PRESONUS AudioBox 22VSL Owner's Manual

Troubleshooting
and Warranty
Technical
Information
Tutorials
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Connecting
to a
Computer
™
®
www.presonus.com
Overview
Owner’s Manual
Hookup
AudioBox 22/44VSL
English
Español
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Français
4.3.2 Creating Audio and MIDI
Tracks — 25
1.1
Introduction — 1
4.3.3 Recording an Audio Track — 27
1.2
Summary of AudioBox 22/44VSL
Hardware Features — 2
4.3.4 Adding Virtual Instruments and
Effects — 27
1.3
Summary of Studio One Artist Software
Features — 2
1.4
What is in the Box — 3
5.0 Tutorials — 30
5.1
Microphone Types — 30
2.2
Rear-Panel Connections — 6
5.1.3 USB Microphones and Other
Types — 30
5.1.4 Microphone Placement — 31
5.2
2.4 MIDI Hookup Diagram — 9
5.2.1Common Questions Regarding
Dynamics Processing — 34
3.0 Connecting to a Computer — 10
5.2.2 Types of Dynamic Processing — 35
3.1
System Requirements — 10
3.2
3.3
3.4
4
5.3
Equalizers — 42
5.3.1 What is an EQ? — 42
Installation for Mac OS X — 13
3.3.1 Using the AudioBox for System
Sound (OS X) — 13
5.3.2 Equalization Settings: How to
Find the Best and Leave the
Rest — 44
Using the AudioBox 22/44VSL with
Popular Audio Applications — 13
5.3.3 General EQ Suggestions — 47
Studio One Artist Quick
Start — 16
4.1
Installation and Authorization — 16
4.2
Setting Up Studio One — 17
4.2.1 Configuring Audio Devices — 18
4.2.2 Configuring MIDI Devices — 19
4.3
5.2.3 Compression Settings: Some
Starting Points — 39
Installation for Windows — 11
3.2.1 Universal Control AI (Windows
only — 12
A Brief Tutorial on Dynamics
Processing — 34
Creating a New Song — 23
5.4
Digital Effects — 50
5.4.1Reverb — 50
5.4.2Delay — 51
5.4.3 Modulation Effects — 51
6.0 Technical Information — 52
6.1
AudioBox 22VSL Specifications — 52
6.2
AudioBox 44VSL Specifications — 54
Tutorials
Front-Panel Connections — 4
Technical
Information
2.1
Troubleshooting
and Warranty
5.1.2Dynamic — 30
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
5.1.1Condenser — 30
2.0 Hookup — 4
2.3 Basic Hookup Diagram — 8
Overview
1.0Overview — 1
Hookup
4.3.1 Configuring Your I/O — 24
Connecting
to a
Computer
AudioBox™ 22/44VSL
PreSonus AudioBox™ 22/44VSL
Overview
7.0Troubleshooting
& Warranty — 56
Troubleshooting — 56
7.1
Hookup
7.2 PreSonus AudioBox Limited
Warranty — 57
Connecting
to a
Computer
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Tutorials
Technical
Information
Troubleshooting
and Warranty
Owner’s Manual
Overview1
Introduction1.1
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Connecting
to a
Computer
Hookup
Introduction
Technical
Information
Tutorials
Thank you for purchasing the PreSonus AudioBox™ 22/44VSL. PreSonus
Audio Electronics has designed the AudioBox 22/44VSL utilizing high-grade
components to ensure optimum performance that will last a lifetime. Loaded
with 2 high-headroom, Class A, XMAX™ microphone preamplifiers; a built-in
2x2/4x4 USB 2.0 recording and playback engine; MIDI I/O; and more, AudioBox
22/44VSL breaks new boundaries for music performance and production. All
you need is a computer with a USB 2.0 connection, a few microphones and
cables, powered speakers, and your instruments, and you are ready to record!
We encourage you to contact us at 1-225-216-7887 between 9 a.m. and 5 p.m.
Central Time (GMT -06:00 CST) with questions or comments regarding your
PreSonus AudioBox 22/44VSL. 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
and are confident that you will enjoy your AudioBox 22/44VSL!
Troubleshooting
and Warranty
1.1
Overview
1.0Overview
ABOUT THIS MANUAL: We suggest that you use this manual to familiarize yourself with the
features, applications, and correct connection procedures for your AudioBox before trying to
connect it to your computer. This will help you avoid problems during installation and setup.
Throughout this manual you will find Power User Tips that can quickly make you an
AudioBox 22/44VSL expert. In addition to the Power User Tips, you will find an assortment
of audio tutorials at the back of this manual. These tutorials cover everything from
microphone placement to equalizer and compression-setting suggestions.
1
1Overview
1.2 Summary of AudioBox 22VSL Hardware Features
Overview
1.2
PreSonus AudioBox™ 22/44VSL
Summary of AudioBox 22/44VSL Hardware Features
•• 24-bit/96 kHz sampling rate
•• 2 /4 Class A XMAX microphone preamplifiers
Hookup
•• 2 Instrument inputs
•• 2 Balanced Line inputs (AudioBox 44VSL Only)
•• MIDI I/O
Connecting
to a
Computer
•• High-definition analog-to-digital converters (108 dB dynamic range)
•• 2x2/4x4 USB 2.0 audio interface
•• Headphone output
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
•• Analog monitor mixing with playback/input mix control
•• Rugged steel chassis
•• Studio One™ Artist
•• Compatible with Cubase, Digital Performer, Logic, Nuendo,
Pro Tools 9+, Sonar, Studio One, and others
•• Mac OS X®- and Windows®-compatible
Tutorials
1.3
Summary of Studio One Artist Software Features
Technical
Information
All PreSonus audio interfaces 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. The Studio
One Artist Quick Start Guide is located in Section 4.1 of this manual. You will
find a complete user manual on the Studio One Artist installation DVD.
Troubleshooting
and Warranty
•• Unlimited track count, inserts, and sends
•• 2
0 high-quality native plug-ins: amp modeling (Ampire), delay (Analog Delay,
Beat Delay), distortion (Redlight Dist), dynamics processing (Channel Strip,
Compressor, Gate, Expander, Limiter, Tricomp), equalizer (Channel Strip, Pro EQ),
modulation (Autofilter, Chorus, Flange, Phaser, X-Trem), reverb (MixVerb, Room
Reverb), and 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
2
Owner’s Manual
Overview1
Summary of Virtual StudioLive Software Features 1.4
Overview
What is in the Box
In addition to this manual, your AudioBox 22/44VSL package contains the following:
Connecting
to a
Computer
Hookup
PreSonus AudioBox 22VSL or 44VSL USB 2.0 recording interface
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
6’ (1.8m) 6-pin-to-6-pin USB cable
Technical
Information
Tutorials
External Power Supply (AudioBox 44VSL only)
Available for download from your My PreSonus account:
•• PreSonus Studio One Artist program DVD plus gigabytes of third-party content
Troubleshooting
and Warranty
1.4
•• ASIO driver for Windows
3
PreSonus AudioBox™ 22/44VSL
1Overview
1.5 What is in the Box
Overview
2.0Hookup
2.1
Front-Panel Connections
Hookup
Connecting
to a
Computer
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Tutorials
Microphone Inputs. Your AudioBox 22/44VSL is equipped with PreSonus XMAX
microphone preamplifiers for use with all types of microphones. The XMAX 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 noise.
Technical
Information
••
Troubleshooting
and Warranty
Both channels of the AudioBox 22VSL (and the first two channels of the
AudioBox 44VSL) have Mic/Instrument combo jacks. This convenient
connector accepts either a ¼-inch phone plug or an XLR plug.
Instrument Inputs. The ¼-inch TS connectors on channels 1 and 2
are for use with instruments (guitar, bass, etc.). When an instrument is
plugged into the instrument input, the mic preamp is bypassed, and
the AudioBox 22/44VSL becomes an instrument preamplifier.
••
Line-level Inputs (AudioBox 44VSL Only). Channels 3 and 4 of the AudioBox
44VSL have a ¼-inch, balanced TRS connection for line-level input. When
these inputs are engaged, the microphone-preamp circuit is bypassed.
Typical examples of line-level connections are synthesizer outputs, CD/
DVD-player outputs, and (with exceptions) signal-processor outputs.
Power User Tip: Active instruments are those that have an internal preamp or a line-level output.
Active instruments should be plugged into a line input rather than into an instrument input.
Plugging a line-level source into the instrument inputs on the front of the AudioBox 22/44VSL not
only risks damage to these inputs but also results in a very loud and often distorted audio signal.
