StudioLive 16 . 4 . 2 ™ 16 Channel Digital Recording and Performance Mixer 16 Channel Digital Recording and Performance Mixer User Manual Version 1.12 © PreSonus Audio Electronics, Inc. All Rights Reserved.
StudioLive User’s Manual Version 1.
PreSonus Limited Warranty PreSonus Audio Electronics Inc. warrants this product to be free of defects in material and workmanship for a period of one year from the date of original retail purchase. This warranty is enforceable only by the original retail purchaser. To be protected by this warranty, the purchaser must complete and return the enclosed warranty card within 14 days of purchase.
Safe Operation Guidelines To avoid damage to your StudioLive and your other audio equipment please review and adhere to the following safety guidelines: • Follow the safety guidelines in the manual. • Do not block the ventilation openings. • Do not drop your StudioLive. • Do not install near a heat source (radiators, heat registers, amplifier heat sinks, etc.). • D o not expose your StudioLive to liquids. Do not place containers filled with liquids near your StudioLive.
Table of Contents 1 Overview 1.1 Introduction ................................................................................ 9 1.2 Features ...................................................................................... 10 1.3 What Is In the Box ...................................................................... 12 1.4 Getting Started: Mixing................................................................ 13 2 Controls & Connections 2.1 The Patch Bay .........................................
Table of Contents 2.10 Digital Effects | Master Control................................................. 52 2.10.1 The FX Menu.................................................................. 53 2.10.2 Creating & Recalling a Scene........................................ 55 2.10.3 Saving & Loading Channel Presets................................ 58 2.10.4 The System Menu.......................................................... 59 3 Recording 3.1 System Requirements.........
Table of Contents 5 Tutorials 5.1 Studio One Artist Quick Start . ................................................... 83 5.1.1 Installation and Authorization ......................................... 83 5.1.2 Enabling the Audio Driver ............................................... 86 5.1.3 Configuring Your MIDI Devices........................................ 87 5.1.4 Configuring Audio I/O...................................................... 90 5.1.5 Creating a Song........
Table of Contents 5.8 Level-Setting Procedure............................................................. 127 5.9 The Solo Bus.............................................................................. 128 5.9.1 Using the Solo Bus for Monitoring................................... 129 5.9.2 Destructive Soloing.......................................................... 130 5.9.3 Using Solo In Place (SIP) to Set Up a Mix....................... 130 6 Technical information 6.
1.1 Introduction Overview Overview Technical Information Tutorials Multiple Mixers Recording Controls & Connections 1 Thank you for purchasing the PreSonus StudioLive™ 16.4.2. PreSonus Audio Electronics has designed the StudioLive™ utilizing high-grade components to ensure optimum performance that will last a lifetime.
1 Overview 1.2 Features Thank you, once again, for buying our product—we are confident that you will enjoy your StudioLive! The StudioLive™ performance and recording digital mixer is a fully-loaded professional digital mixer combined with a complete 32x18 FireWire recording system.
Overview Features Included with your StudioLive is CAPTURE; a digital audio multi-tracking application designed to make recording quick and easy to set-up and operate. Perfect for live recording or mixing your audio real-time to a stereo audio file, CAPTURE software was designed to interface with StudioLive 16.4.2 perfectly to allow instant setup and recording of performances. In addition to recording the 16 channels of the StudioLive 16.4.
1 Overview 1.
• A lways turn the Main fader and both the Monitor and Phones knobs in the Monitor section down before making connections. Before plugging or unplugging a microphone while other channels are active, mute the channel to which you are connecting. • Y our faders should be set on or near the “U” mark whenever possible. The “U” indicates unity gain, meaning the signal is neither boosted nor attenuated.
1 Overview 1.4 Getting Started: Mixing 8. P ress the Input button in the Meter section. 9. W hile speaking or singing into your microphone, turn the trim knob on Channel 1 until the signal reaches the desired level, but don’t raise it too much or the input will clip. Watch the level meter. 10. Press the Select button on Channel 1 and bring the fader to unity gain. 11. P ress the Main button in the Assign section of the Fat Channel so that it is illuminated.
2.1 The Patch Bay Overview Controls & Connections • 48-Volt Phantom Power. The StudioLive has 48V phantom power available for each channel individually via buttons on the top panel. • XLR Connector Wiring for Phantom Power: • • Pin 1 = GND • Pin 2 = +48V • Pin 3 = +48V 22 dBu Headroom. The StudioLive microphone preamplifier has +22 dBu headroom. This gives you wide dynamic range and excellent transient-response characteristics. • Line-Level Input.
2 Controls & Connections 2.1 The Patch Bay • Insert connector wiring: • Tip = send (output to inserted device) • Ring = return (input from inserted device) • Sleeve = common ground • A ux Inputs. The StudioLive is equipped with two auxiliary inputs (effects returns). In Section 5.5.2, we discuss using an aux bus to send several channels to an external effects processor; the Aux inputs can be used to return the processed signal to the mixer. Each input is balanced stereo.
2.1 The Patch Bay Overview Controls & Connections • T ape In/Out. The StudioLive is equipped with stereo RCA (coaxial) inputs and outputs that can be used to connect a tape deck, CD player, or other consumer device. The tape-input level is controlled by the 2Track In knob on the top panel. The main bus is routed post-fader to the tape output. • C R Output. These are the balanced control-room outputs. The level is controlled by the Monitor knob in the Monitor section on the top panel.
2 Controls & Connections 2.1 The Patch Bay • ireWire Ports. There are two standard 6-pin FireWire 400 ports on the back of the StudioLive. F Either port can be used to connect your StudioLive to a FireWire port on your computer. If your computer has a 4-pin connector (commonly found on laptops), you will need to purchase a 4-to-6-pin adaptor or cable. These adaptors and cables can be found at your local computer supply store.
Technical Information Tutorials Multiple Mixers Recording 2.
2 Controls & Connections 2.3 The Fat Channel The heart of the StudioLive is the revolutionary Fat Channel. The Fat Channel makes dynamics, routing, and panning for every input and output on the StudioLive available at the touch of a Select button. The 16 multipurpose knobs and meters located in the Fat Channel control nearly every adjustment you will need to make on your StudioLive.
In the lower right corner of the Fat Channel, you will find an LED read out. The currently selected channel will always be displayed here. (Numbers 1-16 indicate one of the 16 inputs channels is selected, S1-S4 indicates Subgroups 1-4, MA indicates the Main bus, A1-A6 indicates Aux 1-6, A7 and A8 indicate EFX A and EFX B, and F1 and F2 indicate Aux inputs A and B.
