From August 1 through October 31, 2015, customers who buy any StudioLive AI console mixer will also get automatically upgraded to Studio One 3 Professional. If you’re looking for a professional studio solution (even in your very own home), this is the way to go.
StudioLive AI Mixers make a great choice for studio production work for 3 reasons: great sound, flexibility, and software integration.
Let’s Start with Great Sound
Flexibility For Every Studio Environment
Tight Software Integration
Benefits of the Studio One / StudioLive Connection
The StudioLive AI mixers and Studio One 3 play very nicely together. In fact, any settings you make in the StudioLive’s Fat Channel during recording are non-destructive—these settings can be imported into your Studio One session for additional tweaking during your mix process. Furthermore, StudioOne includes template configurations for all of our mixers and interfaces, so once you’ve connected the StudioLive to your computer and fired up Studio One, you’ve only got to make about two clicks before you’re recording. Smart stuff!
With all the additional effects, instruments, editing and Sound Design capabilities (like parallel processing FX chains) that come with the auto upgrade to Studio One 3 Professional. The StudioLive Production Suite is the ultimate solution for your recording studio (while still an incredible solution for live sound production and recording).
This offer is available worldwide. Just get yourself a StudioLive AI before October 31 2015, and you’ll receive a download link for Studio One 3 Professional in your my.presonus.com account when you register your mixer.
The kind sports at Hero’s Last Mission put together this exceptional video describing their workflow with the StudioLive 16.4.2. They are using the board to its fullest in both the studio and onstage, taking advantage of features like QMix personal monitoring and scene recall for saving board settings appropriate to multiple venues. Furthermore, they record live shows to Capture and then mix later in Studio One!
Hero’s Last Mission is taking advantage of the full PreSonus solution. Are you?
Who are you, where are you, and what do you do?
[This just in from Serin at Sama ProSound, our distributor in Korea. Serin and his crew recently had a very successful appearance at KOBA 2013, the 23rd Korea International Broadcast, Audio & Lighting Equipment Show. Over 43,000 people attended! Here’s the official word form the man himself.]
Hello, PreSonus, this is Serin!
The KOBA exhibition is Korea’s biggest audio fair. Established in 1991, the show’s all about audio, light, and products for broadcast as well. This year’s show ran from May 13th to May 16th with 42,459 visitors.
People were very excited about the new PreSonus products, especially the Eris studio monitors. We connected various monitors via the Central Station Plus so attendees could check out all the sounds we prepared through various monitors. The StudioLive 16.4.2 was also used as the main console at the small stage where our musicians performed.
Who are you, where are you, and what do you do?
I’m Brian Busch—Owner and Lead Engineer for Diamond Entertainment.
How were you introduced to PreSonus?
I started reading reviews and keeping an eye on PreSonus after the release of the StudioLive 16.4.2. It was pointed out to me by Roger Blevins, the lead singer for Mingo Fishtrap. He has long been a fan of PreSonus preamps, which he uses in his studio. With his recommendation and after some research of my own, once the StudioLive 24.4.2 was released I snapped one up and have been using it ever since.
I own a StudioLive 24.4.2 mixing console attached to a Mac Mini that has Capture and Studio One. We record our shows. Mingo Fishtrap is about to go on tour, and we will be using Capture to record the tour for a live album later to be produced later in the year. I also use an iPad to remotely mix most of my shows with StudioLive Remote. Even when I am not mixing with the iPad, it is an awesome tool for EQing monitors. The Smaart Measurement Technology is great for finding crazy frequencies that show up in the middle of a show.
In a word – flexibility. In my business, being able to adapt to whatever situation is thrown at you is paramount. I constantly have to set my mixer up on the stage, or side stage, for instance, because the show we are playing is for a wedding, I can remotely mix without ruining any the pictures of the bride’s special day.
When on tour, we will mix the show through the StudioLive 24.4.2 and just send a left/right to the front of house. This helps us out because we never know what situation we are showing up to. It could be a club with an old 16-channel board (we need 22, minimum) or a festival with some unfamiliar digital console. However, using this board and my iPad, I can stand right out in the sweet spot of the audience and mix the show from there. Festival stages love this because we only tie up two channels on their snake.
I also like the solid punchy sound of the preamps. No other mixer I use delivers more. This is true especially for drums. I can make just about any drum kit sound like a million bucks with those preamps.
Where can our readers learn more about you online?
[Jeff Blackwell is the lucky guy who was recently bestowed an incredible collection of lost recordings from the Old South Jamboree from 1973 to 1976.The recordings include performances from many local Louisiana acts of the era, but the Old South Jamboree’s roster also included true luminaries of country music, including: George Jones, Buck Owens, Loretta Lynn, Dolly Parton, Ernest Tubb, and Porter Wagoner. Jeff took on the daunting task of archiving these 16 reels of history to the digital world, and his PreSonus StudioLive 16.4.2 had a hand in it! I called Jeff and got the word from the horse’s mouth on this once-in-a-lifetime story. WBRZ recently aired a piece on this tale as well, embedded below—note StudioLive front-and-center in the video—but I HAD to talk to Jeff about some of the nittier, grittier details of this fascinating project.]
Hey Jeff! First, can I get some background on yourself and your work in audio?