Please note: As with any audio input device, plugging in a microphone or an instrument, or
turning phantom power on or off, will create a momentary spike in the audio output of your
AudioBox 22/44VSL. Because of this, we highly recommend that you turn down the channel trim
before changing connections or turning phantom power on or off. This simple step will add years to
life of your audio equipment.
48-volt Phantom Power. The AudioBox 22/44VSL provides 48V phantom power for
the microphone input on each channel. Press the 48V button to enable phantom
power for all microphone inputs.
4
Owner’s Manual
Hookup2
Front-Panel Connections 2.1
Overview
WARNING: Phantom power is only required for condenser micro­phones and
can severely damage dynamic mics, especially ribbon mics. Therefore, switch
phantom power off for all channels where it is not required.
Hookup
XLR connector wiring for phantom power:
Connecting
to a
Computer
Pin 1 = GND
Pin 2 = +48V
Pin 3 = +48V
••
XLR Microphone / TS 1/4” Instrument inputs: 80 dB
of variable gain (-15/-30 dB to +65/50 dB)
••
TRS ¼-inch Line Level inputs (AudioBox 44VSL only):
40 dB of variable gain (-20 dB to +20 dB)
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Input Gain/Trim Control. These knobs provide the following gain structure:
Clip Indicator. All channels feature clip LEDs next to the trim controls. The red clip
indicator LED will illuminate when the channel’s input signal reaches 0 dBFS. At this
level, your mic preamp/line trim signal will exhibit signs of clipping (distortion).
Tutorials
Power User Tip: Never run your input levels higher than the channel inputs can handle. If you overdrive
the analog-to-digital converters, it will cause digital distortion (digital clipping), which sounds terrible.
The XMAX™ preamps in your AudioBox 22/44VSL provide plenty of headroom; take advantage of it.
Technical
Information
Mixer. The Mixer knob allows you to blend your input signals with the playback
streams from your computer. This allows you to monitor your input signal with
zero latency. If the knob is positioned at 12 o’clock, the input signal and the
playback stream will be equally balanced. Turning the knob to the left will increase
the level of the input signal relative to the playback stream; turning to the right
will increase the level of the playback stream relative to the input signal.
Troubleshooting
and Warranty
Please note: When creating monitor mixes using Virtual StudioLive software, it is important
that you turn the Mixer knob all the way to the VSL position. Monitoring both the input signal
and the playback stream will create a doubling effect that will make monitoring difficult.
Phones. The Phones knob controls the volume of the headphone output
on the front of the unit. The headphone amplifier is quite powerful, and the
volume goes to 11, so use the maximum setting with extreme caution.
Main. The Main knob controls the output level for the Main Outputs
on the back of the AudioBox, with a range of -80 dB to 0 dB.
Power (22VSL)/USB Sync (44VSL) LED. This LED will illuminate blue
when the AudioBox is properly powered and synced to a USB 2.0
connection. AudioBox 44VSL users: this LED will flash blue & red when
the unit is properly powered but no USB connection is detected.
5
PreSonus AudioBox™ 22/44VSL
2Hookup
2.1 Front-Panel Connections
Overview
2.2
Rear-Panel Connections
Hookup
Connecting
to a
Computer
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
¼-inch Phones (headphone) Jack. This is where you
connect headphones to your AudioBox 22/44VSL.
Tutorials
Technical
Information
Troubleshooting
and Warranty
Main Out. These are the main outputs for the AudioBox 22/44VSL. The output level
of the Main Outs is controlled by the Main volume knob on the front of the unit.
Line Outputs (AudioBox 44VSL Only). The AudioBox 44VSL
has four line outputs to route to external devices, such as
headphone amps and DJ mixers. Outputs 1 and 2 share their
playback streams with the Main Outs and the headphone output.
Outputs 3 and 4 have independent playback streams.
6
Overview
Hookup2
Rear-Panel Connections 2.2
Hookup
MIDI I/O. MIDI stands for “Musical Instrument Digital Interface.” MIDI inputs
and outputs allow connection to, and communication with, external MIDI
equipment. One function of these ports is MIDI sequencing but the MIDI
protocol can be used for much more than instruments and sequencing.
Connecting
to a
Computer
NOTE: MIDI is not audio but is frequently used to trigger or control
an audio source (such as a plug-in or synthesizer). It’s important
to ensure that your MIDI data is correctly sent and received by the
appropriate hardware or software devices. If the devices generate
audio, you may also need to return the audio to an AudioBox
22/44VSL input channel. Please consult the User’s Manuals of
your MIDI devices for help with MIDI setup and usage.
Tutorials
USB 2.0 Port. This is where you connect the USB cable from your AudioBox 22/44VSL
to your computer. The AudioBox 22VSL is bus-powered via this connection and does
not require an external power supply.
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Technical
Information
Power Input (AudioBox 44VSL Only). This is where you connect the power
supply for your AudioBox 44VSL. The AudioBox 44VSL cannot be bus powered.
Troubleshooting
and Warranty
Owner’s Manual
7
PreSonus AudioBox™ 22/44VSL
2Hookup
0.0 Current Sub Section
Basic Hookup Diagram 2.3
Basic Hookup Diagram
Overview
2.3
Hookup
AudioBox 44VSL
USB
Sync
48V
Clip
Connecting
to a
Computer
1
2
3
Mic•Instrument
Mic•Line
Clip
Clip
Clip
4
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
headphones
Tutorials
vocal mic
guitar
bass
USB 2.0
MIDI
Technical
Information
IN
OUT
L
3
R
4
MAIN OUT
12V
Troubleshooting
and Warranty
-
vocal mic
+
1
2
LINE OUTPUTS
computer
midi
8
monitors
PHONES
Owner’s Manual
MIDI Hookup Diagram
Hookup2
Current Sub Section 0.0
Overview
MIDI Hookup Diagram
AudioBox 44VSL
USB
Sync
Hookup
2.4
48V
3
Mic•Instrument
Mic•Line
Clip
Clip
Clip
4
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
2
Connecting
to a
Computer
Clip
1
headphones
midi
Tutorials
vocal mic
guitar
USB 2.0
IN
12V
-
+
computer
OUT
L
3
R
4
MAIN OUT
Technical
Information
MIDI
1
2
LINE OUTPUTS
PHONES
Troubleshooting
and Warranty
2.4
monitors
9
3
0.0
Connecting to a Computer
Current Sub Section
PreSonus AudioBox™ 22/44VSL
System Requirements 3.1
Overview
3.0 Connecting to a Computer
Your AudioBox 22/44VSL is a rugged USB 2.0 audio interface with
flexible monitoring control and professional audio tools.
Hookup
3.1
System Requirements
Below are the minimum computer-system requirements for
PreSonus Studio One Artist and Virtual StudioLive software.*
Connecting
to a
Computer
Macintosh
•• Operating Systems:
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
••
Mac OS X 10.8 or higher
•• Hardware:
••
Intel Core Duo processor (Intel Core 2 Duo or Intel
Core i3 or better recommended)
••
2 GB RAM (4 GB or more recommended)
Windows
Tutorials
•• Operating Systems (32- or 64-bit):
••
Windows® 7x 64/x86 SP1 or Windows 8/8.1 x64/x86 or Windows 10 x64/x86
Technical
Information
•• Hardware:
Troubleshooting
and Warranty
••
Intel® Core™ 2 processor, 4 GB RAM (Intel® Core™
i3 processor or better recommended)
••
4 GB RAM (8 GB or more recommended)RAM
NOTE: The speed of your processor, amount of RAM, and capacity, size, and speed of your hard
drives will greatly affect the overall performance of your recording system. A faster processor
and more RAM can reduce signal latency (delay) and improve overall performance.
*Subject to change. Check www.presonus.com for updates.
10
Installation for Windows
Connecting to a Computer
3
Current Sub Section 0.0
Overview
Installation for Windows
Hookup
All PreSonus interface products connect to the Universal Control application.
The Universal Control installer will install both the ASIO and WDM drivers for
your AudioBox 22/44VSL and the Univeral Control control panel application.
It is recommended that you quit all applications before you start the installation.
Connecting
to a
Computer
Should you see any Windows Security alerts during the installation
process, you will need to select “Allow Access.”
1. The installer will open to the Welcome screen.
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Click “Next.”
2. You will be asked if you where you would like to install
the Universal Control application. For nearly every
system, you will want to choose the default location.
Technical
Information
3.2
Click “Next.”
Troubleshooting
and Warranty
3.2
Tutorials
Owner’s Manual
3. You will be givin the option to select for which
PreSonus interface products you would install drivers.
Unless you are using other PreSonus interface products,
check the box next to “AudioBox USB Driver.”
Click “Install Driver.”
11
3
0.0
Connecting to a Computer
Current Sub Section
PreSonus AudioBox™ 22/44VSL
Installation for Windows 3.2
Overview
4. Once the driver has been installed successfully, you will
be alerted. In order for the driver to operate properly,
you must restart your computer.
