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.

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 StudioLive
User’s Manual
Version 1.12

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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. During the
warranty period PreSonus shall, at its sole and absolute option, either repair or replace, free of
charge, any product that proves to be defective on inspection by PreSonus or its authorized
service representative. To obtain warranty service, the purchaser must first call or write PreSonus
at the address and telephone number printed below to obtain a Return Authorization Number
and instructions of where to return the unit for service. All inquiries must be accompanied by a
description of the problem. All authorized returns must be sent to the PreSonus repair facility
postage prepaid, insured and properly packaged. PreSonus reserves the right to update any unit
returned for repair. PreSonus reserves the right to change or improve the design of the product
at any time without prior notice. This warranty does not cover claims for damage due to abuse,
neglect, alteration, or attempted repair by unauthorized personnel and is limited to failures arising
during normal use that are due to defects in material or workmanship in the product. Any implied
warranties, including implied warranties of merchantability and fitness for a particular purpose,
are limited in duration to the length of this limited warranty. Some states do not allow limitations
on how long an implied warranty lasts, so the above limitation may not apply to you. In no event
will PreSonus be liable for incidental, consequential, or other damages resulting from the breach
of any express or implied warranty, including, among other things, damage to property, damage
based on inconvenience or on loss of use of the product, and, to the extent permitted by law,
damages for personal injury. Some states do not allow the exclusion of limitation of incidental or
consequential damages, so the above limitation or exclusion may not apply to you. This warranty
gives you specific legal rights, and you may also have other rights, which vary from state to state.
This warranty only applies to products sold and used in the United States of America. For warranty
information in all other countries please refer to your local distributor.

PreSonus Audio Electronics, Inc.

7257 Florida Blvd.
Baton Rouge, LA 70806
www.presonus.com

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 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.

• D
 o not allow dust particles to collect in excess on your StudioLive. Keeping the unit covered
when not in use is highly recommended and will extend the life of your product.

• P
 rotect the power cord from being walked on, wheeled over, or pinched. If your IEC cord
becomes damaged, purchase a new one.

• U
 nplug your StudioLive when not in use for long periods of time and during electrical storms,
hurricanes, tornadoes, and other extreme weather.

• U
 se only the attachments/accessories recommended or manufactured by PreSonus for your
StudioLive.

• A
 ll domestic PreSonus products should be serviced at the PreSonus factory in Baton Rouge,
Louisiana. If your StudioLive requires a repair contact [email protected] to arrange
for a return authorization number. Customers outside the U.S. should contact their local
distributor. Your distributor’s contact information is available at www.presonus.com.

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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 ............................................................................ 15
2.2 Hook-up Diagram: On Stage With the StudioLive . ..................... 19
2.3 The Fat Channel........................................................................... 20
2.3.1 The Select Button................................................................ 21
2.3.2 Dynamics & EQ.................................................................... 23
2.3.3 Panning & Stereo Link......................................................... 32
2.3.4 Output Assignments............................................................ 33
2.3.5 Copy, Save, Load................................................................ 34
2.4 Metering....................................................................................... 35
2.4.1 Metering Controls................................................................ 36
2.5 Input Channel Strip...................................................................... 37
2.5.1 Input Channel Controls........................................................ 37
2.6 The Aux Bus................................................................................ 39
2.6.1 Analog Aux Sends............................................................... 39
2.6.2 Internal Effects-Send Controls............................................. 41
2.7 Subgroups................................................................................... 42
2.8 Main Output Bus.......................................................................... 44
2.9 Master Section............................................................................. 45
2.9.1 Aux Inputs A and B.............................................................. 46
2.9.2 Talkback System.................................................................. 47
2.9.3 2 Track In............................................................................. 48
2.9.4 Solo Bus.............................................................................. 49
2.9.5 Monitor Bus......................................................................... 50

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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................................................................. 62
3.2 Getting Started: Recording......................................................... 63
3.2.1 Installation on Microsoft Windows................................... 63
3.2.2 Installation on Mac OS X................................................. 64
3.3 Using your StudioLive as an Audio Interface.............................. 65
3.3.1 FireWire Sends & Returns................................................ 66
3.3.2 Using Plug-in Effects as Inserts....................................... 67
3.3.3 Universal Control............................................................. 69
3.3.4 Advanced WDM Features (PC Only)................................ 74
3.3.5 Configuring Your StudioLive for Core Audio (Mac Only).. 75
3.3.6 Enabling and Using Lockout Mode.................................. 76
3.4 Hook-up Diagram: In the Studio with the StudioLive.................. 77

4 Multiple Mixers
4.1 Getting Started ............................................................................... 78
4.1.1 Configuring Multiple Units .............................................. 78
4.1.2 Aux Mixing With Cascaded Mixers.................................. 79
4.1.3 Internal Effects Buses...................................................... 80
4.1.4 Subgroups: To Merge or Not To Merge............................ 80
4.1.7 Scene Store and Recall................................................... 81
4.1.6 Copy and Load................................................................ 81
4.17 Universal Control and Multiple Mixers.............................. 81
4.2 Local Versus Merged Buses and Inputs...................................... 82

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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............................................................... 92
5.2 Microphones .............................................................................. 96
5.2.1 Condenser ...................................................................... 96
5.2.2 Dynamic . ........................................................................ 96
5.2.3 USB and Other Types...................................................... 97
5.2.4 Microphone Placement.................................................... 97
5.3 A Brief Tutorial on Dynamics Processing.................................... 100
5.3.1 Common Questions Regarding Dynamics Processing.... 100
5.3.2 Types of Dynamics Processing........................................ 102
5.3.3 Vocabulary of Dynamics Processors............................... 104
5.3.4 General Compression Setting Suggestions..................... 107
5.4 Equalizers................................................................................... 110
5.4.1 What is an EQ?................................................................ 110
5.4.2 How to Find the Best and Leave the Rest....................... 113
5.4.3 To Boost or Not to Boost................................................. 114
5.4.4 General EQ Setting Suggestions..................................... 116
5.5 Subgroup Mixing........................................................................ 119
5.5.1 Instrument Groups........................................................... 119
5.5.2 Effects Groups................................................................. 121
5.6 Aux Bus Mixing........................................................................... 122
5.6.1 Monitor Mixing................................................................. 122
5.6.2 Effects Processing........................................................... 123
5.7 Digital Multi-Effects.................................................................... 125
5.7.1 Reverb............................................................................. 125
5.7.2 Delay................................................................................ 126

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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 Troubleshooting.......................................................................... 131
6.2 Specifications............................................................................. 134
6.3 Channel Strip Library.................................................................. 137
6.4 Effects Library............................................................................. 138
6.5 Rack Ear Installation Instructions............................................... 139
6.6 Session Data Recall Sheet.......................................................... 140

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 Overview
1 Overview

1.1 Introduction

Connections
Controls &
Recording
Multiple
Mixers
Tutorials
Information
Technical
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. Loaded with 16 high-headroom, XMAX microphone preamplifiers; a built-in 32x18
FireWire recording and playback engine; Fat Channel processing with 4-band EQs, compressors,
limiters, and expander/gates; DSP effects; 6 aux buses; 4 subgroups; extensive LED metering;
mix­er save/recall; channel-strip save/recall/copy/paste; talkback; and more, StudioLive breaks new
boundaries for music performance and production. All you need is a computer with a FireWire
connection, a few microphones and cables, speakers, and your instruments, and you are ready to
record in the studio or in front of a live audience!

We encourage you to contact us at (225) 216-7887 with any questions or comments you may have
regarding your PreSonus StudioLive. PreSonus Audio Electronics is committed to constant product
improvement, and we value your suggestions highly. We believe the best way to achieve our goal
of constant product improvement is by listening to the real experts, our valued customers. We
appreciate the support you have shown us through the purchase of this product.

We suggest that you use this manual to familiarize yourself with the features, applications, and
correct connection procedures for your StudioLive before trying to connect it to your computer.
This will help you avoid problems during installation and setup.

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 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. Racks of processing effects
including compressor, limiter, gate, four-band parametric EQ, reverb and delay are available on every
channel, subgroup, aux, and main mix delivering total control in a compact rugged steel chassis.
StudioLive™ includes CAPTURE™, a fully integrated live recording software by PreSonus, allowing
you to record every performance and rehearsal with a few clicks of your mouse.

Intuitive, flexible and powerful, StudioLive revolutionizes music production opening endless creative
possibilities.

Summary of features
• 24-bit/48 kHz sampling rate
• 16 Class A XMAX microphone preamplifiers
• 16 line-level inputs
• 6 auxiliary buses
• 4 subgroups
• High-definition analog to digital converters (118 dB dynamic range)
• Unlimited-headroom, 32-bit floating-point, digital mixing and effects processing
• 32x18 FireWire digital recording interface with two FireWire 400 (IEEE 1394) ports
• Scene automation with load/save/recall of all settings
• Fat Channel with:
• High-pass filter
• Compressor
• Limiter
• Expander/Gate
• 4-band semi-parametric EQ
• Pan
• Load/save
• 2 master DSP effects (reverb and delay with Load and Save)
• 100 mm long-throw faders
• Military-grade quick-touch buttons
• Fast-acting LED meters
• Talkback communication system
• Compact, 19” rack-mountable, rugged steel chassis
• PreSonus Capture™ multitrack-recording software
• Compatible with Logic, Cubase, Nuendo, Sonar, Digital Performer and others
• PC and Mac compatible

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 Overview
1 Overview

1.2 Features

Connections
Controls &
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.

Recording
In addition to recording the 16 channels of the StudioLive 16.4.2, CAPTURE also allows you to
record a single stereo track from the StudioLive’s Main Output, one pair of Subgroup Outputs or a
pair of Aux Sends; giving you the option to record your Main Mix or create a separate recording mix.
And you can arm all 18 tracks to record with the click of a single button. Please consult the User

Multiple
Mixers
Manual that came with your StudioLive for complete instructions on using CAPTURE.

Summary of Capture features

• 18x18 Multi-track recording application

Tutorials
• Record with two mouse clicks
• Essential Editing Suite (copy, cut, paste, splice, resize)
• Peak LED-style meter bridge with clip indicators

Information
Technical
• Marker placement and recall
• Export between marker
• Record stereo mix of StudioLive Mixer
• Import/Export individual .wav, .aiff, .mp3, or OpenTL

All PreSonus audio interfaces now include PreSonus Studio One Artist recording software, which
comes with over 4 GB of plug-ins, loops, and samples, giving you everything you need for music
recording and production. A Quick Start Guide to using Studio One Artist is located in Section 5.1
of this manual. You will find a complete User‘s Manual on the Studio One Artist Installation DVD.

Summary of Studio One Artist features

• Unlimited track count, inserts and sends
• 2
 0 high-quality native plug-ins: Amp Modeling (Ampire), Delay (Beat Delay), Distortions
(Redlight Dist), Dynamic Processing (Channel Strip, Compressor, Limiter, Tricomp), Equalizer
(Channel Strip, Pro EQ), Modulation (Autofilter, Chorus, Flange, Phaser, X-Trem), Reverb
(MixVerb, Room Reverb), Utility (Binaural Pan, Mixtool, Phase Meter, Spectrum Meter, Tuner)
• O
 ver 4 GB of loops, samples, and instruments, featuring: Presence (Virtual Sample Player),
Impact (Virtual Drum Machine), SampleOne (Virtual Sampler), Mojito (Virtual Analog-Modeled
Subtractive Synthesizer)
• Innovative and intuitive MIDI mapping
• Powerful drag-and-drop functionality for faster workflow
• Mac OS X and Windows compatible

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 1 Overview

1.3 What is in the Box

In addition to this manual, your StudioLive package contains the following:

• PreSonus StudioLive digital recording

and performance mixer

• 6’ 6-pin-to-6-pin FireWire 400 cable

• IEC power cord

• Software installation DVD containing:

• PreSonus StudioLive drivers
• PreSonus Capture
• PreSonus Capture Demo Session

• Studio One Artist Installation DVD

• PreSonus Capture Reference Manual

• Rack Ear Installation Kit

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 Overview
1 Overview

1.4 Getting Started: Mixing

Connections
Controls &
Before you begin, there are a few general rules of thumb that we recommend you follow:

• A
 lways turn the Main fader and both the Monitor and Phones knobs in the Monitor section

Recording
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. If the main output of you

Multiple
Mixers
Studiolive is too high or too low when your faders are at or near unity, you can use the output
level knob on the rear panel of your StudioLive to adjust the level up or down until you have
achieved your optimal volume.

Tutorials
• D
 o not allow your inputs to clip. Watch the level meters; when the LEDs near the Clip mark,
the top LED will illuminate, indicating that the analog-to-digital converters are in danger of
being overdriven. Overdriving the converters will cause digital distortion, which sounds terri-
ble. The XMAX preamps in your StudioLive provide plenty of headroom; take advantage of it.

Information
Technical
• Your P.A. and studio equipment should be powered on in the following order:

1. S
 ound sources (keyboards, direct boxes, microphones, etc.) connected to the
StudioLive inputs)
2. StudioLive
3. Computer (if applicable)
4. Power amplifiers or powered monitors

When it’s time to power down, your system should be turned off in the reverse order.

Now that you know what not to do, let’s get some audio going!

1. Grab a microphone and a mic cable and plug it into the StudioLive’s Channel 1 mic input.

2. C
 onnect the Main Outs (TRS or XLR) of your Studio Live to your power amplifier or powered
monitors.

3. If you’re using passive speakers, connect them to your power amplifier using speaker cable.

4. Bring down all the faders on your StudioLive.

5. Plug your StudioLive into a power outlet and turn it on.

6. If your microphone requires phantom

power, engage the 48V button on
Channel 1 of your StudioLive.

7. Turn on your amplifier or powered monitors.

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 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. This routes the channel to
the main output bus.

12. B
 ring up the Main fader until you can comfortably listen to your microphone through your
speakers.

13. With Channel 1 selected, you can use the Fat Channel to add dynamics processing and EQ.

For more detailed level-setting procedures and techniques, refer to sections 5.8 and 5.9.3

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 Overview
2 Controls & Connections

2.1 The Patch Bay

Connections
Controls &
Recording
Multiple
Mixers
• M
 icrophone Inputs. Your StudioLive is equipped with 16 custom-designed PreSonus
XMAX microphone preamplifiers for use with all types of microphones (including dynamics,
condensers, and ribbons). The award winning PreSonus preamplifier has a Class A input
buffer followed by a dual-servo gain stage. This arrangement results in ultra-low noise and
wide gain control, allowing you to boost signals without increasing unwanted background

Tutorials
noise.

• 48-Volt Phantom Power. The StudioLive has 48V phantom power available for each
channel individually via buttons on the top panel.

Information
Technical
• 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. Each channel of the StudioLive has a 1/4-inch, balanced TRS connection
for line-level input. When these inputs are engaged, the microphone-preamp circuit is
bypassed.

Please Note: As with any mixer, plugging in a microphone or a line-level input device as well
as turning phantom power on or off will create a momentary spike in the audio output of your
StudioLive. Because of this, it is highly recommended that you mute or turn down the trim of any
channel before changing any connections or turning phantom power on or off. This simple step
will add years to life of your audio equipment.

• I nsert. Each channel of the StudioLive has a direct-insert point. These unbalanced 1/4”
connectors can be used to connect external processors such as compressors, EQs, de-
essers, and filters with your StudioLive’s preamps and line inputs. The insert’s send is
after the channel’s gain control but before the digital bus. The return goes straight to the
digital bus. In other words, if you insert a de-esser on your vocalist’s channel, you will be
sending an unprocessed, amplified signal to the de-esser; the processed signal returned to
the StudioLive will then be routed to the digital bus, where it can be sent through the Fat
Channel, Aux and FX buses, etc.

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 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. The Left input is normalled to the right. If you are returning a mono signal to the mix,
simply connect it to the Left input; the signal will be routed to both sides of the stereo mix.

• Subgroup Outputs. These are balanced mono outputs for each subgroup.

• A
 ux Outputs. The StudioLive is equipped with six auxiliary outputs. In Section 5.5, we dis-
cuss in detail how to create aux mixes for monitoring and effects processing. Aux mixes are
routed to these outputs.

• T
 alkback Mic Input. The StudioLive does not have an onboard talkback mic; an external
mic must be used. Phantom power is always enabled on this microphone preamp, so either
a dynamic or a condenser microphone can be used. This is the same high-quality XMAX
preamp that is featured on Channels 1-16 and can be used as an extra input when using the
StudioLive as an audio interface. See Section 3.3.1 for more details.

• Talkback Mic Level. This is the gain control for your talkback microphone.

• M
 ono Output. This balanced output carries a mono, summed version of the stereo signal
from the main bus.

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 Overview
2 Controls & Connections

2.1 The Patch Bay

Connections
Controls &
• M
 ono Output Level. This knob controls the maximum level of the Mono Output signal. The
signal can be attenuated to -40 dB and boosted up to +10 dB.

Recording
• M
 ain Output. The StudioLive features both XLR and TRS main outputs. These outputs are
parallel to each other and to the mono output.

• M
 ain Output Level. This knob controls the maximum output level of both the XLR and TRS

Multiple
Mixers
main outputs. The signal can be attenuated to -40 dB and boosted up to +10 dB.

• 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

Tutorials
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.

Information
Technical
• P
 re-Insert Balanced Direct Outputs. These are the balanced, direct analog outputs for the
16 channels. The DB25 connectors divide the channels into two groups of eight. Balanced
DB25 fan-out snakes can be obtained in various configurations at most recording and live-
sound retailers. Common fan-outs are DB25 to (8) XLRM and DB25 to (8) TRS. These outputs
are post gain, pre-insert, and pre-A/D converter. Only the microphone preamps and line level
inputs are available through the direct outputs. The firewire returns (See Section 3.3.1 for
more information) cannot be patched to the direct outputs.

DB25 Pinout

H = Hot
C = Cold
G = Ground

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 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. Use the second FireWire port to connect additional FireWire devices (such as
external hard drives) to your computer or to daisy chain additional StudioLive mixers. You
can connect two StudioLive mixers to a computer for recording, or you can daisy-chain up to
eight StudioLive mixers to creates a standalone large-format mixing console.

• 2
 Amp Fuse. This is the StudioLive’s fuse housing. Your StudioLive uses a 5 mm x 20 mm,
250 VAC, fast-acting fuse.

• S
 /PDIF Output. By default, the S/PDIF output receives the same signal as the main outputs,
so no activation is necessary. However, any of buses that can be routed to the auxiliary
FireWire returns, can be routed to the S/PDIF output, either through the System menu in
the Digital Effects | Master Control section or in the StudioLive Control Panel (see Sections
2.10.4 and 3.3.3 for more information). Because the StudioLive cannot be synced externally,
you will need to use it as the master clock and set your S/PDIF-equipped device to receive
word clock externally via S/PDIF. Please consult the documentation for your external digital
device for instructions.

• Power-Adapter Input. This is where you plug in the provided IEC power cable.

• P
 ower Switch. Push the top part of the switch ( | ) to turn on your StudioLive. Push the
bottom part of the switch ( O ) to turn it off.

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 Overview
2 Controls & Connections

2.2 Hookup Diagram:

On Stage with the StudioLive

Connections
Controls &
Recording
Multiple
Mixers
Tutorials
Information
Technical

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 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. From the Fat Channel, you can:

• Add dynamics processing and EQ to every input and output

• Create sends and effects mixes for all 6 analog aux sends and both internal effects buses
• Assign subgroup and main routing
• Meter inputs, post-dynamic outputs, and gain reduction for all 16 channels
• Meter aux send outputs
• Copy, save, and load mix scenes
• Recall your fader position for stored mixes

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 2 Controls & Connections

Overview
2.3 The Fat Channel

2.3.1 The Select Button

Connections
Controls &
All around the StudioLive, you will see Select
buttons. There is a Select button on each of
the 16 inputs, each of the 6 analog aux sends,

Recording
both of the internal effects buses, each of the
4 subgroups, the two auxiliary inputs, and last, but certainly not least, the main output bus. Each
of these buttons serves exactly the same purpose: to access the Fat Channel parameters for its
channel or bus.

Multiple
In the lower right corner of the Fat Channel, you

Mixers
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

Tutorials
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.)

In addition, two meters—part of a set of seven

meters located in the top right section of the

Information
Technical
mixer—are dedicated to displaying information
about the currently selected channel. The meter
on the far left of this section, displays the pre-
fader input level for the selected channel. The
meter to the right of it displays the gain reduction
for the selected channel. It is important to
mention that these meters are only active when
one of the 16 input channels or an aux bus is
selected.

It should be noted that while the Noise Gate, Compressor, EQ, and Limiter are available on every
input and bus, the phase reverse and hi-pass filter are only available on the 16 inputs. In addition,
other inputs and buses without Select buttons are available to route to the auxiliary FireWire returns
(see section 3.3.1 for more details).

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 2 Controls & Connections
2.3 The Fat Channel

2.3.1 The Select Button

The following table provides a quick guide to the processing that is available for each bus in the
StudioLive:

Bus Phase Hi-Pass Noise Compressor EQ Limiter FireWire

Reverse Filter Gate send

Inputs (Ch 1-16)

Subgroups

Main Out L/R

Aux Sends 1-6

Internal FX Sends 1-2

External FX Returns 1-2

Tape Input

Talkback Mic

Solo Bus

Monitor Bus

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 2 Controls & Connections

Overview
2.3 The Fat Channel

2.3.2 Dynamics Processing and EQ

Connections
Controls &
The main function of the Fat Channel is to provide dynamics processing and filtering for every input
and output on your StudioLive. The rotary encoders work in conjunction with the meters directly
above them to adjust the dynamics processing and EQ. The Fat Channel’s processing section

Recording
consists of five parts: Hi Pass filter, Noise Gate, Compressor, Limiter, and semi-parametric EQ.
Each can be turned on or off and controlled separately. The signal flows as follows:

Multiple
Mixers
Phase Reverse button Reverses the Phase of the Selected Channel.

Tutorials
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

Information
Technical
other out.

Phase reverse is only available on the 16 channels of the

input bus.

High Pass filter Engages the High Pass Filter.

The High Pass filter section consists of an encoder and a

meter. You will notice that the there is a frequency range
to the left of the meter. The high-pass filter’s threshold
can be set from 24 Hz to 1 kHz. When the meter is set to
its lowest point, the filter is off.

Remember, that all frequencies below a high-pass filter’s

threshold are attenuated. See section 5.3.1 for more
details.

The high-pass filter is only available on the 16 channels

of the input bus.

Gate On/Off button Turns the Gate On and Off for the Selected Channel.

This button engages and disengages the gate for the

selected channel. It will illuminate to indicate that the
gate has been enabled.

The gate is available for all input and output buses.

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 2 Controls & Connections
2.3 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 deter-
mines 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.

Gate Release Sets and Displays the Rate the Gate Closes on the
Selected Channel.

This encoder sets, and the meter displays, the rate at

which the gate for the selected channel closes. The rate
can be set from 2 to 0.05 seconds.

Remember, gate-release times should typically be set so

that the natural decay of the instrument or vocal being
gated is not affected. Shorter release times help to clean
up the noise in a signal but may cause “chattering” in
percussive instruments. Longer release times usually
eliminate “chattering” and should be set by listening
carefully for the most natural release of the signal.

Compressor On/Off button Turns the Compressor On and Off for the Selected
Channel or Output Bus.

This button engages or disengages the compressor for

the selected channel or output bus. It will illuminate to
indicate that the compressor has been enabled.

The compressor is available for all input and output

buses.

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 2 Controls & Connections

Overview
2.3 The Fat Channel

2.3.2 Dynamics Processing and EQ

Connections
Controls &
Turns the Auto Button On Enables Automatic Attack and Release Mode.

When Auto mode is active, the Attack and Release

controls become inoperative, and a preprogrammed

Recording
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 Engages Soft-Knee Compression.

Button

Multiple
Mixers
In normal operating mode, the compressor is set for
hard-knee compression, meaning that the gain reduction
applied to the signal occurs as soon as the signal exceeds
the level set by the threshold. When the Soft Knee button
is engaged, the onset of gain reduction occurs gradually

Tutorials
after the signal has exceeded the threshold.

Compressor Threshold Sets and Displays the Threshold of the Compressor

for the Selected Channel or Ouput Bus.

Information
Technical
This encoder sets, and the meter displays, the threshold
of the compressor for the selected channel or output bus.
When the signal’s amplitude (level) exceeds the threshold
setting, the compressor is engaged. Turning the knob
counterclockwise lowers the threshold, so compression
begins at a lower amplitude. The threshold can be set
from -56 to 0 dB.

Compression Ratio Sets and Displays the Compression Ratio Setting for
the Selected Input Channel or Output Bus.

This encoder sets, and the meter displays, the com­

pression ratio (or slope) for the selected channel or
output bus. The ratio sets the compression slope, which
is a function of the output level versus the input level. For
example, if you have the ratio set to 2:1, any signal levels
above the threshold setting will be compressed at a ratio
of 2:1. This means that for every 2 dB of level increase
above the threshold, the compressor’s output will only
increase 1 dB. The ratio can be set from 1:1 to 14:1.

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 2 Controls & Connections
2.3 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. A slow attack
time (fully clockwise) allows the beginning nonharmonic
component of a signal (commonly referred to as the initial
transient) to pass through, uncompressed, whereas a fast
attack time (fully counterclockwise) triggers compression
immediately when a signal excedes the threshold. You
can set the attack from 0.2 to 150 milliseconds.

Compressor Release Sets and Displays the Compressor Release Setting

for the Selected Input Channel or Output Bus.

This encoder sets, and the meter displays, the release

setting of the compressor for the selected channel
or output bus. Release sets the length of time the
compressor takes to return the gain reduction back
to zero (no gain reduction) after crossing below the
compression threshold. Release can be set from 40 to
1000 milliseconds.

Remember, very short release times can produce a

choppy or “jittery” sound, especially when compressing
instruments that have a lot of low-frequency components,
such as bass guitar. Very long release times can result in
an overcompressed, or “squashed,” sound. All ranges
of release can be useful, however, and you should
experiment to become familiar with different sonic
possibilities.

Compressor Makeup Gain Sets and Displays the Amount of Makeup Gain for
the Compressor on the Selected Input Channel or
Output Bus.

This encoder sets, and the meter displays, the makeup

gain setting of the compressor for the selected channel
or output bus. When compressing a signal, gain reduction
usually results in an overall attenuation of level. The gain
control allows you to restore this loss in level and readjust
the volume to the precompression level (if desired). You
can adjust Makeup Gain from 0 dB (no gain adjustment)
to +28 dB.

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 2 Controls & Connections

Overview
2.3 The Fat Channel

2.3.2 Dynamics Processing and EQ

Connections
Controls &
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

Recording
for the selected channel or bus. The button will illuminate
to indicate control is active.

The Low Band EQ is available for all input and output

buses.

Multiple
Mixers
Low Band EQ Frequency Control Sets and Displays the Center Frequency of the Low
Band EQ.

This encoder sets, and the meter displays, the center

frequency of the equalizer’s Low band. The center

Tutorials
frequency is the middle of the passband (the mean)
between the lower and upper cutoff frequencies that
define the limits of the band.

You can adjust the center frequency from 36 to 465 Hz.

Information
Technical
Low Band EQ Gain Control Sets and Displays the Gain Attenuation or Boost of
the Center Frequency.

This encoder sets, and the meter displays, the gain cut
or boost at the center frequency for the Low band. The
level of the center frequency can be set between -15 and
+15 dB.

Turns on the Low Shelf EQ for the Selected Input or

Output Bus.
Low Shelf EQ Button
When the Shelf button is not engaged, the Low band is a
semi-parametric EQ. Enabling the Shelf button turns the
Low band into a low-shelving EQ that alters, by a fixed
amount, a band of low frequencies at and below a user-
selected shelving frequency. It’s like a bass-control knob
on a stereo. In this mode, the Center Frequency control
selects the shelving frequency.

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 2 Controls & Connections
2.3 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 Sets and Displays the Center Frequency of the Low
Control Mid Band EQ.

This encoder sets, and the meter displays, the center

frequency for the Low Mid band. You can adjust the
center frequency from 90 Hz to 1.2 kHz.

Hi Q Button Enables a Narrow Bandwidth for the Low Mid Band

EQ on the Selected Input or Output.

Q is the ratio of the EQ band’s center frequency to its

bandwidth. With a constant center frequency, higher
Q values indicate a narrower bandwidth, so Q is often
equated with bandwidth. By default, the Q is set to
a value of 0.55. When the Hi Q button is engaged, the
Q setting will be increased to 2.0, thus narrowing the
bandwidth to provide more precise control.

Low Mid Band EQ Gain Control Sets and Displays the Gain Attenuation or Boost of
the Center Frequency for the Low Mid Band.

This encoder sets, and the meter displays, the Gain cut
or boost at the center frequency of the Low Mid band.
The level of the center frequency can be set between -15
and +15 dB.

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 2 Controls & Connections

Overview
2.3 The Fat Channel

2.3.2 Dynamics Processing and EQ

Connections
Controls &
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

Recording
the selected input or output. The button will illuminate to
indicate that the control is active.

The High Mid Band EQ is available for all input and

output buses.

Multiple
Mixers
High Mid Band EQ Frequency Sets and Displays the Center Frequency of the High
Control Mid Band EQ.

This encoder sets, and the meter displays, the center

Tutorials
frequency of the High Mid band. You can adjust the Q
from 380 Hz to 5 kHz.

Information
Technical
Hi Q Button Enables a Narrow Bandwidth for the High Mid Band
EQ on the Selected Input or Output.

Q is the ratio of the EQ band’s center frequency to its

bandwidth. With a constant center frequency, higher Q
values indicate a narrower bandwidth. By default, the
High Mid EQ is set to a low Q = 0.55. When the Hi Q
button is engaged, the bandwidth will narrow to 2.0 to
provide more exact control.

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 2 Controls & Connections
2.3 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.

This button actives control of the High band for the

selected channel or bus. The button will illuminate to
indicate control is active.

The High Band EQ is available for all input and output

buses.

High Band EQ Frequency Control Sets and Displays the Center Frequency of the High
Band EQ.

This encoder sets, and the meter displays, the center

frequency of the High band. You can adjust the center
frequency from 1.4 to 18 kHz.

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 2 Controls & Connections

Overview
2.3 The Fat Channel

2.3.2 Dynamics Processing and EQ

Connections
Controls &
High Band EQ Gain Control Sets and Displays the Gain Attenuation or Boost at
the Center Frequency of the High Band EQ.

This encoder sets, and the meter displays, the gain cut

Recording
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

Multiple
Mixers
Tutorials
High Shelf EQ Button Turns on the High Shelf EQ for the Selected Input or
Output Bus.

Information
Technical
When the Shelf button is not engaged, the High band is a
semi-parametric EQ. Enabling the Shelf button turns the
High band into a high shelving EQ that alters, by a fixed
amount, a band of low frequencies at and above a user-
selected shelving frequency. It’s like a treble-control knob
on a stereo. In this mode, the Center Frequency control
selects the shelving frequency. .

Limiter On/Off Button Turns on the Limiter for the Selected Input Channel
or Output Bus.

When the limiter is engaged the button will illuminate.

The threshold for the limiter is set to 0 dBFS. The Ratio
is ∞:1.

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 2 Controls & Connections
2.3 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. Input channels, aux buses, or subgroups can
be linked to create a stereo pair. The stereo pairs are predefined and cannot be changed. They are
as follows:

• Channels 1 & 2 • Aux 1 & Aux 2

• Channels 3 & 4 • Aux 3 & Aux 4
• Channels 5 & 6 • Aux 5 & Aux 6
• Channels 7 & 8 • Subgroups 1 & 2
• Channels 9 & 10 • Subgroups 3 & 4
• Channels 11 & 12
• Channels 13 & 14
• Channels 15 & 16

A stereo link can be enabled when either channel

in the pair is selected. When the stereo link
button is illuminated all the dynamics settings,
subgroup assignments, and main assignments
are pasted onto the other channel in the pair.
Note that this is a nondestructive paste.
When the Link button is disengaged, the other
channel’s settings will be restored to its previous setting. For instance, if Channel 8 is selected
when the Stereo Link button is engaged, all of Channel 8’s settings will be copied onto Channel 7. If
Channel 7 is selected when the Stereo Link button is engaged, Channel 7’s settings will be copied
onto Channel 8. Because the settings are copied nondestructively, it is possible to A/B dynamics
settings with the touch of two buttons. Whichever channel is selected when the link button is
engaged will be the Link Master. When either channel in the stereo link is selected, both channels‘
Select buttons will illuminate, but the Link Master‘s ID number will be displayed in the Selected
Channel LED read-out n the Fat Channel.

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 2 Controls & Connections

Overview
2.3 The Fat Channel

2.3.4 Output Assignments

Connections
Controls &
Output assignments are set within the Fat Channel. It should be noted that the StudioLive will
prevent you from creating a feedback loop. Subgroups can only be assigned to the main outs and
the six aux sends cannot be assigned to a subgroup or to the main outputs.

Recording
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

Multiple
returns can also be assigned to any or all of the

Mixers
subgroups and the main outputs.

The Fat Channel also gives you the option of

sending just the unprocessed audio to your

Tutorials
computer or including the Fat Channel settings
in the recorded signal. When the Dig Out button
is enabled, the signal being sent to the FireWire
bus is post-EQ and post-dynamics processing;
the button will illuminate to indicate this signal

Information
Technical
flow. When the button is disabled, the signal
being sent to the FireWire bus is pre-Fat Channel. The Dig Out button is only optional when one
of the 16 inputs is selected. The Subgroups, Main Output, Aux bus, Aux Ins and Internal Effects
Returns automatically send their signals post Fat Channel dynamics and EQ. All FireWire sends
are pre-fader except for the Subgroups and the Main Outputs. For more information on using your
StudioLive as an audio interface, please consult Section 3.

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 2 Controls & Connections
2.3 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. You can copy a Fat
Channel setting from any channel or bus to any
combination of channels and buses. The Load
button will also start to flash.

To paste the current channel’s Fat Channel setting to another channel or bus, simply press that
channel’s Select button. It will stop flashing and illuminate. After you have selected every channel to
which you want the settings pasted, press the Load button. The StudioLive will return to its normal
state, indicating that the Fat Channel settings have been successfully pasted.

The Load button can also be used to recall

saved settings and presets. For complete recall
instructions, see Section 2.10.3

You can save your Fat Channel settings for future

use. To store the currently selected channel’s
Fat Channel settings, press the Save button. For
complete channel-preset storage instructions,
see Section 2.10.3.

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 Overview
2 Controls & Connections

2.4 Metering

Connections
Controls &
Recording
Multiple
Mixers
The StudioLive offers flexible metering at the touch of a button. The 16 meters in the Fat Channel
section can monitor:

• All 16 inputs, post-gain and pre-dynamics, pre-EQ, and pre-fader

Tutorials
• All 16 inputs, post-dynamics, post-EQ, and post-fader
• The gain reduction for all 16 inputs
• The output volume of each of the 6 Aux Sends

Last, but certainly not least, the meters can be used to recall the fader settings for a saved scene.

Information
Technical

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2.4 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.

It is important to mention that the meters simply overlay on the previously selected Fat Channel
state. For instance, if you have Channel 16 selected and then press the Output button in the Meter
section, the knobs and buttons in the Fat Channel section will still be active, and any changes made
will be applied even though they will not be reflected in the Meter section. The advantage of this is
that you can make adjustments in the Fat Channel, press a Meter button, and monitor your entire
mix, then press the same button to return to setting up your Fat Channel selection.

Input Metering Button Turns PFL Input Metering On and Off.

Switches the meters to display the pre-dynamics, pre-

fader level of the input bus. Meters are one to one (Meter
1 shows the level of Channel 1, etc.).

Output Metering Button Turns Post-Fader Output Metering On and Off.

Switches the meters to display the post-dynamics, post-

fader level of the Input bus. Meters are one to one (Meter
1 shows the level of Channel 1, etc.).

Gain Reduction Meter Button Turns Gain Reduction Metering On and Off.

Displays the gain reduction of the input bus. Meters

are one to one (Meter 1 shows the gain reduction of
Channel 1, etc.).

Aux Metering Button Turns Aux Bus Master Out Metering On and Off.

Displays the output level of each of the aux sends.

• Meters 1, 3, 5, 7, 9, and 11 display the output
levels of Aux Sends 1-6, respectively.
• Meters 13 and 15 display the output level of
EFX A and EFX B.

Fader Locate Button Turns Fader-Recall Metering On and Off.

Displays the fader position of the stored scene. When

recalling a fader position, adjust the fader until only the
center LED is visible in its meter.

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 Overview
2 Controls & Connections

2.5 Input Channel Strip

Connections
Controls &
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

Recording
digital audio tracks into the main mix as well as inserting plug-in effects and software instruments
from your audio program.

2.5.1 Input Channel Controls

Multiple
Mixers
Trim Control Adjusts the Input Gain Level.

Tutorials
The Trim control adjusts the gain of the channel’s analog
input.

Information
Technical
Phantom Power Button Turns Phantom Power On/Off.

The StudioLive is equipped with individual phantom

power for every microphone input. The 48V button will
illuminate when phantom power is activated. For more
information on phantom power and the microphones that
require it, please review Section 5.2

FireWire Input Select Switch Turns FireWire Playback Streaming On/Off.

The FireWire Input button routes a playback stream from

your recording software to the StudioLive’s channel
inputs, where it is routed and processed the same way as
analog input signals. For example, if you want a particular
recorded track to play back on mixer channel 3, simply
route that track in your recording software to StudioLive
Output 3. This button can also be used to insert a plug-in
effect into the mix. For more information on this feature,
please review section (3.3.2).

Do not engage this button when your StudioLive is not

connected and synced to a computer.

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2.5 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.

This button will solo its channel 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
2.10 for details.

When a Solo button is enable, that channel or bus will

automatically be selected, and its Select button will
illuminate.

Mute Button Turns Muting On and Off.

This button mutes its channel. It will illuminate red when

the channel is muted. When a mute button is engaged,
its channel will be muted in all of its assigned outputs
(Subgroups, Mains, and Aux Sends).

Channel Fader Controls the Overall Level of the Channel.

Each input channel features a 100 mm long-throw fader

for accurate level adjustment. Unity gain (0 dB) is denoted
by a “U.”

The white area above the fader can be used as a scribble

strip. Use only oil pencils; other types of pens or pencils
cannot be wiped off.

To clean the scribble strip, use a lightly damp cloth to

remove the writing.

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 Overview
2 Controls & Connections

2.6 The Aux Bus

Connections
Controls &
The StudioLive has six analog aux sends and two internal effects sends. The aux sends are mono;
however, two aux sends can be linked to create a stereo bus. Section 5.6 discusses how to use
these aux buses for monitor and effects mixing.

Recording
2.6.1 Analog Aux Sends

Multiple
Mixers
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

Tutorials
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.

Information
Technical
Post-Fader Send Button Enables and Disables Post-Fader Send.

When this button is enabled, the send levels to that

aux send will be post-Fat Channel and post-fader, and
therefore are affected by fader settings. If the button is
disabled, by default, the aux buses use the Pre 1 setting,
and all channels on your StudioLive are sent to the aux
bus after the phase reverse switch, high pass filter, and
noise gate but before the compressor, EQ, limiter, and
fader. However, in the System Menu you can select the
Pre 2 setting, to move the send after all Fat Channel
processing but before the fader. Please review Section
2.10.4 for details.

Output Level Control Adjusts the Master Output Level of the Aux Send.

This knob adjusts the master output level of the aux send.

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 2 Controls & Connections
2.6 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. The meters will display
the send level of each of the input channels.

Mix/Pan Button Enables Pan Control and Metering in the Fat Channel
(Stereo Send Mode Only).

On Aux Sends 2, 4, and 6, the Mix button becomes

the Pan control when two sends are linked. When this
button is enabled, the 16 encoders in the Fat Channel
become the pan controls for each of their respective
input channels. The meters will display the pan setting
of each of the input channels. For more information of
stereo linking, please review Section 2.3.3

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 2 Controls & Connections

Overview
2.6 The Aux Bus

2.6.2 Internal Effects Send Controls

Connections
Controls &
Mute Button Mutes and Unmutes the Internal Effects Bus.

This button will mute or unmute its internal effects (EFX)

bus. It will illuminate red when the bus is muted.

Recording
Post Fader Send Button Enables and Disables Post Fader Send.

Multiple
Mixers
By default, this button is enabled, and the send levels
to the effects buses are post-EQ, post-dynamics
processing, and post-fader, and therefore are affected
by fader settings. If the button is disabled, by default,
the EFX sends use the Pre 2 setting, in which the sends

Tutorials
are post-EQ and post-dynamics but pre-fader. However,
in the System Menu, you can switch the EFX sends to
the Pre 1 setting, in which the sends are pre-Fat Channel
dynamics processing and EQ and pre-fader. Please
review Section 2.10.4 for details.

Information
Output Level Control

Technical
Adjusts the Master Level of the Effects Send.

This knob adjusts the master level of the internal effects

send.

Internal Effects Send Enables Fat Channel Viewing.

Select Button
As 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, as well as routing the aux
send to outputs.

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. The meters will display
the send level of each of the input channels.

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 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.

This button will solo its channel either to the main outputs
or the monitor outputs depending on whether PFL or SIP
is selected in the Solo bus section. Please review Section
4.8 for more details.

When a Solo button is enable, that channel or bus will

automatically be selected and its Select button will
illuminate.

Mute Button Turns Muting On or Off.

This button mutes its channel. It will illuminate red when

the channel is muted.

Channel Fader Controls the Level of the Subgroup Bus.

The fader controls the overall volume of the signal on its

subgroup output.

The white area above the fader can be used as a scribble

strip. Use only oil pencils. Other types of pens or pencils
cannot be wiped off.

To clean the scribble strip, use a lightly damp cloth to

remove the writing.

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2 Controls & Connections

2.7 Subgroups

Connections
Controls &
Subgroup Meters Displays the Level of the Subgroups.

In the upper-right corner of the StudioLive are the

Subgroup meters, which display the levels of the

Recording
subgroup outputs.

Multiple
Mixers
Tutorials
Information
Technical

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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. Other types of pens or pencils
cannot be wiped off.

To clean the scribble strip, use a lightly damp cloth to

remove the writing.

Main Bus Meters Displays the Level of the Main Output.