Jeff: “I was a DJ at WYNK-FM back in the day—they are still on the air today. Back then, we used to sign on at 5 a.m. and sign off at midnight, it wasn’t a 24-hour station. We’d turn the transmitter on every morning before the show. They would pay me 45 cents an hour plus all the records I could eat!”
How did you come across the tapes?
Jeff: “Well, Going back in time… back in the 70s, WYNK would broadcast the shows from the Old South Jamboree every Saturday night. There were a few shows like that back in the day, like Louisana Hayride, which goes back to the 50s. That’s where Elvis Presley, Carl Perkins, all the old greats got their start to the music biz. Anyhow, another guy who worked at WYNK, Page Dew, knew a guy who had been recording these Old South Jamboree shows at home on a consumer reel-to-reel deck—a total of about sixteen reels.”
How was the condition and quality of the original recordings?
Jeff: “Well, most were quarter-track recorded at 1 7/8 ips. Doesn’t provide a heckuva lot of bandwidth! When quality is at stake, faster tape speed is preferred to create more bandwidth, but that didn’t happen here. Not only did I have limited bandwidth to work with, but these songs were recorded off the air from a mono FM radio broadcast. Next, add that the band was recorded with only three mics, and their signal was being transmitted by a Marti transmitter (used for remote broadcasts back in the day), sent to an FM station, and then recorded by a listener at home at only 1 7/8 ips!”
“So, It was a really challenge to get quality out of that source. But when you hear it, it puts you in a very different frame of mind. It takes a listener back to a different era, when one speaker getting music out of the air was enough, regardless of how it sounded! When I heard the first reel I was transported back in time.”
Any way we can track down the guy who provided the tapes? Are there any more?
Jeff: “He’s long gone. I talked to Page, who lives in Colorado, and asked him that. He said that this guy and these tapes are dated from early 1973 to 1976. He said it was an old listener, and apparently someone at the station gave him the reels to record these shows—tape was six or seven bucks per reel back then.”
What hardware did you use to transfer and restore the recordings?
Jeff: “I used the StudioLive 164.2’sEQ on these recordings because I really love the Fat Channel. I was first on the list when I heard the StudioLive was coming out. Once I got my hands on it I was like ‘Cool!’ It’s my main console, everything goes through it to get into the computer.”
“My wife found the reel-to-reel I used, a Pioneer quad, at a garage sale. Got it for 50 bucks. The material recorded at 1 7/8 ips would only play at 3 ¾ ips on this tape machine, so it was still twice as fast as real time. Of course I couldn’t EQ that, so I had to pitch it down in software and then run it through the StudioLive. There were 3 reels recorded at 7.5 ips that I could process through the StudioLive directly before taking it to software for fine-tuning, pitch correction, and noise reduction.”
Will the recordings be made publicly available? Or is releasing all these old songs form these artists a licensing nightmare?
Jeff: “Exactly. Contracts were looser back then. I gotta tell ya, over 90-95 percent of this music was performed by local artists. Some are way out of tune, some can’t hit notes, and of course the mix was awful by today’s standards. I need to be careful about the copyright issues. Several friends of mine have asked for copies, there were a couple of artists who were pretty popular in the day who are now gone, singing some of their hits.”
Thanks, Jeff. Anything else to add about the StudioLive?
Jeff: “I don’t use it as a typical recording or musician-guy. Most of my use has been for advertising and corporate events. I learned early on that if I was gonna work with bands, I had to work with no budgets and weird hours! I figured that wasn’t for me.”
“Since I’ve had the StudioLive, I’ve recorded Scott Innes, whose voice credits include Scooby Doo and Shaggy, who lives in Baton Rouge. I’ve also done quite a bit of work with Warner Bros. using the StudioLive.”
“Another thing I use it for is the Louisiana State Medical Society Annual House Delegates meeting. I use the StudioLive’s noise gates on their mics—it’s a big live room, and there’s a lot of interaction going on. So, I don’t have to worry about running gain on my mics. I love it. It has that finesse I need to mute a mic when not in use, but when the person starts talking it breaks the gate… good to go! I also rent a StudioLive 24.4.2 for the annual Acadian Ambulance Service Paramedic of the Year award program. More like a theatrical event with lots of wireless mics, skits and over 80 sound cues!”
[This just in from Mauricio Yáñez Polloni, of our distributor partner, Croma Limitada.]
The guy at the StudioLives in these pictures is Mauricio Romero, my friend, who has lived for 10 years on Rapa Nui! He did all the audio production for the Tapati, an annual festival that lasts for 10 days! Tapati was first performed during the first ten days of February, 1975. The festival began as a one among islanders, but now is an instance to share culture with tourists visiting around that time of year.
Two linked StudioLive 16.4.2s were the heart of the sound of this important event, running the live sound and recording the bands simultaneously. The show was recorded in Capture and then edited, mixed, and mastered in Studio One 2.5.
Mauricio Romero is the founder of the most important sound company of the island, Matau Producciones. He also has produced many albums with ethnic music of Rapa Nui.
This year, Matau Producciones did all sound and lighting for Tapati as well. Saludos!
[This just in from the Ray Johnston Band!]
Hey PreSonus! We finished the EPK, all recorded live from our PreSonus 16.4.2. Hope y’all dig. Bobby Sparks was on the gig as you will see!
Like what you hear? Check out the Ray Johnston Band on the platform of your choice: