Here’s a sort update potpourri video. Byron’s back, and he’s taken the time to bust out a video with details on everything new in Studio One 2.0.5: The Macro Toolbar, MIDI Control of ANY command in Studio One, (WUT?) Tab-to-Transients, on and on and on. Track re-sizing.
It just keeps getting BETTER. What’s your favorite new feature in Studio One?
Today on Tech Talk Live: PreSonus AmpireXT Sound Designer Alex Cronex will present a detailed discussion of all the new amplifier and cabinet modeling technology in Studio One 2.05! He and Justin Spence will also take a close look at the oft-overlooked IR Maker, which allows you to create your own impulse responses of real-life cabinets and microphones, and use them virtually in your recordings!
We recently received a kind e-mail from Mike Donahue. Mike’s a 20-year session drumming veteran from the NY/NJ area. He’s an instructor and clinician who specializes in musical motivational presentations for school kids. He’s labeled this endeavor “Rhythms for a Cause,” and he’s chosen the PreSonus StudioLive 16.4.2 for his presentations. His e-mail follows:
Along with in-store charity drum clinics where I focus on teaching kids how to achieve their their goals and share my life stories with them as proof it can happen. I use music not just to entertain, but I also harness its power to teach them how I got where I am by talking about the legwork and dedication needed to make things happen. I also do in-store charity drum clinics.
I was introduced to your StudioLive 16.4.2 system and fell in love with it. Wow, what a breath of fresh air for the artist/user. When audience members get a chance to take a look at my drum kit and electronics, the StudioLive is definitely the topic of discussion. I’m a drummer, not an audio engineer, so the simplicity of the StudioLive in a live application for me was a revelation. The quality of sound I’m able to generate between my drum mixes, the board, and finally the PA system is second to none. I’ve spent way too much time in the past not only trying to figure out other boards, but trying to achieve a seemingly unreachable sound. Artists notice all the little things that get overlooked, whether that be sound quality, effects or the overall user experience. PreSonus did and continues to do an outstanding job delivering simplicity and near perfection to their end users.
I would love to share some words.
First, I love the StudioLive 24.4.2 console. It has been such a breeze to learn and also to teach my other volunteers. It has made mixing our live services so easy. The Studiolive console answered several of the problems I was facing with the previous console.
One of of my biggest issues was solving our stage mix.The monitor wedges on our platform were overpowering the front of house. I wanted to provide the best sound I could for my FOH and also give my musicians what they were looking for. With the StudioLive console I was able to separate my wedge mixes according to which musicians were in front of them. By separating the monitors, I was able to bring the stage volume down, give my musicians what they wanted, and FOH was not left overpowered.
The ability to store/backup/save scenes has proven priceless. After a computer crash we had to replace our computer, and with doing so our new computer did not have our stored scenes on it. I simply plugged in our usb drive and recovered our scenes to the new computer and we were off and running/worshiping.
The aux outputs on the console have been extremely beneficial. We run a live broadcast online for every service and we use some of the aux’s to send feeds to our internet for audio. By using these aux mixes we are able to utilizes all of the benefits of the SL console for our internet mix.
The connectivity with my iPad is priceless. My wife is on the Praise and Worship team and we have a two year old little girl. The StudioLive Remote allows for me to be able to keep an eye on my child while my wife sings. On the technical side the StudioLive Remote also allows me to hear and mix the service from the same location as someone in the congregation. Also, during special occasions I can edit aux mixes from the platform to get exactly what is needed.
The new QMix will save us a large sum of money when we build our new sanctuary.With the purchase of a few headphone amps my musicians on instruments will be able to adjust their own monitor mix. I have already began to use this in our current setting and I’m amazed by how easy and effective it is.
The processing power built into each channel (compressor, gate, eq’s,) is awesome. I couldn’t imagine the cost of purchasing the individual components for each channel, not to mention the footprint that it would require to house all of those components! I could go on and on about stuff, like the ability to copy and paste settings to other channels to give you a starting point is a massive time saver, among other things.
Finally, the PreSonus crew is amazing. The updates, the customer service, technical support, and the future upgrades that are coming keep proving to me that choosing the 24.4.2 console was the best decision I could have made. I have become a PreSonus fan to the point that I hope to get some of the PreSonus Swag and put my and my assistants name on it to use them as a type of uniform. It’s my way of doing a bit of advertising for a product that I think is absolutely incredible.
Thanks Jim Odom and the PreSonus Family for creating such an amazing product.