Hookup
Click “Finish” to complete the installation and reboot
your computer.
Once your computer has restarted,
your AudioBox 22/44VSL is now ready to use!
Connecting
to a
Computer
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
3.2.1
Universal Control AI (Windows only
Tutorials
Technical
Information
Troubleshooting
and Warranty
Sample Rate. Changes the sample rate.
You can set the sample rate to 44.1, 48, 88.2, or 96 kHz. A higher sample
rate will increase the fidelity of the recording but will increase the file size
and the amount of system resources necessary to process the audio.
Safe Mode. Adjusts the Input Buffer Size.
These modes allow you to adjust the input buffer size
to optimize performance for your computer.
When adjusting the safe mode, the block size will be adjusted
automatically to provide the best performance.
Block Size. Sets the buffer size.
From this menu, you can set the buffer size from 64 to 8192 samples.
Lowering the buffer size will lower latency; however, this will also increase
performance demands on your computer. In general, you will want to set
the buffer size as low as your system can safely support. If you begin to hear
pops, clicks, or distortion in your audio path, try raising the buffer size.
Note: When adjusting the block size, the Safe Mode will
automatically change to provide the best performance
12
Owner’s Manual
Installation for Mac OS X
3.3
Connecting to a Computer
3
Current Sub Section 0.0
Installation for Mac OS X
Overview
3.3
The AudioBox 22/44VSL is a class compliant core audio device. No installation
is necessary. Simply connect your interface to your computer.
Using the AudioBox for System Sound (OS X)
Hookup
3.3.1
You can configure your AudioBox 22/44VSL as the audio interface for computer
system audio (for iTune playback, Skype, etc.) from the System Preferences menu.
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Connecting
to a
Computer
1. Open System Preferences
Technical
Information
Tutorials
2. Open your System Sound Preferences
3.4
Troubleshooting
and Warranty
3. Select your AudioBox 22/44VSL from the Outputs list. If you would like to
use your AudioBox for System input, select it from the inputs tab as well.
Using the AudioBox 22/44VSL with Popular Audio Applications
Complete setup instructions for Studio One Artist and a brief tutorial on
its features can be found in Section 5.2 of this manual. However, you can
use your AudioBox 22/44VSL with any audio-recording application that
supports Core Audio or ASIO. Please consult the documentation that came
with your audio application for specific instructions on how to select the
AudioBox 22/44VSL driver as the audio-device driver for your software.
Below are basic driver-setup instructions for four popular audio applications.
Apple Logic Pro/Express 7+:
1. Launch Logic Pro/Express.
2. Go to Logic | Preferences | Audio.
3. Click on the Devices Tab.
4. On the Core Audio tab, check Enabled.
13
3
0.0
Connecting to a Computer
Current Sub Section
PreSonus AudioBox™ 22/44VSL
Using the AudioBox 22/44VSL with Popular Audio Applications 3.4
Overview
5. Select PreSonus AudioBox 22(44)VSL from the device menu.
6. You will be asked if you’d like to relaunch Logic. Click “try (re)launch.”
Hookup
7. Your AudioBox 22/44VSL features custom I/O labels for faster workflow.
To enable these labels for use in Logic, go to Options | Audio | I/O Labels.
Connecting
to a
Computer
8. The second column in the pop-up window will be named “Provided by Driver.” Activate each of these labels for your AudioBox
22/44VSL. When you are done, close this window.
9. You are now ready to use your AudioBox 22/44VSL.
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Steinberg Cubase 4+
1. Launch Cubase.
2. Go to Devices | Device Setup.
3. Select “VST Audio System” from the Devices column in the Device Setup.
Tutorials
4. Select PreSonus AudioBox 22(44)VSL from the ASIO Driver dropdown list.
5. Click “Switch” to begin using the AudioBox 22/44VSL driver.
Technical
Information
6. Once you have successfully changed the driver, go to Devices |
VST Connections to enable your input and output buses.
Cakewalk Sonar 6+
Troubleshooting
and Warranty
1. Launch Sonar.
2. Go to Options | Audio... and click on the Advanced tab.
3. Change the Driver Mode to “ASIO.” (Using WDM, rather than
ASIO, for pro-audio applications is not recommended.)
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 AudioBox 22(44)VSL.”
8. Go to Options | Audio... and click on the General tab.
9. Set the Playback Timing Master to “PreSonus AudioBox... DAW Out 1.”
10.Set the Recording Timing Master to “PreSonus AudioBox... Mic/Inst 1.”
14
Owner’s Manual
Software: Virtual StudioLive and Studio One Artist
Virtual StudioLive 4.1
4
Overview
Ableton Live 5+
1. Launch Ableton Live
Hookup
2. Go to Options | Preferences | Audio
3. Choose Driver Type: Asio | Audio Device: ASIO PreSonus AudioBox 22(44)VSL
Connecting
to a
Computer
4. Go to Input Config: Enable and select the desired Input channels.
5. Go to Output Config: Enable and select the desired Output channels.
Software: Virtual StudioLive
SL Remote,
and Studio
One Artist
and Studio One Artist
6. You may now select the AudioBox 22/44VSL’s inputs
and outputs for each track created in Live.
ProTools 10+
1. Launch ProTools
2. Go to Setup | Hardware and select AudioBox 1818VSL
from the Peripherals list. Click OK.
Troubleshooting
and Warranty
Technical
Information
Tutorials
3. Go to Setup | Playback Engine and select AudioBox 1818VSL from the menu at the
top of the window. Click OK.4.0 Software: Virtual StudioLive and Studio One Artist
15
4
4.1
Software: Virtual StudioLive and Studio One Artist
Virtual Studio Live
Overview
4
PreSonus AudioBox™ 22/44VSL
Studio One Artist Quick Start
Hookup
Connecting
to a
Computer
Software: Virtual StudioLive
and Studio
SL Remote,
One Artist
and Studio One Artist
Tutorials
All PreSonus professional recording products come with Studio One Artist
recording and production software. Whether you are about to record
your first album or your fiftieth, Studio One Artist provides you with all
of the tools necessary to capture and mix a great performance.
Technical
Information
Power User Tip: As a valued PreSonus customer, you are eligible for a discount
upgrade to Studio One Professional. For more details on the Studio One upgrade
program for PreSonus customers, please visit http://studioone.presonus.com/.
4.1
Installation and Authorization
Troubleshooting
and Warranty
Once you have installed the drivers for your audio interface and connected it
to your computer, you can use the included PreSonus Studio One Artist musicproduction software to begin recording, mixing, and producing your music.
To install Studio One Artist, log into your My PreSonus account and register
your interface. Your product key for Studio One Artist will automatically be
registered to your My PreSonus account with your hardware registration.
Downloading and running the Studio One installer.
To install Studio One Artist, download the Studio One Artist installer from
your My PreSonus account to the computer on which you will use it.
16
Owner’s Manual
Software: Virtual StudioLive and Studio One Artist
Virtual StudioLive 4.1
4
Overview
•• Windows users: Launch the Studio One Artist installer
and follow the onscreen instructions.
•• Mac users: Drag the Studio One Artist application into
the Applications folder on your Mac hard drive.
Hookup
Authorizing Studio One
Connecting
to a
Computer
When Studio One is launched for the first time on your computer, it will
communicate with your My PreSonus account and verify your registration. To
ensure a seamless authorization process, make sure to download your installer
to the computer on which you will be using it and be sure that your computer is
connected to the Internet when you launch the application for the first time.
Installing bundled content for Studio One Artist.
Software: Virtual StudioLive
SL Remote,
and Studio
One Artist
and Studio One Artist
Studio One Artist comes bundled with an array of demo and tutorial
materials, instruments, loops, and samples. The Studio One Artist
bundle includes all that you need to begin producing music.
Troubleshooting
and Warranty
Technical
Information
Tutorials
The first time you launch Studio One Artist, you will be prompted
to install its companion content. Select the content you wish to
add and click “Install.” The content will automatically begin to
download and install from your My PreSonus user account.
Power User Tip: You may be prompted to enter your My PreSonus user account
information. Clicking “Remember Credentials” will allow you to have immediate
access to any content you purchase from the PreSonus Marketplace.
4.2
Setting Up Studio One
Studio One Artist was designed to work with PreSonus interfaces and provides
unique interoperability and simplified setup. 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 within Studio One. The information
in this tutorial covers only the basic aspects of Studio One Artist and is
intended to get you set up and recording as quickly as possible.
17
4
Software: Virtual StudioLive and Studio One Artist
4.1 Virtual Studio Live
Overview
4.2.1
PreSonus AudioBox™ 22/44VSL
Configuring Audio Devices
1. 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.
