Presonus this year seem focused on building upon their popular range of studio live desks, with a number of new I/O expansion options to help flesh out your setup.
Designed to work seamlessly with the Presonus StudioLive Series 3 mixers, these two stage boxes allow for easy routing of your audio over standard cat5 or cat6 cable, allowing for less signal degradation over long runs and eliminating large heavy snake runs around the venue.
When setup alongside a Series 3 console, the stage boxes also allow you to remote control them straight from the desk or even from the dedicated touch control app. Featuring locking combo mic/line inputs, XMAX preamps and a pair of AVB connections to allow you daisy chain more units as required, meaning these boxes offer you the flexibility to route and patch your stage to accommodate pretty much any show.
Taking it up a level, the 24R and 32R are more stage box offerings that also function as sub-mixers as well, making ideal for doing secondary monitoring mixes on stage too. Once again you have the full remote mixing capability when hooked up to a series 3 studio live desk allowing you to fully control and customize your scenes and making it just as suitable for long-term shows and installs, as it is for going on tour.
Lastly, we have the EarMix 16M which does away with the stage box functions, making it a hands-on and easy to control 16-way headphone submixer and amplifier.
Each EarMix 16M accepts 16 mono channels of input via AVB networking and can network multiple units with a StudioLive Series III mixer. This allows you to setup up your own custom onstage mix in the headphones, and the line out options also allows you to feed this through to your foldback setup, for a fully custom monitoring arrangement.
At this time of year, there is one thing that is as inevitable as the papers proclaiming that an incoming weather front is going to cause the end of the world (again) and that is, of course, the annual end of year retrospective lists.
Not to be left out, we have here five bits of kit that stood out for us over the course of the year and more importantly, just why that might have been. In fact, some of this kit proved to be slow burning in earning the teams support and admiration so that in itself lets us take a slightly longer-term view of the gear in hand.
Presonus over the last few years have managed to elevate their brand through the highly praised Studio One software continuing to grow in popularity as many users sequencer of choice. Their audio interfaces, however, have been a mixed bag and up until now, with little to help them stand out from the crowd.
That was until their entry into the Thunderbolt foray brought us this little gem.
Goalposts were moved and expectations were raised as Presonus brought us this absolute winner. Extremely low latency times that challenge the very best out there, plenty of I/O, great conversion and a respectable signal path throughout the interface means that this is frankly a great all-around package.
From Klaus Heinz, the original designer behind the ADAM speaker range comes the company HEDD (Heinz Electrodynamic Designs) and their own range of studio speakers. Built around the same crystal clear AMT-based tweeters that Klaus has always favoured in the past, but with refinements to the sound that clearly illustrate that these are certainly their own thing.
Whilst they have the larger HEDD 20’s & 30’s in the range, it’s the entry-level 05’s that we’ve picked here. They have superb balance and depth to them, and frankly for the size an astounding bass representation. The 05’s themselves stand up well against speakers many times their price and the slightly larger 07’s do little more than add a bit more depth to the sound with a few more notes at the bottom end of the scale but still retain the first rate tonal balance found on the smaller edition.
We’ve been so blown away by these a few of us have even taken sets home as secondary pairs for our own studios, so they’ve certainly left a lasting impression.
Friedman is best known for creating high-end rock amps with a Vintage Classic Rock tone inspired by British tube amps from the 60’s and 70’s, and similarly, their pedal range is also shaped by this legacy. In this instance, the Sir Compre isn’t a pedal that sets out to emulate and given amplifier, rather a compressor with a very subtle overdrive circuit built in, adding body a little bit of grit to your sound.
With a bit of tweaking it’s very easy to get a wide selection of classic rock tones and as our team noted if you want to nail that classic 70’s rock sound, it’s extremely easy to do so with this pedal and we’ve already found it perfect for recreating the tones found on the classic “Rock Steady” by Bad Company.
Novation is a company with a bit of a history of producing great, affordable synths and this one is certainly a quality all-rounder.
A digital subtractive synth at its heart with added wavetable and FM synthesis possibilities all being fed into an analogue filter. Now add in a couple of LFO’s along with a matrix modulation table offering 16 routable slots and a CV gate for the more adventurous and we have one very well featured synth and it’s easy to see why Tom enjoyed himself so much when he finally got his hands on one.
Check out the video below to see Tom getting to grips with it.
Quite possibly on the best studio oriented headphones currently available, they simply need to be heard to be believed.