In the upper right corner of the StudioLive are the Main

meters, which display the output levels of the main stereo
bus.

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2.9 Master Section

Connections
Controls &
Recording
Multiple
Mixers
Tutorials
Information
Technical
The Master section of the StudioLive controls the monitoring, talkback output, solo bus, and aux
and tape inputs.

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2.9 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 2.3.1, the Select button

routes its channel through the Fat Channel, allowing you
to add dynamics processing, EQ, and panning, as well as
enable output assignments.

Aux Input Level Control Controls the Signal Level of the Aux Input.

This knob controls the overall volume of the of the Aux

Input signal.

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Overview
2.9 Master Section

2.9.2 Talkback System

Connections
Controls &
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. For example, if you are using Aux 3 and 4 as mono monitor sends to the bass

Recording
player’s floor wedge and to the keyboard player’s in-ear monitors, the talkback signal will be sent
to both monitors—so don’t say anything you wouldn’t want both to hear!

Talkback Mic Level Sets the Input Gain of the Talkback Mic.

Multiple
Mixers
This knob adjusts the gain of the external talkback mic.

Tutorials
Output Selector Buttons Assigns the Talkback Mic to the Aux and/or Main

Information
Outs.

Technical
These buttons assign the talkback mic to a specified
output. These buttons are toggled on/off and will
illuminate indicating that the Talkback output is active.
The talkback mic can be assigned to every output at the
same time.

Talkback Button Turns the Talkback Mic On and Off.

This latching button turns the talkback mic on and off. It

will illuminate to indicate that the talkback mic is active.

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2.9 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.

2 Track In Volume Control Adjusts the Level for the Tape Input.

This knob adjusts the level for both the tape input and the
main FireWire return.

Tape Input On/Off Button Sends the Tape Input to the Mains.

This button patches the Tape input to the main outputs.

It will illuminate to indicate that the Tape input is being
sent to the mains. To disable the routing, simply press
the button again.

FireWire Source On/Off Button Sends the Master Out from the Audio Application to
the Mains.

This button routes the main left/right FireWire returns

(Outs 17-18) to the main outputs. It will illuminate to
indicate that the main FireWire return is being sent to the
main outputs of the StudioLive. To disable the routing,
simply press the button again.

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Overview
2.9 Master Section

2.9.4 Solo Bus

Connections
Controls &
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,

Recording
please review Section 5.9.

Cue Mix Volume Control Adjusts the Overall Volume of the Solo Bus.

This knob adjusts the overall level for the Solo bus.

Multiple
Mixers
Tutorials
PFL/AFL Toggle Button Enables PFL Solo Mode.

The default setting for the Solo bus is After-Fader Listen

Information
Technical
(AFL); by pressing PFL, Pre-Fader Listening is enabled. In
either mode, pressing Solo on any channel or bus routes
that channel to the Solo bus and has no effect on the
main or subgroup mixes. PFL soloing is not available for
the Subgroups. The Aux bus soloing is always PFL with
or without this mode enaged.

SIP (Solo In Place) On/Off Button Enables Solo In Place Mode

SIP (Solo In Place), or “destructive soloing,” mutes every

unsoloed channel on the StudioLive. If one of the muted
channels is routed to the mains or a subgroup, it will
be muted in those outputs. This also applies to soloed
channels: The output routing is still active. Note that while
you can manually unmute a channel this mode should
be used with extreme caution during a live performance.
Only the input channels can be placed into destructive
soloing. The Subgroups and Aux buses are omitted from
SIP mode.

To enable SIP press and hold the button until it illuminates

red. This ensures that you cannot enter into destructive
Solo mode by accident.

It is important to note that when SIP is engaged,

channel mutes will only apply to the Subgroup & Main
assignments. Unlike independent muting, SIP does not
mute input channels in Aux Send mixes.

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2.9 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.

Headphone Output Level Control Adjusts the Overall Level of the Headphone Output.

This knob adjusts the overall level for the headphone

output.

Control-Room Monitor Level Adjusts the Overall Level of the Control Room Monitor
Control Outputs.

This knob adjusts the overall level of the control-room

monitor outputs.

Solo Bus Monitor Button Assigns the Solo Bus to the Monitor Outputs.

The Solo Bus Monitor button patches any soloed channel,

subgroup, or aux send to the Monitor bus. This can be
useful is any number of ways; for example:

• Auditioning an aux-send monitor mix

• Dialing in the dynamics processing and EQ on
a subgroup
• Creating a better blend for instrumental
sections (horns, strings, etc.).

Tape-Input Monitor Button Assigns the Tape-Input Signal to the Monitor Bus

The Tape monitor button routes the signal from the tape
inputs (tape returns) to the monitor bus. The level for this
input is controlled by the knob in the 2 Track In section.

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Overview
2.9 Master Section

2.9.5 Monitor Bus

Connections
Controls &
FireWire Monitor Button Assigns the Main Left/Right FireWire Return to the
Monitor Bus.

The FireWire Monitor button patches the main left/

Recording
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.

Multiple
Mixers
The Main Mix Monitor button patches the same signal
that is being sent out of the main outs to the Monitor bus.
This signal is always pre-fader.

Tutorials
Information
Technical

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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. Because almost all of the StudioLive’s features are controlled from the mixing
surface (rather than using menus and submenus), you will mainly use this section to adjust the
internal effects processors and to save and recall presets and scenes.

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Overview
2.10 Digital Effects | Master Control

2.10.1 The FX Menu

Connections
Controls &
The StudioLive features two internal effects
processors. Each processor can access the
StudioLive’s selection of high-quality reverbs

Recording
and delays. As described in Section 2.6.2, each
of these effects can be routed to any of the subgroups, the aux bus, or the main outputs. To access
the effects library and adjust each parameter, press the FX button in the Master Control section.

The first page of the FX menu is the QuickView

Multiple
screen. It displays both of the effects assigned

Mixers
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

Tutorials
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. The color will invert for each parameter
when it is selected for modification. The Next button will scroll through this screen in the following

Information
Technical
order: FX A library selection, FX A main parameter, FX B library selection, FX B main parameter.
When choosing your effects preset, use the Value encoder to scroll through the library. When you
have arrived at your selection, press the Recall button to load it.

Press the Page Down button to move to the

next page of the FX menu. Pages 2 and 3 of the
FX menu display the rest of the parameters for
FX A and FX B, respectively. These parameters
will change depending on what type of effect
you have chosen. Again, use the Next and Prev
buttons to navigate through the screen, and
use the Value encoder to change the selected
parameter. If you would like to change the effect
from, for example, a Large Hall reverb to a Room
Ambiance reverb, press the Recall button to load the effect, and then change the various parameters
to taste. Press the Page Up button again to move to the full parameter view of FX B.

When a delay algorithm is chosen, you will

notice two parameters: Time (ms) and Time X.
Time is the delay time, discussed in Section
5.6.2, which is the time between the source
sound and the echo. This can either be adjusted
manually with the Value encoder, or you can use
the Tap button to enter a delay time in tempo with the music being played. Time X is the value of
the beat you are using as a reference for the tempo. The basic unit of measure is a quarter note, so
for example, if the beats you are tapping represent quarter notes in the music, you would set Time
X to 1.00. If they are eighth notes, you would set Time X to 0.50; half notes would be 2.00, and so
on. In this way, you can precisely synchronize or syncopate the delay echoes to the music in real

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2.10 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. This screen allows you to route the
internal effects buses to any or all of your
aux sends. Use the Next and Prev buttons to
navigate through the screen. When you reach the
aux bus to which you want to route the effect,
turn the Value encoder clockwise. A down arrow
will appear, indicating the effect has been routed to
an aux bus, in addition to any routing set in the Fat Channel. The Aux bus routing will be displayed
for each effect on the QuickView screen.

Because only one mix can be created for each effect, you may wish to consider dedicating one of
your internal EFX buses to your monitor mixes and the other one to your main mix. In cases where
it is necessary for the performer to hear the same effect as the audience (for example, a vocalist
needing to hear a tap delay so that they can interact with it in their performance), you would
obviously want to route the same effects chain to their monitor that you have routed to the mains.
In this instance, you may also wish to use the subgroup-mixing technique mentioned in Section
4.4.2 to control the amount of the effects being sent to the audience, while using the Output knob
for the internal EFX A and B buses to control the amount of the effects being sent to the monitor(s).

Pages 5 and 6 allow you to store your changes

to the same or to a new location and customize
the name of your creation for FX A and for FX B
respectively. Use the Value Encoder to change
the library location to which you will store your
new effects preset, unless you wish to overwrite
the currently selected preset location. Press the
Next button to navigate to the first letter of the preset name. Turn the Value Encoder clockwise
or counter-clockwise to change the letter. The StudioLive allows you to customize the name with
upper- and lowercase letters, as well as a selection of numerals and punctuation marks. You can
press the Tap button to quickly insert a space. Once you are satisfied with your changes, press
the Store button, which will illuminate while the effects preset is being written to the StudioLive’s
internal memory. Once the preset is saved, the Store button will return to its unlit status.

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Overview
2.10 Digital Effects | Master Control

2.10.2 Creating & Recalling a Scene

Connections
Controls &
The StudioLive allows you to create and store a library of scenes. A scene is like a snapshot of
your mix. It stores each Fat Channel parameter for every input and bus, as well as each fader’s
position, the aux and effects mixes, channel mutes and solos, and the input selection (analog input

Recording
or FireWire playback stream). Creating a scene requires simply dialing in a mix that you would
like to use at a later date and saving it. This has obvious benefits for both studio and live sound
applications. For example, in the studio, saving and recalling a scene allows you to move on to
another song or project and come back to the current mix later. For live shows with multiple bands,
you can set up custom mixes for each band at sound check and recall the mix when that band goes

Multiple
onstage. You also can save custom mixes for each venue that a band plays repeatedly.

Mixers
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

Tutorials
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 counter-
clockwise to change the letter. The StudioLive

Information
Technical
allows you to customize the name with uppercase and lowercase letters, as well as a selection
of numerals and punctuation marks. Press the Tap button to quickly insert a space. Continue this
process until you are satisfied with your changes, then press the Store button. It will illuminate while
the Scene is being written to the StudioLive’s internal memory. Once the Scene is saved, the Store
button will return to its unlit status.

Located at position S1 is a scene named Zero Out (Board Reset). This scene cannot be overwritten
and returns your StudioLive to its factory settings. All you have to do it lower the faders and return
all trim knobs and output volume knobs (Solo bus, 2 Track In, Phones, and Monitor) to their lowest
position. Your StudioLive will be zeroed out as follows:

SETTINGS
INPUTS & BUSES ASSIGN PAN SOLO MUTE SELECT LINK SENDS MODE
INPUT CHANNELS MAINS C OFF OFF CH1 OFF NULL
SUBGROUPS NULL C OFF OFF NULL OFF
AUXES 1-6 NULL C OFF NULL OFF PRE
FX A / FX B MAINS C OFF NULL BOTH SET TO F1
AUX IN A & B NULL C OFF NULL
TALKBACK NULL
MAIN BUS C NULL
SOLO BUS AFL
MONITOR BUS MAIN
TAPE IN NULL
METERS NULL
MASTER CONTROL FX

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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 NOISE GATE LIMIT COMPRESSOR EQ LOW L.MID H.MID HIGH
OFF THR N/A OFF THR 0dB P/S shelf n/a n/a shelf
REL .05 s RAT 2:1 H/L n/a low n/a low
ATK 20 ms FREQ 130Hz 320Hz 1.4kHz 5kHz
REL 150ms GAIN 0dB 0dB 0dB 0dB
GAIN 0dB
KNEE hard

Before beginning any new mixing situation, it is always recommended to recall the Zero Out (Board
Reset) scene. This is the easiest way to ensure that there are no lingering parameter settings that
could cause you some trouble in your new mix.

To recall a Scene, press the Scene button and

use the Value encoder to scroll through the
Scene library. When you have found the Scene
you wish to recall, press the Recall button.
By default, the StudioLive will recall all of the
available stored parameters (Fat Channel
settings, fader and knob positions, channel
muting and soloing, aux mixes, and internal
effects parameters); if you do not wish to recall
a certain set of parameters, simply use the Next
and Prev buttons to navigate through the screen. When the parameter that you wish to disable is
selected, turn the Value Encoder counter-clockwise to move it to the No (off) position. Once you
have disabled the parameters you do not wish to recall, press the Recall button. The StudioLive’s
recallable parameters are grouped as follows:

• Mute: All channel and bus mutes (Channels 1-16, Subgroups 1-4, FXA, FXB)
• FX: All parameters for the internal effects assigned to FXA and FXB
• Assigns: All output and bus routing (Mains, Subgroups, Stereo Linking, Solo and Monitor
bus assignments, and Internal Effects to Aux Bus routing)
• E
 Q & Dyn: All Fat Channel dynamics processing and filter parameters (Phase, High Pass,
Noise Gate, Compressor, EQ, and Limiter) for every channel and bus
• Aux Mix: All aux mixes (analog Aux Mixes 1-6 as well as FXA and FXB mixes)
• Faders: All fader positions
• Pots: All knob positions (Aux 1-6 Outputs, FXA and EFXB Levels, Cue, 2 Track In, Phones,
Monitor, and Aux Input A and Aux Input B knobs)
• GEQ: Graphic EQ settings

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Overview
2.10 Digital Effects | Master Control

2.10.2 Creating & Recalling a Scene

Connections
Controls &
If you enable Fader positions as a part of your
Scene recall, the StudioLive will automatically
put the meters in Fader Locate mode after

Recording
you press the Recall button. The Fader Locate
button will illuminate, and the meter section of
the Fat Channel will display the recalled fader position. Move the faders up or down until only the
center LED is illuminated in each meter. The subgroup and main meters at the top right of the
StudioLive will display the recalled positions for their respective faders. As long as you remain in

Multiple
Fader Locate mode, the faders on your StudioLive will not be active. The level of the audio passing

Mixers
through them will be set according to the stored fader position, not the current location. Once you
have recalled each of the faders to their Scene location, press the Locate button again. This will
take you out of Fader Locate mode and reactivate your faders so that they control the level of their
channels and buses.

Tutorials
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. Therefore, if you intend to save and recall a

Information
Technical
scene, it is highly recommended that you use the recall sheet provided in the back of this manual
to note the stored position of these controls.

A Quick Note About the AutoStore Feature

It is not necessary to create a scene for your StudioLive in order to remember its settings when
you power it down. Periodically, you will notice the Store button flash once, indicating that the
current settings on your StudioLive have been saved to internal memory. The StudioLive will take a
snapshot of the current position of every parameter on the mixer whenever no changes have been
made for ten seconds. If you wish to ensure that your StudioLive will hold its current settings before
you power down, simply wait for a few seconds until the Store button flashes. This is your indication
that it is now safe to turn off your StudioLive. The next time you turn it on, all of your settings will
be recalled automatically.

Please note: AutoStore does not change the settings for a recalled scene that has been altered.
Any changes made to a Scene in the StudioLive’s library must be saved using the Scene menu, as
described in the first part of this section.

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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. From the Fat Channel, press
the Load button. You will notice that LCD now
displays the Channel Preset Load menu.

The Channel Preset Load menu always displays

the selected channel into which the preset will
be loaded. Use the Value encoder to locate the
preset you would like to use. Once you have
made your selection, press the Recall button.
If at any time you would like to cancel this
operation, simply press the Load button again.

If you have created a channel-strip setting in the

Fat Channel that you would like to save to the
Channel Preset library, press the Fat Channel’s
Save button. You will notice that the LCD will
display the Channel Preset Save menu.

To begin, use the Value encoder to scroll

to an empty position in the Channel Preset
library. Press the Next button to navigate to
the category location. Create the category in
which your preset would fit (DRM, VOX, GTR,
etc.). Press the Next button again to navigate
to the first letter of the preset name. Turn the
Value Encoder clockwise or counter-clockwise to change the letter. The StudioLive allows you
to customize the name with uppercase and lowercase letters, as well as a selection of numerals
and punctuation marks. You can insert a space by simply pressing the Tap button. Once you are
satisfied with your changes, press the Store button. It will illuminate while the Channel preset is
being written to the StudioLive’s internal memory. Once the Channel preset is saved, the Store
button will return to its unlit state.

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2.10 Digital Effects | Master Control

2.10.4 The System Menu

Connections
Controls &
In most digital consoles manuals, the phrase “System menu” inspires a sense of dread. However,
with the StudioLive, you have nothing to fear. The System menu on the StudioLive serves just a few
simple functions, most of which have very little to do with mixing a show.

Recording
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

Multiple
settings are retained when the unit is powered

Mixers
down.

Press the Page Down button to access the Aux

Pre Position page. By default all six Aux buses

Tutorials
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. The two internal
effects buses are set to Pre 2, which routes each of the 16 channels after all Fat Channel dynamics

Information
Technical
and EQ but pre-fader. From this menu you can choose between these two Pre positions for each
Aux mix. If you have two aux buses stereo linked, you only need to set the Pre position on the Link
Master. Remember, the Link Master is the aux that was selected when the link was created. To find
out which Aux is the Link Master, simply select either of the Aux buses in the pair. The Link Master‘s
ID will be shown in the Select Channel LED read-out

Press the Page Down button to access the

Digital Information page. From here you can
change the Sample Rate, view your FireWire
connectivity, assign which stereo mix you would
like to send to the S/PDIF output, assign which
StudioLive in a cascaded chain is the Master,
and merge or unmerge the Subgroups in a StudioLive chain. When the StudioLive is connected and
synced to a computer via FireWire, the Status will read “Driver On” and the Sampling Rate will read
“FireWire.” Neither parameter can be adjusted fom the StudioLive while it is synced to a computer
so you will need use the Universal Control Device Window to make your S/PDIF assignments and
change your sample rate (See Section 3.3.3 for more details). When two or more StudioLives are
cascaded together, the Status will read “Linked” and you will be able to see which StudioLive is the
Master unit. For more information on using multiple StudioLives, please review Section 4.

Please Note: To ensure the safety of the audio equipment connected to it, the StudioLive will
mute all post-converter outputs for two seconds when the sample rate is changed and while it
is connecting to a computer. This includes the main and the control-room outputs, as well as the
aux and subgroup outputs. While this offers a good measure of protection to your sound system,
it could put the brakes on a live show. Because of this, it very important that the sample rate be
selected and locked in prior to beginning any recording or performance.

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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. Because of this,
the global default setting for the StudioLive is the expander. Any changes made to this page are
stored with custom scenes. When you recall as scene, the gate type that you have chosen for each
stereo pair of channels will also be recalled. For more information on expanders and noise gates,
please review Section 5.3.2)

Your StudioLive features a lockout mode that

allows you to create a password and lock the
controls your StudioLive. This is especially
useful in situations where several people will
be running sound, but only one or two are
knowledgeable enough to set up dynamics and
the like. Right out of the box the StudioLive cannot be locked, so don’t worry about hitting the
wrong button. To enable the Lockout feature, you must first connect and sync your StudioLive to a
computer. Please review Sections 3.3.6 for more information on this feature.

StudioLive 16.4.2 firmware version 1.10 and

higher features a 31-band 1/3 octave graphic
EQ that can be inserted on the Main output bus.
When Page 6 of the System menu is active, the
meters and encoders of the Fat Channel become
the controls for the Graphic EQ. As you touch
a knob, you will notice that its band number,
frequency and gain are displayed in the System Menu. The 31 bands range from 20Hz to 20 kHz.

The frequency for each band is fixed. Bands 1-16 are controlled by encoders 1-16 respectively.
When channel 16 is selected in the Show Band field in the System Menu, the meters will flip. Bands
16-31 will then be controlled by encoders 1-16 respectively. You will notice that all meters have
one LED illuminated to display the current gain position for each band, the meter for the selected
band in the Show Band field is inverted, meaning that all LEDs will be illuminated except the LED
displaying the current gain position for that band. The band does not have to be selected in the
Show Band field for its encoder to be active. All encoders are active so you can make changes to
16 of the 31 bands at one time.

The StudioLive Graphic EQ features an innovative design that sets it apart from traditional graphic
EQs. Traditionally, a 31-band graphic EQ uses 31 second order shelving filters with fixed frequencies
in order to simulate a curve set by the user via 31 front panel sliders. A well designed graphic
EQ creates an output frequency responses that corresponds as closely as possible to the curve
displayed graphically by the sliders.

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Overview
2.10 Digital Effects | Master Control

2.10.4 The System Menu

Connections
Controls &
In an analog EQ, this is achieved by carefully choosing the bandwidth of the filter and deciding how or if it
varies with the gain and how the filters are summed or cascaded. In general, narrower bandwidth signifies a
higher quality EQ. But in traditional graphic EQ designs, the center frequency of each band is fixed.

Recording
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

Multiple
Mixers
user’s curve, will produce the flattest possible response: 0 dB. The resulting response is then used to
find coefficients for the second shelving filter through the same optimization process. Coefficients for all
available shelving filters are found through a recursive process.

Unlike conventional designs, the frequency and bandwidth of the “bands” depends on the curve entered

Tutorials
by the user. This allows for much tighter matching of that curve. Because of this innovative design, the
accuracy of the StudioLive EQ might feel “wrong” at first. The curve fitting process is capable of very steep
transitions and, unlike conventional analog graphic EQs, what you see is what you get. With a carefully
drawn, smooth curve the StudioLive EQ will have almost no frequency ripple. The StudioLive EQ is also
capable of very sharp notches. To widen a notch or a bump on a particular band, just bring the adjacent

Information
Technical
bands closer to that band‘s gain and the bandwidth will change accordingly.

