The response to Studio One 5 and the launch of PreSonus Sphere has been OVERWHELMING, to say the very least… We are blown away and extremely grateful for our customers’ enthusiasm! We are working non-stop to respond to specific issues any customers may run into. We wanted to take a minute and answer a few questions about the grace period we’re offering to our customers.
PreSonus is providing a super-sized 90 day grace period for Studio One version 5. This means if you registered a copy of Studio One 4 on or after April 1, 2020, you are within the grace period. Here are all the specifics:
Note: If you registered a copy of Studio One 4 Artist that was bundled with a third-party product during the grace period, we are sorry but you are not eligible for an upgrade.
During this grace period, if you have multiple copies of Studio One Professional or Studio One Artist in your account, all copies are stamped as upgraded automatically. However, only you only get one copy of Studio One 5 or PreSonus Sphere per account, not per product. This is only a rule for those registrations that occurred during the grace period.
After clicking the Redeem button above you will see a screen similar to the one pictured below. Depending on how you acquired your product or your product type you may not have both buttons:
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
Rick is as much of a staple to PreSonus as drag and drop is to Studio One. He loves his team, music, and his job! After spending a quarter-century serving the PreSonus family, he is the expert when it comes to selling PreSonus with passion and enthusiasm. If you’ve met him, you love him (and you’re probably still hypnotized by the Rick Effect.) And if you haven’t met him, here’s your chance to get to know him better.
How long have you worked for PreSonus?
This coming October will be my 25th year at PreSonus. I was employee #5 or #6 I believe.
What was your job title when you started? What is your job title now?
Well, I was the first guy in sales so I guess my title would have been “Rick Naqvi, Sales Guy.” Today my role is Senior Vice President of Global Sales.
What were you doing before working at PreSonus?
In my early 20s, I was playing in two bands (Zaemon and Chris LeBlanc Band), running a recording studio and working in a music store called BeBop Music Shop. I was finishing a Marketing degree at LSU at that time as well.
I knew Jim Odom from the local music scene. He was one of our hometown guitar heroes and although he was a few years older than me, we went to the same high school and even took guitar lessons from the same guy. I did a recording session with him in the early ’90s and he used to come into the music store I worked at. I remember him bringing in the prototype of the very first PreSonus product, the DCP-8, about a year before PreSonus started. When Jim approached me about being a part of a startup company, it was a no-brainer for me.
Let’s talk about the Rick Naqvi Effect. People LOVE you and recognize you as the face of PreSonus. How did this come to be? How has it helped you?
Haha!! LOL. Well, I guess since this year will be my 25th year of working at PreSonus, I’m definitely one of the blessed people that found something to do with their lives that has spanned pretty much my entire adulthood. I’ve always been passionate about music and technology and I love people. So PreSonus has been the perfect place for me. I’m in awe of the fact that people use our products to share and experience music together with each other. That’s the part of this job that never gets old. I love being part of a team whose mission is to help people make music.
The Firepod was the first recording interface with eight microphone preamps in 1U. So you could basically mic an entire drumkit at once. Or record a small rhythm section. It was also one of the first interfaces that allowed for multiple units to be used at the same time. So if you needed 16 simultaneous inputs, you could chain two of them together, and so on.
Any fun stories about the FirePod?
Here’s a true story. The original design for the FirePod had eight inputs but only two mic preamps. Jim Odom was beta testing one of the early prototypes and took it home to record his son’s band. When he realized it was going to be a hassle to hook up additional outboard preamps, he came to work the next day and changed the design of the Firepod to include the other six preamps. We literally had to reshoot images for a tradeshow launch that was happening a few months later. However, putting eight preamps on the Firepod solved a huge need, not only for Jim but for tons of customers. It was one of our most successful products without a doubt.
What has been one of the biggest challenges of working at PreSonus? Major roadblocks?
Working for a technology company has its ups and downs. There have been good years and not so good ones too. Sometimes you create a product that really resonates with people and other times there are challenges that keep a product from its full potential. There’s nothing more important to us than delighting our customers. And when we can’t do that, it is a major bummer for us. Thankfully, our mistakes give us the experience to get better and that’s what we strive to do every day.
In 1995, how did you define success?
One of my first job tasks was to contact dealers and try to tell them about our product. I had a copy of Music Trades that had a list of the Top 100 US Dealers. So I literally picked up the phone and started cold calling people! It was so hard to tell people about a brand new product from a brand new company that they had never heard of. It was amazing just to get someone on the phone who would give me the time of day. Amazingly a bunch of people that got called by a 25-year-old Rick Naqvi are still in the business and are some of our most trusted dealers and life-long friends.