Based upon Audeze’s planar magnetic driver design, the MX4’s continue to improve on the previous flagship LCD-4’s by offering a new durable magnesium housing along with a carbon fibre headband design that makes them 30% lighter overall, helping to ensure comfort during those longer studio sessions.
A premium product with a premium price tag, but capable of delivering a level of sonic quality that rivals speakers 2 or 3 times its price, making them the ultimate secret weapon for many a mastering engineer.
Presonus has made quite a name for itself in both the software and hardware worlds of late. Studio One has become a well respected household name as far as DAW’s are concerned and their accompanying hardware isn’t too shabby either with the Quantum audio interface making waves pretty recently and swiftly followed by it’s sibling, the Quantum 2. The FaderPort line has seen some R&D attention over the past year, evolving from the initial FaderPort, a small single channel motorized fader with transport and DAW controls into the FaderPort 8, a completely redesigned 8 channel unit with a plethora of controls…Well, 8 channels obviously weren’t enough and they have just released the FaderPort 16 – a 16 channel behemoth with all the bells and whistles you could want for mixing and engineering.
The FaderPort 16 comes equipped with 16 touch-sensitive, 100mm motorized faders, Scribble Strips, 89 buttons covering 104 different functions that allow you to quickly zoom in on audio files for editing, modify plug-in parameters, manage aux mixes and control track levels with the touch of a finger. The Session Navigator provides easy access to 8 mission critical functions, used in conjunction with the large encoder and companion buttons to mix with much greater efficiency than using just a mouse and keyboard. There is one glaring omission though, where is the metering?
Of course, no Presonus hardware is complete without seriously tight integration with Studio One. You even get a free copy of Studio One 3 Artist with the FaderPort which is a nice addition! It will work with other DAWs on the market too but don’t expect instant plug and play functionality without some configuration steps.
Now the FaderPort 16 doesn’t come cheap. At £899 it is on the more expensive side of the spectrum with regards to MIDI controllers but comparing it to lesser devices wouldn’t be fair as I can’t think of any that have the scope of features this has and personally if I had the spare cash to throw down on a DAW controller I would be seriously considering adding this to the studio.
We’re delighted to announce a free webinar, suitable for all experience levels and finishing with a live Q&A with Sound On Sound Editor Paul White!
Lee Boylan (Presonus) & Andy Bensley (Source Distribution product specialist) will be presenting on the night, you’ll follow as guitarist Andy writes a riff, that turns into a song, creates a multitrack recording and then mixes and masters it before releasing it for sale and promoting it online – all in one information-packed evening!
This part is especially essential for anyone new to production and guitarists who want to get started in recording, as the guys will show you what is possible on very modestly priced equipment including PreSonus Audiobox Interfaces, Studio One, Eris Monitors and Nimbit.
Then we’ll up the ante and hand the floor over to (the legend that is) Paul White, to answer any of your recording & production questions.
As always, watch out for the special code word in the show, which if emailed back in, will get you some exclusive viewer-only offers on Presonus kit!
Please come and join us for what should be a very entertaining and informative evening! If you can’t make it onto the live stream, we will of course make the show available to view later on our archive channel.
Presonus have offically announced the launch of Studio One V3 and to mark the event they leant us thier European product expert Lee Boylan along with his special guest, Russ Hughes from the excellent Studio One Expert / Pro Tools Expert websites. Giving us an overview of the new features, they talk us through what to expect from the package in this hour long special which now available to stream below.
With new arranger track and scratchpad features, improvements to the browser, new synths, effects, a very powerful exteneded effects chaining system and a new way of multi instrument grouping and processing, the are most definitely a whole host of reasons to take another look at Studio One!
Whats New In Studio One V3
Studio One V3 Version Comparisons
Offering up to 26 inputs and 32 outputs at 48kHz or 8 x 14 at 192 kHz simultaneously streams the Presonus Studio 192 could be an ideal solution for those wishing to mic, record and mix the whole band together. Offering 8 built in XMAX preamps with zero latency monitoring and the forthcoming option to expand your I/O by added a DigiMax DP88 8-preamp converter later in the year, this could be a stong contender in a section of the market which currently feels like it has a lack of options in the midrange that this interface is likely to target.
The Studio 192 is designed to be the central hub for any project or professional studio. The onboard Talkback mic can be routed to any mix and the onboard dim and mono options let you take control of your Main mix. Listen to any mix from either headphone amp. Use the ten balanced outputs for monitor mixing, speaker switching, or both, depending on how you work
Controlling the Studio 192 you have the Presonus UC Surface control software with clients available for Windows, Mac and the Ipad allowing you quick and easy access to your recording and routing options no matter where you are in the studio.