Hookup
Connecting
to a
Computer
Software: Virtual StudioLive
and Studio
SL Remote,
One Artist
and Studio One Artist
2. If you do not see your device listed on the Start page when
you launch Studio One, click on the Configure Audio Devices
link in the Setup area to open the Options window.
Tutorials
Technical
Information
Troubleshooting
and Warranty
In the Options window, click on the Audio Setup tab and
select your device driver from the pull-down.
18
Owner’s Manual
4
Configuring MIDI Devices
Overview
4.2.2
Software: Virtual StudioLive and Studio One Artist
Virtual StudioLive 4.1
Hookup
From the External Devices window in Studio One Artist, you can configure
your MIDI keyboard controller, sound modules, and control surfaces. This
section will guide you through setting up your MIDI keyboard controller
and sound modules. Please consult the Reference Manual located within
Studio One for complete setup instructions for other MIDI devices.
Connecting
to a
Computer
If you are using a third-party MIDI interface or USB MIDI-controller
keyboard, you must install any required drivers for these devices before
beginning this section. Please consult the documentation that came
with your MIDI hardware for complete installation instructions.
If you do not have any MIDI devices, please skip to Section 5.4.
Software: Virtual StudioLive
SL Remote,
and Studio
One Artist
and Studio One Artist
Setting up an external MIDI keyboard controller from the Start page.
A MIDI keyboard controller is a hardware device that is generally used for playing
and controlling other MIDI devices, virtual instruments, and software parameters.
In Studio One Artist, these devices are referred to as Keyboards, and they must be
configured before they are available for use. In some cases, your MIDI keyboard
controller is also used as a tone generator. Studio One Artist views the controller
and tone-generation functions 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 modules will be set up as an Instrument.
Tutorials
You can set up your external MIDI devices from the Setup area
in the Start page. Before setting up a new Song for recording,
take a moment to configure external devices.
Technical
Information
Make sure you have connected the MIDI Out of your external MIDI controller to
a MIDI In on your PreSonus audio interface (if available) or other MIDI interface. If
you are using a USB MIDI controller, connect it to your computer and power it on.
Setting up an External MIDI Sound Module from the Start Page
Troubleshooting
and Warranty
MIDI instrument controllers (keyboards, MIDI guitars, etc.) send musical
information in the form of MIDI data to tone modules and virtual
instruments, which respond by generating sound, as instructed. Tone
modules can be standalone sound devices or can be integrated into a
MIDI instrument, such as 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.
1. Connect the MIDI In of your external sound module to the MIDI
Out of your AudioBox 22/44VSL or other MIDI interface.
19
4
Software: Virtual StudioLive and Studio One Artist
4.1 Virtual Studio Live
PreSonus AudioBox™ 22/44VSL
Overview
2. Click on the Configure External Devices link in the Setup area on
the Start page to launch the External Devices window.
Hookup
Connecting
to a
Computer
Software: Virtual StudioLive
and Studio
SL Remote,
One Artist
and Studio One Artist
3. Click the Add button. This will launch the Add Device window.
Tutorials
Technical
Information
Troubleshooting
and Warranty
4. From the menu on the left, select your MIDI controller from the list of
manufacturers and models. If you do not see your MIDI controller listed,
select New Keyboard. At this point, you can customize the name of
your keyboard by entering the manufacturer and device names.
20
Owner’s Manual
Software: Virtual StudioLive and Studio One Artist
Virtual Studio Live 4.1
4
Overview
5. You must 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 choose, select all 16.
Hookup
6. Studio One allows you to filter out specific control functions. If you would
like Studio One to ignore Aftertouch, Pitch Bend, Program Change, or
All CC messages, enable filtering for any or all of these messages.
Connecting
to a
Computer
7. In the Receive From drop-down menu, select the MIDI interface
input from which Studio One Artist will receive MIDI data (that
is, the MIDI port to which your keyboard is connected).
Software: Virtual StudioLive
SL Remote,
and Studio
One Artist
and Studio One Artist
Power User Tip: In the Send To drop-down menu, select the MIDI
interface output from which your Studio One Artist will send MIDI data
to your keyboard. If your keyboard controller doesn’t need to receive
MIDI data from Studio One, you can leave this unselected.
8. If this is the only keyboard that you will use to control your external
synthesizers and virtual instruments, 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.
9. Click OK.
Tutorials
If you have a sound module that 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 the window and skip to the next section.
Setting up an external MIDI sound module from the Start page.
Technical
Information
MIDI instrument controllers (keyboards, MIDI guitars, etc.) send musical information
in the form of MIDI data to tone modules and virtual instruments, which respond
by generating sound, as instructed. Tone modules can be standalone sound devices
or can be integrated into a MIDI instrument, such as 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.
Troubleshooting
and Warranty
Make sure you have connected the MIDI In of your external
sound module to the MIDI Out of your MIDI interface.
1. In the External Devices window, click the Add button.
21
4
Software: Virtual StudioLive and Studio One Artist
4.1 Virtual Studio Live
PreSonus AudioBox™ 22/44VSL
Overview
2. Select your device in the menu on the left. If your device is not listed,
select New Instrument. At this point you can customize the name of
your keyboard by entering the manufacturer and device names.
Hookup
Connecting
to a
Computer
Software: Virtual StudioLive
and Studio
SL Remote,
One Artist
and Studio One Artist
Tutorials
3. Specify which MIDI channels will be used to communicate with this sound
module. 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.
Technical
Information
4. In the Send To menu, select the MIDI interface output from which Studio One
Artist will send MIDI data to your sound module. Click OK and close the External
Devices window. You are now ready to start recording in Studio One Artist.
Troubleshooting
and Warranty
The rest of this Quick Start Guide will go over how to set
up a Song and will discuss some general workflow tips for
navigating through the Studio One Artist environment.
22
Owner’s Manual
4
Overview
Creating a New Song
Now that you’ve configured your audio and MIDI devices, let’s create
a new Song. We’ll start by setting up your default audio I/O.
Connecting
to a
Computer
Hookup
1. From the Start page, select Create a New Song.
Technical
Information
Tutorials
Software: Virtual StudioLive
SL Remote,
and Studio
One Artist
and Studio One Artist
2. In the New Song window, name your Song and choose the directory in which
you’d like it saved. From the Interfaces tab, you can select custom templates for
your StudioLive AR-series mixer that will set all configuration and I/O settings for
you. The rest of section will describe creating a Song from an empty session.
Troubleshooting
and Warranty
4.3
Software: Virtual StudioLive and Studio One Artist
Virtual Studio Live 4.1
3. 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 for
recording and playback. You can also set the length of your Song and the
type of time format you would like the timeline to follow (notation bars,
seconds, samples, or frames). Click the OK button when you are finished.
Power User Tip: If you plan to import loops into your Song, make
sure that the Stretch Audio Files to Song Tempo option is selected.
This will automatically import loops at the correct BPM.
23
4
Software: Virtual StudioLive and Studio One Artist
4.1 Virtual Studio Live
Overview
4.3.1
PreSonus AudioBox™ 22/44VSL
Configuring Your I/O
1. Click on Song | Song Setup to set your sample rate and
resolution and configure your audio I/O.
Hookup
Connecting
to a
Computer
Software: Virtual StudioLive
and Studio
SL Remote,
One Artist
and Studio One Artist
2. Click on the Audio I/O Setup tab.
Tutorials
Technical
Information
3. From the Inputs tab, you can enable any or all of the inputs on your StudioLive AR
mixer that you’d like to have available. We recommend that you create a mono
input for each of the inputs on your interface. If you plan on recording in stereo,
you should also create a few stereo inputs. You can give each input a custom name
by simply clicking on the default name. Press the TAB key to edit the next name.
Troubleshooting
and Warranty
24
Owner’s Manual
Software: Virtual StudioLive and Studio One Artist
Virtual Studio Live 4.1
4
Software: Virtual StudioLive
SL Remote,
and Studio
One Artist
and Studio One Artist
Connecting
to a
Computer
Hookup
Overview
4. Click on the Outputs tabs to enable any or all of the outputs on your StudioLive
AR Mixer. In the lower right corner, you will see the Audition select menu. This
allows you to choose the output 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 output bus. You can give each output a custom name by simply
clicking on the default name. Press the TAB key to edit the next name.
Creating Audio and MIDI Tracks
Technical
Information
1. In the upper left corner of the Arrange window, you will notice
several buttons. The button furthest to the right is the Add Tracks
button. Click on this button to open the Add Tracks window.
Troubleshooting
and Warranty
4.3.2
Tutorials
Power User Tip: If you would like this I/O configuration to be the same
every time you open Studio One, click the Make Default button.