2 2.3 Controls & Connections The Fat Channel 2.3.
Phase Reverse button Reverses the Phase of the Selected Channel. Push this button to invert the phase of the selected channel’s signal (that is, to alter the phase by 180°). The button will illuminate, indicating that the phase reverse is active. The Phase Reverse button can be used to correct audio signals that are out of phase and cancelling each other out. Phase reverse is only available on the 16 channels of the input bus. High Pass filter Engages the High Pass Filter.
2 2.3 Controls & Connections The Fat Channel 2.3.2 Dynamics Processing and EQ Gate Threshold Sets and Displays the Threshold of the Gate for the Selected Channel. This encoder sets, and the meter displays, the gate threshold for the selected channel. The threshold determines the level at which the gate will open. Essentially, all signals above the threshold setting are passed through unaffected. - You can set the threshold from 0 to -84 dB.
Enables Automatic Attack and Release Mode. When Auto mode is active, the Attack and Release controls become inoperative, and a preprogrammed attack and release curve is used. In this mode, the attack is set to 10 ms, and the release is set to 150 ms. All other compressor parameters can still be adjusted manually. Soft Knee/Hard Knee Toggle Button Overview Controls & Connections Turns the Auto Button On Engages Soft-Knee Compression.
2 2.3 Controls & Connections The Fat Channel 2.3.2 Dynamics Processing and EQ Compressor Attack Sets and Displays the Compressor Attack Setting for the Selected Input Channel or Output Bus. This encoder sets, and the meter displays, the compressor’s attack setting for the selected channel or output bus. Attack sets the speed at which the compressor acts on the input signal.
Processing and EQ EQ Low Band On/Off Button Activates Control for the Low Band EQ for the Selected Input or Output Bus. This button actives control of the equalizer’s Low band for the selected channel or bus. The button will illuminate to indicate control is active. Overview 2.3.2 Dynamics Controls & Connections Controls & Connections The Fat Channel Recording 2 2.3 Sets and Displays the Center Frequency of the Low Band EQ.
2 2.3 Controls & Connections The Fat Channel 2.3.2 Dynamics Processing and EQ Low Mid EQ Button Activates Controls for the Low Mid Band EQ for the Selected Input or Output Bus. This button actives the controls for the equalizer’s Low Mid band for the selected input or output. The button will illuminate to indicate control is active. The Low Mid Band EQ is available for all input and output buses. Low Mid Band EQ Frequency Control Sets and Displays the Center Frequency of the Low Mid Band EQ.
High Mid EQ Button Activates Controls for the High Mid Band EQ for the Selected Input or Output Bus. This button actives the control for the High Mid band for the selected input or output. The button will illuminate to indicate that the control is active. Overview Processing and EQ Controls & Connections 2.3.2 Dynamics Recording Controls & Connections The Fat Channel High Mid Band EQ Frequency Control Sets and Displays the Center Frequency of the High Mid Band EQ.
2 2.3 Controls & Connections The Fat Channel 2.3.2 Dynamics Processing and EQ High Mid Band EQ Gain Control Sets and Displays the Gain Attenuation or Boost at the Center Frequency. This encoder sets, and the meter displays, the gain cut or boost at the center frequency of the High Mid band. The level of the center frequency can be set between -15 and +15 dB. High Band EQ On/Off Button Activates Control for the High Band EQ for the Selected Input or Output Bus.
High Band EQ Gain Control Sets and Displays the Gain Attenuation or Boost at the Center Frequency of the High Band EQ. Tutorials Multiple Mixers This encoder sets, and the meter displays, the gain cut or boost at the center frequency of the High Band EQ. The level of the center frequency can be set between -15 and +15 dB Overview Processing and EQ Controls & Connections 2.3.
2 2.3 Controls & Connections The Fat Channel 2.3.3 Panning and Stereo Link The Pan Control for each Input or Output bus is set on the Fat Channel. The LED display shows the Pan setting, and the encoder to the right of the display controls panning for the selected input or output bus. When two channels are linked as stereo pair, the LED display will automatically change to stereo pan. Stereo linking is done from within the Fat Channel.
Any channel on the input bus can be assigned to any or all of the subgroup outputs as well as the main outputs. This includes the 16 main inputs and the 2 auxiliary inputs. The internal effects returns can also be assigned to any or all of the subgroups and the main outputs. The Fat Channel also gives you the option of sending just the unprocessed audio to your computer or including the Fat Channel settings in the recorded signal.
2 2.3 Controls & Connections The Fat Channel 2.3.5 Copy, Save, Load Every setting in the Fat Channel can be copied from one to channel to another and can be saved and stored as a user preset to be recalled later. Press the Copy button to copy the settings on the selected channel or bus. Every Select button on the StudioLive, except the button for the currently selected channel, will begin to flash. The Select button for the selected channel will not illuminate.
Overview 2 Controls & Connections The StudioLive offers flexible metering at the touch of a button. The 16 meters in the Fat Channel section can monitor: Multiple Mixers Recording Controls & Connections 2.4 Metering • All 16 inputs, post-dynamics, post-EQ, and post-fader • The gain reduction for all 16 inputs Tutorials • All 16 inputs, post-gain and pre-dynamics, pre-EQ, and pre-fader Last, but certainly not least, the meters can be used to recall the fader settings for a saved scene.
2 2.4 Controls & Connections Metering 2.4.1 Metering Controls Below the System section of the StudioLive, you will find the Meters section. Each of these buttons are toggle switches, meaning you can turn them on or off by simply pressing them and then pressing them again. The meter state can also be changed by pressing another button in the Meter section, any Select button on the StudioLive, or a Mix or Mix/Pan button in the Aux section.
The StudioLive is equipped with all of the standard input controls of an analog mixer. In addition, the StudioLive provides the added flexibility of routing a playback stream from your audio recording software to the mixer via the FireWire bus, just as if it were an analog input. This lets you incorporate digital audio tracks into the main mix as well as inserting plug-in effects and software instruments from your audio program. Input Channel Controls Trim Control Adjusts the Input Gain Level.
2 2.5 Controls & Connections Input Channel Strip 2.5.1 Input Channel Controls Input-Channel Select Button Enables Fat Channel Processing and Routing. As previously described in section 2.3.1, the Select button routes its channel through the Fat Channel, allowing you to add dynamics processing, EQ, and panning; assign the output routing; and more. Solo Button Turns Soloing On and Off.