PreSonus announces the Sceptre CoActual™ series studio reference monitors. Featuring an advanced coaxial design that works integrally with a 32-bit, 96 kHz, dual-core processor using Fulcrum Acoustic’s TQ™ Temporal Equalization technology, Spectre CoActual monitors deliver clarity and coherence that has previously only been available in ultra-high-end systems. Yet they are an affordable investment for project-studio owners—a first for DSP-controlled, TQ-based systems.
The series includes two models. The Sceptre S8 CoActual Studio Monitor features combines an 8-inch low/mid-frequency driver and a 1.73-inch (44 mm), horn-loaded, high-frequency transducer into a single coaxial unit with aligned voice coils. The Sceptre S6 CoActual Studio Monitor’s coaxial speaker integrates a 6.5-inch low/mid-frequency driver and a 1.34-inch (34 mm), horn-loaded, high-frequency transducer. Both models have acoustic ports.
“Speaker designers have long been aware that coaxial designs offer the advantages of a single point source for a consistent acoustic center and a symmetrical dispersion pattern,” notes PreSonus Executive VP of Product Development John Bastianelli, “ but until time-based DSP became affordable, designing coaxial systems without a variety of acoustic anomalies has been extremely expensive.”
Through intensive collaboration with Fulcrum Acoustics’ Dave Gunness, PreSonus software designers were able to incorporate Fulcrum’s Temporal EQ algorithms employing multiple, fully addressable Finite Impulse Response (FIR) filters. Gunness was also responsible for final tuning and voicing of both Spectre-series monitors.
According to Bastianelli, “This high-tech approach requires massive amounts of DSP and subtle, sophisticated transducer design, which is why such systems have, in the past, been limited to very high-end systems with external processors. Clearly, PreSonus Sceptre CoActual studio monitors represent a huge price-performance breakthrough.”
Sceptre monitors include controls that enable full integration into any studio environment. A four-position Acoustic Space switch controls a second-order shelving filter center at 100 Hz, with four attenuation settings (no attenuation, -1.5 dB, -3 dB, and -6 dB) so that you can account for the bass response relative to room dimensions and speaker placement. A High Pass switch sets the second-order slope, 12 dB/octave filter’s low-frequency cutoff to linear, 60 Hz, 80 Hz, or 100 Hz. A High-Frequency Driver Adjust switch adjusts the tweeter’s overall level to linear (0 dB), +1 dB, -1.5 dB, or -4 dB. The Sensitivity control ranges from +4 dBu to -10 dBV.
The systems are biamplified: Each transducer is powered by a 90W RMS, Class D power amp with an internal heat sink. All Sceptre-series monitors have a balanced XLR and ¼-inch TRS line-level inputs with A-taper level control.
PreSonus today unveiled its new Eris™-series studio reference monitors. These ultra-affordable, 2-way, bi-amped monitor speakers are designed to deliver accurate response with a tight bass and very clear upper end. They can also be user-adjusted to the acoustic space, allowing you to create a more accurate listening environment or to simulate different common listening environments – a feature not typically provided by studio monitors in this price point.
The Eris E8 features an 8-inch, Kevlar low-frequency transducer, driven by a 75 watt, Class D power amplifier; and a 1-inch (25 mm), silk-dome, high-frequency tweeter with a 65W, Class D amplifier. It can deliver up to 105 dB SPL, peak. Frequency response is rated at 45 Hz to 22 kHz.
The compact Eris E5 sports a 5.25-inch, Kevlar low-frequency driver, mated with a 45W, Class D amplifier; and a 0.79-inch (20 mm), silk-dome tweeter powered by a 35W, Class D amplifier. It can crank out a clean 102 dB SPL, peak. Frequency response is rated at 64 Hz to 22 kHz.
Both Eris models have individual balanced XLR and ¼” TRS input connections in addition to unbalanced RCA inputs. Both offer RF shielding, current-output limiting, over-temperature protection, and subsonic protection.
Users also can make several types of custom adjustments. A four-position Acoustic Space switch controls a second-order shelving filter, centered at 100 Hz, that provides three attenuation points (no attenuation, -2 dB, and -4 dB), allowing you to control the bass response relative to the wall proximity of your speakers. A High Pass switch sets the low-frequency cutoff (second-order slope, -12 dB/octave) to be flat, 80 Hz, or 100 Hz. You also get continuously adjustable High Frequency and Midrange controls from -6 dB to +6 dB.