Press the Page Down button to view the firmware version

currently loaded on your StudioLive. You normally will
only view this screen when performing a system update,
in order to confirm that the new firmware was successfully
loaded.

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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 1.5 GHz processor, 1 GB RAM
• R
 ecommended: PowerPC G5, Intel Core Duo, or Intel Xeon processor, 2 GB or more
RAM

Windows

• Operating Systems:

• Windows XP (SP2 or greater) 32-bit and 64-bit

• Windows Vista 32-bit and 64-bit

• Hardware:

• M
 inimum: Intel Pentium 4 1.6 GHz processor , AMD Athlon 64 3000+ (Turion) , 1 GB
RAM
• R
 ecommended: Intel Pentium 4 2.8 GHz EM64T or better, AMD Athlon 64 XP 3000+ or
better, 2 GB or more RAM

NOTE: The speed of your processor, amount of RAM, and capacity and size and speed of your
hard drives will greatly affect the overall performance of your recording system. A more powerful
system (faster processor with more RAM) allows lower latency (signal delay) and better overall per-
formance. Windows 64-bit system compatibility requires driver version 3.4 or later.

**
Subject to change check www.presonus.com for updates

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Overview
3.2 Getting Started: recording

3.2.1 Installation Windows

Connections
Controls &
After you insert the Installation CD into your CD-ROM drive, the StudioLive installer will take you
through each step of the installation process. Please read each message carefully—ensuring

Recording
especially that you do not connect your StudioLive too soon.

1) The StudioLive Installer was made as simple and

easy to follow as possible. Please read each message
carefully to ensure the StudioLive driver is properly
installed.

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Before beginning the StudioLive Installation Setup,
please close all applications, including anti-virus
software and disconnect your StudioLive from
your computer. After the installation is successfully

Tutorials
completed, don‘t foget to re-enable your anti-virus
protection!

2) If you see any Windows Security alerts, click “Install

Information
this driver software anyway” (Vista) or “Continue

Technical
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.

Select “StudioLive” from the menu on the left of the

installer window.

4) Follow the onscreen instructions to complete the

installation. When the installer has finished, it will
prompt you to reboot your computer.

Click “Finish” to automatically restart your PC. Once

your computer has rebooted, connect the StudioLive.
When the Found New Hardware wizard launches,
follow the Recommended steps. Your StudioLive is
synced to your computer and ready to use!

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3.2 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. Please read each message carefully—ensuring especially that you do
not connect your StudioLive too soon.

1) To begin installing the StudioLive driver on your Mac,

double-click on the StudioLive logo.

2) You will be directed to the Welcome screen.

Click “Continue” and follow the onscreen instructions.

3) You will be directed to choose the hard drive onto

which you want to install the drivers and Universal
Control Panel. You must choose your system drive.
Storage drives and partitions cannot be used as
hosts for the driver.

Once the installation is completed, you will find the

Universal Control program in your Applications folder.
It is recommended that you place this in your Dock.

Click “Install”

4) When the Installation has completed, connect your

StudioLive to your Mac with a FireWire cable and
power it on. You are now ready to use your StudioLive!

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3 Recording

3.3 Using Your StudioLive

as an Audio Interface

Connections
Controls &
Your StudioLive features a 32x18 FireWire interface. Any input and or bus with a Select button,
as well as the Solo bus, tape input, and talkback mic, can be recorded with any audio-recording
application that supports CoreAudio or ASIO. There are many such applications on the market

Recording
from which to choose. Please consult the documentation that came with your audio application
for specific instructions on how to select the StudioLive driver as the audio device driver for
your software. It is important to note that your StudioLive uses the same driver as the PreSonus
FireStudio family of interfaces, so its driver will be displayed as “PreSonus FireStudio” in all driver-
selection menus.

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Below are basic driver-setup instructions for three popular audio applications:

Apple Logic Pro/ 1. Launch Logic Pro/Express.

Tutorials
Express 7+: 2. Go to Logic | Preferences | Audio.
3. Click on the Devices Tab.
4. On the CoreAudio tab, check Enabled.
5. Select PreSonus FireStudio from the device menu.
6. You will be asked if you’d like to relaunch Logic. Click “try (re)launch.”
7. Your StudioLive features custom I/O labels for faster work flow. To enable

Information
Technical
these labels for use in Logic, go to Options | Audio | I/O Labels.
8. The second column in the pop-up window will be named “Provided by
Driver.” Activate each of these labels for your StudioLive. When you are
done, close this window.
9. You are now ready to use your StudioLive.

Steinberg 1. Launch Cubase 4.

Cubase 4 2. Go to Devices | Device Setup.
3. Select “VST Audio System” from the Devices column in the Device Setup.
4. Select PreSonus FireStudio from the ASIO Driver dropdown list.
5. Click “Switch” to begin using the StudioLive Driver.
6. Once you have successfully changed the driver, go to Devices | VST
Connections to enable your input and output buses.

Cakewalk 1. Launch Sonar.

Sonar 6+ 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. Go to Options | Audio... and click on the General tab.
9. Set the Playback Timing Master to “PreSonus FireStudio ... DAW Out 1.”
10. Set the Recording Timing Master to “PreSonus FireStudio ... Mic/Inst 1.”

Complete setup instructions for PreSonus Studio One Artist as well as a brief tutorial on its features
are located in Section 5.1 of this manual.

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3.3 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.
You can route (send) signals from other buses to it, and its output, or return, signal is hard-coded to
designated mixer channels. Your StudioLive has 32 available sends and 18 total returns.

FireWire sends 1-16 are hardcoded to be sent

pre-fader from the 16 input channels of the
StudioLive. These sends can be pre- or post-
Fat Channel EQ and dynamics. To record the EQ
and dynamics on any channel, simply enable the
Dig Out button. It will illuminate, indicating that
the Fat Channel signal path is being routed to
the FireWire send. If this mode is not enabled,
the signal sent via FireWire will be post-trim and post analog insert (if applicable). As previously
discussed in Section 2.3.4, the Dig Out button is not operable for the Subgroups, Main Outputs,
Aux bus, Internal FX Returns, and Aux Inputs. The Subgroups, Main Outputs, and Aux Inputs are
also sent post-fader to their FireWire sends.

FireWire sends 17-32 are routed in 8 stereo pairs from the Universal Control Device Window. Any
combination of eight of the following inputs and buses can be selected:

• Main Mix Left / Right

• Subgroup 1 & 2
• Subgroup 3 & 4
• Aux Send 1 & 2
• Aux Send 3 & 4
• Aux Send 5 & 6
• Aux Send A & B (EFXA & EFXB Send)
• Aux Return A (Aux Input A)
• Aux Return B (Aux Input B)
• FX Return A (EFXA Return)
• FX Return B (EFXB Return)
• 2 Track Left / Right
• Talkback Left / Right
• Solo Left / Right

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Overview
3.3 Using Your StudioLive as an Audio Interface

3.3.1 FireWire Sends and Returns

Connections
Controls &
Note that either channel of the stereo pair can still be accessed on a mono track in your host
application; only the routing must be assigned as a stereo pair. For instance, if you have a backing-
vocal group routed to Subgroup 1, and a guitar group routed to Subgroup 2, you would create two

Recording
mono tracks in your recording application. The track whose input is assigned to Subgroup 1 will
record the backing-vocal group, and the track whose input is assigned to Subgroup 2 will record
your guitar group. If, however, you have a stereo drum group assigned to Subgroups 3-4, you can
create a stereo track in your recording application and assign its input to Subgroup 3 and 4. For
more information on subgroup mixing, please see Section 5.4.

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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

Tutorials
and assign it to either side of the stereo FireWire send to which it is routed. Both FireWire sends
receive the same mono signal from the talkback-mic preamp.

Please note that you have access to both the Internal Effects Send group as well as the Return. If
you record an Internal Effects Send (Aux Send A & B), you will be recording the unprocessed or dry

Information
Technical
mix of the channels being sent to that internal effects bus. To record the processed mix, you will
need to choose the Internal Effects Returns (FX Return A or FX Return B). This is the direct output
from the internal effect, so it will be 100% wet. Because of this, you may wish to record both the
dry and the wet mix so that you can blend them to taste within your session.

Section 3.3.3 discusses how to select the sources for these eight stereo FireWire sends as well as
the other features in the Universal Control application.

Each of the StudioLive’s 16 inputs are hardcoded

to receive their respective FireWire returns. Outs
1-16 in your recording application route these
playback streams to their respective channels
on the StudioLive (that is, the software’s Output
1 always goes to StudioLive Channel 1 input and so on). Once you route a track in your recording
application to play back through one of these outputs, it will always be accessible on its channel by
simply pressing the FireWire Input button.

To provide you with the most flexible mixing

environment, the main mix output for any
application should be assigned to Outputs 17
and 18. These FireWire returns are hard-coded
to the FireWire input buttons in the 2 Track In and Monitor sections of the StudioLive. In this way,
you can monitor the main output from your recording application without using two channels on
your StudioLive, leaving the other 16 outputs available to be routed to the Fat Channel or for
inserting a plug-in on a live instrument (see the next section for more details).

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3.3 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. Because the FireWire
returns always come back to their respective channels on the StudioLive, you can quickly insert a
plug-in from your recording application into any channel strip and monitor it in real time.

In this example, we will insert a Mono Delay

plug-in from Apple’s Logic™ 8 application onto
Channel 16 of the StudioLive. To begin, create
a mono audio track. Assign its input to Channel
16 and its output to Output 16. (Note: because
Logic does not offer mono output buses, in this case we are routing this stream to channels 15-16
and panning the channel all the way to the right so that it will only be sent to output 16. Several
other applications use this type of bus routing, as well. Please consult your software’s user manual
for specific instructions.)

Once you have the routing set up in Logic,

record-arm the track and insert the desired
plug-in. Press the FireWire Return Input button
on your StudioLive. You can now monitor your
analog signal with your inserted effect as you
record.

A Quick Note on Printing Fat Channel Dynamics and EQ:

Using the Fat Channel dynamics processing and EQ during post-production is obviously desirable.
The question is how to print these changes to your recording. An easy way to do this is through
the subgroup FireWire returns. Begin by routing a playback stream to an individual channel on the
StudioLive from within your recording application. With the FireWire return selected as the signal
source for that channel on your StudioLive, press its Select button and assign it to a subgroup bus,
ensuring that only that channel is routed to the subgroup. You can then process the playback stream
through the Fat Channel for both the individual channel and for the subgroup. In your recording
software, assign the subgroup as an input source for a new track and record it. The unprocessed
track can then either be removed from the session or used in tandem with the processed track as
an effect. The flexible routing and mixing capability of the StudioLive provides you with an arsenal
of tools previously unavailable to “in the box” mixes. Don’t be afraid to test the limits of modern
mixing techniques and to create a few of your own.

Note: The Dig Out button does not function when you have a FireWire Return selected as an input source. If Dig Out is enabled, any
Aux, Subgroup, and the Main bus to which it is routed will not
receive the post Fat Channel signal. The unprocessed signal will
still be routed to these buses, as well as to the FireWire bus, but
the Fat Channel dynamics and EQ will not. If you wish to add Fat
Channel dynamics to a FireWire return, you must disable Dig Out.

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3.3 Using Your StudioLive as an Audio Interface

Overview
3.3.3 Universal Control

Connections
Controls &
Recording
Multiple
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Tutorials
The StudioLive 16.4.2 is compatible with the Universal Control application. As with all FireStudio
family interfaces, Universal Control includes two windows: the Launcher window and the Device
window. For the StudioLive, the Device window is the Auxiliary Inputs Router. As discussed in the
Section 3.3.1, the Auxiliary Inputs Router allows you the freedom to choose which additional buses

Information
Technical
to route to the eight stereo auxiliary FireWire sends as well as create a password for your StudioLive
so that you can lock out unauthorized users (See Section 3.3.6 for details). From the Launcher
window, you can set basic parameters such as buffer size and sample rate. In addition, you can
use the Launcher window to configure your WDM outputs (PC only, see Section 3.3.4). It should be
noted that the Meter Style and Meter Decay options in the Launcher Window are not active when
only a StudioLive is connected to a computer.

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.

A higher sample rate will increase the fidelity of the

recording. It will also increase the file size and the amount
of system resources necessary to process the audio.

Please Note: To ensure the safety of the audio equipment

connected to it, the StudioLive will mute all post-
converter outputs for two seconds when the sample
rate is changed or when the mixer is connecting to a
computer. This includes the main and the control-room
outputs, as well as the aux and subgroup outputs.
While this offers a good measure of protection to your
sound system, it could put the brakes on a live show.
Because of this, it very important that the sample rate be
selected and locked in prior to beginning any recording
or performance.

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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. In general, 512 samples (11 to 12 milliseconds)
will provide you with a large enough buffer for optimum
system performance, but low enough to be unobtrusive.
You should set your buffer size and sample rate prior to
launching your host application.

On Macintosh, the buffer size is set from inside your host

application

Operation Mode Changes How the StudioLive Driver’s Buffer Size is

Set

• Normal Mode. Input and Output buffers are both

identical to the Buffer Size setting.
• Safe Mode 1-3. Increases the output buffer size
for added stability.

Clocksource Changes the Clocksource for Chained FireStudio

family devices

The StudioLive cannot slave to an external clock,

however, if you are cascading additional FireStudio family
products that do feature digital inputs, this becomes
selectable.

The clock source setting will determine where the device

chain is receiving word clock information. This keeps
the device chain in sync with other digital devices and
with each other. The menu options are determined by the
available digital inputs in the chain.

In general, you will want the StudioLive to be your Master

Clock so you will set the clock to StudioLive-Internal.

Device Window Button Opens the Device Window

Click on this button to open the Auxiliary Inputs Router.

To give your StudioLive a custom name, double click on

the default label (StudioLive) to open a text field. When
you have finished entering your custom name, hit the
Enter key.


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Overview
3.3 Using your StudioLive as an Audio Interface

3.3.3 Universal Control

Connections
Controls &
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

Recording
• Close Window. Closes just the Launch window
• Show All Devices. Opens the Device window for
all of the connected FireStudio-family interfaces
• Close All Devices. Closes the Device window for
all of the connected FireStudio-family interfaces

Multiple
Mixers
• Quit. Quits the Universal Control application.

Settings: Check Firmware Scans Your StudioLive and Updates the Firmware

Tutorials
A firmware updater is built into the Universal Control
application. Periodically, a driver update will require that
the firmware on your StudioLive be updated. Whenever
you install an update for the Universal Control or add
a new FireStudio-family product to your system, you
should use this feature to ensure that the firmware is up

Information
Technical
to date. If the firmware needs to be updated, the update
application will launch automatically.

Settings: Run at Startup Launches the Universal Control Application

Automatically on Startup (Windows Only)

When this is enabled, the Universal Control application

will automatically launch each time you boot your
Windows PC.

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3.3 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 3.3.4 for further details.

As discussed in the previous section,

the StudioLive allows you to route any
8 of 14 buses and inputs, in addition
to its 16 input channels. This is done
via the Device Window‘s Auxiliary
Input Router. To route FireWire Sends
17-32, first decide which buses and
inputs you would like to record in
addition to your input channels. Once you’ve determined your input pairs, simply route them to
a stereo pair of auxiliary inputs of your choice, using the pull-down menu beneath each Auxiliary
FireWire Send pair in the Universal Control Auxiliary Input Router. Remember, all of these buses
and inputs are automatically set to send their signals post Fat Channel dynamics and EQ (where
applicable). The inputs and buses selected in the Auxiliary Input Router will be displayed in your
recording application with the name of their routing.

For instance, the routed pairs in the above picture would translate as follows in your host recording
application:

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3.3 Using Your StudioLive as an Audio Interface

3.3.3 Universal Control

Connections
Controls &
PHYSICAL SOFTWARE

Subgroup 1 Auxiliary In 17

Recording
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

Multiple
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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

Tutorials
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

Information
Technical
Main Mix Left Auxiliary In 31
Main Mix Right Auxiliary In 32

The Auxiliary Input Router also allows you to

designate a specific bus to the S/PDIF output
as well as to select which stereo pair will be
recorded on the Main Track in Capture. When the
StudioLive is not connected to a computer, the
S/PDIF output is routable through the System Menu (see Section 2.10.4). However, when your
StudioLive is synced to your computer, you can route any of the 14 routable buses to the S/PDIF
output by routing them to FireWire sends 31 and 32. In addition to being available for recording via
Aux In 31 and Aux In 32, these sends are normalled to the S/PDIF output.

Capture enables you to record a stereo mix

track in addition to the 16 Channel inputs on the
StudioLive. Auxiliary FireWire Inputs 17 and 18
are the source for this Main Track in Capture, and
it is user definable through the Auxiliary Input
Router. Whichever source is routed to Channels
17/18 can be recorded as a stereo track in Capture. For more details on the Main Track and Capture,
please consult the Capture User Manual that came with your StudioLive.

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3.3 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. Mac users: please skip to the next section for important information
about using your StudioLive as your main Core Audio device.

1) In the Launch window, go to Settings | WDM setup

2) The WDM Channel Mapper window will open. By

default WDM Outputs 1 and 2 are routed to StudioLive
Channels 1 and 2. As previously mention, it is
recommended that they be set, instead, to Channels
17 and 18, so as not to use up input channels on
your StudioLive just for WDM playback. To begin,
check the box next to Output. Click on WDM 1 (Front
Left) and drag it down to place it next to StudioLive
2TrackIn Left. Click on WDM 2 (Front Right) and drag
it down to place it next to StudioLvie 2TrackIn Right.

Your stereo WDM playback will not be routed directly

to the Main FireWire Return buttons in the 2TrackIn
and Monitor bus in the StudioLive Master Section.

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3.3 Using Your StudioLive as an Audio Interface

3.3.5 Configuring Your StudioLive for

Core (Mac only)

Connections
Controls &
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

Recording
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.
It is recommended that you use these channels instead for Core Audio playback. The following
instructions will help you configure your StudioLive to be used as the main audio playback device
for your Mac.

Multiple
Mixers
1) Go to MacHD | Applications | Utilities and launch
Audio MIDI setup.

Tutorials
Information
Technical
2) Click on the Configure Speakers button.

3) Deselect Stream 1 and select Stream 2 instead.

4) In the same window, click on Multichannel and select

your Speaker Configuration from the pull down menu
(i.e. Stereo).

5) Choose Channel 17 for the left speaker and Channel

18 for the right speaker.

When you are finished, click Apply and then Done.

Your StudioLive will now monitor the Main Output for

your Mac through the FireWire return buttons in the
2 Track In and Monitor Sections.

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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. Because of this, it is recommended that you take a quick glance over your input trims and
output levels prior to resuming your mix after you unlock your StudioLive. If you have set your fader
position to be locked, you will be able to recall your pre-lockout fader positions using the Locate
button in the meter section. Until you connect your StudioLive to a computer, the mixer cannot be
locked, so don’t worry about accidentally locking yourself out.

With your StudioLive connected and synced to

your computer, launch the StudioLive Device
window in Universal Control, click on the
Advanced button. The Lockout window will
launch.

To set your custom password, click on the box

next to “Device is Lockable.” At this point, a
cursor will appear in the password box. Enter
a five-digit code using any number between 1
and 9 and click the Set button. Your password
will no longer be displayed. Should you need
to change your password, simply click on the
box next to “Device is Lockable.” Your old
password will be deleted, and you will be able
to enter a new password. Once you have set
your password, the StudioLive can be locked
with or without being synced to a computer.

To lock your StudioLive, press the System

button in the Digital Effects | Master Control
section and navigate to Page 4: Lockout. Your
StudioLive cannot be locked unless this page
is active. If you have multiple StudioLive mixers
connected, you only need to lock the Master
unit to lock all the mixers in the chain.

At its lowest level of security, Lockout mode allows you to freeze the current Fat Channel and Effects
settings. Faders, Aux mixing, and Scene Recall can still be enabled. Each of these mix functions
can be added to Lockout mode as you see fit. To lock your StudioLive, press the Select buttons that
correspond to the five-digit password you have set. In this example, the password is 12345, so you
would press the Select buttons for Channels 1, 2, 3, 4, and 5, in that order. The Panel Status will
switch to Locked, indicating that Lockout mode is now active.

To unlock your StudioLive, navigate back to Page 4: Lockout in the System menu if this page is
not currently active. Press the same sequence of Select buttons. The Panel Status will change to
Unlocked, and you will be able to resume your mix.

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3 Recording

3.4 Hook-up Diagram:

In The Studio with StudioLive

Connections
Controls &
Recording
Multiple
Mixers
Tutorials
Information
Technical
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. Channels 1-4 on the StudioLive are switched to FireWire Playback so that a
click track, a prerecorded vocal track, and a stereo track of sampled drum beats can be included
in each musician’s monitor mix.

It should be noted that in this diagram, the control-room monitors are shown as connected to
the main outputs. This is only one way of connecting them. You can also use a pair of subgroup
outputs or the Control Room Monitor outputs. Each has benefits and drawbacks. We suggest you
experiment to find the best setup for your mixing style.

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 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.