2.6.1 Overview Analog Aux Sends Solo Button Turns Soloing On and Off. This button will solo the aux bus to the main outputs or to the monitor outputs, depending on whether PFL or SIP is selected in the Solo bus section. Please review Section 5.8 for details. When a Solo button is enabled, that channel or bus will automatically be selected, and its Select button will illuminate. Post-Fader Send Button Enables and Disables Post-Fader Send.
2 2.6 Controls & Connections The Aux Bus 2.6.1 Analog Aux Sends Aux Send Select Button Enables Fat Channel Viewing. As previously described in section 2.3.1, the Select button routes its aux send through the Fat Channel, allowing you to add dynamics processing and EQ. Mix Button Enables Aux Bus Mixing and Metering in the Fat Channel. When this button is enabled, the 16 encoders in the Fat Channel become the aux-send level controls for each of their respective input channels.
2.6.2 Internal Effects Send Controls Mute Button Mutes and Unmutes the Internal Effects Bus. Overview Controls & Connections The Aux Bus Controls & Connections 2 2.6 Recording This button will mute or unmute its internal effects (EFX) bus. It will illuminate red when the bus is muted. Post Fader Send Button Output Level Control Adjusts the Master Level of the Effects Send. This knob adjusts the master level of the internal effects send.
2 Controls & Connections 2.7 Subgroups As explained in Section 5.5, subgroup mixing is very useful for grouping channels for master level control of a submix (e.g., drums) and for providing a fader level for effects. Subgroup Channel Select Button Enables Fat Channel Viewing. As previously described in section 2.3.1, the Select button routes its channel through the Fat Channel, allowing you to add dynamics processing, EQ, panning, etc. Solo Button Turns Soloing On or Off.
Subgroups Overview 2.7 Subgroup Meters Displays the Level of the Subgroups. Technical Information Tutorials Multiple Mixers In the upper-right corner of the StudioLive are the Subgroup meters, which display the levels of the subgroup outputs.
2 Controls & Connections 2.8 Main Output Bus Main Select Button Enables Fat Channel Viewing. As previously described in section 2.3.1, the Select button routes its channel through the Fat Channel, allowing you to add dynamics processing, EQ, panning, etc. Main Fader Controls the Level of the Main Output. The fader controls the overall level of the main stereo output. The white area above the fader can be used as a scribble strip. Use only oil pencils.
2.9 Master Section Overview Controls & Connections Technical Information Tutorials Multiple Mixers Recording Controls & Connections 2 The Master section of the StudioLive controls the monitoring, talkback output, solo bus, and aux and tape inputs.
2 2.9 Controls & Connections Master Section 2.9.1 Aux Inputs A and B The StudioLive features an internal effects processor that allows you to load two different effects at the same time, but it also allows you to patch return processed signals from an external effects processor, using the Aux bus. Section 5.6.2 goes into the connections and procedures in greater detail. Aux Input Select Button Enables Fat Channel Viewing. As previously described in section 2.3.
Talkback System The StudioLive features a Talkback microphone input on the back panel. This can be routed to each of the aux outputs as well as to the mains. It is important to note that the aux outputs are in stereo pairs in this section.
2 2.9 Controls & Connections Master Section 2.9.3 2 Track In The StudioLive allows you to patch in an analog input or a playback stream from your recording application. This enables you to compare audio sources during mixdown or patch in intermission music between bands without using any of your 16 input channels. This is a summing bus, so both the external tape input and the two-track FireWire return can be engaged at the same time.
Overview Solo Bus The StudioLive features a solo bus for flexible monitoring. In this way, you can fine-tune a vocal compressor in your control-room monitors or headphones while the rest of the band is warming up, or audition an aux mix for more accurate adjustments. For more information on using the Solo bus, please review Section 5.9. Cue Mix Volume Control Adjusts the Overall Volume of the Solo Bus. Tutorials This knob adjusts the overall level for the Solo bus. Controls & Connections 2.9.
2 2.9 Controls & Connections Master Section 2.9.5 Monitor Bus The StudioLive features a headphone output as well as control-room outputs, giving you the ability to monitor multiple sources on the StudioLive. The Monitor bus on the StudioLive allows you to monitor the main outputs, Solo bus, main FireWire return from your computer, and the stereo analog tape input. Because the Monitor Bus is a summing amp, you can even monitor the World Series on your headphones while still running sound at a show.
Overview Monitor Bus FireWire Monitor Button Assigns the Main Left/Right FireWire Return to the Monitor Bus. The FireWire Monitor button patches the main left/ right FireWire return (that is, the signal from your audio software’s master outputs) to the monitor bus. Main Mix Monitor Button Assigns the Main Mix to the Monitor Bus. Technical Information Tutorials The Main Mix Monitor button patches the same signal that is being sent out of the main outs to the Monitor bus.
2 Controls & Connections 2.10 Digital Effects Master Control From the Digital Effects | Master Control section, you can select and change the parameters of the two internal effects processors, as well as store and recall every setting on your StudioLive at the touch of a button.
Overview The first page of the FX menu is the QuickView screen. It displays both of the effects assigned to the internal effects buses, as well as the main parameter for each and to which Aux buses the effect is being routed. Effect A is assigned to EFX A bus, and Effect B is assigned to EFX B bus. Use the Next and Prev buttons to navigate through the screen. To change a parameter, use the Value encoder directly beneath the LCD screen.
2 2.10 Controls & Connections Digital Effects | Master Control 2.10.1 The FX Menu time. You do not have to select the Time parameter in order to use the Tap button. However, you have to be on the Extended Parameters page (page 2 for FX A, page 3 for FX B) or you must select the Time parameter for the desired effect on the first screen of the FX menu. The Tap button does not function when any other page is active. Page 4 of the Effects menu is the Aux Assign screen.
Overview To save a scene, press the Scene button and Page Down to the second screen. The memory locations will be selected. Use the Value Encoder to scroll to a free location in the Scene library. Now name your scene: Press the Next button to navigate to the first letter of the preset name and turn the Value Encoder clockwise or counterclockwise to change the letter.
2 2.10 Controls & Connections Digital Effects | Master Control 2.10.2 Creating & Recalling a Scene The Fat Channel will be restored to the same setting for every input and output on your StudioLive. Each of the dynamics as well as the four bands of the EQ will be turned off. Their parameters will be set as follows: FAT CHANNEL PARAMETERS HIPASS OFF NOISE GATE THR N/A REL .05 s LIMIT OFF COMPRESSOR EQ L.MID H.