2. In the Add Tracks window, you can customize the track name and
color, add a preset rack of effects, and set the physical source for
the input and output of your audio tracks. Most important, you can
select the number and type of tracks you’d like to create.
25
PreSonus AudioBox™ 22/44VSL
4
Software: Virtual StudioLive and Studio One Artist
4.1 Virtual Studio Live
Overview
Hookup
Connecting
to a
Computer
Software: Virtual StudioLive
and Studio
SL Remote,
One Artist
and Studio One Artist
•• Audio. Use this track type to record and playback audio files.
•• Instrument. Use this track to record and playback MIDI data to
control external MIDI devices or Virtual Instrument plug-ins.
•• Automation. This track type lets you create automated
parameter controls for your session.
•• Folder. This track helps you to manage your session as
well as to quickly edit multiple tracks at once.
Power User Tip: If you would like to add an audio track for each of the
available inputs, simply go to Track | Add Tracks for All Inputs.
Tutorials
Technical
Information
Custom
Track
Color
Rec
Track
Mute Arm
Name
Solo Monitor
Meter
ST/Mono
Audio Input
Source Select
Troubleshooting
and Warranty
Note: MIDI tracks are nearly identical to Audio tracks. The Input
Source list for MIDI tracks lists available external MIDI devices as well
as any virtual instruments that have been added to the Song.
26
Owner’s Manual
Software: Virtual StudioLive and Studio One Artist
4
Virtual Studio Live 4.1
Recording an Audio Track
Overview
4.3.3
Software: Virtual StudioLive
SL Remote,
and Studio
One Artist
and Studio One Artist
Connecting
to a
Computer
Hookup
1. To begin recording, create an audio track from the Add Tracks
window, set its input to Input 1 on your StudioLive AR-series
mixer, and connect a microphone to the same input.
Tutorials
2. Select Record Enable on the track. Turn up the Input 1 level on your audio
interface while speaking/singing into the microphone. You should see
the input meter in Studio One Artist react to the input. Adjust the gain
so the input level is near its maximum without clipping (distorting).
Adding Virtual Instruments and Effects
Troubleshooting
and Warranty
4.3.4
Technical
Information
You are now ready to start recording. For complete instructions, please consult the
Studio One Reference manual located in Help | Studio One Reference Manual.
You can add plug-ins and instruments to your Song by dragging-and-dropping
them 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 preset 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 and closes the audio and MIDI editors.
•• The Mix button opens and closes the Mixer window.
•• The Browse button opens the browser, 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.
27
4
Software: Virtual StudioLive and Studio One Artist
4.1 Virtual Studio Live
PreSonus AudioBox™ 22/44VSL
Overview
Drag-and-drop virtual instruments.
To add a virtual instrument to you session, open the browser and click on
the Instrument button. 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.
Hookup
Connecting
to a
Computer
Software: Virtual StudioLive
and Studio
SL Remote,
One Artist
and Studio One Artist
Tutorials
Drag-and-drop effects.
Technical
Information
To add a plug-in effect to a track, click the Effects button in the browser and
select the plug-in or one of its presets in the effects browser. Drag-and-drop
the selection over the track to which you would like to add the effect.
Troubleshooting
and Warranty
28
Owner’s Manual
Software: Virtual StudioLive and Studio One Artist
4
Microphone
Current Sub
Types
Section
5.1 0.0
Overview
Drag-and-drop audio and MIDI files.
Troubleshooting
and Warranty
Technical
Information
Tutorials
Software: Virtual StudioLive
SL Remote,
and Studio
One Artist
and Studio One Artist
Connecting
to a
Computer
Hookup
Audio and MIDI files can be quickly located, auditioned, and imported into
your Song by dragging them from the file browser into the Arrange view.
If you drag the file to an empty space, a new track will be created with
that file placed at the position to which you dragged it. If you drag the file
to an existing track, the file will be placed as a new part of the track.
29
PreSonus AudioBox™ 22/44VSL
5Tutorials
5.1 Microphone Types
Overview
5.0 Tutorials
5.1
Microphone Types
Hookup
The AudioBox 22VSL and AudioBox 44VSL work with most types of
microphones, including dynamic, ribbon, and condenser microphones.
5.1.1
Condenser
Connecting
to a
Computer
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Condenser microphones generally capture sound with excellent fidelity and
are among 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 AudioBox
22/44VSL sends 48 VDC phantom power from the XLR inputs only.
5.1.2
Dynamic
Tutorials
Tutorials
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, most dynamic microphones do not require a power source.
Technical
Information
Dynamic microphones, especially ribbon microphones, tend to generate low output
voltages, so they typically need more preamp gain than condenser microphones.
Ribbon
Troubleshooting
and Warranty
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—especially higher
frequencies. However, they often are very fragile (many newer models
are less so) and typically cannot handle high sound-pressure levels.
Most 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.
5.1.3 USB Microphones and Other Types
Many microphone types are available, and as technology evolves, it is likely
that more will be developed. One type of microphone to emerge recently is the
USB microphone. These may be dynamic or condenser mics, but many of them
have built-in preamps and need drivers to work with computers. Because a USB
microphone is, in effect, an audio interface, we recommended that you not use
them with the AudioBox 22/44VSL, 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), please consult your microphone’s user’s
30
Owner’s Manual
Tutorials5
Microphone Types 5.1
Overview
manual for power requirement and compatibility information.
5.1.4
Hookup
Regardless of the microphone type you are using, we recommend
reading your microphone’s user’s manual thoroughly before engaging
phantom power and in case other usage questions arise.
Microphone Placement
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Connecting
to a
Computer
The following are a few recording applications to help you get started with
your AudioBox 22/44VSL. These are by no means the only ways to record these
instruments. Microphone selection and placement is an art. For more information,
visit your library or local bookstore, as there are many books and 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 as for studio recording.
Grand Piano
Troubleshooting
and Warranty
Technical
Information
Tutorials
Tutorials
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 and
studio applications.
Electric Guitar
Place a dynamic microphone an inch or two away
from the speaker of the guitar amplifier. Experiment
with exact location. If you are recording an amp with
multiple speakers, experiment with each one to see if
one sounds better than the others. Place a condenser
microphone approximately six feet away, pointed at
the amp. Experiment with distance. Also experiment
with inverting the phase of the room microphone to
check for phase cancellation and reinforcement.
(Select the “fuller”-sounding position.) To use this
technique in a live application, omit the condenser
microphone.
31
5Tutorials
5.1 Microphone Types
PreSonus AudioBox™ 22/44VSL
Overview
Acoustic Guitar
Hookup
Point a small-diaphragm condenser microphone 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.)
Connecting
to a
Computer
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Bass Guitar (Direct and Speaker)
Tutorials
Tutorials
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 AudioBox 22/44VSL microphone
input. Connect the line output from the passive direct
box to the other microphone input on your AudioBox.
Be sure to keep the trim level for this input very low so
as not to clip the converters. For recording, place these
signals on separate tracks. During mixing, you can
blend the direct and amplifier signal to taste. This
technique can also be used in live applications.
Technical
Information
Troubleshooting
and Warranty
32
Owner’s Manual
Tutorials5
A Brief Tutorial on Dynamic Processing 5.2
Overview
Drum Overheads (XY example)
Tutorials
Tutorials
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Connecting
to a
Computer
Hookup
Place two small-diaphragm condenser microphones
on an XY stereo-microphone holder (bar). Position the
microphones so that each one is at a 45-degree angle,
pointed down at the drum kit, approximately 7 or 8
feet above the floor or drum riser. Experiment with
height. This technique can be used in live applications
as well.
Technical
Information
Snare Drum (top and bottom)
Troubleshooting
and Warranty
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 be used in
live applications.
33
5Tutorials
5.2 A Brief Tutorial on Dynamic Processing
Overview
5.2
PreSonus AudioBox™ 22/44VSL
A Brief Tutorial on Dynamics Processing
Hookup
Studio One Artist software included with the AudioBox 22/44VSL comes with
a variety of dynamics processing plugins. What follows is an excerpt from
a brief tutorial on dynamics processing written by PreSonus president and
founder Jim Odom. It is included to help you get the most out of Studio One
Artist and its plugis. This tutorial will take you through the basics of dynamics
processing and will explain the various types of dynamics processors.
Connecting
to a
Computer
5.2.1
Common Questions Regarding Dynamics Processing
What is dynamic range?
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Dynamic range can be defined as the ratio between the loudest possible audio
level and 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!
Tutorials
Tutorials
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.
Technical
Information
Why do we need compression?
Troubleshooting
and Warranty
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.
Does every instrument need compression?
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.
34
Owner’s Manual
Tutorials5
A Brief Tutorial on Dynamic Processing 5.2
Overview
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.