Tell us a cool NAMM story. Or any other PreSonus story.
One time at a NAMM Show I had to give a DigiMax demo to Steven Seagal. Turns out he’s a musician and had a studio at the time. It might have been one of the strangest demos of my life. He was super serious and never cracked a smile. When I told him you could only do 96k using AES outputs, not ADAT, I thought he might judo chop me or something.
When you think about the last 25 years, how does it make you feel seeing how far PreSonus has come?
It really doesn’t seem like I’ve worked for one company. It seems like I’ve worked for about 5 different companies. I’ve been through three building moves and I’ve seen tons of people come and go. I’ve seen kids of our employees grow up and start families of their own. It’s truly humbling to have been a part of this great journey.
Start saving today through April 7 on all Cherry Audio, MVP Loops and Earthmoments products right out of the PreSonus Shop! That’s 56 Add-ons all with a 50% discount for only ONE week!
Shop Cherry Audio!
Check out Voltage Modular Core and Electro Drums and Voltage Modular Ignite! Voltage Modular is designed to be the best sounding, most powerful, flexible, and easy-to-use virtual modular instrument available.
SynthAnatomy.com says Voltage Modular is the:
“Best Software Modular Synthesizer Plugin Release of the year 2018!”
Shop MVP Loops!
MVP Loops provide some of our most popular, top-selling loops and their whole collection is half off right now! Some of MVPs greatest hits include:
Are you getting a little burned out on bass, guitar, and drums? Need some special flavor for that short film score you’re working on? It could be that a little bit of Celtic Harp or Arabic Percussion is exactly what you need. And if your EDM mixes are starting to sound a little stale, Dubstep India is sure to make your tracks stand out from your competition.
This offer is valid worldwide and runs April 1 through April 7, 2020.
SAVE 50% on the Artist Booster Pack and VST/AU/ReWire Support!
With the Artist Booster Pack you get access to FIVE add-ons for Studio One Artist which include:
This Booster Pack is compatible with Studio One Artist (version 3.3.3 or higher)
This offer is valid worldwide for ONE week only (April 1-7).
Luke Sital-Singh is a British singer-songwriter based in Los Angeles. He sings and writes songs of love, loss, longing, grieving, hope, and basically the whole gamut of the human experience. His voice is haunting and personal… and his lyrics? Profound. With three studio albums, one live album, seven EPs, a ton of singles and a TED Talk in 2018, Luke’s gift is exceptional and rare, and we’re glad he’s sharing it with us.
We connected with Luke on Instagram and immediately became huge fans. What’s made this friendship better is that he’s new to the Studio One family. We took some time to get to know him better and hear how his experience with Studio One has been so far.
Give us some background on yourself. How long have you been making music?
I’m an artist and songwriter from the UK currently based in LA. I released my first EP in 2012 and have been making and releasing music ever since. My latest album came out in 2019, and right now I’m currently working on writing my fourth album whilst trying my hand as a songwriter working with other artists and writers on their projects.
How has the music industry changed since your early days?
In so many ways but I think the most obvious to me day-to-day at the moment is the impact of social media and keeping your online persona updated every second of the day. It’s a horror show and if I were starting out again today it would be enough to send me running for the hills.
Describe the first time you wrote a song? Produced it?
Hmm, I don’t remember details but I can imagine it was an easy, pure, uncomplicated. I most probably thought nothing of it. It was almost definitely a rip off of the Goo Goo Dolls (who were my favs at the time). I never had a lightbulb moment in where I knew I was gonna write songs. It was such a gradual process. I just wanted to give it a try, and I kept trying and trying… and I’m still trying today.
Who has been a musical influence in your life?
I would say my eldest brother Matt was the first major musical influence in my life. He introduced me to some cool music when he was a teenager and it was his guitar I stole when I started learning. He was also a bit of a computer geek so he helped me record some early demos and covers in his bedroom. I still have some of those recordings. Truly awful songs! But it got the ball rolling.
Have you ever wanted to give up on music? What keeps you going?
Yes, many times. It’s often overwhelming and ever-changing. So you once you feel like you get a handle on a way forward, the industry changes and you’re left scrambling around again. Also the pressures of always being on. I always feel guilty when I’m not writing or gigging or posting on social media. It’s hard to find downtime without feeling like you’re losing time and opportunities. Unfortunately and fortunately it still pays all my bills and I’ve got no other life skills to fall back on. Also when it’s good. It’s really good.
