relatively small drivers propagates forward like a single waveform. This mutual coupling provides a highly dynamic output in a compact footprint. And if footprint’s not an issue, mount them horizontally. We’ve designed them to sound just as good in either configuration.
Check out this video from A-list producer Chaka Blackmon. He relies on the Eris E66s for his daily grind.
PreSonus R-series R80 and R60 AMT Studio Monitors:
The R-series contrasts from the MTMs in a couple ways. While the singular woofer approach is a more traditional, the Air Motion Transformer (AMT) tweeter is the star of the show. At the core of AMT is the astonishingly thin (< 0.01 mm!) Kapton® membrane voice coil, which moves at the same instant as the current that drives it, with no dampening applied to negatively affect the tweeter’s transient response time.
As a result, the R-Series faithfully reproduce the highest frequencies that can be heard by the human ear—and the vast majority of human microphones. The sonic result is a greater sense of air, space, and imaging that is characteristic of audiophile recordings and off-the-charts transient response. Furthermore, the AMT’s design inherently offers 8 to 13 times the projection area of a typical dome tweeter. This widens the stereo image considerably, while keeping problematic vertical dispersion in check. Consequently, the R80s sound consistent regardless of what room you place them in; a versatile choice for audio recording studios and post-production.
Here’s Mike White on the R-series.
Finally, both the R-series and the MTMs offer all the Acoustic Space tuning and connectivity options you’d ever need, and include RCA, 1/4″, and XLR inputs.