4.1.1 Configuring Multiple Units

Firmware version 1.10 or higher is required in order to cascade multiple units. The latest firmware
is available at www.presonus.com/technical-support. StudioLive firmware is user updatable and it
is recommended that you check the PreSonus website periodically for driver and firmware updates.
The driver must be installed on your Mac or PC and your StudioLive must be connected and synced
before you can run the firmware updater. Once all of your units have been updated, connect a
FireWire cable from the computer to the first StudioLive. Using a standard 6-pin FireWire cable,
connect the remaining FireWire port on the first StudioLive to either FireWire port on the second
StudioLive. If you are combining multiple units to create a standalone system (without a computer),
simply connect a FireWire cable from the first unit to the second unit, another FireWire cable from the
second unit to the third unit and so on.

Press the System button on the first unit and page

down to Page 3: Digital. Use the Next button to
move to the Firewire Link ID field. Use the value
encoder to set the ID to 1. Any unit in the chain
can be designated as the Master. Since the entire
chain will function as one large console, sending
all channels to the Master unit’s Main output, Aux
Sends, and Subgroups (optional), we suggest that the unit farthest on the right be designated as the
Master. The unit with the lowest Firewire Link ID greater than zero is automatically set as the Master.

Press the System button on each of the cascaded

units and page down to Page 3: Digital. Use the
Next button to move to Firewire Link ID field and
give each unit a unique ID. Any value larger than
that of the Master can be used for each of the
cascaded units. The unit with the lowest ID is the
Master, its channels will be the last bank of 16.
The unit with the next lowest ID will be the second to last and so on.

If you will be recording with two StudioLive 16.4.2 mixers, take a moment to look at the serial
numbers on the bottom of each mixer. The mixer with the lowest serial number will be designated
as Inputs and Outputs 1-16 in your recording application. Because of this, it is recommended that
the mixer with the lowest serial number be set as the Slave and the unit with the highest value serial
number be set as the Master.

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Overview
4.1 Getting Started

4.1.2 Aux Mixing With Cascaded Mixers

Connections
Controls &
Every channel in the mixer chain can be sent to the six Aux outputs on the Master unit. When you
press the Mix button on any of the six auxes, you will notice that the Mix button for the corresponding
aux will illuminate on every mixer in the chain. For example, if you press the Mix button on Aux
1 on the Master unit, the Mix button on Aux 1 on each of the slaved units will also illuminate.

Recording
Creating an aux mix with multiple mixers works exactly the same way as with one mixer. Each of the
encoder beneath the meters in the Fat Channel control the amount of send level for each of their
corresponding channels on that mixer to the enabled aux.

For example, if you have three mixers chained together, Channels 1-16 will reside on Slave 2,

Multiple
Mixers
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. you will use
the Fat Channel meters and encoders on Slave 2 to set the Aux 3 send levels for Channels 1-16 and

Tutorials
the meters and encoders on Slave 1 to set the Aux 3 send levels for Channels 17-32. Use the Fat
Channel meters and encoders on the Master unit to set the Aux 3 send levels for Channels 33-48.
The resulting mix is then routed from the Aux 3 output on the Master unit. If you would like to add Fat
Channel dynamics to the overall Aux 3 mix, simply press the Aux 3 Select button on the Master unit
and use the Master unit Fat Channel to dial in your dynamics and EQ settings.

Information
Technical
Note that the Aux outputs on the slaved mixers are still active, but they only have access to the local
channels. So in this example, the Aux 3 mix for Channels 1-16 on Slave 2 is routed locally to the Aux
3 output and merged with the overall Aux 3 mix on the Master unit at the same time. The same is true
of Channels 17-32 on Slave 1. Only the Master mixer receives the merged signals from all cascaded
mixers in addition to its own local channels.

Because Aux mixes are sent to the Master unit before the Fat Channel (for obvious reasons), if you
wish to create a stereo Aux mix, you must link the Aux channels on each of the mixers in the chain
in order to control panning for the channels on the slaved mixers.

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4.1 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. The advantage is that you get twice the
effects buses as you have mixers in the chain!

Of course, if you’d like to send all channels to the same effect, you can simply load the same effect
on every mixer. But with some careful patching, you can take advantage of the extra effects buses
at you disposal. The Internal Effects buses on each mixer can be assigned to the Master Unit’s Main
output or to a Subgroup as usual. Simply select the Effects bus and press the desired assignment
button in the Fat Channel.

4.1.4 Subgroups: To Merge Or Not To Merge

On Page 3: Digital in the System menu, you will

find the SubGroup Merge field. The Subgroups
on each on the mixers in the chain can either be
merged together or local only. This is determined
on each mixer for the unit with the next ID number
in the chain and therefore the previous bank of
channels (i.e. if SubGroup Merge is enabled on
the Master, Slave 1‘s Subgroups will be merged with the Master‘s Subgroups; if SubGroup Merge
is enabled on Slave 1, Slave 2‘s Subgroups will be merged with Slave 1‘s Subgroup). The Subgroup
faders on the mixer from which SubGroup Merge was enabled will control the entire group and
dynamics processing can be added to the entire mix using that unit‘s Fat Channel.

If Subgroup Merge is turned Off, each of the four subgroups on each mixer are locally controlled.
Using our three mixer example, Channels 1-16 can only be assigned to the Subgroup on Slave 2,
Channels 17-32 can only be assigned to the Subgroups on Slave 1, and Channels 33-48 can only be
assigned to the Subgroups on the Master unit. Because the Subgroups on each of the mixers in the
chain can still be routed to the Main output on the master unit, unmerging the Subgroups is offers
advantages for Effects group mixing (See Section 5.5.2 for details), but this can also be useful in
any situation where you want 16 or fewer channels assigned to the same Subgroup, just do a little
careful patching!

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Overview
4.1 Getting Started

4.1.5 Scene Store and Recall

Connections
Controls &
Channel Strip presets, Effects presets and mix Scenes are stored and recalled locally on each mixer.
However, if you are creating a mix Scene, the name that you create on any of the mixers will be
transmitted to the entire chain. For example, if you store a scene named “3 Mixer Show” on the
Master unit, the name is broadcasted to the slaved units so when you press the Scene and Store

Recording
buttons on either Slave, the name you just created on the Master unit is already entered; all you have
to do is scroll to an empty location and press the Store button again.

4.1.6

Multiple
Copy and Load

Mixers
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

Tutorials
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.

Information
Technical
4.1.7 Universal Control & Multiple Mixers

Because of FireWire limitations, you can only record additional buses from the Master unit when two
mixers are connected to a computer. While the Launcher Window will show a Device Window Button
for each or the two StudioLives connected, only the Master Unit‘s Auxiliary Input Router will open
when either button is clicked.

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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. While the talkback mics on the slaves are active on their respective units, they cannot
be patched into the Master unit. Because of this, you should connect your talkback mic to the
Master unit and control it from there.

• Analog Tape Input: As described in Section 2.9.3, the Analog Tape Input on the StudioLive is
patched directly to the Main Output using a button in the Master Section. While the Tape Input on
every mixer in the chain is active, this button only patches the input to the Main bus on that unit.
For example, the Tape In button on Slave 1 patches it to the Main bus on Slave 1 only. Because
of this, we recommend that you only use the Tape Input on the Master unit.

• Main FireWire Returns: When two mixers are connected to a computer, the StudioLive becomes
a 32x34 audio interface. As discussed in Section 3.3.1, just like with a single mixer connected
to a computer, the 32 FireWire inputs on two chained units are hard-coded to receive their
respective FireWire returns. Outputs 1-32 in your recording application will route these playback
streams to their respective channels on the two StudioLives. FireWire Returns 33 and 34 (17 and
18 with one mixer connected) are hard-coded to the FireWire input buttons in the 2Track In and
Monitor Sections on both the Master and the Slave mixer. If the 2TrackIn FireWire Return button
is enabled on both mixers, the duplicated signals will both be routed to the Master unit‘s main
output. As with the Analog Tape Input, it is recommended that only the Master unit‘s 2TrackIn is
used.

• FireWire Sends: As also discussed in Section 3.3.1, a single StudioLive has 32 available
FireWire sends, 16 from its channels and 16 from a selection of buses and aux inputs. When two
StudioLive mixers are connected to a computer, each StudioLive has 16 available FireWire sends
for a total of 32. As mentioned earlier, FireWire sends 1-16 output from the StudioLive with the
lowest serial number. FireWire sends 17-32 output from the StudioLive with the highest serial
number. These sends cannot be changed, nor can they be merged. For the best workflow, it is
recommended that the unit with the lowest serial number be placed to the left and be set as the
Slave.

• Monitor Bus: You must use the Monitor section on the Master unit to monitor all channels in the
chain (by listening to the Solo bus or the the Main bus), the Tape Input for the Master Main bus,
and the Main FireWire Return. The Monitor bus on the slaved units can only receive signal from
the mixer it is on.

The Solo bus is a merged bus; any channel on any mixer can be soloed and monitored from the
Master unit. When either PFL or SIP are engaged on any mixer, every mixer is placed into the same
mode at the same time.

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 Overview
5 Tutorials

5.1 Studio One Artist Quick Start

Connections
Controls &
Every PreSonus interface comes complete with Studio One Artist recording software. Whether you
are about to record your first album or your 50th, Studio One Artist provides you with all the tools
necessary to capture and mix a great performance. As a valued PreSonus customer, you are also
eligible for an upgrade discount for Studio One Pro when you are ready to master your work, create

Recording
a digital version for the Web, or incorporate third-party VST plug-ins into your recording process.
For more details on the Studio One Pro upgrade program for PreSonus customers, please visit
www.presonus.com.

Studio One Artist was designed for easy integration with both the StudioLive and Capture. Session

Multiple
Mixers
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.

Tutorials
5.1.1 Installation and Authorization
Once you have installed the StudioLive drivers and connected your StudioLive to your computer, you

Information
Technical
can use the PreSonus Studio One Artist music-production software included with your StudioLive
to begin recording, mixing, and producing your music. To install Studio One Artist, insert your
installation disc into your computer’s DVD drive. Follow the onscreen instructions to complete the
installation process.

Installing Studio One Artist

To Install Studio One Artist, insert your Studio One Artist

installation DVD into your computer’s DVD drive.

PC Users: Launch the Studio One Artist installer and

follow the onscreen instructions.

Mac Users: Simply drag the Studio One Artist application

into the Applications folder on your Macintosh HD.

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5.1 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.

If your computer is not connected to the Internet, visit

the Studio One product page at www.presonus.com on
an Internet-connected computer to create your account.
After you have created your account, skip to Activating
Studio One Artist Offline.

Activating Studio One Artist

Online
Now that you have created a user account, you can
activate your copy of Studio One Artist. Launch Studio
One Artist, and the Activate Studio One menu will appear.

Click on the Activate Online link and enter your previously

created account Username, Password, and the Product
Key you received with the Studio One Artist installation
disc. Click on the Activate button to finish the activation
process.

Activating Studio One Artist

Offline
Once you have created a user account, launch Studio
One Artist. From the Activate Studio One Menu, click on
the Activate Offline link. Follow the instructions to log
in to your previously created user account, register the
product, and obtain a license file.

Next, copy the license file to the computer on which

Studio One has been installed, and locate the license
file as instructed in the Activate Studio One menu. The
activation process is now complete.

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Overview
5.1 Studio One Artist Quick Start

5.1.1 Installation and Authorization

Connections
Controls &
Installing Bundled Content for
Studio One Artist
Studio One Artist comes bundled with an array of demo
and tutorial material, sampled instruments, loops,

Recording
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

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Mixers
activation process, the Studio One Content Installer will
appear. If it does not appear, navigate to Help/Studio One
Installation.

At the top of the installation menu, select the source from

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which the content will be installed, as well as the location
where you wish to install the content. The source of the
content will be the same DVD from which you installed
Studio One Artist. By default, Studio One Artist will point
to your DVD drive as the content source. Listed in the
installation menu are separate entries for each available

Information
Technical
item. Click in the checkbox next to each item you wish
to install, then click on the Install Packets button at the
bottom left of the menu to install the selected content.

When finished installing content, click on the Done button

to exit the menu.

Studio One Artist content can be installed at any time by

accessing the Help/Studio One Installation menu. If you
choose not to install any portion of the content, you can
install it at a later time.

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5.1 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. On this page, you will find document-
management and device-configuration controls, as well as a customizable artist profile, a news
feed, and links to demos and tutorials from PreSonus. If you have an Internet connection on your
computer, these links will be updated as new tutorials become available on the PreSonus Web site.

Complete information on all aspects of Studio One Artist is available in the Reference Manual PDF
located on the Studio One Artist Installation disc. The information in this tutorial covers only the
most basic aspects of Studio One Artist and is intended to get you set up and recording as quickly
as possible.

Start Page: Setup Area Shows Active Audio Driver and Sample Rate and
Provides Quick Links to Configure Audio and MIDI

In the middle of the Start page, you will see the Setup
area. Studio One Artist automatically scans your system
for all available drivers and selects a driver. By default, it
will choose a PreSonus driver if one is available.

Selecting a Different Audio

Driver from the Start Page
If you do not see “PreSonus FireStudio” on the Start
page when you launch Studio One, click on the Configure
Audio Devices link in the Setup area to open the Audio
Setup Options window.

In the Audio Device menu, select “PreSonus FireStudio.”

Click the Apply button and then OK.

After you have verified that the PreSonus FireStudio Universal driver has been detected, please
continue to Section 5.1.3 to set up your external MIDI devices. If you do not have any MIDI devices
to connect at this time, please skip to Section 5.1.4.

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Overview
5.1 Studio One Artist Quick Start

5.1.3 Configuring Your MIDI Devices

Connections
Controls &
From the External Devices window in Studio One Artist, you can configure your MIDI keyboard
controller, sound modules, and control surfaces. This section will take you through setting up your
MIDI keyboard controller and sound module. Please consult the Reference Manual located on
your Studio One Artist installation DVD for complete setup instructions for other MIDI devices.

Recording
Before beginning this section, you must first install the drivers for your MIDI interface or USB MIDI
Controller keyboard. Please consult the documentation that came with your MIDI hardware for
complete installation instructions.

Multiple
Mixers
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

Tutorials
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. Studio One
Artist views the two functions of these types of hardware as two different devices: a MIDI keyboard
controller and a sound module. The MIDI controls (keyboard, knobs, faders, etc.) will be set up as
a Keyboard. The sound module will be set up as an Instrument.

Information
Technical
Step 1

From the Setup area in the Start page, you can also set
up your external MIDI devices. Before we set up a new
Song for recording, let’s take a moment to configure
external devices. Connect the MIDI Out of your external
MIDI controller to a MIDI In on your MIDI interface. If you
are using a USB MIDI controller, simply connect it to your
computer and power it on.

Click on the Configure External Devices link in the Setup

area on the Start page to launch the External Devices
window.

Click the Add button.

Step 2

The Add Device window will launch.

From the menu on the left, select “New Keyboard.” At

this point, you can customize the name of your keyboard
by entering the manufacturer and device names.

Specify which MIDI channels will be used to communicate

with this keyboard. For most purposes, you should
select all MIDI channels. If you are unsure of which MIDI
channels to select, we suggest you select all 16.

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5.1 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. If your keyboard does need to receive
MIDI date, you must connect a MIDI cable from the MIDI
output of the MIDI breakout cable to the MIDI input of
the keyboard.
Step 4

If this is the only keyboard that you will use to control

the virtual instruments and your external synthesizers
in Studio One Artist, you should check the box next to
Default Instrument Input. This will automatically assign
your keyboard to control all MIDI devices in Studio One
Artist.

Click OK.

If you have a sound module you’d like to connect, leave

the External Devices window open and proceed to the
next part of this section. If not, you can close this window
and skip to Section 5.1.4.

Setting up an external MIDI sound module from the Start page.

MIDI instrument controllers (keyboards, MIDI guitars, etc.) send musical information in the form of
MIDI data to tone modules, which respond by generating sound, as instructed. Tone modules can be
standalone sound devices or can be integrated into a controller, as with a keyboard synthesizer. Studio
One Artist refers to all tone generators as Instruments. Once you have set up your MIDI keyboard
controller, take a moment to configure your sound module.

Step 1

Connect the MIDI In of your external sound module to the

MIDI Out of your MIDI interface.

In the External Devices window, click the Add button.

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Overview
5.1 Studio One Artist Quick Start

5.1.3 Configuring Your MIDI Devices

Connections
Controls &
Step 2

The Add Device window will launch.

Recording
From the menu on the left, select “New Instrument.” At
this point, you can customize the name of your sound
module by entering the manufacturer and device names.

Specify which MIDI channels will be used to communicate

with this keyboard. For most purposes, you should

Multiple
Mixers
select all MIDI channels. If you are unsure of which MIDI
channels to select, we suggest you select all 16.

Step 3

Tutorials
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.

Information
Technical
In the Receive From drop-down menu, select the MIDI-
interface output from which Studio One Artist will receive
MIDI data from your sound module. In most cases, your
sound module will not need to send information to Studio
One, so you can leave this unspecified.

Click OK and close the External Devices window. You are

now ready to start recording in Studio One Artist. The
rest of Section 5.1 will go over how to set up a Song and
will discuss some general workflow tips for navigating
through the Studio One Artist enviroment.

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5.1 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. Every track
is armed for recording, and no further setup is required.
Simply select this template and click “OK.”

The rest of this section will guide you through creating a

Song from an empty session.

Step 3

To begin a new Song, select “Empty Song” from the

Templates list. At this point, you should give your Song a
name and select your preferred sample rate and bit depth.
You can also determine the length of your Song and the
type of time format you would like to use (Notation Bars,
Seconds, Samples, or Frames). Click the OK button when
you are finished.

If you plan on importing loops into your Song, you may

want to select “Stretch Audio Loops to Song Tempo” so
that any loop of a known BPM (like those in the included
content library) will import at the correct tempo.

Step 4

When the Song window launches, launch the Audio

Setup window by going to File|Options… (PC) or Studio
One|Preferences (Mac), and click on the Audio Setup
button.

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Overview
5.1 Studio One Artist Quick Start

5.1.4 Configuring Audio I/O

Connections
Controls &
Step 5

Click on the Song Setup button to open the Song Setup

window, then click on the on the Audio I/O Setup icon.

Recording
Step 6

Multiple
Mixers
Click on the Inputs tab in the Audio I/O Setup window,
and you will see all of the available inputs on your
StudioLive. At this time, you can add the number and
type of inputs you plan to use. We recommend that you
create a mono input for each of the 16 inputs on your

Tutorials
StudioLive. If you plan on recording in stereo, you should
also create a stereo bus and assign it to the appropriate
set of inputs. You can remove any bus by simply selecting
it and clicking the remove button. To customize the name
of your buses, double-click on the default name to open

Information
a text box. When you have finished typing, hit Enter.

Technical
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. At this time, you
can add the number of output buses to which you would
like to have access and can give them custom names. We
recommend that you create a mono output for each for
the 16 FireWire Returns on your StudioLive as well as one
Stereo Output assigned to FireWire Returns 17-18 to use
for your Main Output. In the lower right corner, you will
see the Audition select menu. This allows you to choose
the ouput from which you will audition audio files prior to
importing them into Studio One Artist. In general, you will
want this to be the Main Out bus.

If you would like this output configuration available every

time you launch Studio One Artist, click the Make Default
button.

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5.1 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.

Step 2

In the Add Tracks window, you can select the number and
type of Tracks you’d like to create (Mono Audio, Stereo
Audio, Instrument, or Automation) and can customize the
name and the color.

Step 3

Once you have added your Tracks, you can assign the
input by simply clicking on the input to which a Track is
currently assigned. This will bring up your inputs list. You
can also access the Audio I/O Setup from here.

If you would like to add a Track for each of the available

inputs and have the routing automatically assigned,
simply go to Track | Add Tracks for All Inputs.

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Overview
5.1 Studio One Artist Quick Start

5.1.5 Creating a Song

Connections
Controls &
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

Recording
gain so the input level is near its maximum without clipping.

Connect a set of headphones to the StudioLive headphone output and select enable the Main button
in the Monitor section on your StudioLive. You may also wish to connect monitors to the StudioLive‘s
Control Room Outs. You are now ready to record. For complete instructions, please consult the Studio

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One Reference Manual, which is located on your Studio One Artist Installation DVD.

Creating MIDI Tracks

Tutorials
Step 1

Click on the Add Tracks button. When the Add Tracks

window launches, select Instrument as the Track Format

Information
and click the OK button.

Technical
Step 2

To assign your MIDI input, click on the MIDI Inputs list

and select your external sound module.

If you have added Virtual Inputs to your session, you will

also see them as available inputs.

If you selected your MIDI keyboard controller as the

default keyboard, it will already be selected. If not,
choose your MIDI controller from Output menu directly
below.

Step 3

To the left of the Add Track button, you will find the
Inspector button. Click it to display more parameters for
the selected track.

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5.1 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. (You also can listen on headphones, using the FireStudio
Project’s headphone output.) When you are ready to mix your Song, you must convert the recorded
MIDI data to an audio waveform by recording a new audio track.

Adding Virtual Instruments and Plug-in Effects to your Song

You can add plug-ins and Instruments to your Song by dragging-and-dropping from the browser. You
can also drag an effect or group of effects from one channel to another, drag in customized effects
chains, and instantly load your favorite virtual-instrument patch without ever scrolling through a menu.