If you enable knob positions as a part of your scene recall, all of the digital knobs (Aux 1-6 Outputs, FXA and EFXB Levels, Cue, 2 Track In, Phones, Monitor, Aux Input A and Aux Input B knobs) will remain at their stored position until they are moved manually. Once a knob is turned, its value will jump to to the value of its current physical position.
2 2.10 Controls & Connections Digital Effects | Master Control 2.10.3 Saving & Loading Channel Presets The StudioLive comes with a suite of channel-strip presets created by professional PreSonus users and endorsed artists and engineers. These presets provide a great jumping-off point to create a mix quickly and easily. The StudioLive also allows you to create your own library of presets. To load a preset to any channel on the StudioLive, first press the Select button for the desired channel.
Press the System button to access the System menu. The first page allows you to adjust the LCD Contrast and LCD Backlight for optimal viewing in your working environment. These settings are retained when the unit is powered down. Press the Page Down button to access the Aux Pre Position page. By default all six Aux buses are set to Pre 1. This routes all 16 channels to each aux bus before the fader, limiter, EQ, and compressor and after the phase-reverse switch, high-pass filter, and noise gate.
2 2.10 Controls & Connections Digital Effects | Master Control 2.10.4 The System Menu Press the Page Down button again to access the Gate Type menu. The StudioLive lets you choose between an Expander and a Noise Gate for each pair of Channels. In practice, expanders and noise gates are used almost identically. The main difference is that an expander is smoother and more gradual so that it is easier to set the attack and release times correctly.
PreSonus took a different approach with the StudioLive. The StudioLive Graphic EQ is a pool of shelving filters from which coefficients like cutoff frequency, bandwidth, and gain are extracted through a process of curve fitting. The curve entered by the user is first oversampled. The system then works with an internal curve made up of 128 bands to find coefficients for the first shelving filter that, when subtracted from the user’s curve, will produce the flattest possible response: 0 dB.
3 Recording 3.1 System Requirements Below are the minimum computer-system requirements for your StudioLive and Capture software.** Macintosh • Operating Systems: • Mac OS X 10.4.11 • Mac OS X 10.5.2 or higher • Hardware: • Minimum: PowerPC G4 1.25 GHz or Intel Core Solo 1.
3.2.1 Installation Windows Overview Recording Getting Started: recording 2) If you see any Windows Security alerts, click “Install this driver software anyway” (Vista) or “Continue anyway” (XP). 3) You installation disc contains the installers for the StudioLive™ audio drivers, Capture™, and a Capture™ demo session that will help you to quickly familiarize yourself with both the functions of your StudioLive and Capture. Each installer must be run separately.
3 3.2 Recording Getting Started: recording 3.2.2 Installation in Mac OS X Your Installation disc contains the installers for your StudioLive drivers, Capture, and a Capture demo session. Each needs to be installed separately. After inserting the Installation CD into your disc drive, browse the disc and run the StudioLive installer, which will take you through each step of the installation process.
Below are basic driver-setup instructions for three popular audio applications: Apple Logic Pro/ Express 7+: 1. 2. 3. 4. 5. 6. 7. Steinberg Cubase 4 1. 2. 3. 4. 5. 6. Cakewalk Sonar 6+ 1. Launch Sonar. 2. Go to Options | Audio... and click on the Advanced tab. 3. Change the Driver Mode to “ASIO.” 4. Click the “OK” button. 5. Restart Sonar. 6. Go to Options | Audio... and click on the Drivers tab. 7. Highlight all input and output drivers beginning with “PreSonus FireStudio.” 8.
3 3.3 Recording Using Your StudioLive as an Audio Interface 3.3.1 FireWire Sends and Returns When using the StudioLive as an audio interface, it is important to understand the terms “FireWire send” and “FireWire return.” Because the audio interface in the StudioLive is completely integrated with the other functions of the mixer, the FireWire I/O is designed to work as an independent bus.
The obvious exception to this principle is the Talkback Mic input. The talkback-microphone input has the same high quality XMAX preamp as the channel inputs, and the Universal Control Device Window allows you to assign it to one of the stereo FireWire sends. In this instance, the same signal will be printed on both sides of the send. In your recording software, you can create a mono track and assign it to either side of the stereo FireWire send to which it is routed.
3 3.3 Recording Using Your StudioLive as an Audio Interface 3.3.2 Using Plug-Ins Effects as Inserts The FireWire streaming on your StudioLive is continuously bidirectional. This means that the StudioLive is always sending signals from the 16 direct FireWire sends on each input channel, as well as from the auxiliary inputs and buses assigned to the second bank of 16 FireWire sends. At the same time, it is receiving signals back from the 18 FireWire returns.
Recording Using Your StudioLive as an Audio Interface Control Sample Rate Selector Changes StudioLive Sample Rate. You will set the sample rate to 44.1 or 48 kHz from the Launcher Window when your StudioLive is connected to a computer. While higher Sample Rates are included in this menu, these are only for use with FireStudio family products that support them. When using a StudioLive alone or with another FireStudio family interface, the maximum Sample Rate that can be selected is 48kHz.
3 3.3 Recording Using your StudioLive as an Audio Interface 3.3.3 Universal Control Buffer Size Selector (PC only) Changes the StudioLive Buffer Size. You can set the buffer size from 64 to 4,096 samples. The buffer size (or latency) determines the roundtrip time it takes audio data to be converted from analog to digital and back to analog. As a general rule, the higher the buffer size, the better the system performance, but the less playable virtual instruments and the like become.
Universal Control File Menu Opens and Closes Launch and Device Windows From the File menu of the Launch Window, you can open and close both windows, as well as quit the Universal Control application • Close Window. Closes just the Launch window • Show All Devices. Opens the Device window for Overview 3.3.3 Controls & Connections Recording Using your StudioLive as an Audio Interface Recording 3 3.
3 3.3 Recording Using Your StudioLive as an Audio Interface 3.3.3 Universal Control Settings: Always on Top Allows the Launch Window to Stay in View When Other Applications Are in Use. When this is enabled, the Launch window will remain in the foreground when other applications are active, rather than being in the background behind the current application’s window. Settings: WDM Setup Opens the WDM Channel Mapper The StudioLive features some advanced WDM features. Please see Section 3.3.