Hookup
Why do we need noise gates?
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Connecting
to a
Computer
Consider the compressed-vocal example discussed earlier; you now have a
20 dB dynamic range for the vocal channel. Problems arise when noise or
instruments (air conditioner, loud drummer, etc.) in the background of the
vocal mic become more audible after the lower end of the dynamic range is
raised. 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.
Types of Dynamic Processing
Technical
Information
5.2.2
Tutorials
Tutorials
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
Troubleshooting
and Warranty
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 audiorecording 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
35
5Tutorials
5.2 A Brief Tutorial on Dynamic Processing
PreSonus AudioBox™ 22/44VSL
Overview
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.
Hookup
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.
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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, with killer results!)
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
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:
kick drum can get lost in a wall of electric guitars. No matter how
A
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.
Tutorials
Tutorials
vocal performance usually has a wide dynamic range. Transients (normally
A
the loudest portions of the signal) can be far outside the average level of the
vocal signal. Because the level can change continuously and dramatically, it is
extremely difficult to ride the level with a console fader. A compressor/limiter
automatically controls gain without altering the subtleties of the performance.
Technical
Information
solo guitar can seem to be masked by the rhythm guitars. Compression can
A
make your lead soar above the track without shoving the fader through the roof.
Troubleshooting
and Warranty
ass guitar can be difficult to record. A consistent level with good attack
B
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.
Compressors — Terminology
Threshold. 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).
Ratio. 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
such that for every 1 dB of level increase into the compressor, the output will
only increase 0.5 dB. This produces a compression gain reduction of 0.5 dB/
dB. As you increase the ratio, the compressor gradually becomes a limiter.
Limiter. 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,
36
Owner’s Manual
Tutorials5
A Brief Tutorial on Dynamic Processing 5.2
Overview
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.
Hookup
Attack. Attack sets the speed at which the compressor acts on the
input signal. A slow attack time 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 immediately subjects
the signal to the ratio and threshold settings of the compressor.
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Connecting
to a
Computer
Release. 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.
Hard/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).
Tutorials
Tutorials
Auto. 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.
Technical
Information
Makeup 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).
Troubleshooting
and Warranty
Compressor Sidechain. The sidechain jack interrupts the signal that the compressor
is using to determine the amount of gain reduction it should apply. When no
connector is inserted into this jack, the input signal goes directly to the compressor’s
control circuitry. 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. 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 is,
reduce the level of—the music whenever the narrator speaks or the vocalist sings.
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 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
37
5Tutorials
5.2 A Brief Tutorial on Dynamic Processing
PreSonus AudioBox™ 22/44VSL
Overview
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.)
Hookup
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.
Connecting
to a
Computer
Expansion— Terminology
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Downward Expansion. Downward expansion is the most common
expansion used in live sound 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.
Ratio. 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.
Technical
Information
Threshold. 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.
Troubleshooting
and Warranty
Tutorials
Tutorials
Noise Gates
Attack. 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 slowrising signals, cause an artifact in the signal, which is heard as a click. All gates
have the ability to click when opening but a properly set gate will never click.
Hold. Hold time is used to keep the gate open for a fixed period after
the signal drops below the gate threshold. This can be very 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.
Release. 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.
Range. 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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Owner’s Manual
Tutorials5
A Brief Tutorial on Dynamic Processing 5.2
Overview
Key Listen. The key listen allows the user to listen to
the signal that is being filtered by the gate.
Hookup
Frequency Key Filter. Some gates offer a variable frequency control allowing the
user to set a specific frequency band that the will cause the gate to open or close.
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Connecting
to a
Computer
Noise Gating. Noise gating is the process of removing unwanted sounds
from a signal by attenuating all signals below a set threshold. As described,
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.
5.2.3
Tutorials
Tutorials
Noise gates were originally designed to help eliminate extraneous noise and
unwanted artifacts from a recording, such as hiss, rumble, or transients from other
instruments in the room. Since hiss and noise are not as loud as the instrument being
recorded, a properly set gate will only allow the intended sound to pass through;
the volume of everything else is lowered. Not only will this strip away unwanted
artifacts like hiss, it will add definition and clarity to the desired sound. This is a very
popular application for noise gates, especially with percussion instruments, as it
will add punch or “tighten” the percussive sound and make it more pronounced.
Compression Settings: Some Starting Points
Technical
Information
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 in VSL.
Vocals
Thresholdhold
-8.2 dB
RatRatioio
1.8:1
AttAttackack
0.002 ms
Troubleshooting
and Warranty
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.”
ReleaRelease
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.
Thresholdhold
-3.3 dB
RatRatioio
2.8:1
AttAttackack
0.002 ms
Release
38 ms
Screamer. This setting is for loud vocals. It is a fairly hard compression setting for
a vocalist who is on and off the microphone a lot. It puts the voice “in your face.”
Thresholdhold
-1.1 dB
RatRatioio
3.8:1
AttAttackack
0.002 ms
Release
38 ms
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PreSonus AudioBox™ 22/44VSL
5Tutorials
5.2 A Brief Tutorial on Dynamic Processing
Overview
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.
Hookup
Thresholdhold
-2.1 dB
RatRatioio
3.5:1
AttAttackack
78 ms
Release
300 ms
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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.”
Thresholdhold
-13.7 dB
RatRatioio
1.3:1
AttAttackack
27 ms
Release
128 ms
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
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.
Thresholdhold
-4.4 dB
RatRatioio
2.6:1
AttAttackack
45.7 ms
Tutorials
Tutorials
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.
Technical
Information
Troubleshooting
and Warranty
40
Release
189 ms
Tutorials5
Equalizers5.3
Thresholdhold
-6.3 dB
RatRatioio
3.4:1
AttAttackack
188 ms
Release
400 ms
Overview
Owner’s Manual
Thresholdhold
-0.1 dB
RatRatioio
2.4:1
AttAttackack
26 ms
Hookup
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.
Release
193 ms
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Keyboards
Thresholdhold
-10.8 dB
RatRatioio
1.9:1
AttAttackack
108 ms
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
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.
Release
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.
Thresholdhold
-11.9 dB
RatRatioio
1.8:1
AttAttackack
0.002 ms
Release
85 ms
RatRatioio
2.5:1
AttAttackack
1.8 ms
Release
50 ms
Technical
Information
Thresholdhold
3.3 dB
Tutorials
Tutorials
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.
Stereo Mix
Thresholdhold
5.5 dB
RatRatioio
7.1:1
AttAttackack
0.001 ms
Troubleshooting
and Warranty
Stereo Limiter. Just as the name implies, this is a hard limiter, or “brickwall,” setting—
ideal for controlling the level to a two-track mixdown deck or stereo output.
Release
98 ms
Contour. This setting fattens up the main mix.
Thresholdhold
-13.4 dB
RatRatioio
1.2:1
AttAttackack
0.002 ms
Release
182 ms
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.
Thresholdhold
-4.6 dB
RatRatioio
2.4:1
AttAttackack
7.2 ms
Release
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.
Thresholdhold
0 dB
RatRatioio
1.9:1
AttAttackack
1 ms
Release
0.001 ms
41
PreSonus AudioBox™ 22/44VSL
5Tutorials
5.3Equalizers
Overview
5.3
Equalizers
Hookup
Studio One Artist includes several EQ plugins. This section is 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 mixes.
5.3.1
What is an EQ?
Connecting
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Computer
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 iPod. In recording, equalization
is a sophisticated art. Good equalization is critical to a good mix.
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
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.
Parametric EQ
Tutorials
Tutorials
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 like those in the StudioLive
24.4.2 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 also offers separate control over the Q, which is the ratio of the
center frequency to the bandwidth. A semi-parametric EQ provides control over
most of these parameters but the Q is fixed. Some devices, such as the StudioLive
16.4.2 and 16.0.2 and the AudioBox 22/44VSL, have quasi-parametric EQ, which is
semi-parametric EQ with a simple, switchable Q setting (typically, High and Low Q).
Technical
Information
Troubleshooting
and Warranty
Q
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, which allows
you to attenuate or boost a very narrow or wide range of frequencies.
A narrow bandwidth (higher Q) has obvious 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 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 kick drum without overpowering the rest of the mix.
42
Owner’s Manual
Tutorials5
Equalizers5.3
Connecting
to a
Computer
Hookup
Overview
A broad bandwidth accentuates or attenuates a larger band of frequencies. The
broad and narrow bandwidths (high and low Q) are usually used in conjunction
with one another to achieve the desired effect. Let’s look at our kick drum again.