Opening the Browser

In the lower right corner of the Arrange window are three

buttons. The Edit button opens or closes the Audio editor
or the MIDI piano-roll editor, depending on what type of
track is selected. The Mix button opens and closes the
mixer window.

The Browse button opens the Browser window, which

displays all of the available virtual instruments, plug-in
effects, audio files, and MIDI files, as well as the pool of
audio files loaded into the current session.

Drag and Drop Virtual

Instruments
To add a virtual instrument to your session, click the
Browse and Instrument buttons to open the Instrument
Browser. Select the instrument or one of its patches from
the Instrument Browser and drag it into the Arrange view.
Studio One Artist will automatically create a new track
and load the Instrument as the input.

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Overview
5.1 Studio One Artist Quick Start

5.1.5 Creating a Song

Connections
Controls &
Drag and Drop Effects

To add a plug-in effect to a track, click the Effects button

and select it or one of its presets in the Effects Browser,

Recording
then drag it over the track to which you would like to
add it.

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Drag and Drop Audio and MIDI

Tutorials
Files
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

Information
Technical
dragged it. If you drag the file to an existing track, the file
will be placed as a new part on the track.

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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.
Condenser microphones require a power source, which can be provided by a small battery, an
external power supply, or phantom power, which is usually provided by a mixer, preamplifier, or
direct (DI) box. Phantom power is sent over the same mic cable that carries the audio signal; the
term derives from the fact that there is no visible power cord, and the voltage is not perceptible in
the audio path. The StudioLive sends 48 VDC phantom power from the XLR inputs only.

5.2.2 Dynamic
Dynamic microphones are possibly the most widely used microphone type, especially in live shows.
They are relatively inexpensive, resistant to physical damage, and typically handle high sound-
pressure levels (SPL) very well. Unlike condenser microphones, dynamic microphones typically do
not require a power source. In most cases, phantom power has no effect on a dynamic microphone’s
audio quality or sensitivity.

Dynamic microphones, especially ribbon microphones, tend to generate low output voltages, so
they typically need more preamp gain than condenser microphones.

Ribbon

Ribbon microphones are a special type of dynamic microphone and get their name from the thin
metal ribbon used in their design. Ribbon microphones capture sound with very high fidelity—es-
pecially higher frequencies. However, they often are very fragile (many newer models are less so)
and typically cannot handle high SPLs.

The most important thing to note about ribbon microphones is that nearly all ribbon microphones
do not require phantom power. In fact, unless a ribbon microphone specifically calls for phantom
power, sending phantom power to a ribbon microphone can severely damage it—usually beyond
repair.

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Overview
5.2 Microphones

5.2.3 USB and other Types

Connections
Controls &
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

Recording
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.

If you are using a new or nonstandard type of microphone (e.g., USB, headset, laser, MEMS), ple-
ase consult your microphone’s user’s manual for power requirement and compatibility information.

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Regardless of the microphone type you are using, we recommend reading your microphone’s user’s
manual thoroughly before engaging phantom power and if other usage questions arise.

Tutorials
5.2.4 Microphone Placement
The following are a few recording applications to help you get started with your StudioLive. These
are by no means the only ways to record these instruments. Microphone selection and placement is

Information
an art form. For more information, visit your library or local bookstore, as there are many books and

Technical
magazines about recording techniques. The Internet is also a great source of recording information,
as are instructional videos. Some of these microphone placement suggestions can be used in live
applications as well and have been noted for your convenience.

Piano

Place one microphone above the high strings

and one microphone above the low strings.
Experiment with distance (the farther back the
more room you will capture). This technique can
be used for live applications as well.

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5.2 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 recor-
ding an amp with multiple speakers experiment
with each one to see if one sounds better than
the others. Place a condenser microphone ap-
proximately six feet away, pointed at the amp.
Experiment with distance. Also experiment with
inverting the phase of the room microphone to
check for phase cancellation (select the “fuller”-
sounding position). To use this technique in a live
application, omit the condenser microphone.

Acoustic Guitar

Place a small-diaphragm condenser microphone

pointed at the 12th fret, approximately 8 inches
away. Point a large-diaphragm condenser
microphone at the bridge of the guitar,
approximately 12 inches from the guitar.
Experiment with distances and microphone
placement. Another popular method is using
an XY microphone placement with two small-
diaphragm condenser microphones. (see drum
overheads photo on the next page).

Bass Guitar (Direct and Speaker)

Plug the electric bass guitar into a passive direct

box. Connect the instrument output from the
passive direct box to a bass amplifier. Place a
dynamic microphone an inch or two away from
the speaker and connect it to a StudioLive
microphone input. Connect the line output from
the passive direct box to a line input on a different
channel of the StudioLive. For recording, place
these signals on separate tracks. During mixing,
you can blend the direct and amplifier signal to
taste. This same technique can be used in live
applications.

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Overview
5.2 Microphones

5.2.4 Microphone Placement

Connections
Controls &
Drum Overheads (XY example)

Place two small-diaphragm condenser micro-

Recording
phones 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. Expe-
riment with height. This technique can be used

Multiple
in live applications as well.

Mixers
Tutorials
Information
Technical
Snare Drum (top and bottom)

Point a dynamic microphone at the center of

the snare making sure it is placed so that the
drummer will not hit it. Place a small-diaphragm
condenser microphone under the drum, pointed
at the snares. Experiment with the placement
of both microphones. Also experiment with
inverting the phase of the bottom microphone.
This technique can also be used in live
applications.

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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 ba-
sics of dynamics processing and will explain the various types of dynamics processors.

5.3.1 
Common Questions Regarding
Dynamics Processing
What is dynamic range?

Dynamic range can be defined as the distance between the loudest possible level to the lowest
possible level. For example, if a processor states that the maximum input level before distortion is
+24 dBu, and the output noise floor is -92 dBu, then the processor has a total dynamic range of 24
+ 92 = 116 dB.

The average dynamic range of an orchestral performance can range from -50 dBu to +10 dBu, on
average. This equates to a 60 dB dynamic range. Although 60 dB may not appear to be a large
dynamic range, do the math, and you’ll discover that +10 dBu is 1,000 times louder than -50 dBu!

Rock music, on the other hand, has a much smaller dynamic range: typically -10 dBu to +10 dBu, or
20 dB. This makes mixing the various signals of a rock performance together a much more tedious
task.

Why do we need compression?

Consider the previous discussion: You are mixing a rock performance with an average dynamic
range of 20 dB. You wish to add an uncompressed vocal to the mix. The average dynamic range
of an uncompressed vocal is around 40 dB. In other words, a vocal performance can go from -30
dBu to +10 dBu. The passages that are +10 dBu and higher will be heard over the mix. However,
the passages that are at -30 dBu and below will never be heard over the roar of the rest of the mix.
A compressor can be used in this situation to reduce (compress) the dynamic range of the vocal to
around 10 dB. The vocal can now be placed at around +5 dBu. At this level, the dynamic range of
the vocal is from 0 dBu to +10 dBu. The lower level phrases will now be well above the lower level
of the mix, and louder phrases will not overpower the mix, allowing the vocal to “sit in the track.”

The same points can be made about any instrument in the mix. Each instrument has its place, and
a good compressor can assist the engineer in the overall blend.

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5.3.1 Common Questions Regarding

Dynamics

Connections
Controls &
Does every instrument need compression?

Recording
This question may lead many folks to say “absolutely not, overcompression is horrible.” That
statement can be qualified by defining overcompression. The term itself must have been derived
from the fact that you can hear the compressor working. A well-designed and properly adjusted
compressor should not be audible! Therefore, the overcompressed sound is likely to be an improper
adjustment on a particular instrument—unless, of course, it is done intentionally for effect.

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Why do the best consoles in the world put compressors on every channel? The answer is simply
that most instruments need some form of compression, often very subtle, to be properly heard in
a mix.

Tutorials
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

Information
Technical
is raised. You might attempt to mute the vocal between phrases in an attempt to remove the
unwanted sounds; however this would probably end disastrously. A better method is to use a noise
gate. The noise-gate threshold could be set at the bottom of the dynamic range of the vocal, say
-10 dBu, such that the gate would shut out the unwanted signals between the phrases.

If you have ever mixed live sound, you know the problems cymbals can create by bleeding through
the tom mics. As soon as you add some highs to get some snap out of the tom, the cymbals come
crashing through, placing the horn drivers into a small orbit. Gating those tom mics so that the
cymbals no longer ring through them will give you an enormous boost in cleaning up the overall mix.

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5.3 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.

Compression and limiting are forms of dynamic-range (gain) control. Audio signals have very wide
peak-to-average signal-level ratios (sometimes referred to as dynamic range, which is the difference
between the loudest level and the softest level). The peak signal can cause overload in the audio-
recording or sound-reinforcement chain, resulting in signal distortion.

A compressor/limiter is a type of amplifier in which gain is dependent on the signal level passing
through it. You can set the maximum level a compressor/limiter allows to pass through, thereby
causing automatic gain reduction above some predetermined signal level, or threshold. Compression
refers, basically, to the ability to reduce, by a fixed ratio, the amount by which a signal’s output level
can increase relative to the input level. It is useful for lowering the dynamic range of an instrument
or vocal, making it easier to record without distorting the recorder. It also assists in the mixing
process by reducing the amount of level changes needed for a particular instrument.

Take, for example, a vocalist who moves around in front of the microphone while performing,
making the output level vary up and down unnaturally. A compressor can be applied to the signal
to help correct this recording problem by reducing the louder passages enough to be compatible
with the overall performance.

How severely the compressor reduces the signal is determined by the compression ratio and
compression threshold. A ratio of 2:1 or less is considered mild compression, reducing the output
by a factor of two for signals that exceed the compression threshold. Ratios above 10:1 are
considered hard limiting.

As the compression threshold is lowered, more of the input signal is compressed (assuming a nominal
input-signal level). Care must be taken not to overcompress a signal, as too much compression
destroys the acoustic dynamic response of a performance. (That said, overcompression is used by
some engineers as an effect, and with killer results!)

Limiting refers to the processing that prevents the signal from getting any louder (that is, it prevents
any increase in the signal’s amplitude) at the output.

Compressor/limiters are commonly used for many audio applications. For example:

• A
 kick drum can get lost in a wall of electric guitars. No matter how much the level is increased,
the kick drum stays lost in the “mud.” A touch of compression can tighten up that kick-drum
sound, allowing it to punch through without having to crank the level way up.

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5.3 A Brief Tutorial on Dynamics Processing

5.3.2 Types of Dynamics Processing

Connections
Controls &
• 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

Recording
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. Compression can make your
lead soar above the track without shoving the fader through the roof.

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• B
 ass guitar can be difficult to record. A consistent level with good attack can be achieved
with proper compression. Your bass doesn’t have to be washed out in the low end of the mix.
Let the compressor/limiter give your bass the punch it needs to drive the bottom of the mix.

Tutorials
Expansion

There are two basic types of expansion: dynamic and downward. Expansion increases the dynamic
range of a signal after the signal crosses the expansion threshold. Dynamic expansion is basically

Information
Technical
the opposite of compression. In fact, broadcasters use dynamic expansion to “undo” compression
before transmitting the audio signal. This is commonly referred to as companding’ or COMPression
followed by expANDING.

By far the most common use of expansion is downward expansion. In contrast to compression,
which decreases the level of a signal after it rises above the compression threshold, expansion
decreases the level of a signal after the signal goes below the expansion threshold. The amount of
level reduction is determined by the expansion ratio. For example, a 2:1 expansion ratio reduces
the level of a signal by a factor of two. (e.g., if a level drops 5 dB below the expansion threshold,
the expander will reduce it to 10 dB below the threshold.)

Commonly used for noise reduction, expansion is very effective as a simple noise gate. The major
difference between expansion and noise gating is that expansion is dependent on the signal level
after the level crosses the threshold, whereas a noise gate works independent of a signal’s level
beyond the threshold.

Noise Gating

Noise gating is the process of removing unwanted sounds from a signal by attenuating all signals
below a set threshold. As described above, the gate works independently of the audio signal after
being ‘triggered’ by the signal crossing the gate threshold. The gate will remain open as long as the
signal is above the threshold. How fast the gate opens to let the ‘good’ signal through is determined
by the attack time. How long the gate stays open after the signal has gone below the threshold is
determined by the hold time. How fast the gate closes is determined by the release. How much the
gate attenuates the unwanted signal while closed is determined by the range.

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5.3 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.

Compressors

• T
 hreshold. The compressor threshold sets the level at which compression begins. When the
signal is above the threshold setting, it becomes eligible for compression. Basically, as you
turn the threshold knob counterclockwise, more of the input signal becomes compressed
(assuming you have a ratio setting greater than 1:1).

• R
 atio. Ratio sets the compression slope. The ratio is the relationship between the output
level and the input level. In other words, the ratio sets the compression slope. For example, if
you have the ratio set to 2:1, any signal levels above the threshold setting will be compressed
at a compression ratio of 2:1. This simply means that for every 1 dB of level increase into
the compressor, the output will only increase 0.5 dB, thus producing a compression gain
reduction of 0.5 dB/dB. As you increase the ratio, the compressor gradually becomes a
limiter.

• L
 imiter. A limiter is a compressor that is set to prevent any increase in the level of a signal
above the threshold. For example, if you have the threshold knob set at 0 dB, and the ratio
turned fully clockwise, the compressor becomes a limiter at 0 dB, so that the output signal
cannot exceed 0 dB regardless of the level of the input signal.

• A
 ttack. Attack sets the speed at which the compressor acts on the input signal. A slow attack
time (fully clockwise) allows the beginning envelope of a signal (commonly referred to as the
initial transient) to pass through the compressor unprocessed, whereas a fast attack time
(fully counterclockwise) immediately subjects the signal to the ratio and threshold settings
of the compressor.

• R
 elease. Release sets the length of time the compressor takes to return the gain reduction
back to zero (no gain reduction) after the signal level drops below the compression
threshold. Very short release times can produce a very choppy or “jittery” sound, especially
in low-frequency instruments such as bass guitar. Very long release times can result in an
overcompressed sound; this is sometimes referred to as “squashing” the sound. All ranges
of release can be useful at different times, however, and you should experiment to become
familiar with the different sonic possibilities.

• H
 ard/Soft Knee. With hard-knee compression, the gain reduction applied to the signal occurs
as soon as the signal exceeds the level set by the threshold. With soft-knee compression,
the onset of gain reduction occurs gradually after the signal has exceeded the threshold,
producing a more musical response (to some folks).

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5.3.3 Vocabulary of Dynamics Processors

Connections
Controls &
• A
 uto. Places a compressor in automatic attack and release mode. The attack and release
knobs become inoperative and a preprogrammed attack and release curve is used.

Recording
• 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

Multiple
Mixers
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. When a
connector is inserted into this jack, the signal path is broken. The control signal can then
be processed by an equalizer, for example, to reduce sibilance (de-essing) in a vocal track.

Tutorials
The control signal is then returned to the unit via the connector. One common application for
a sidechain is when using a compressor to reduce the level of music or other background
sound whenever a narrator speaks or vocalist sings, allowing the voice to be clearly heard.
In this application, the vocal signal is routed to the sidechain input, while the music is routed
through the main compression circuitry. Now the compressor will automatically duck—that

Information
is, reduce the level of—the music whenever the narrator speaks or the vocalist sings.

Technical
Expanders

• D
 ownward Expansion. Downward expansion is the most common expansion used in pro
audio and recording. This type of expansion reduces the level of a signal when the signal falls
below a set threshold level. This is most common used for noise reduction.

• R
 atio. The expansion ratio sets the amount of reduction applied to a signal once the signal
has dropped below the expansion threshold. For example, a 2:1 expansion ratio attenuates
a signal 2 dB for every 1 dB it drops below the threshold. Ratios of 4:1 and higher act much
like a noise gate but without the ability to tailor the attack, hold, and release times.

Noise Gates

• T
 hreshold. The gate threshold sets the level at which the gate opens. Essentially, all signals
above the threshold setting are passed through unaffected, whereas signals below the
threshold setting are reduced in level by the amount set by the range control. If the threshold
is set fully counterclockwise, the gate is turned off (always open), allowing all signals to pass
through unaffected.

• A
 ttack. The gate attack time sets the rate at which the gate opens. A fast attack rate is
crucial for percussive instruments, whereas signals such as vocals and bass guitar require
a slower attack. Too fast of an attack can, on these slow-rising signals, cause an artifact in
the signal producing an audible click. All gates have the ability to click when opening but a
properly set gate will never click.

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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. Release times
should typically be set so that the natural decay of the instrument or vocal being gated is
not affected. Shorter release times help to clean up the noise in a signal but may cause
“chattering” in percussive instruments. Longer release times usually eliminate “chattering”
and should be set by listening carefully for the most natural release of the signal.

• R
 ange. The gate range is the amount of gain reduction that the gate produces. Therefore, if
the range is set at 0 dB, there will be no change in the signal as it crosses the threshold. If
the range is set to -60 dB, the signal will be gated (reduced) by 60 dB, etc.

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5.3 A Brief Tutorial on Dynamics Processing

5.3.4 General Compressing Setting

Suggestions

Connections
Controls &
The following are the compression presets that were used in the PreSonus BlueMax. We have
included them as a jumping-off point for setting up compression on your StudioLive.

Recording
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.”

Multiple
Mixers
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.

Tutorials
Threshold Ratio Attack Release
-3.3 dB 2.8:1 0.002 ms 38 ms

Screamer. This setting is for loud vocals. It is a fairly hard compression setting for a vocalist who

Information
Technical
is on and off the microphone a lot. It puts the voice “in your face.”

Threshold Ratio Attack Release

-1.1 dB 3.8:1 0.002 ms 38 ms

Percussion

Snare/Kick. This setting allows the first transient through and compresses the rest of the signal,
giving a hard “snap” up front and a longer release.

Threshold Ratio Attack Release

-2.1 dB 3.5:1 78 ms 300 ms

Left/Right (Stereo) Overheads. The low ratio and threshold in this setting gives a “fat” contour to
even out the sound from overhead drum mics. Low end is increased, and the overall sound is more
present and less ambient. You get more “boom” and less “room.”

Threshold Ratio Attack Release

-13.7 dB 1.3:1 27 ms 128 ms

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5.3 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. This setting accentuates the attack of the acoustic guitar and helps maintain an
even signal level, keeping the acoustic guitar from disappearing in the track.

Threshold Ratio Attack Release

-6.3 dB 3.4:1 188 ms 400 ms

Electric Guitar. This is a setting for “crunch” electric rhythm guitar. A slow attack helps to get the
electric rhythm guitar “up close and personal” and gives punch to your crunch.

Threshold Ratio Attack Release

-0.1 dB 2.4:1 26 ms 193 ms

Keyboards

Piano. This is a special setting for an even level across the keyboard. It is designed to help even
up the top and bottom of an acoustic piano. In other words, it helps the left hand to be heard along
with the right hand.

Threshold Ratio Attack Release

-10.8 dB 1.9:1 108 ms 112 ms

Synth. The fast attack and release on this setting can be used for synthesizer horn stabs or for bass
lines played on a synthesizer.

Threshold Ratio Attack Release

-11.9 dB 1.8:1 0.002 ms 85 ms

Orchestral. Use this setting for string pads and other types of synthesized orchestra parts. It will
decrease the overall dynamic range for easier placement in the mix.

Threshold Ratio Attack Release

3.3 dB 2.5:1 1.8 ms 50 ms

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Overview
5.3 A Brief Tutorial on Dynamics Processing

5.3.4 General Compressing Setting

Suggestions

Connections
Controls &
Stereo Mix

Stereo Limiter. Just as the name implies, this is a hard limiter, or “brick wall,” setting—ideal for

Recording
controlling the level to a two-track mixdown deck or stereo output.

Threshold Ratio Attack Release

5.5 dB 7.1:1 0.001 ms 98 ms

Multiple
Mixers
Contour. This setting fattens up the main mix.

Threshold Ratio Attack Release

-13.4 dB 1.2:1 0.002 ms 182 ms

Tutorials
Effects

Squeeze. This is dynamic compression for solo work, especially electric guitar. It gives you that
glassy “Tele/Strat” sound. It is a true classic.

Information
Technical
Threshold Ratio Attack Release
-4.6 dB 2.4:1 7.2 ms 93 ms

Pump. This is a setting for making the compressor “pump” in a desirable way. This effect is good
for snare drums to increase the length of the transient by bringing the signal up after the initial
spike. It is very contemporary.

Threshold Ratio Attack Release

0 dB 1.9:1 1 ms 0.001 ms

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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.

5.4.1 What is an EQ?

An equalizer is a filter that allows you to adjust the level of a frequency, or range of frequencies, of
an audio signal. In its simplest form, an EQ will let you turn the treble and bass up or down, allowing
you to adjust the coloration of, let’s say, your car stereo or an iPod. In recording, equalization is a
sophisticated art. Good equalization is critical to a good mix.

When used correctly, an equalizer can provide the impression of nearness or distance, “fatten” or
“thin” a sound, and help blend or provide separation between similar sounds in a mix allowing them
to both shine through the mix.