Subgroup 1 Auxiliary In 17 Subgroup 2 Auxiliary In 18 Subgroup 3 Auxiliary In 19 Subgroup 4 Auxiliary In 20 Aux Send 1 Auxiliary In 21 Aux Send 2 Auxiliary In 22 Aux Send 5 Auxiliary in 23 Aux Send 6 Auxiliary In 24 Aux Return A (Aux Input A)L Auxiliary In 25 Aux Return A (Aux Input A)R Auxiliary In 26 Aux Return B (Aux Input B)L Auxiliary In 27 Aux Return B (Aux Input B)R Auxiliary In 28 Talkback Auxiliary In 29 Talkback Auxiliary In 30 Main Mix Left Auxiliary In 31 Main Mix R
3 3.3 Recording Using Your StudioLive as an Audio Interface 3.3.4 Advanced WDM Features (PC only) Just like the award-winning FireStudio family of interfaces, the StudioLive features some advanced WDM features to enhance its use as an audio interface. In the upper left hand corner of the Universal Control Launcher window, you will find the Settings menu, from here you can configure your WDM input and output streams.
Your StudioLive can be used as the main Core Audio device for you Mac, and you can route the main outputs of your Mac to any of its available output streams. By default these streams are routed to Channels 1 and 2 on your StudioLive. The obvious limitation of this is that you will use up two input channels on your StudioLive just for Core Audio playback. Channels 17 and 18 are available through the FireWire Return buttons inside the 2 Track In and Monitor Sections on your StudioLive.
3 3.3 Recording Using Your StudioLive as an Audio Interface 3.3.6 Enabling and Using Lockout Mode As mentioned in Section 2.10.4, your StudioLive features a lock-out mode which allows you to temporarily disable nearly every feature on the StudioLive. It is important to mention that analog portions (i.e., input trim knobs, faders, and cue, tape input, and monitor levels) can all still be adjusted.
Diagram: In The Studio with StudioLive Technical Information Tutorials Multiple Mixers Recording 3.4 Hook-up Overview Recording Controls & Connections 3 This diagram features a PreSonus HP60 headphone amplifier receiving two different mixes from Aux 1 & 2 and Aux 3 & 4, while a third monitor mix is sent from Aux 5 & 6 to a PreSonus HP4 headphone amplifier.
4 Multiple Mixers 4.1 Getting Started Firmware version 1.10 and above enables you to use multiple StudioLives cascaded together by a FireWire connection. Multiple units can be connected together with or without a computer connected. Standalone, up to four units can be connected together. Two units can be connected to a computer for 32 channels of recording and channel playback. This section will guide you through the syncing process and explain some of the features. 4.1.
For example, if you have three mixers chained together, Channels 1-16 will reside on Slave 2, Channels 17-32 will reside on Slave 1, and Channels 33-48 will reside on the Master unit. Let’s say that you want to create an aux mix on Aux 3. To begin, press the Aux 3 mix button. The Fat Channel meters and encoders on all three mixers will be ready for you to create an Aux 3 mix.
4 4.1 Multiple Mixers Getting Started 4.1.3 Internal Effects Buses Unlike the 6 Aux buses, the two Internal Effects buses on each mixer are independent. Using the same example as the previous section, Channels 1-16 can only be routed to EFXA and EFXB on Slave 2, Channels 17-32 are routed to Slave 1’s EFXA and EFXB buses, and Channels 33-48 are processed using the Master unit’s two internal effects buses.
4.1.6 Copy and Load Channel strip settings from any channel or bus on any mixer in the chain can be copied to any other channel or bus on any other mixer in the chain. For example, if you select Channel 4 on Slave 2 and press the Copy button, every Select button on every mixer in the chain will begin to flash. To paste the Channel 4 settings to any other channel simply press that channel’s Select button, it will stop flashing and will illuminate. Press the Load button to paste the Fat Channel setting.
4 Multiple Mixers 4.2 Local Versus Merged Buses And Inputs As discussed earlier, the two Internal effects buses are local only, meaning they are controlled from each mixer separately and they can only accept signals from the channels on their respective mixers. The following inputs and bus are local only: • Talkback Microphone: The Talkback Microphone on the Master unit‘s Master Section is the only talkback mic that can be routed to the Aux Mixes on the Master Unit and to its Main outputs.
Overview Studio One Artist was designed for easy integration with both the StudioLive and Capture. Session recorded in Capture can simply be opened inside Studio One, so export or import is needed to begin mixing. Any markers, edits, etc. made in Capture will still be there when the Capure session is opened in Studio One. 5.1.
5 5.1 Tutorials Studio One Artist Quick Start 5.1.1 Installation and Authorization Create a User Account After installing Studio One Artist, launch the program, and the Activate Studio One menu will appear. If you are a new Studio One user, you will need to create a user account. Follow the Create Account link if your computer is connected to the Internet. Once you have created your account, continue to Activating Studio One Artist Online.
Studio One Artist comes bundled with an array of demo and tutorial material, sampled instruments, loops, samples, and unique third-party content. The Studio One Artist bundle includes all that you need to begin producing music. Upon completing the Studio One Artist installation and activation process, the Studio One Content Installer will appear. If it does not appear, navigate to Help/Studio One Installation.
5 5.1 Tutorials Studio One Artist Quick Start 5.1.2 Enabling the Audio Driver Studio One and Studio One Artist were designed with PreSonus interfaces in mind. Your StudioLive is already integrated into Studio One Artist, so setup is quick and easy. When Studio One Artist is launched, by default you will be taken to the Start page.
Setting up an external MIDI keyboard controller from the Start page. A MIDI keyboard controller is a hardware device that is generally used for playing and controlling other MIDI devices, virtual instruments, and software parameters. In Studio One Artist, these devices are referred to as Keyboards, and they must be configured before they are available for use. In some cases, your MIDI keyboard controller is also used as a tone generator.
5 5.1 Tutorials Studio One Artist Quick Start 5.1.3 Configuring Your MIDI Devices Step 3 In the Receive From drop-down menu, select the MIDI interface input from which Studio One Artist will receive MIDI data. In the Send To drop-down menu, select the MIDI interface output from which Studio One Artist will send MIDI data to your keyboard. If your keyboard controller does not need to receive MIDI data from Studio One (say, for moving motorized faders and the like), you can leave this unselected.
Your MIDI Devices Controls & Connections 5.1.3 Configuring Overview Tutorials Studio One Artist Quick Start Step 2 Step 3 In the Send To drop-down menu, select the MIDI-interface output from which Studio One Artist will send MIDI data to your sound module. In the Receive From drop-down menu, select the MIDIinterface output from which Studio One Artist will receive MIDI data from your sound module.