We have a kick drum that has a great, big, low-end sound centered around 100
Hz and an attack hitting almost dead-on at 4 kHz. In this example, you would
use a broad bandwidth in the low frequency band, centered at 100 Hz, and a
narrow bandwidth boosted at 4 kHz. In this way you are accentuating the best
and downplaying everything else this particular kick drum has to offer.
Shelving EQ
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
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.
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
Tutorials
Tutorials
A graphic EQ is a multiband equalizer that uses sliders to adjust the
amplitude for each frequency band. It gets its name from the positions
of the sliders, which graphically display the resulting frequencyresponse curve. The center frequency and bandwidth are fixed; the
level (amplitude) for each band is the only adjustable parameter.
Troubleshooting
and Warranty
Technical
Information
Graphic EQs are generally used to fine-tune the overall mix for 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 bands. 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 (16 Hz to 60 Hz). The lowest of these 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.
Bass (60 Hz to 250 Hz). 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 (250 Hz 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 250 Hz to 500 Hz will accent ambience in the studio and will add clarity to
bass and lower frequency instruments. The range between 500 Hz and 2 kHz
can make midrange instruments (guitar, snare, saxophone, etc.) “honky,” and too
much boost between 1 kHz and 2 kHz can make your mix sound thin or “tinny.”
High Mids (2 kHz to 4 kHz). The attack portion of percussive
and rhythm instruments occurs in this range. High mids are also
responsible for the projection of midrange instruments.
43
PreSonus AudioBox™ 22/44VSL
5Tutorials
5.3Equalizers
Overview
Presence (4 kHz to 6 kHz). This frequency range is partly responsible
for the clarity of a mix and provides a measure of control over the
perception of distance. If you boost this frequency range, 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.
Hookup
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.
Connecting
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Computer
5.3.2
Equalization Settings: How to Find the Best and Leave the Rest
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
How do you find the best and worst each instrument has to offer and
adjust their frequency content accordingly? Here’s a quick guide:
Tutorials
Tutorials
Technical
Information
••
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 primarily 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 not uncommon to hear an annoying ringing or a “twang” mixed
in with your amazing-sounding low 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 more clarity.
••
You 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.
••
Step 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.
••
Your memory is not what you think it is. Comparing a flat EQ and the
curve that you’ve created allows you to see and hear exactly what you’ve
Additional advice:
Troubleshooting
and Warranty
44
Owner’s Manual
Tutorials5
Equalizers5.3
Hookup
Never be afraid of taking a risk. The best EQ tricks were found by mad scientists
of sound. With every instrument, there are frequencies that can be attenuated or
boosted to add clarity or fullness. Altering 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. These are just suggestions; the frequencies may need
to be adjusted up or down depending on the instrument, room, and microphone.
Connecting
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••
Overview
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.
Electric Guitar
Acoustic Guitar
What to Boost
Why to Boost
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
1-2 kHz
Tinny
5 kHz
More presence
300 Hz
Boomy
100 Hz
Bottom end
1-2 kHz
Shrill
3 kHz
Clarity
80 Hz and below
Muddy
125 Hz
Bottom end
2-3 kHz
Tinny
5 kHz and above
Sparkle
200 Hz
Boomy
125 Hz
Full
Tutorials
Tutorials
Piano
Why to Cut
Technical
Information
Human Voice
What to Cut
Troubleshooting
and Warranty
Instrument
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Table 1
45
PreSonus AudioBox™ 22/44VSL
5Tutorials
5.3Equalizers
Overview
Electric Bass
String Bass
Hookup
Snare Drum
Connecting
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Kick Drum
Toms
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Cymbals
Horns
String section
Tutorials
Tutorials
Table 2
Technical
Information
Troubleshooting
and Warranty
46
1 kHz
Thin
600 Hz
Growl
125 Hz
Boomy
80 Hz and below
Bottom end
600 Hz
Hollow
2-5 kHz
Sharp attack
200 Hz
Boomy
125 Hz and below
Bottom end
1 kHz
Annoying
2 kHz
Crisp
150-200 Hz
Full
80 Hz
Deep
400 Hz
Muddy
2-5 kHz
Sharp attack
80 Hz and below
Boomy
60-125 Hz
Bottom end
300 Hz
Boomy
2-5 kHz
Sharp attack
80-200 Hz
Bottom end
7-8 kHz
Sizzle
8-12 kHz
Brilliance
15 kHz
Air
1 kHz
Annoying
1 kHz
Honky
8-12 kHz
Big sound
120 Hz and below
Muddy
2 kHz
Clarity
3 kHz
Shrill
2 kHz
Clarity
120 Hz and below
Muddy
400-600 Hz
Lush and full
Owner’s Manual
Tutorials5
Equalizers5.3
General EQ Suggestions
Overview
5.3.3
Hookup
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 5.2.3, the right EQ setting for any given instrument
will depend upon the room and the tonality of the instrument.
Vocals
LOW
PEAK/SHELF
PEAK
LOW
FREQ (Hz)
130
LOW
GAIN
-2
LOW MID
ON/OFF
ON
LOW MID
HI/LOW Q
LOW
LOW MID
FREQ (Hz)
465
LOW MID
GAIN
-2
HI MID
ON/OFF
ON
HI MID
LO/HI
LO
HI MID
FREQ (kHz)
2.4
HI MID
GAIN
+2
HI
ON/OFF
ON
HI
PEAK/SHELF
PEAK
HI
FREQ (kHz)
6.0
HI
GAIN
+8
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
LOW
ON/OFF
ON
Connecting
to a
Computer
Pop Female Vocals
LOW
PEAK/SHELF
SHELF
LOW
FREQ (Hz)
155
LOW
GAIN
+4
LOW MID
ON/OFF
ON
LOW MID
HI/LOW Q
LOW
LOW MID
FREQ (Hz)
465
LOW MID
GAIN
+6
HI MID
ON/OFF
ON
HI MID
LO/HI
LO
HI MID
FREQ (kHz)
1.4
HI MID
GAIN
+6
HI
ON/OFF
ON
HI
PEAK/SHELF
PEAK
HI
FREQ (kHz)
4.2
HI
GAIN
+2
Technical
Information
LOW
ON/OFF
ON
Tutorials
Tutorials
Rock Female Vocals
LOW
ON/OFF
ON
LOW
PEAK/SHELF
PEAK
LOW
FREQ (Hz)
225
LOW
GAIN
-2
LOW MID
ON/OFF
ON
LOW MID
HI/LOW Q
HI
LOW MID
FREQ (Hz)
960
LOW MID
GAIN
0
HI MID
ON/OFF
ON
HI MID
LO/HI
LO
HI MID
FREQ (kHz)
2.0
HI MID
GAIN
+2
HI
ON/OFF
ON
HI
PEAK/SHELF
PEAK
HI
FREQ (kHz)
7.2
HI
GAIN
+4
Troubleshooting
and Warranty
Pop Male Vocals
Rock Male Vocals
LOW
ON/OFF
ON
LOW
PEAK/SHELF
PEAK
LOW
FREQ (Hz)
155
LOW
GAIN
+2
LOW MID
ON/OFF
ON
LOW MID
HI/LOW Q
HI
LOW MID
FREQ (Hz)
265
LOW MID
GAIN
-6
HI MID
ON/OFF
ON
HI MID
LO/HI
HI
HI MID
FREQ (kHz)
2.4
HI MID
GAIN
-2
HI
ON/OFF
ON
HI
PEAK/SHELF
SHELF
HI
FREQ (kHz)
7.2
HI
GAIN
+4
47
PreSonus AudioBox™ 22/44VSL
5Tutorials
5.3Equalizers
Overview
Percussion
Snare
Hookup
Connecting
to a
Computer
LOW
ON/OFF
ON
LOW
PEAK/SHELF
PEAK
LOW
FREQ (Hz)
130
LOW
GAIN
-4
LOW MID
ON/OFF
ON
LOW MID
HI/LOW Q
LOW
LOW MID
FREQ (Hz)
665
LOW MID
GAIN
+4
HI MID
ON/OFF
ON
HI MID
LO/HI
LO
HI MID
FREQ (kHz)
1.6
HI MID
GAIN
+4
HI
ON/OFF
ON
HI
PEAK/SHELF
SHELF
HI
FREQ (kHz)
4.2
HI
GAIN
+4
Left/Right (Stereo) Overheads
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
LOW
ON/OFF
ON
LOW
PEAK/SHELF
SHELF
LOW
FREQ (Hz)
108
LOW
GAIN
-2
LOW MID
ON/OFF
ON
LOW MID
HI/LOW Q