The Parametric EQ

The Parametric EQ and semi-Parametric EQ are the most common equalizers found in recording
and live situations because they offer continuous control over all parameters. A parametric EQ
offers continuous control over the audio signal’s frequency content, which is divided into several
bands of frequencies (most commonly three to seven bands). A fully parametric EQ offers control
over the bandwidth (basically, the range of frequencies affected), the center frequency of the band,
and the level (boost/cut) of the designated frequency band. It may also offer separate control over
the Q, which is the ratio of the center frequency to the bandwidth. A semi-parametric EQ, like those
in the StudioLive, provides control over most of these parameters but usually the bandwidth is
fixed.

The Q

Although a semi-parametric EQ such as those in the StudioLive does not provide a continuous
bandwidth control, it offers an indirect way of switching between wide and narrow bandwidth: the
Hi Q switch. Q is the ratio of center frequency to bandwidth, and if the center frequency is fixed,
then bandwidth is inversely proportional to Q—meaning that as you raise the Q, you narrow the
bandwidth. (In fully parametric EQs, you have continuous bandwidth control and/or continuous Q
control, rather than a high/low Q switch.) This allows you to attenuate or boost a very narrow or
wide range of frequencies.

A narrow bandwidth (high Q) has obvious attenuation benefits for removing unpleasant tones. Let’s
say the snare drum in your mix has an annoying ring to it. With a very narrow bandwidth, you can
isolate this one frequency (usually around 1 kHz) and remove, or reject, it. This type of narrow band-
reject filter is also known as a notch filter. By notching out the offending frequency, you can remove
the problem without removing the instrument from the mix. A narrow bandwidth is also useful in

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Overview
5.4 Equalizers

5.4.1 What is an EQ?

Connections
Controls &
boosting pleasant tones of an instrument such as the attack. Take for instance, a kick drum. A kick
drum resonates somewhere between 60 to 125 Hz, but the attack of the kick drum is much higher at
2 to 5 kHz. By setting a narrow bandwidth and boosting the attack a bit, you can achieve a punchier

Recording
kick drum without overpowering the rest of the mix.

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

Multiple
centered around 100 Hz and an attack hitting almost dead-on at 4 kHz. In this example, you would

Mixers
use a broad bandwidth in the low frequency band, centered at 100 Hz, and a narrow bandwidth
boosted at 4 kHz. In this way you are accentuating the best and downplaying everything else this
particular kick drum has to offer.

Tutorials
Shelving EQ

A shelving EQ attenuates or boost frequencies above or below a specified cutoff point. Shelving
equalizers come in two different varieties: high-pass and low-pass.

Information
Technical
Low-pass shelving filters pass all frequencies below the specified cutoff frequency while attenuating
all the frequencies above it. A high-pass filter does the opposite: passing all frequencies above the
specified cut-off frequency while attenuating everything below.

Graphic EQ

The StudioLive 16.4.2 features a 31 band Graphic EQ that can be inserted on the Main bus. A
graphic EQ is a multi-band equalizer that uses sliders to adjust the amplitude for each frequency
band. It gets its name from the positions of the sliders “graphing” the resulting frequency response
curve. As explained in Section 2.10.4, the encoders in the Fat Channel are used to make amplitude
adjustments, and the meter LED’s display the “slider” positions. The center frequency and bandwidth
are fixed for each band, the level (amplitude) for each band is the only adjustable parameter.

Graphic EQ’s are generally used to fine-tune the overall mix it to a particular room. For instance, if
you are mixing in a “dead” room, you may want to boost high frequencies and roll off some of the
lows. If you are mixing in a “live” room, you might need to lower the high-midrange and highest
frequencies. In general, you should not make drastic amplitude adjustments to any particular
frequency band(s). Instead, make smaller incremental adjustments over a wider spectrum to round
out your final mix. To assist you with these adjustments, here is an overview of which frequencies
affect different sound characteristics:

• Sub-Bass (16Hz to 60 Hz): These very low bass frequencies are felt rather than heard, as with
freeway rumbling or an earthquake. These frequencies give your mix a sense of power even
when they only occur occasionally. However, overemphasizing frequencies in this range will
result in a muddy mix.

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5.4 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. Boosting the range from 250Hz to 500Hz will accent
ambience in the studio and will add clarity to bass and lower frequency instruments. The range
between 500Hz and 2 kHz can make mid-range instruments (guitar, snare, saxophone, etc)
“honky” and too much boost between 1 kHz and 2 kHz will make your mix sound thin or “tinny”.

• High-Mids (2 kHz to 4 kHz): The attack in percussive and rhythm instruments occurs in this
range. High-mids are also responsible for the projection of mid-range instruments.

• Presence (4 kHz to 6 kHz): This frequency range is responsible for the clarity of your mix and
provides a measure of control over the perception of distance. If you boost this frequency ran-
ge, the mix will be perceived as closer to the listener. Attenuating around 5 kHz will make the
mix sound further away, but also more transparent.

• Brilliance (6 kHz to 16 kHz): While this range controls the brilliance and clarity of your mix,
boosting it too much can cause some clipping so keep an eye on your Main meter.

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Overview
5.4 Equalizers

5.4.2 How to Find the Best and

Leave the Rest

Connections
Controls &
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:

Recording
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). Each instrument
resonates the most in a specific frequency band, so if you are working on your kick-drum mic, start
with the lowest band of the EQ. Tune in the best-sounding low end and move on to the attack. It is

Multiple
not uncommon to hear an annoying ringing or a “twang” mixed in with your amazing-sounding low

Mixers
end and perfect attack, so your next task will be to find that offending frequency and notch it out.
Once you are satisfied with your kick drum, mute it, and move on to the next instrument.

Taking your time with equalization is well worth the effort. Your mix will have better separation and

Tutorials
more clarity when each instrument’s EQ is set so that it shines through the mix. Some final advice:

• Y
 ou can only do so much. Not every instrument can or should have a full, rich low end and a
sharp attack. If every instrument is EQ’d to have the same effect, it will lose its identity in the
mix. Your goal is not individual perfection, it is perfection in unity.

Information
Technical
• S
 tep away from the mix. Your ears get fatigued just like the rest of you. If you are working
particularly hard on one instrument, your ears will be quite literally numbed to that frequency
range.

• Y
 our memory is not what you think it is. Comparing a flat EQ and the curve that you’ve
created allows you to see exactly what you’ve done. So be honest with yourself. Sometimes
that EQ setting you’ve been working on for 15 minutes is not the right choice, so move on.

• N
 ever be afraid of taking a risk. The best EQ tricks were found by mad scientists of sound.
“Playing” applies to engineers as well as musicians.

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5.4 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. Remember, these are just
suggestions; these frequencies may need to be adjusted up or down depending on the instrument,
room, and microphone.

Table 1

Instrument What to Cut Why to Cut What to Boost Why to Boost

Human Voice 7 kHz Sibilance 8 kHz Big sound

2 kHz Shrill 3 kHz and above Clarity

1 kHz Nasal 200-400 Hz Body

80 Hz and below Popping P’s

Piano 1-2 kHz Tinny 5 kHz More presence

300 Hz Boomy 100 Hz Bottom end

Electric Guitar 1-2 kHz Shrill 3 kHz Clarity

80 Hz and below Muddy 125 Hz Bottom end

Acoustic Guitar 2-3 kHz Tinny 5 kHz and above Sparkle

200 Hz Boomy 125 Hz Full

Electric Bass 1 kHz Thin 600 Hz Growl

125 Hz Boomy 80 Hz and below Bottom end

String Bass 600 Hz Hollow 2-5 kHz Sharp attack

200 Hz Boomy 125 Hz and below Bottom end

Snare Drum 1 kHz Annoying 2 kHz Crisp

150-200 Hz Full

80 Hz Deep

Kick Drum 400 Hz Muddy 2-5 kHz Sharp attack

80 Hz and below Boomy 60-125 Hz Bottom end

Toms 300 Hz Boomy 2-5 kHz Sharp attack

80-200 Hz Bottom end

Cymbals 1 kHz Annoying 7-8 kHz Sizzle

8-12 kHz Brilliance

15 kHz Air

Horns 1 kHz Honky 8-12 kHz Big Sound

120 Hz and below Muddy 2 kHz Clarity

String section 3 kHz Shrill 2 kHz Clarity

120 Hz and below Muddy 400-600 Hz Lush and full

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5.4 Equalizers

5.4.4 To Boost or Not To Boost

Connections
Controls &
Table 2

Recording
Multiple
Mixers
Tutorials
Information
Technical

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5.4 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 4.2.4, the right EQ setting for any given instrument will depend
upon the room and the tonality of the instrument.

Vocals

Pop Female Vocals

LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID
ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN
ON PEAK 130 -2 ON LOW 465 -2

HI MID HI MID HI MID HI MID HI HI HI HI

ON/OFF LO/HI FREQ (kHz) GAIN ON/OFF PEAK/SHELF FREQ (kHz) GAIN
ON LO 2.4 +2 ON PEAK 6.0 +8

Rock Female Vocals

LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID
ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN
ON SHELF 155 +4 ON LOW 465 +6

HI MID HI MID HI MID HI MID HI HI HI HI

ON/OFF LO/HI FREQ (kHz) GAIN ON/OFF PEAK/SHELF FREQ (kHz) GAIN
ON LO 1.4 +6 ON PEAK 4.2 +2

Pop Male Vocals

LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID
ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN
ON PEAK 225 -2 ON HI 960 0

HI MID HI MID HI MID HI MID HI HI HI HI

ON/OFF LO/HI FREQ (kHz) GAIN ON/OFF PEAK/SHELF FREQ (kHz) GAIN
ON LO 2.0 +2 ON PEAK 7.2 +4

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5.4 Equalizers

5.4.4 General EQ Setting Suggestions

Connections
Controls &
Rock Male Vocals

LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID

Recording
ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN
ON PEAK 155 +2 ON HI 265 -6

HI MID HI MID HI MID HI MID HI HI HI HI

ON/OFF LO/HI FREQ (kHz) GAIN ON/OFF PEAK/SHELF FREQ (kHz) GAIN

Multiple
Mixers
ON HI 2.4 -2 ON SHELF 7.2 +4

Percussion

Snare

Tutorials
LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID
ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN
ON PEAK 130 -4 ON LOW 665 +4

Information
Technical
HI MID HI MID HI MID HI MID HI HI HI HI
ON/OFF LO/HI FREQ (kHz) GAIN ON/OFF PEAK/SHELF FREQ (kHz) GAIN
ON LO 1.6 +4 ON SHELF 4.2 +4

Left/Right (Stereo) Overheads

LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID
ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN
ON SHELF 108 -2 ON LOW 385 -2

HI MID HI MID HI MID HI MID HI HI HI HI

ON/OFF LO/HI FREQ (kHz) GAIN ON/OFF PEAK/SHELF FREQ (kHz) GAIN
ON LO 2.9 +2 ON SHELF 8 4

Kick Drum

LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID
ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN
ON PEAK 108 +4 ON HI 265 -4

HI MID HI MID HI MID HI MID HI HI HI HI

ON/OFF LO/HI FREQ (kHz) GAIN ON/OFF PEAK/SHELF FREQ (kHz) GAIN
ON LO 1.6 0 ON SHELF 6.0 +4

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5.4 Equalizers

5.4.4 General EQ Setting Suggestions

Fretted Instruments

Electric Bass

LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID
ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN
ON SHELF 36 -8 ON HI 130 +4

HI MID HI MID HI MID HI MID HI HI HI HI

ON/OFF LO/HI FREQ (kHz) GAIN ON/OFF PEAK/SHELF FREQ (kHz) GAIN
ON LO 2.0 +4 ON SHELF 4.2 0

Acoustic Guitar

LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID
ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN
ON PEAK 155 +4 ON LOW 665 +2

HI MID HI MID HI MID HI MID HI HI HI HI

ON/OFF LO/HI FREQ (kHz) GAIN ON/OFF PEAK/SHELF FREQ (kHz) GAIN
ON LO 2.0 0 ON SHELF 6.0 +4

Distorted Electric Guitar

LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID
ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN
ON PEAK 320 +6 ON LOW 960 0

HI MID HI MID HI MID HI MID HI HI HI HI

ON/OFF LO/HI FREQ (kHz) GAIN ON/OFF PEAK/SHELF FREQ (kHz) GAIN
ON HI 3.5 +4 ON SHELF 12 0

Keyboards

Piano

LOW LOW LOW LOW LOW MID LOW MID LOW MID LOW MID
ON/OFF PEAK/SHELF FREQ (Hz) GAIN ON/OFF HI/LOW Q FREQ (Hz) GAIN
ON SHELF 108 -2 ON LO 665 +2

HI MID HI MID HI MID HI MID HI HI HI HI

ON/OFF LO/HI FREQ (kHz) GAIN ON/OFF PEAK/SHELF FREQ (kHz) GAIN
ON LO 2.9 +2 ON PEAK 7.2 +4

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Overview

5.5 Subgroup Mixing

Connections
Controls &
A subgroup allows you to combine multiple channels in a single bus so that the overall level for
the entire group is controlled by a single fader. In addition to level control, the StudioLive allows
you to apply the Fat Channel’s noise gate, limiter, compression, and EQ to the group as a whole, in

Recording
addition to the processing available for each channel. Subgroups can also be soloed and muted.

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.

Multiple
Mixers
5.5.1 Instrument groups

Tutorials
Grouping individual instruments that create a section in your mix has obvious advantages: the
entire group can be muted or soloed, brought up or down in a mix, and faded in or out for a more
polished intro or outro. Some of the most common submix groups are drums, backing vocals, horn
sections, and string sections. Drums are a classic application for subgroup mixing. We will be using
a drum group in this particular example but these principles can be applied to group any type of

Information
instrument section in a live mix.

Technical
A drum group is especially useful when every piece in the drum kit has a microphone on it. In this
example, our drums will be connected to the StudioLive as follows:

• Channel 1: Kick
• Channel 2: Snare Top
• Channel 3: Share Bottom
• Channel 4: Floor Tom
• Channel 5: Tom 1
• Channel 6: Tom 2
• Channel 7: Overhead Left
• Channel 8: Overhead Right
• Channel 9: Hi-Hat

We will create a stereo subgroup by linking Subgroups 1 and 2.

The first step in creating a subgroup is to get a

good mix of the instruments you are grouping
together, in this case, the drums. With the
drummer’s assistance, set the input trim, EQ, and
dynamics for each drum separately. As you select and solo each channel, assign each channel to
be routed to Subgroup 1.

After you have gone through the entire kit and

are satisfied with each channel’s level, EQ, and
dynamics, unsolo your final channel. Have the
drummer play the entire kit and set the relative

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5.5 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.

Now assign Subgroup 1 to the Main outputs; since Subgroup 2 is linked to Sub 1, it is automatically
assigned to the Main outs as well. You can now use the Fat Channel section to add dynamics
processing and EQ to the stereo drum group. Subgroup 1’s fader controls the level for the left side
of your drum mix, and Subgroup 2’s fader controls the right side.

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5.5 Subgroup mixing

5.5.2 Effects Group

Connections
Controls &
This is perhaps one of the most creative ways in which a subgroup can be used. By assigning an
effects mix to a subgroup, the front-of-house engineer can become, in effect, a member of the band.
This is especially useful when employing specialty or signature effects. What would an electronic

Recording
band sound like if the vocal mix didn’t dramatically trail of in a wash of reverb—or a reggae band
without delay on theirs? The StudioLive allows you to assign either or both of the onboard effects
buses to a subgroup. So let’s take the example of the reggae band.

In this example we will assign the delay on EFX A (effects bus A) to Subgroup 3. Press the FX

Multiple
button in the Master Control section to access the Effects menu. In the EFX A parameters, use

Mixers
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. In dub and reggae music, the vocals are
most commonly sent to a delay, so let’s send our two vocalists on channels 10 and 11 to that delay.

Tutorials
To assign the vocals, select the Mix button on EFX A. Using your meter section, locate the send
encoders for channels 10 and 11 and turn them to a little more than 50%. Press the Select button
for EFX A and assign this bus to Subgroup 3 and to the main outputs. If you like you can also add
some dynamics processing and EQ at this point as well.

Information
Technical
Press the Select button for Subgroup 3 and
assign the group to the main output. (Because
a delay can increase the signal’s volume quite
dramatically, you may want to experiment with
the delay at its most intense setting, with EFX
A’s output turned up, and use the limiter for
Subgroup 3 to keep the level under control.) The
level of the vocal delay is now controlled by the
Subgroup 3 fader, and you can use it to season your reggae band’s performance. The Tap button
allows you to go one step further and set the tempo of the delay to match the tempo of the song.

There are several advantages to assigning an effect like delay or reverb to a subgroup rather than
simply leaving it on the effects aux bus:

• You can quickly add or subtract the effect by grabbing a fader.

• The effect can be muted or soloed.
• T
 he performers on stage can have a different amount of the effect in their monitor mix than
the audience hears in the main mix, enabling you to reduce the possibility of feedback while
providing the performers with the tools they need for the best performance possible.

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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. As with the subgroup buses, the StudioLive allows you to add global
dynamics processing and EQ to these aux buses in addition to the individual channel processing.

5.6.1 Monitor Mixing

In both the live and studio environments, creating custom monitor mixes for your musicians is
critical. If a musician can’t hear themselves or their band mates, their performance will suffer. A
monitor mix can be either mono or stereo. Most often, an individual live monitor mix is mono and is
sent to a floor-wedge monitor. (The obvious exception is in-ear monitor systems.) A studio monitor
mix is usually stereo and is sent to a headphone amplifier, so it requires both a left and a right
channel input. In either case, the function of the aux bus does not change.

As an example, let’s create a mono monitor mix on Aux 1. To begin, press the Mix button in the Aux
1 section. The meter section of the StudioLive will now display the amount of send to this aux bus
from each of the 16 channels. Keep in mind that the aux mix is completely independent of every
other output (main bus, subgroups, direct out, etc.). The encoders below each meter control the
channel send level to Aux 1. Use them the same way you use the faders to set the output level to
your main mix. Ask your musicians what they would like in their monitor mix and use their requests
as a starting point to create the best mix for them.

By pressing the Select button for Aux 1, you can add in some dynamic processing and EQ to the
overall monitor mix. These are especially useful in eliminating feedback in a monitor. Keep in mind,
an EQ can also be used to increase the presence of an instrument by boosting that particular
frequency range without necessarily boosting the volume in the mix. This is great for getting the lead
guitar to cut through in the guitarist’s monitor mix and to provide that extra rumble in the bassist’s
mix. You can listen to the mix you are creating in any of the auxes in either your headphones or your
control-room monitor by simply soloing the aux and selecting Solo as the source in the Monitor
section.

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5.6 Aux Bus mixing

5.6.2 Effects Processing

Connections
Controls &
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.

Recording
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. This section will
detail how to utilize an external effects processor with your StudioLive mixes.

Multiple
In this example, we will use Aux 3 to feed an external effects processor. To begin, connect your

Mixers
external effects processor to your StudioLive as detailed in the hookup diagram below:

Tutorials
Information
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5.6 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. You
will use these encoders to set the send levels
from the aux bus to the effects processor, the
same way you used them to create a monitor
mix, only in this case you will decide which channels will be sent to the external multi-effects
processor and how much will be sent.

Let’s say that you are inserting an external reverb to liven up a relatively dead room. You might send
a little bit of each input to the reverb, but you probably will not want much of the drums and bass
to be processed, as too much reverb could reduce their impact and leave your mix without a sturdy
foundation. So rather than turning the Aux send level for the kick drum channel all the way up, turn
it to the 7 or 8 o’clock position so that only a small portion of the kick drum input will be affected
by the reverb.

Once you have determined your effects mix, you can press the Select button for Aux 3 to add
dynamics processing and EQ to the aux mix before it is sent to the external effects processor. The
effects processor’s output is patched to Aux Input A, so you can use the Select button for Aux Input
A to add Fat Channel dynamics processing and EQ to the reverb-enhanced signal. The knob for Aux
Input A controls the level of the aux mix relative to the level of your main mix.

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Overview

5.7 Digital Effects

Connections
Controls &
The StudioLive includes a stereo effects processor that features the two most common type of
effects is use today for live sound: reverb and delay.

Recording
5.7.1 Reverb
Reverberation or reverb, as it is more commonly known, is perhaps the most widely used effect.
Natural reverb is created by sound waves being reflected off of a surface or many surfaces. For

Multiple
Mixers
example, when you walk across the wooden stage in a large hall, thousands of reflections are
generated almost instantaneously as the sound waves bounce off the floor, walls, and ceilings.
These are known as early reflections, and their pattern provides psycho-acoustic indications as to
the nature of the space that you are in, even if you can’t see it. As each reflection is then reflected

Tutorials
off of more surfaces, the complexity of the sound increases while the reverb slowly decays.

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

Information
therefore more pleasing to the listener.

Technical
There are several parameters that can be adjusted in a reverb effect:

 ecay. Decay is the time required for the reflections (reverberation) to die away. In most modern
D
music production, reverb decay times between one and three seconds are prevalent. A reverb
setting with strong early reflections and a quick decay are a great way to create a stereo effect
from a mono source.

 re-delay. Pre-delay is the time between the end of the initial sound and the beginning of the
P
first reflections being audible. Imagine you’re back on that stage in a large music hall. This time
you stand on the very edge of the stage and shout “Hello world!” toward the center of the hall.
There will be a brief pause before you hear the first noticeable reflections of your voice, because
the sound waves can travel much further before encountering a surface and bouncing back.
(There are closer surfaces, of course—notably the floor and the ceiling just in front of the sta-
ge—but only a small part of the direct sound will go there, so those reflections will be much less
noticeable.) Adjusting the pre-delay parameter on a reverb allows you to change the apparent
size of the room without having to change the overall decay time. This will give your mix a little
more transparency by leaving some space between the original sound and its reverb.