I was looking for a change from the DAW I was using. And I started to see a lot more people talking about Studio One online. I found myself watching loads of YouTube videos about the features and reasons why it’s better than the other DAWs. It piqued my interest enough to try a demo and see what I thought of it myself.
What features are you most impressed with?
As a jobbing artist, the price was pretty compelling, for one thing. Perhaps that sounds a little unexciting, but it matters for people like me. I don’t have tons of cash to drop on all this software whenever I want.
I’m still learning Studio One, but I’m finding it a lot faster than what I’ve used before. The drag and drop functionality is so great. In general, and incoming from another DAW, I’m just finding it more intuitive. Studio One is faster and compliments the workflow habits I’ve developed using other software. As I use it more I’m excited to see how my workflow develops around Studio One’s unique functionally. As of now, I’ve only produced a handful of tracks using it and I’m loving it and I’m excited to keep learning.
I also find the chord track functionality brilliant for songwriting and trying out ideas I would never think of on the guitar.
Very easy. I especially found that the ability to map the keyboard shortcuts to match other DAWs made it so much faster to get up and running. Now I’m slowly transitioning to the Studio One keyboard shortcuts.
Where do you go for support?
I haven’t had to yet! Knocks on wood…
Any other thoughts on Studio One or PreSonus gear?
I just think PreSonus is great! For whatever reason, it’s not the sexiest name in music gear but it should be. I feel like I wish I’d tried Studio One years ago. I find I go into sessions with other people these days and tell them I use Studio One and they turn their nose up. When I tell them the kind of functionality it offers, everyone is impressed and surprised. It’s one of those unfortunate things about the music recording culture and I suppose just general culture when it comes to brands etc. People like the cool stuff even if it’s actually no better or perhaps it’s worse than lesser-known brands. I hope more people start to see how great Studio One is and PreSonus in general!
Recent projects? What’s next for you?
I’ve got a new EP dropping in April, a few tracks are available online. Also, I’m going on tour in Europe and the UK in April/May and I’m hoping to play some more shows around the US later this year. Other than that I’m busy writing my next record and working with other artists as a songwriting collaborator.
In celebration of our 25th anniversary, last month we announced our new YouTube series the River City Sessions. The River City Sessions give us a chance to support the kind of musicians that help build our company and share their work with a global audience. This month features Donald Gelpi aka. The Big Burly Man, performing his song “Holy Ghost.”
You may be curious about where the name “The Big Burly Man” came from (so were we) so we took some time to get to know the man behind the beard and more about his songwriting and this haunting song.
Tell us about yourself. How long have you been making music? Who are some of your inspirations? Who did you grow up listening to?
About 18 years now. My inspirations span all over the place. From Fats Domino, Nick Drake, Van Morrison, Louis Armstrong, Elvis, Bob Dylan, Roy Orbison, The Beatles, Bob Marley, and Led Zeppelin to newer artists like Damien Rice, Gregory Alan Isakov, Ray LaMontagne, Iron and Wine, The Tallest Man On Earth, The Lumineers, Jose Gonzalez, Ben Howard, and many, many more.
Besides my rap and alternative rock stage, I really had my first musical shock listening to Led Zeppelin around 16. I was really into them, and still, love them today. I had also gotten into other classic greats like Jimi Hendrix, which got me into, Bob Dylan from loving “All Along the Watchtower.” That kind of started the whole folk-singer songwriter thing for me.
Where did The Big Burly Man come from? It’s a great name!
Thank you! Some years back I had written a song called “The Big Burly Man.” It was about me, and at the time it was kind of a hidden moniker. It had been on my mind to possibly start performing under it for a couple years. Some of my favorite artists go under stage monikers, and it was a lot more common for artists to do it back in the day. A lot of those old blues players did it too. It’s almost like being a character, as a part of this whole creative idea. I don’t know, it just seemed fun and cool.
Tell us about the song you performed for the River City Session. When did you write it? What’s the inspiration?
I wrote it towards the end of October of 2019. It’s got this haunting sound to it, and it was around Halloween, so naturally, I was thinking about ghosts and things like that. I’ve gotten a lot closer to God over this past year, and I thought how great would it be to have this haunting sounding song referring to the most epic ghost or spirit of all. Holy Ghost, I thought. I love it.
What’s the best song you’ve ever written? Why is it the best?
It’s difficult to say. “Holy Ghost” is up there. Another song that I would naturally think of first is “C’est La Vie.” It’s a very upbeat and catchy song soaked in heartfelt lyrics and truth. It’s a local fan favorite too.
Tell us about a successful show or event you were a part of.
It wasn’t without mishaps, but this past October. I had the honor of putting together my very own music festival. It was called “Baton Magique.” It was an Indie Folk Festival at Tin Roof Brewery. It was a lot of work, but we had a pretty great turnout for its first time around, and I received a lot of fantastic feedback from folks which made it all worth it for me. I was also very fortunate to have a few local musicians who were involved pitch their ideas and help with the process. It’s a beautiful thing.
Who is your dream collaboration?
Just one? Ha! It would have to be Bob Dylan, Van Morrison, Damien Rice, or Gregory Alan Isakov. There are many others, but you don’t have all day.
What do you enjoy most about making music? What do you hate most?
The magic of it all! It truly seems that way. When I write a new song, it’s like getting a new toy or something. I just can’t put it down. It feels like Christmas morning. It’s an absolutely thrilling experience! God is the creator. He loves to create. It’s not too far fetched to imagine why we love to create different things too. Mine just so happens to be simple folk songs.
I wouldn’t say I hate it, but the only part that feels like work is promoting my music, and trying to get folks to come out to a show. There’s also always a lot of “it’s who you know gets the good show” going on behind the scenes. I know that happens everywhere though, but it’s tough sometimes. That’s why I’m super grateful y’all chose me. Y’all didn’t know me, or owe me any favors. Thank you!
If you could change anything about the music industry, what would that be?
I’m not sure I’d change too much. It is what it is. And the way it is is due to many factors and reasons. I’m thankful just to do my small part as big as I can do it.
What advice do you have to anyone getting into the music scene?
Create the kind of music that inspires you! If you feel that lantern being lit and burning from the inside, you’re doing it right.
Here are three cool things you may not know about PreSonus’ notation software Notion.
In 2013, we acquired the assets of Notion Music, adding Notion™ music notation and composition software and their other solutions to our product line-up. This innovative product was the first notation app to run on iOS in addition to Mac and Windows, one of the most downloaded music creation apps. Notion and their team were a natural fit in the PreSonus culture of inventive technology development. When PreSonus acquired Notion Music not only did we score an award-winning software, we also got the one and only Jim Boitnott. All year we’re celebrating 25 years of PreSonus so it’s only fitting to celebrate Notion and hear more from one of the creators and current COO of PreSonus Jim Boitnott!
What were you doing before PreSonus?
I was the CEO of Notion Music.
Was owning a business something you dreamed of doing or just fell into it as the products came along?
I never actually owned Notion Music, it was owned by several people and started by Lori and Jack Jarrett. When I was brought in I was in various management positions, and then became CEO. I never dreamed of being a CEO, I just wanted to make a great product that we were proud of. One day after working very hard for years I found myself sitting in that role. I tried to make the best choices I could for our team and customers.
What’s the process of having a great idea to getting it out the door?
This could be a book… There are so many pieces of this massive puzzle no one ever thinks about! Most importantly, commitment from incredibly talented people is crucial. Hard work, focus, and simply finding a way to make it happen. And that’s just getting it out the door… There are many more obstacles after that to make “it” successful.
What need was the Notion intended to meet?
An easy-to-use notation software product with great playback. We always wanted to lead with the sound results, others always lead with the printed results.
At the time, did you have any data supporting the need for this product?
Kind of, but none that would have made a difference. It was more of a “we want to build this and we are” mentality. However, when we released Notion for iPad we did have more data that helped us realize the opportunity. We knew there was a great opportunity for the iPad version and it did pay off with great results, as well as being featured in an Apple ad campaign… one of our proudest moments.
What was the biggest challenge? Major roadblocks?
I’ll be honest, at different times in our company history, it was different issues, such as; ego’s, red tape, lack of experience, internal politics, indecision, cooperation, budgeting, forecasting, etc. It felt like everything at different times, but when it came to making Notion the product, that sometimes felt like the easiest and clearest part. Once we finally got a team that was focused in one direction we were pretty incredible for such limited resources. Then, our biggest roadblocks became time, resources, really good competitors, and market factors.
At the time of its conception, how did you define success?
I think that was part of the problem early on, I think everyone had a different opinion of what success was. Some would have said revenue, others would say a great product, and some were just worried about other things. However, for the first iPad version of Notion, we had a clear goal “Be the first-ever notation app for iOS and make it as solid as the desktop version that it worked alongside of.”
How did you guys come together to build it?