Sound & Media
Voice Of Pentecost
G-Hall Multimedia LLC
Baton Rouge, LA.
We’re very flattered that MunckMix has chosen PreSonus to record performances at the New Orleans Jazz & Heritage Festival. Check out this video! MunckMix records and mixes performances live, and has CD recordings for sale at the end of the very same show!
Educated on a diverse array of instruments, including guitar, bass, percussion, keyboards, tuba, euphonium, and concert harp, North Palm Beach, Florida, native Daniel Lombardi played his first paid gig at the seasoned old age of 11 at the Shell Patio in nearby Port Charlotte.
As a young adult, Lombardi enlisted in the U.S. Army, joining the 8th Infantry Division Band. While stationed in Germany, he took correspondence courses in music, earning a master’s degree in arrangement and composition, with a minor in applied jazz theory and performance.
Since returning to the USA, Lombardi has performed as a sideman or featured player with such A-list aritsts as Willie Nelson, The Harry Connick Jr. Orchestra, John Michael Montgomery, Kenny Chesney, Al Jarreau, Manhattan Transfer, and Billy Joe Shaver. He has also worked as a live-sound engineer.
Lombardi chose the PreSonus StudioLive 16.4.2 digital mixer based on a combination of word-of-mouth and complimentary online reviews. “I first saw the PreSonus StudioLive board on the Internet two years ago,” he says. “Boston’s on the Beach, a club in Delray Beach, Florida, asked me to find a good console to record live bands with, as they wanted me to record all the bands that played there for a 30th-anniversary CD. After reading the specs and reviews, I consulted a friend who owned a StudioLive and highly recommended it. We purchased the 16.4.2.”
He is confident it was the right choice. “After I spent a few days learning how to use it, I was completely sold!” he exclaims. “I told Boston’s on the Beach that they can get rid of their rackmount EQ’s, compressors, and effect units, as the StudioLive is equipped with everything that’s usually required in a live P.A. rig.
“After the first live recording,” he continues, ”I realized this board was the clearest, most transparent live console I’d ever heard. The quality of the EQ, compression, and effects shocked me. The subtle tonal characteristics of all the instruments recorded were reproduced faithfully, and I realized the converters in the StudioLive console far outperformed all other converters I had ever used, including the Lynx Aurora, the Apogee Rosetta 800, and every Digidesign and Avid converter.”
Lombardi’s enthusiasm for the brand doesn’t end with the StudioLive mixers, however. Lombardi has been putting his PreSonus Monitor Station to good use during production of his first solo CD, Speak Easy, which is scheduled for release in July 2012. “I’m also using the Monitor Station for recording in my project studio,” he notes. “Every piece of PreSonus gear I have used, in a recording studio or live, has been of outstanding audio quality.”
Hey Pro Tools users! Al Tee put together this really helpful video about using the PreSonus StudioLive 16.4.2 in conjunction with Pro Tools 9. There’s a lot of knowledge packed into these eight minutes! Check it out.
We were pretty sure going into PreSonusphere 2011 that there was going to be a PreSonusphere 2012. The overwhelming positive response we received last year confirmed this suspicion. So, while we’ve all been scratching our heads and tapping our watches to make sure they are working correctly, there’s really no two ways around it… it’s already time to start getting ready for the next one.
Save the date like for a wedding: on Friday, September 28, and Saturday, September 29, we will present PreSonusphere II: Electric Boogaloo at the Shaw Center in Baton Rouge, Louisiana. One- and two-day passes will be available at very low prices. As we get closer to showtime we’ll announce details like who is speaking on what subject, suggestions for where you might like to stay, (I’ve already reserved Justin Spence’s couch) and deals on some nearby astonishing Louisiana chow. We’ll also let you know who’s playing the Thursday night pre-show party.
For more info, check out the PreSonusphere Press Release proper.
In 1990, five years before PreSonus launched, PreSonus cofounder and president Jim Odom was in the business of making records the good ol’ fashioned way: 2-inch analog tape, racks of analog outboard gear, tons of knobs, and plenty of blood, sweat, and faders. One of the bands Jim produced was called Func Haus, an amazing power trio from Baton Rouge. They are still rockin’ today, BTW.
In the YouTube clip above, you’ll spot a long-haired, cigarette-smoking, not-yet PreSonus-cofounder-and-president Jim Odom, engineering the Desert Sky album for Func Haus. Thanks to Wendell Tilley for this rare glimpse into some of the formative days of PreSonus Audio Electronics!