 F and LF decay. The types of surfaces in a space also affect the sound. Carpet and soft
H
furnishings will absorb more high-frequency waves, thereby reducing the high-frequency decay
time, while hard surfaces such as tile or stone reflect sound extremely well, resulting in a
“brighter” ambience. Similarly, the high-frequency (HF) and low-frequency (LF) decay time allow
you to adjust the “brightness” or “darkness” of the reverb, enabling you to better emulate these
environmental factors.

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5.7 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. A delay essentially creates an echo, although you can often use delays to create more
complex time-based effects. The source signal is delayed so that it is heard later than it actually
occurred.

 elay time. Delay time is the time between the source signal and its echo. The simplest delay
D
effect is a single repeat. A short delay between 30 and 100 ms can be used to create slap-back
echo, while longer delay times produce a more distant echo. Delay times that are too short to
hear distinct echoes can be used to create thickening effects. Whether these echoes are timed
with the tempo is a matter of stylistic choice.

Variable feedback. The variable feedback, or regeneration, produces multiple decaying re-
peats. Increasing the feedback value increases the number of echoes as well as the resonance
that is created as one echo disappears into another.

Note: Using the Tap button on the StudioLive, you can speed up or slow down these repeats or,
more commonly, time the repeats to occur with the tempo of the music.

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5 Tutorials

5.8 Level Setting Procedure

Connections
Controls &
Setting the proper levels is an important part of getting the right sound. The following steps will
assist you in quickly setting your levels.

Recording
1) Turn each of the 16 trims to 0/-20.

Multiple
Mixers
3) Press the Input button in the Meter Section

Tutorials
3) In the Solo bus section, select PFL and turn
the Cue level to 12:00.

Information
Technical
4) Select the Solo button in the Monitor section
and adjust the volume for your headphones
or control-room monitors.

5) Solo your first channel and turn the trim to the

desired level on the meter. Be careful not get
the signal above 0 dBFS. You do not want to
clip the ADC converters.

When all else fails, just remember: button, button, knob, button, knob, button, knob

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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. This is the StudioLive’s default
setting.

• P
 FL (Pre-Fade Listen). PFL sends the
channel or subgroup signal to the Solo
bus before it reaches the fader, so the
fader does not affect the soloed signal.

• S
 IP (Solo In Place). This is also known
as destructive solo. When channels
are soloed in this mode, every channel
that isn’t soloed will be muted, and
only the soloed channel(s) will be sent to their assigned outputs. While very useful in dialing
in dynamics during sound check, this mode is very dangerous during a live show situation. It
is highly recommended that this mode be turned off when mixing in strictly live applications.

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Overview
5.9 The Solo Bus

5.9.1 Using the Solo Bus for Monitoring

Connections
Controls &
When mixing live or when recording multiple musicians at once, it is often necessary to quickly
listen in on just one instrument or group. The Solo and Monitor buses can be used together for this
purpose. It is important to note that if you wish to monitor with speakers rather than headphones,

Recording
it is necessary to connect the speakers to the TRS Control Room outputs on the back of your
StudioLive rather than to one of the main output pairs.

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,

Multiple
press the Solo buttons on the channels and subgroups you want to monitor. Turn the Cue knob in

Mixers
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. You can increase the overall volume
of the Solo bus using the Cue knob in the Solo section.

Tutorials
This feature can also be used to listen in on a monitor mix that is being routed to an aux send. Let’s
say your vocalist on stage is complaining that there is too much bass in his monitor, but you are
confident that no bass is being sent to that particular aux send. You could be mistaken, but most
likely an open microphone on stage is picking up the bass signal. To determine the cause, solo only
the aux send in question and, again, select the Solo button for the monitors/headphones. You can

Information
Technical
now listen to exactly the same mix as your troubled vocalist and fix his monitor mix quickly. This
application is also useful in heading off a feedback problem.

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5.9 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.
It is highly recommended that you drop out of this mode once the show has started.

5.9.3 Using Solo in Place (SIP)

to Set Up a Mix

In Section 5.8, we discussed a quick and easy way to set up the input levels for your StudioLive,
ensuring that you have the highest possible input level without clipping your analog-to-digital
converters. The next step is to set up your mix by dialing in the dynamics, EQ, and fader settings
for each channel. Enter Solo In Place (SIP).

As discussed earlier in Section 5.5.1, most engineers start with the drums and work from the
bottom up. To begin, bring all your faders down and raise your main fader to unity gain. Press and
hold the SIP button in the Cue section until it illuminates and press the Solo button on your kick-
drum mic channel. Notice that all the other channels on your StudioLive have been muted. Bring
up the fader on the kick-drum channel and press the channel’s Select button. The Fat Channel will
now display the dynamics processing, EQ, output routing, and pan settings for the kick drum. Using
the encoders and meters in the Fat Channel, set up the compressor and EQ for this channel. Once
you are satisfied, bring the fader back down and press the Solo button again. Next, press the Solo
button on the snare mic channel and repeat this procedure. In this way continue with each drum
mic and then move on to the other instruments that are connected to your StudioLive. When you
have finished with all the instruments, press the SIP button again and slowly bring up your faders
to set up your mix.

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Overview
6.1 Troubleshooting

Connections
Controls &
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

Recording
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. Please check our
Web site, www.presonus.com, regularly for software information and updates, firmware updates,
and support documentation for Frequently Asked Questions. Individual technical assistance may
be received by calling PreSonus at 225-216-7887, Monday through Friday between the hours of

Multiple
9 am and 5 pm CST. PreSonus Technical Support is available via email during the same hours at

Mixers
[email protected].

Pops and Clicks

Tutorials
Pops and clicks in your audio could be caused by momentary losses of synchronization between
the StudioLive and its clock source. This can be due to a FireWire card that is not suited for FireWire
audio devices or to a lack of CPU resources or available memory. Try closing all unnecessary
programs, increasing the buffer size in the FireStudio Control Console, and optimizing your
operating system for audio.

Information
Technical
Other known causes of this issue are wireless networks and running other FireWire devices (FW400
or FW800) in parallel to your StudioLive. Because of this, it is recommended that PC users disable
their wireless network from their System Control Panel and Mac users turn AirPort off while the
StudioLive is connected to their computer. If other FireWire devices, like external hard drives, need
to be connected to your computer at the same time, connect them to the auxiliary FireWire port
on the back of your StudioLive or install a dedicate FireWire bus on your computer for either the
StudioLive or your FireWire peripherals.

Recommended FireWire Chipsets

The StudioLive will work with a wide range of FireWire cards and configurations. However, due to
the plethora of FireWire chipsets currently on the market, it is not possible to thoroughly test each
one for compatibility. Most users will not need to alter their current PC configuration to use their
StudioLive. The following FireWire chipsets, however, have been tested and approved for use with
the StudioLive:

• Agere/LSI FW323-06
• TI TSB43AB23
• VIA VT6308
• VIA VT6306 (on some older motherboards this chipset will only support a limited number of
playback channels: 32 channels at 44.1 or 48 kHz; 16 channels at 88.2 or 96 kHz)

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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. PreSonus strongly recommends that users do not purchase
a system with this chipset as there is currently no workaround for this incompatibility.

• U
 SB/FireWire and s400/s800 combo cards. Symptoms usually include no audio recording/
playback, even though the device will install and sync, as well as erratic audio performance.
Rarely, combo cards will prevent the device from installing or achieving a stable sync. We
recommend FireWire cards that have s400 FireWire connections only.

• F
 ireWire cards with NEC chipsets. Symptoms include installation issues, erratic audio and
extraneous static and noise.

• M
 otherboards with nForce4 chipsets. Symptoms include reduced or very poor
performance, especially if using the onboard FireWire connection. Installing a PCIe (not PCI)
FireWire 400-only card with an approved chipset is a known workaround but may not allow
full performance.

StudioLive Control Panel will not launch

The StudioLive Control Panel will not launch if the StudioLive is not connected and synced to
your computer. Verify that your FireWire cable is connected both to your computer and to your
StudioLive. Navigate to Page 3: Digital in the StudioLive System menu and verify that the FireWire
status is locked.

No Output on a Channel

Press the Input button in the Metering section and verify that there is signal on that channel. If no
signal is present, check the cable and the input source. If signal is present, press the Select button
for the channel in question. Make sure that the channel is assigned to the main output in the Assign
section of the Fat Channel.

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6.1 Troubleshooting

Connections
Controls &
Fader Movements have no effect on audio

Verify that your StudioLive is not locked by navigating to Page 5: Lockout in the System Menu.

Recording
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.

No Internal Effects in the Main Bus

Multiple
Mixers
Press the Aux button in the Metering section and verify the output levels of the internal EFX A and
B aux buses. If the level is too low, use the Output knob to increase the master level for the effects
mix. Press the Select button for each EFX bus and make sure it is assigned to the main output in
the Assign section of the Fat Channel.

Tutorials
No output on the Solo bus while monitoring

Verify that both the Cue volume and the headphone or monitor volume is at a reasonable level for

Information
comfortable listening. Make sure that you only have Solo selected in the Monitor Section of your

Technical
StudioLive.

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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, +/- 0.5 dBu
Input Impedance.................................................................................................................................................... 1 kΩ
THD to Direct Output (1 kHz at unity gain).........................................< 0.005%, +4 dBu, 20 –20 kHz, unity gain, unwtd
THD to Main Output (1 kHz at unity gain)............................................ <0.005%, +4 dBu, 20-20 kHz, unity gain, unwtd
EIN to Direct Output.................................................................................................... +125 dB unwtd,, +130 dB A-wtd
S/N Ratio to Direct Output (Ref = +4 dB, 20 kHz BW, unity gain, A-wtd) -97 dB
S/N Ratio to Main Output (Ref = +4 dB, 20 kHz BW, unity gain, A-wtd) -94 dB
Common Mode Rejection Ratio (1 kHz at unity gain).......................................................................................... +65 dB
Gain Control Range (+/- 1 dB)............................................................................................................ -16 dB to +67 dB
Maximum Input Level (unity gain)..................................................................................................................... +16 dBu
Phantom Power (+/- 2 VDC).............................................................................................................................+48 VDC

Line Inputs

Type.......................................................................................................................... 1/4” TRS Female, balanced mono

Frequency Response to Direct Outputs (at unity gain)...............................................................10-40 kHz, 0 / -0.5 dBu
Frequency Response to Main Outputs (at unity gain).................................................................20-20 kHz, +/- 0.5 dBu
Input Impedance.................................................................................................................................................. 10 kΩ
THD to Direct Output (1 kHz at unity gain)......................................... <0.0007%, +4 dBu, 20-20 kHz, unity gain, unwtd
THD to Main Output (1 kHz at unity gain)............................................ <0.005%, +4 dBu, 20-20 kHz, unity gain, unwtd
S/N Ratio to Direct Output (Ref = +4dBu, 20 kHz BW, unity gain, A-wtd) -105 dB
S/N Ratio to Main Output (Ref = +4dBu, 20 kHz BW, unity gain, A-wtd) -94 dB
Gain Control Range (+/- 1 dB)............................................................................................................ -20 dB to +20 dB
Maximum Input level (unity gain)...................................................................................................................... +22 dBu

Tape Inputs

Type................................................................................................................... RCA Female, unbalanced (stereo pair)

Maximum Input Level....................................................................................................................................... +22 dBu

Auxiliary Inputs

Type............................................................................................................1/4” TRS Female, balanced (2 stereo pairs)

Maximum Input Level....................................................................................................................................... +22 dBu

Main Outputs

Type............................................................................... XLR Male, balanced (stereo pair); 1/4” TRS Female, balanced
(stereo pair); XLR Male, balanced (mono)
Rated Output Level.......................................................................................................................................... +24 dBu
Output Impedance............................................................................................................................................... 10 kΩ

Aux Outputs

Type....................................................................................................................... 1/4” TRS Female, balanced (mono)

Rated Output Level.......................................................................................................................................... +18 dBu
Output Impedance................................................................................................................................................. 51 Ω

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6.2 Specifications

Connections
Controls &
Subgroup Outputs

Type........................................................................................................................ 1/4” TRS Female, balanced (mono)

Rated Output Level.......................................................................................................................................... +18 dBu

Recording
Output Impedance................................................................................................................................................. 51 Ω

Tape Outputs

Type................................................................................................................... RCA Female, unbalanced (stereo pair)

Rated Output Level.......................................................................................................................................... +18 dBu

Multiple
Mixers
Output Impedance............................................................................................................................................... 100 Ω

Control Room Outputs

Type................................................................................................................ 1/4” TRS Female, balanced (stereo pair)

Tutorials
Rated Output Level.......................................................................................................................................... +18 dBu
Output Impedance................................................................................................................................................. 51 Ω

System Cross Talk

Input to Output (Ref = +4dBu 20-20 kHz, unwtd).............................................................................................. -90 dBu

Information
Technical
Adjacent Channels (Ref = +4dBu 20-20 kHz, unwtd)......................................................................................... -87 dBu

Noise Gate / Expander

Threshold Range.................................................................................................................................... -84 dB to 0 dB

Attack Time......................................................................................................................................................... 0.5 ms
Release Time............................................................................................................................................... 0.05s to 2s
Expander Attenuation Range.....................................................................................................................................2:1
Noise Gate Attenuation Range.................................................................................................................................... ∞

Compressor

Threshold Range.................................................................................................................................... -56 dB to 0 dB

Ratio.............................................................................................................................................................1:1 to 14:1
Attack Time........................................................................................................................................ 0.2 ms to 150 ms
Release Time.................................................................................................................................... 40 ms to 1000 ms
Auto Attack and Release.......................................................................................... Attack = 10 ms, Release = 150 ms
Curve Types..................................................................................................................................... hard and soft knee

EQ

Type........................................................................................................................... 2nd order shelving filter (Q = 0.55)

Low (Lowpass or Bandpass)....................................................................................................... 36 to 465 Hz, ± 15 dB
Low Mid................................................................................................................................. 90 Hz to 1.2 kHz, ±15 dB
High Mid................................................................................................................................. 380 Hz to 5 kHz, ±15 dB
High (Highpass or Bandpass)............................................................................................... 1.4 kHz to 18 kHz, ±15 dB

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6.2 Specifications

Digital Audio

ADC Dynamic Range (A-wtd, 48 kHz)................................................................................................................. 118 dB

DAC Dynamic Range (A-wtd, 48 kHz)................................................................................................................. 118 dB
FireWire..................................................................................................................................................S400, 400Mb/s
Internal Processing........................................................................................................................ 32-bit, floating point
Sampling Rate............................................................................................................................................ 44.1, 48 kHz
A/D/A Bit Depth..........................................................................................................................................................24
Reference Level for 0 dBFS............................................................................................................................... -18 dBu

Clock

Jitter................................................................................................................................. <20 ps RMS (20 Hz - 20 kHz)

Jitter Attenuation.................................................................................................................. >60 dB (1 ns in ≈ 1 ps out)

Power

Connector................................................................................................................................................................ IEC
Input-Voltage Range........................................................ 90 to 240 VAC (factory-configured for country of destination)
Power Requirements (continuous)........................................................................................................................100 W

Physical

Length................................................................................................................................... 22.35 inches (568.06 mm)

Width (chassis only).............................................................................................................. 17.22 inches (437.40 mm)
Width (with rack ears)................................................................................................................. 19 inches (482.60 mm)
Maximum Height..................................................................................................................... 6.90 inches (175.26 mm)
Weight................................................................................................................................................................ 23 Lbs.

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6 Technical Information

6.3 Channel Strip Library

Connections
Controls &
Your StudioLive comes with 50 Fat Channel presets custom designed by professional PreSonus
users. These presets can be altered, renamed and overwritten; however, there are 50 additional
empty storage locations for you to build your own custom library of channel strip settings.

Recording
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

Multiple
Mixers
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

Tutorials
08 DRM: Fat Snare 41 PRC: Cowbell 74 EMPTY LOCATION
09 DRM: Snare Crackalak 42 PRC: Tambourine 75 EMPTY LOCATION
10 DRM: Snare Snappy 43 VOX: Male 1 76 EMPTY LOCATION
11 DRM: Toms Mid 44 VOX: Male 2 77 EMPTY LOCATION
12 DRM: Toms Low 45 VOX: Male 3 78 EMPTY LOCATION

Information
Technical
13 DRM: Toms High 46 VOX: Female 1 79 EMPTY LOCATION
14 DRM: Overhead Rock 47 VOX: Female 2 80 EMPTY LOCATION
15 DRM: Overhead Jazz 48 VOX: Female 3 81 EMPTY LOCATION
16 DRM: High Hat 49 VOX: Speech 1 82 EMPTY LOCATION
17 BAS: Electric 1 50 VOX: Speech 2 83 EMPTY LOCATION
18 BAS: Electric 2 51 EMPTY LOCATION 84 EMPTY LOCATION
19 BAS: Slap 52 EMPTY LOCATION 85 EMPTY LOCATION
20 BAS: Upright 53 EMPTY LOCATION 86 EMPTY LOCATION
21 GTR: Rock 1 54 EMPTY LOCATION 87 EMPTY LOCATION
22 GTR: Rock 2 55 EMPTY LOCATION 88 EMPTY LOCATION
23 GTR: Funk 56 EMPTY LOCATION 89 EMPTY LOCATION
24 GTR: Metal 57 EMPTY LOCATION 90 EMPTY LOCATION
25 GTR: Jazz 58 EMPTY LOCATION 91 EMPTY LOCATION
26 GTR: Acoustic 59 EMPTY LOCATION 92 EMPTY LOCATION
27 GTR: Acoustic Strumming 60 EMPTY LOCATION 93 EMPTY LOCATION
28 GTR: Acoustic Fingerstyle 61 EMPTY LOCATION 94 EMPTY LOCATION
29 KEY: Piano Bright 62 EMPTY LOCATION 95 EMPTY LOCATION
30 KEY: Piano Warm 63 EMPTY LOCATION 96 EMPTY LOCATION
31 KEY: Piano Jazz 64 EMPTY LOCATION 97 EMPTY LOCATION
32 KEY: Piano Electric 65 EMPTY LOCATION 98 EMPTY LOCATION
33 KEY: Piano Electric 2 66 EMPTY LOCATION 99 EMPTY LOCATION

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 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.

No TYPE NAME No TYPE NAME

F1 AMBIENCE Natural F51
F2 Lively F52
F3 SMALL ROOM Closet F53
F4 Studio A F54
F5 Studio B F55
F6 Bedroom F56
F7 BRIGHT ROOM Kitchen F57
F8 Tile Floors F58
F9 Tile Bathroom F59
F10 Concrete Floors F60
F11 SMALL HALL Radio Booth F61
F12 Small Club F62
F13 Big Club F63
F14 BRIGHT HALL Brick House F64
F15 Linoleum Room F65
F16 Tile Room F66
F17 WARM HALL Log Cabin F67
F18 Wood Floors F68
F19 Brick Club F69
F20 High Ceilings F70
F21 GATED HALL GateVerb Short F71
F22 GateVerb Med F72
F23 GateVerb Long F73
F24 GateVerb Extreme F74
F25 LARGE HALL Church F75
F26 Cathedral F76
F27 Gymnasium F77
F28 Arena F78
F29 PLATE PlateVerb Shimmer F79
F30 PlateVerb Thick F80
F31 PlateVerb Drums F81
F32 PlateVerb Vox F82
F34 MONO DELAY M: Short Slap F83
F35 M: Long Slap F84
F36 M: Triplet F85
F37 M: Triplet F86
F38 FILTER DELAY Analog Slap F87
F39 Analog Trip F88
F40 Analog 8th F89
F41 STEREO DELAY Slap Quick F90
F42 Long Slap F91
F43 Spacey F92
F44 Long Tail F93
F45 ST: Triplet F94

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6 Technical Information

6.5 Rack Ear Installation Instructions

Connections
Controls &
Step 1: Using a Philips screwdriver, remove the three
screws beneath the decorative plastic side panel on
the right side of your StudioLive. Set these screws

Recording
aside. You will need them should you want to reinstall
the side panel at some point in the future.

Multiple
Mixers
Step 2: Gently side the
plastic side panel toward
the front of your StudioLive

Tutorials
until you hear a click. Pull
the side panel toward you
to remove it.

2
Step 3: Once the side panel is removed, you will see

Information
Technical
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. It is recommended that you attach
the clips back to the decorative side panel using the
screws you removed is Step 1 to store them. Both the
3 clips and the screws are necessary to reattach the
side panel.

Step 4: Remove the four screws at the top. These

5mm screws will be replaced with slightly longer ones.
Set them aside and store them with the side panel.

4
Step 5: Using the
screws you removed
from the metal clips in
Step 3, attach the Rack
Ear labeled ‘R’ to your
StudioLive. In your Rack Ear Installation Kit, you will
find four 6mm screws. Thread these through the four
holes at the top of the Right Rack Ear and attach them
to your StudioLive.

5 Repeat these steps to attach the Left Rack Ear to your

StudioLive.

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 6 Technical Information

6.6 Session Data Recall Sheet

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