5 5.1 Tutorials Studio One Artist Quick Start 5.1.4 Configuring Audio I/O Now that you’ve configured your MIDI devices, let’s create a new Song. We‘ll start by setting up your default Audio I/O. Step 1 From the Start page, select “Create a new Song.” Step 2 In the browser window, name your Song and choose the directory in which you’d like it saved. You’ll notice a list of templates on the left. The StudioLive template will create a Song with a track for each of the 16 inputs.
Audio I/O Controls & Connections 5.1.4 Configuring Overview Tutorials Studio One Artist Quick Start Step 5 Recording Click on the Song Setup button to open the Song Setup window, then click on the on the Audio I/O Setup icon. If you would like the same inputs to be available every time you launch Studio One Artist, click the “Make Default” button. Step 7 Click on the Outputs tab, and you will see all of the available outputs on your StudioLive.
5 5.1 Tutorials Studio One Artist Quick Start 5.1.5 Creating a Song Now that you’ve configured your MIDI and Audio I/O and created a new Song, let’s go through some of the basics of Studio One Artist so you can start recording! Creating Audio Tracks Step 1 In the upper left corner of the Arrange window, you will notice several buttons. The middle button is the Add Tracks button. Click this button to bring up the Add Tracks window.
To begin recording, create an audio track, assign it to Input 1, and connect a microphone to the first channel on the StudioLive. Select the record enable and monitor on your track in Studio One Artist. Turn up the Channel 1 gain knob on the front panel of the FireStudio Project while speaking/singing into the microphone. You should see the input meter in Studio One Artist react to the input. Adjust the gain so the input level is near its maximum without clipping.
5 5.1 Tutorials Studio One Artist Quick Start 5.1.5 Creating a Song Step 4 At the bottom of the Inspector menu, you will see your Bank and Program selections. From here, you can remotely change the patch on your sound module. Please Note: MIDI data does not contain audio signals. To hear your sound module, you must connect the audio output of the sound module to a FireStudio Project audio input, then connect the FireStudio Project’s audio outputs to a sound system.
a Song Controls & Connections 5.1.5 Creating Overview Tutorials Studio One Artist Quick Start Drag and Drop Effects Audio and MIDI files can also be quickly located, auditioned, and imported into your Song by dragging them from the File Browser into the Arrange view. If you drag the file to an empty space, a new track will be created with that file placed at the position to which you dragged it. If you drag the file to an existing track, the file will be placed as a new part on the track.
5 Tutorials 5.2 Microphones The StudioLive works with most types of microphones, including dynamic, ribbon, and condenser microphones. 5.2.1 Condenser Condenser microphones generally capture sound with excellent fidelity and are one of the most popular microphone choices for studio recording and, increasingly, for live performance as well.
USB and other Types There are many microphone types available, and as technology increases, it is very likely more will be developed. One type of microphone to emerge recently is the USB microphone. These may be dynamic or condenser mics, but many of them have built-in preamps and need drivers to work with computers. Because a USB microphone is, in effect, an audio interface, we recommended that you not use them with the StudioLive, as the likelihood of conflicting drivers is great. Overview 5.2.
5 5.2 Tutorials Microphones 5.2.4 Microphone Placement Electric Guitar Place a dynamic microphone an inch or two away from the speaker of the guitar amplifier. Experiment with exact location. If you are recording an amp with multiple speakers experiment with each one to see if one sounds better than the others. Place a condenser microphone approximately six feet away, pointed at the amp. Experiment with distance.
5.2.4 Microphone Placement Overview Tutorials Microphones Technical Information Tutorials Place two small-diaphragm condenser microphones on an XY stereo microphone holder (bar). Position the microphones so that each one is at a 45-degree angle, pointed down at the drum kit, approximately 7 or 8 feet up. Experiment with height. This technique can be used in live applications as well. Multiple Mixers Drum Overheads (XY example) Recording Controls & Connections 5 5.
5 Tutorials 5.3 A Brief Tutorial on Dynamics Processing The heart of the StudioLive is the Fat Channel dynamics section. What follows is an excerpt from brief tutorial on dynamics processing written by PreSonus president and founder, Jim Odom. It is included to help you get the most out of your StudioLive. This tutorial will take you through the basics of dynamics processing and will explain the various types of dynamics processors. 5.3.
5.3.1 Common Questions Regarding Dynamics Overview Tutorials A Brief Tutorial on Dynamics Processing Controls & Connections 5 5.3 Why do you need noise gates? Consider the compressed vocal example above; you now have a 20 dB dynamic range for the vocal channel. Problems arise when noise or instruments (air conditioner, loud drummer, etc.) in the background of the vocal mic become more audible after the lower end of the dynamic range is raised.
5 5.3 Tutorials A Brief Tutorial on Dynamics Processing 5.3.2 Types of Dynamics Processing Dynamics processing is the process of altering the dynamic range of a signal, thereby enhancing the ability of a live sound system or recording device to handle the signal without distortion or noise and aiding in placing the signal in the overall mix. Compression/Limiting Punch, apparent loudness, presence—these are just three of the many terms used to describe the effects of compression/limiting.
• A vocal performance usually has a wide dynamic range. Transients (normally the loudest portions of the signal) can be far outside the average level of the vocal signal. Because the level can change continuously and dramatically, it is extremely difficult to ride the level with a console fader. A compressor/limiter automatically controls gain without altering the subtleties of the performance. • A solo guitar can seem to be masked by the rhythm guitars.
5 5.3 Tutorials A Brief Tutorial on Dynamics Processing 5.3.3 Vocabulary of Dynamics Processors In scientific research, it is widely accepted that if one needs to master a subject quickly, one must learn the associated vocabulary and industry terms. The same is true with audio recording and production. Most manuals and text books assume a prior level of knowledge. We hope this section will help you to get the greatest benefit from your independent study in the world of music production.
• M akeup Gain. When compressing a signal, gain reduction usually results in an overall reduction of level. The gain control allows you to restore the loss in level due to compression. (Like readjusting the volume.) • C ompressor Sidechain. The sidechain jack interrupts the signal that the compressor is using to determine the amount of gain reduction it should apply. When no connector is inserted into this jack, the input signal goes directly to the compressor’s control circuitry.
5 5.3 Tutorials A Brief Tutorial on Dynamics Processing 5.3.3 Vocabulary of Dynamics Processors • H old. Hold time is used to keep the gate open for a fixed period after the signal drops below the gate threshold. This can be really useful for effects such as gated snare, where the gate remains open after the snare hit for the duration of the hold time, then abruptly closes. • R elease. The gate release time determines the rate at which the gate closes.
Vocals Soft. This is an easy compression with a low ratio setting for ballads, allowing a wider dynamic range. It’s good for live use. This setting helps the vocal sit “in the track.” Threshold Ratio Attack Release -8.2 dB 1.8:1 0.002 ms 38 ms Medium. This setting has more limiting than the Soft compression setting, producing a narrower dynamic range. It moves the vocal more up front in the mix. Threshold Ratio Attack Release -3.3 dB 2.8:1 0.002 ms 38 ms Screamer.
5 5.3 Tutorials A Brief Tutorial on Dynamics Processing 5.3.4 General Compressing Setting Suggestions Fretted Instruments Electric Bass. The fast attack and slow release in this setting will tighten up the electric bass and give you control for a more consistent level. Threshold Ratio Attack Release -4.4 dB 2.6:1 45.7 ms 189 ms Acoustic Guitar.
Compressing Setting Suggestions Stereo Mix Stereo Limiter. Just as the name implies, this is a hard limiter, or “brick wall,” setting—ideal for controlling the level to a two-track mixdown deck or stereo output. Ratio Attack Release 5.5 dB 7.1:1 0.001 ms 98 ms Multiple Mixers Threshold Overview 5.3.4 General Controls & Connections Tutorials A Brief Tutorial on Dynamics Processing Recording 5 5.3 Contour. This setting fattens up the main mix. Ratio Attack Release -13.4 dB 1.2:1 0.
5 Tutorials 5.4 Equalizers The StudioLive is equipped with a 4-band semi-parametric equalizer on every input and output bus. Here’s a brief explanation of how an EQ functions, as well as some charts to help you navigate the frequency ranges of various instruments so you can quickly choose the best EQ settings for your recordings and live mixes and to help you get the most out of your StudioLive. 5.4.
A broad bandwidth accentuates or attenuates a larger band of frequencies. The broad and narrow bandwidths (high and low Q) are usually used in conjunction with one another to achieve the desired effect. Let’s look at our kick drum again. We have a kick drum that has a great, big low-end sound centered around 100 Hz and an attack hitting almost dead-on at 4 kHz. In this example, you would use a broad bandwidth in the low frequency band, centered at 100 Hz, and a narrow bandwidth boosted at 4 kHz.
5 5.4 Tutorials Equalizers 5.4.1 What is an EQ? • Bass (60Hz to 250Hz): Because this range contains the fundamental notes of the rhythm section, any EQ changes will affect the balance of your mix, making it fat or thin. Too much emphasis will make for a boomy mix. • Low-Mids (250Hz to 2 kHz): In general, you will want to emphasize the lower portion of this range and deemphasize the upper portion.
Included at the end of this section are some general frequency principles to guide you through the wonderful world of equalization, but these are far from set in stone. So how do you find the best and worst each instrument has to offer and adjust them accordingly? Here’s a quick guide: First, solo just the instrument with which you are working. Most engineers start building their mix with the drums and work from the bottom up (kick, snare, toms, hi-hat, overheads).
5 5.4 Tutorials Equalizers 5.4.3 To Boost or Not To Boost With every instrument there are frequencies that can be attenuated or boosted to add clarity or fullness to it in the mix. And of course, the wrong frequencies can make an instrument shrill, muddy, or just downright annoying. The following two charts suggest frequency ranges that should be accentuated or downplayed for the most common instruments.
Technical Information Tutorials Multiple Mixers Recording Table 2 Controls & Connections Tutorials Equalizers 5.4.4 To Boost or Not To Boost 115 Overview 5 5.
5 5.4 Tutorials Equalizers 5.4.4 General EQ Setting Suggestions Included with your StudioLive is a library of Channel Strip presets. Section 3.8.3 discusses how to load these presets onto a channel or bus and how to create your own presets. For an idea of where to start, check out the following generic EQ settings for several different instruments. As with the compression settings in Section 4.2.
5.4.4 General EQ Setting Suggestions Overview Tutorials Equalizers LOW FREQ (Hz) LOW GAIN LOW MID ON/OFF LOW MID HI/LOW Q LOW MID FREQ (Hz) LOW MID GAIN ON PEAK 155 +2 ON HI 265 -6 HI MID ON/OFF HI MID LO/HI HI MID FREQ (kHz) HI MID GAIN HI ON/OFF HI PEAK/SHELF HI FREQ (kHz) HI GAIN ON HI 2.4 -2 ON SHELF 7.
5 5.4 Tutorials Equalizers 5.4.4 General EQ Setting Suggestions Fretted Instruments Electric Bass LOW ON/OFF LOW PEAK/SHELF LOW FREQ (Hz) LOW GAIN LOW MID ON/OFF LOW MID HI/LOW Q LOW MID FREQ (Hz) LOW MID GAIN ON SHELF 36 -8 ON HI 130 +4 HI MID ON/OFF HI MID LO/HI HI MID FREQ (kHz) HI MID GAIN HI ON/OFF HI PEAK/SHELF HI FREQ (kHz) HI GAIN ON LO 2.0 +4 ON SHELF 4.
You will find many uses for subgroups, nearly all of them make mixing more convenient and provide better control of your mix. In this section, we will explore two different ways in which subgroups can help you to create a more efficient mixing environment and a more successful live mix. 5.5.
5 5.5 Tutorials Subgroup mixing 5.5.1 Instrument Groups volume and panning for each mic in the mix. Choose the Select button above Subgroup 1. In the Fat Channel’s Stereo section (to the right of the Pan display), enable Link, and turn the Pan knob all the way clockwise to set the stereo pan to hard left and right. Now Subgroups 1 and 2 are linked, with Sub 1 panned hard left and Sub 2 panned hard right. The channel panning is preserved.
In this example we will assign the delay on EFX A (effects bus A) to Subgroup 3. Press the FX button in the Master Control section to access the Effects menu. In the EFX A parameters, use the Value Encoder to scroll through the effects library until you find a suitable delay, and adjust its parameters according to taste. (See Section 2.10.1 for complete operation instructions.) Next, decide which channels should be sent to the effects bus.
5 Tutorials 5.6 Aux Bus Mixing The Aux Bus provides outputs to create auxiliary mixes that are separate from the main and subgroup mixes. The StudioLive is equipped with 8 aux buses: Aux 1-6, which have physical output jacks, and EFX A and B, which are the internal effects buses. Aux buses can be used for many applications, the two most common of which are creating monitor mixes and inserting external effects processors into the mix.
There are at least two advantages to using an aux bus for an effects processor rather than using a channel insert: several channels can be sent to a single processor, and you can vary the level sent from each channel to the processor, allowing you to create an effects mix. The StudioLive features two internal effects buses. These are used much in the same way the aux buses are used to create monitor mixes, as described in the previous section.
5 5.6 Tutorials Aux Bus mixing 5.6.2 Effects Processing Turn the Output knob in the Aux 1 section to 12 o’clock and press the Select button. In the Fat Channel, assign Aux 1 to the Main outputs. Press the Mix button for Aux 3. The meter section of the StudioLive will now show the output levels of each of the 16 channels. The encoders below each meter control the output level of each channel into Aux 3.
5.7 Digital Effects The reason for the widespread use of reverb in audio recording is fairly self-evident: human beings don’t live in a vacuum. Because our brains receive cues as the nature of the space around us based partially on audio reflections, a sense of space in an audio recording sounds more natural, and therefore more pleasing to the listener. There are several parameters that can be adjusted in a reverb effect: ecay.
5 5.7 Tutorials Digital Effects 5.7.2 Digital Delay A digital delay emulates an analog tape-echo unit. A tape-echo is a special type of tape recording. It uses one head to record a signal and up to four heads to replay it. The delay time is set by the tape speed and the space between the heads. A digital delay essentially performs exactly the same function as a tape-echo, but offers more refinements and adjustments than its mechanical counterpart.
5.8 Level Setting Procedure Recording Setting the proper levels is an important part of getting the right sound. The following steps will assist you in quickly setting your levels. Overview Tutorials Controls & Connections 5 Multiple Mixers 1) Turn each of the 16 trims to 0/-20. Technical Information 3) In the Solo bus section, select PFL and turn the Cue level to 12:00.
5 Tutorials 5.9 The Solo Bus The StudioLive features an independent Solo bus. This feature is extremely useful in setting levels for monitor mixes, dialing in dynamics on each channel, and fixing issues during a live show without interrupting the main mix. The Solo bus has three different modes: AFL (default), PFL, and SIP: • A FL (After-Fade Listen). AFL sends the channel or subgroup signal to the Solo bus post-fader so you can control the level of the soloed signal with the fader.
First decide whether you want to listen to your soloed channels before or after the fader setting. If you’d like to monitor before the fader level, press the PFL button in your Solo bus section. Next, press the Solo buttons on the channels and subgroups you want to monitor. Turn the Cue knob in the Solo section to about 12 o’clock. Finally, select the Solo button in your monitor bus and dial in a comfortable listening volume for you headphones or monitors.
5 5.9 Tutorials The Solo Bus 5.9.2 Destructive Soloing Destructive Soloing or Solo in Place (SIP) is a great way to tune each channel’s dynamics individually in live mix situations or do some surgical editing in the studio. SIP mode mutes every Channel and Bus that is not soloed in the main bus (i.e. if Channel 3 is soloed, you will only hear Channel 3 in your Mains). This makes a great fine tuning tool, but it can quickly destroy a live mix.
Controls & Connections Please note that many technical issues can arise when using a standard computer as a digital audio workstation (DAW). PreSonus can only provide support for issues that directly relate to the StudioLive interface and Capture audio-recording software. PreSonus does not provide support for computer hardware, operating systems, and non-PreSonus hardware and software, and it may be necessary to contact the manufacturer of these products for technical support.
6 Technical Information 6.1 Troubleshooting At the time of the publication of this manual, PreSonus only recommends the following Express cards: • ADS Pyro 1394a • StarTech EC13942 Known Incompatible Hardware • A TI RADEON 9000/9001 IGP video chipset. Symptoms are consistent click and pops during audio playback. This video chipset is only found in PC laptops and is entirely integrated as the computer’s only video controller.
Controls & Connections 6.1 Troubleshooting Overview Technical Information Fader Movements have no effect on audio Verify that your StudioLive is not locked by navigating to Page 5: Lockout in the System Menu. Verify that your StudioLive is not in Fader Locate mode. Select Output in the Metering Section and verify that your fader movements are affecting the output signal. If so, make sure your channels are assigned to the Main outputs.
6 Technical Information 6.2 Specifications Microphone Preamp Type........................................................................................................................................... XLR Female, balanced Frequency Response to Direct Output (at unity gain)................................................................20-40 kHz, 0 / -0.5 dBu Frequency Response to Main Output (at unity gain)...................................................................20-20 kHz, +/- 0.
Subgroup Outputs Type........................................................................................................................ 1/4” TRS Female, balanced (mono) Rated Output Level.......................................................................................................................................... +18 dBu Output Impedance.................................................................................................................................................
6 Technical Information 6.2 Specifications Digital Audio ADC Dynamic Range (A-wtd, 48 kHz)................................................................................................................. 118 dB DAC Dynamic Range (A-wtd, 48 kHz)................................................................................................................. 118 dB FireWire....................................................................................................................................
Overview 01 DRM: Kick 1 34 KEY: Vibes 67 EMPTY LOCATION 02 DRM: Kick 2 35 HRN: Trumpet 68 EMPTY LOCATION 03 DRM: Kick Funk 1 36 HRN: Trombone 69 EMPTY LOCATION 04 DRM: Kick Funk 2 37 HRN: Sax 70 EMPTY LOCATION 05 DRM: Kick Hip-Hop 38 HRN: Sax Solo 71 EMPTY LOCATION 06 DRM: Kick Jazz 39 PRC: Congas 72 EMPTY LOCATION 07 DRM: Snare 1 40 PRC: Bongos 73 EMPTY LOCATION 08 DRM: Fat Snare 41 PRC: Cowbell 74 EMPTY LOCATION 09 DRM: Snare Crack
6 Technical Information 6.4 Effects Library Your StudioLive contains a library of 50 custom Reverb and Delay presets designed by PreSonus. In addition to these presets, there are 50 free locations for you to build your own custom effects library. The Factory Presets can be altered, renamed, and overwritten.
1 Step 2: Gently side the plastic side panel toward the front of your StudioLive until you hear a click. Pull the side panel toward you to remove it. 2 3 Step 3: Once the side panel is removed, you will see three metal clips. Remove the screw that attaches each of these clips to your StudioLive. Set aside these screws. You will need them to attach the rack ear to your StudioLive.
6 Technical Information 6.