Notion Music from 2003-2013 had some incredible people involved in it, at different times and in different ways. We had people from all over the world come together in Greensboro, NC and created something special. All played a role in getting us where we are today. I was teaching guitar and film scoring classes at Elon University using competitor notation products and then met a co-founder, we randomly struck up a conversation one day. Once she found out I was very knowledgeable with Finale and Sibelius I found myself working at Notion Music just a few weeks later. However, like many businesses, there are highs and lows, and unfortunately, after Notion v2 we had to make some major changes and lost a great number of our team and redesigned the product. The final team, which basically stayed totally intact for the last 5-6 years and all the way through the PreSonus acquisition, were put together based on their versatility, skills, and work ethic. An amazing team: Ben, Chris, Eric, Kyle, Richard, Brian and Brian, Josh, Patrick, Kris, Allison…we all worked hard and had fun.
How did you feel when it was complete?
Like most software products… Notion is not complete, and will never be complete.
When you think about the last 25 years, how does it make you feel seeing how far PreSonus has come?
Just looking at the last 6+ years I have been here it makes me very proud to see what we all have accomplished. The PreSonus team is remarkable, and the stories I have heard about the previous 20 years can go from one extreme to the other. I’ve given responses to those stories like, “How did you even stay in business?” to, “Amazing, how did you accomplish that?”..and of course “Rick did what!?” But looking at 25 years, I’m proud of PreSonus and the amazing team here, and I’m proud of the Notion team that worked through so much adversity to have an opportunity to even be here.
[This just in from Nigel of DMT Productions!]
Hi everyone, my name is Nigel Trego, I am the Technical Director at DMT Productions, a UK-based events production company. DMT specialises in producing live events for theatres, arenas and large festivals—from sound, lighting and projection to filming, photography and FX. DMT has been operating for ten years and has a team of 20-plus specialists including sound engineers, lighting engineers, dancers, performers, AV techs, drone, and Steadicam operators, photographers, and pyrotechnicians. DMT Productions have chosen the PreSonus Studiolive Series III Ecosystem as our touring mix package.
DMT currently has:
DMT Production engineers have worked with the likes of Bob Dylan, Blood, Sweat and Tears, James, Texas, The Alarm, Westlife, Grace Jones, and Snow Patrol—to name a few.
We are at present engaged with several projects based in theatres, arenas and large festivals predominantly in the EU. As I write this, members of our team are working on a project filming with US-based Nitro Circus in Wales, helping to promote their World Games event across the UK.
Our current featured artist is Donna Marie, a multi-award-winning artist in her own right and the National Tribute and Music Award official #1 Lady Gaga Tribute and Impersonator for the last seven years. We are currently working for Donna to produce her UK tour of A Star is Born This Way, a tribute to the Oscar-winning film A Star is Born, in act one followed by a second act of full-on Gaga hits. The show features live and pre-recorded video, a live band, dancers, and pyrotechnics, and will be featured in a number of UK theatres—and even some arenas where Lady Gaga herself has performed!
DMT uses the PreSonus StudioLive Ecosystem exclusively. We use the PreSonus Studiolive 32R as a stage box and the StudioLive 16 at front of house. The logical layering and compact size of the StudioLive 16 make it perfect for all venue FOH sizes (some venues have limited FOH space, especially festivals) and it is easily transportable in the crew bus. We chose the PreSonus StudioLive Ecosystem for many reasons; previous experience with the StudioLive AI series and the legacy StudioLive products not only gave us the confidence in reliability and sound quality but also confidence in the ease-of-use. The layout is logical, and the Fat Channel allows for fast and clear access to parameters that are essential to a live performance. Naturally, we evaluated the competition with products such as Allen and Heath SQ-series and of course the Behringer X32 range. When compared via price vs. features/performance/
The feature sets of the Studiolive Series 3 Ecosystem are in abundance and too many to mention in this blog. However, we have some favorites! AVB is a clear winner. Great performance and flexibility allowing us to route any signal to whatever we want without having to buy expensive (licensed) AV networking expansion cards. We were using Focusrite Saffire Pro 40s as audio I/O for our sequenced stems—one of the only I/O devices that can handle 10 individual outputs (we run some of our stems in stereo). Now we can hook up a USB cable from our show control Mac straight to the StudioLive rack or console mixers and have as many USB audio channels for stems as we need; we can then route USB across the AVB network with practically zero latency. Most consoles have complicated menus for digital patching and for configuring matrices. We find the PreSonus very intuitive and easy-to-use at the console level—but even easier via UC Surface on a tablet.
QMix-UC is also a fantastic feature. Our bands play with a click so that their performance is in sync with pre-recorded video and pre-recorded stems; thus monitor mix set-up is critical. Using an in-house desk can take up to an hour to get the perfect IEM mix for all band members, and even then that might need to change during the performance. The ability for the band to adjust their monitor mixes via the PreSonus QMix-UC app is now something that we cannot live without. Event setup time and sound check duration are dramatically reduced allowing us to focus on other areas of the production. Additionally, we save on the cost of a monitor desk and engineer. The project and scene management is second to none. Project, scenes and even the Fat Channel library can be exported/imported to/from a tablet or PC over USB or Wi-Fi.
Our sound engineers love the PreSonus workflow and use the Fat Channel Collection Vol. 1 plug-in suite extensively. We are, however, excited about future PreSonus integration with Waves using the Waves AVB Soundgrid Bridge announced earlier this year.
The ability for us to record 34 channels of 48K multi-track at live events to SD Card (and Mac/PC) is also a fantastic feature. This allows us to take the recording back to the studio and load it straight into Studio One to mix for video production that we then use for further event promotion. We used this feature extensively during a multi-tribute festival this year where our camera operators filmed the entire three-day event. Our sound engineer took the FOH multi-track recordings back to the studio to mix. We were able to create professional video packages that we then provided to the bands that were performing, which they in turn now use as their promotional material for their socials and web.
The majority of the time, our engineers seldom use the console mixer, tablet at FOH is the way forward for them. Other great PreSonus features include the ability to share scenes between the different mixers, no matter the form factor, this is great to have a backup mix ready to go in case of an HW failure. Virtual sound check is a great tool and the ability to use two mixers in tandem is superb. Let me elaborate on that. We have the 32R set as “standalone” at drum riser position with all stage mics and instruments feeding it and the 32R is, in turn, feeding the IEMs, stage wedges and the main PA. Our show control MacBook is hooked up to the 32R via USB and digitally patched running 10 channels of USB audio. All of the 32R channels (including USB) are sent over AVB to the FOH console and the FOH console mixes (Matrix and Aux) sent back to the 32R over AVB. The flexibility of digital patching in conjunction with AVB is incredibly powerful. This allows us to benefit from the USB channels on the 32R at riser position while retaining full mix control at FOH.
One of our productions was to headline a festival this summer on a clifftop in beautiful West Wales, we had an audience of around 5000 at this particular event. We had decided to take our 32R (running on a Relio UPS) and feed the event PA (via their mixer) from the Left and Right channels of the 32R to allow us to soundcheck quickly. The event who supplied PA had a mixing desk they used for the other bands performing that evening of which we only used the two channels (Left/Right). Just before our performance began the heavens opened! Once the rain had stopped we managed to wipe the stage dry, tip the water out of the keyboard player’s keyboard and start the gig! After a spectacular video-based intro, three bars in on the first song, the power went out, no sound, no lights, no video.
The band continued to play, they were on IEMs from the 32R. Fortunately, the stage wedges were also working, they were on a different power feed to the main PA, so we turned them to face the crowd. It turns out that water had worked it’s way into the mains Distro taking out one of the electrical phases. It took the event organisers 13 minutes to fix the issue only to find their networked stage box had blown, so still no sound! We plugged the PreSonus 32R directly into the event’s amps and away we went! The show must go on. The reason for telling this story is because when we plugged the PreSonus directly into the amps, the difference in the sound quality was incredible, so much so that a number of people came over to FOH to comment on how good the sound was and to ask why it wasn’t as good for the other bands that were on during the event (not using our PreSonus). The event organisers were over the moon that the event continued during the power outage and commended DMT for keeping the audience entertained and stopping them from leaving the event.
One of the most attractive things that PreSonus has to offer is that the end-user has a voice. Development of their hardware and software is continuous, user feature requests are taken seriously and the majority of them appear in the next software builds. The support infrastructure is excellent. We have called PreSonus UK on many occasions, the staff are very knowledgeable, friendly, and take a vested interest in helping to resolve even the most complex of problems, efficiently and with haste. On top of that, they are really nice guys that obviously love what they do. Interaction on social media by the PreSonus team is also a major plus point. To be able to reach out to people like Rick Naqvi, Jonny Doyle and Seth Martin on the StudioLive FaceBook Group is a great value-added commodity that is seldom seen with other companies.
For us at DMT Productions, PreSonus is a brand that we trust and we love using the products.
To find out more about DMT Productions, please feel free to visit our websites:-