LOW
LOW MID
FREQ (Hz)
385
LOW MID
GAIN
-2
HI MID
ON/OFF
ON
HI MID
LO/HI
LO
HI MID
FREQ (kHz)
2.9
HI MID
GAIN
+2
HI
ON/OFF
ON
HI
PEAK/SHELF
SHELF
HI
FREQ (kHz)
8
HI
GAIN
4
Kick Drum
Tutorials
Tutorials
Technical
Information
LOW
ON/OFF
ON
LOW
PEAK/SHELF
PEAK
LOW
FREQ (Hz)
108
LOW
GAIN
+4
LOW MID
ON/OFF
ON
LOW MID
HI/LOW Q
HI
LOW MID
FREQ (Hz)
265
LOW MID
GAIN
-4
HI MID
ON/OFF
ON
HI MID
LO/HI
LO
HI MID
FREQ (kHz)
1.6
HI MID
GAIN
0
HI
ON/OFF
ON
HI
PEAK/SHELF
SHELF
HI
FREQ (kHz)
6.0
HI
GAIN
+4
Troubleshooting
and Warranty
Fretted Instruments
Electric Bass
LOW
ON/OFF
ON
LOW
PEAK/SHELF
SHELF
LOW
FREQ (Hz)
36
LOW
GAIN
-8
LOW MID
ON/OFF
ON
LOW MID
HI/LOW Q
HI
LOW MID
FREQ (Hz)
130
LOW MID
GAIN
+4
HI MID
ON/OFF
ON
HI MID
LO/HI
LO
HI MID
FREQ (kHz)
2.0
HI MID
GAIN
+4
HI
ON/OFF
ON
HI
PEAK/SHELF
SHELF
HI
FREQ (kHz)
4.2
HI
GAIN
0
Acoustic Guitar
LOW
ON/OFF
ON
LOW
PEAK/SHELF
PEAK
LOW
FREQ (Hz)
155
LOW
GAIN
+4
LOW MID
ON/OFF
ON
LOW MID
HI/LOW Q
LOW
LOW MID
FREQ (Hz)
665
LOW MID
GAIN
+2
HI MID
ON/OFF
ON
HI MID
LO/HI
LO
HI MID
FREQ (kHz)
2.0
HI MID
GAIN
0
HI
ON/OFF
ON
HI
PEAK/SHELF
SHELF
HI
FREQ (kHz)
6.0
HI
GAIN
+4
48
Owner’s Manual
Tutorials5
Aux Bus Mixing 5.4
LOW
FREQ (Hz)
320
LOW
GAIN
+6
LOW MID
ON/OFF
ON
LOW MID
HI/LOW Q
LOW
LOW MID
FREQ (Hz)
960
LOW MID
GAIN
0
HI MID
ON/OFF
ON
HI MID
LO/HI
HI
HI MID
FREQ (kHz)
3.5
HI MID
GAIN
+4
HI
ON/OFF
ON
HI
PEAK/SHELF
SHELF
HI
FREQ (kHz)
12
HI
GAIN
0
Hookup
LOW
PEAK/SHELF
PEAK
Connecting
to a
Computer
LOW
ON/OFF
ON
Overview
Distorted Electric Guitar
Keyboards
LOW
GAIN
-2
LOW MID
ON/OFF
ON
LOW MID
HI/LOW Q
LO
LOW MID
FREQ (Hz)
665
LOW MID
GAIN
+2
HI MID
ON/OFF
ON
HI MID
LO/HI
LO
HI MID
FREQ (kHz)
2.9
HI MID
GAIN
+2
HI
ON/OFF
ON
HI
PEAK/SHELF
PEAK
HI
FREQ (kHz)
7.2
HI
GAIN
+4
Tutorials
Tutorials
LOW
FREQ (Hz)
108
Technical
Information
LOW
PEAK/SHELF
SHELF
Troubleshooting
and Warranty
LOW
ON/OFF
ON
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Piano
49
PreSonus AudioBox™ 22/44VSL
5Tutorials
5.5 Digital Effects
Overview
5.4
Digital Effects
Studio One Artist also includes an assortment of time-based and modulation
effects. The following is a brief description of how each type works.
Hookup
5.4.1
Reverb
Connecting
to a
Computer
Reverberation­—or reverb, as it is more commonly known—is perhaps the most
widely used effect. Natural reverb is created by sound waves reflecting off of a surface
or many surfaces. For 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 off of more
surfaces, the complexity of the sound increases, while the reverb slowly decays.
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
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 about the
nature of the space around us based partially on audio reflections, a sense of space
makes an audio recording sound more natural and, therefore, more pleasing.
The following parameters can usually be adjusted in a reverb effect:
ecay. Decay is the time required for the reflections (reverberation) to die away.
D
In most modern music production, reverb decay times of 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.
••
redelay. Predelay is the time between the end of the initial sound and the
P
moment when the first reflections become 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 stage—but only a small part of the direct sound will go there, so
those reflections will be much less noticeable.) Adjusting the predelay 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.
H
Carpet and soft 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.
Tutorials
Tutorials
••
Technical
Information
Troubleshooting
and Warranty
50
Owner’s Manual
Delay
Overview
5.4.2
Tutorials5
Digital Effects 5.5
Hookup
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.
Connecting
to a
Computer
elay Time. Delay time is the time between the source signal and its
D
echo. The simplest delay 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 as distinct echoes can be used to create thickening effects. Whether
these echoes are timed with the tempo is a matter of stylistic choice.
5.4.3
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
ariable Feedback. Variable feedback, or regeneration, produces multiple
V
decaying repeats. Increasing the feedback value increases the number of echoes
as well as the resonance that is created as one echo disappears into another.
Modulation Effects
Chorus
Tutorials
Tutorials
As its name indicates, a Chorus effect creates copies of a single source signal to
artificially create the impression that there is more than instrument playing, voice
singing, etc. This ensemble effect is created using a series of short, continuously
varying delays that produce slight pitch-shifts and add fullness to a sound.
Technical
Information
LFO Speed and Width: The copies are delayed using a low-frequency
oscillator. Some chorus effects allow you to adjust the speed and width
of the waveform being applied to modulate the source signal.
Troubleshooting
and Warranty
Depth: The depth control affects how much the total delay time changes over
time. As the delay time changes, you can hear slight frequency modulations.
Phase
Phase shifting creates a copy of the source signal and shifts the copy
in time relative to the original signal, creating from 0 to 360 degrees of
phase difference throughout the frequency spectrum. The shifted signal
is blended with the source signal so that you can hear the copy moving in
and out of phase with the original. This creates a characteristic “swoosh.”
Flange
Flanging is a type of phase shifting. It is created by splitting an audio signal into
two identical signals; applying a constantly varying, short delay to one signal; and
mixing it with the unaltered signal. This results in a swept, “swooshy” effect. The
effect was originally created by mixing the outputs of two synchronized tape decks
playing the same material. By pressing a finger against the flange (top) of one
tape reel, the speed of one machine was slowed slightly, creating phase shifts.
51
PreSonus AudioBox™ 22/44VSL
6
Technical Information
6.1 AudioBox 22 VSL Specifications
Overview
6.0 Technical Information
6.1
AudioBox 22VSL Specifications
Hookup
Microphone Preamp
Connecting
to a
Computer
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Type
Combo, XLR, female, balanced Mic Preamp EIN
-129 dB, 20 kHz BW, max gain, Rs=40Ω, A-wtd
Frequency Response
20 Hz - 20 kHz, +/- 0.3 dB, unity gain
THD+N
0.005%, 0 dBu, 1 kHz, unity gain, 20 kHz BW, A-wtd
S/N Ratio
94 dB, 0 dBu, 1 kHz, unity gain, 20 kHz BW, unwtd
Gain Control Range
-15 dB to +65 dB
Input Max Headroom
+10 dBu, < 0.5% THD
Input Impedance
1.7 kΩ
Phantom Power
+48 VDC, 10 mA total
Instrument Input (channels 1 and 2 only)
Tutorials
Technical
Information
Troubleshooting
and Warranty
Connector Type
Combo, ¼” TS, female, unbalanced
Frequency Response
20 Hz - 20 kHz, +/- 0.3 dB, unity gain
THD+N
0.006%, 0 dBu, 1 kHz, unity gain, 20 kHz BW, A-wtd
S/N Ratio
89 dB, 0 dBu, 1 kHz, unity gain, 20 kHz BW, unwtd
Gain Control Range
-30 dB to +50 dB
Input Max Headroom
+15 dBu, < 0.5% THD
Input Impedance 1 MΩ
Headphone Output:
Connector Type
¼” TRS, female, stereo
Maximum Power
30 mW/ch @ 60Ω load
Frequency Response
20 Hz - 20 kHz, ±0.5 dB, max gain
THD+N
0.08%, 1 kHz, max gain, 20 kHz BW, A-wtd
S/N Ratio
90 dB, 1 kHz, max gain, 20 kHz BW, unwtd
52
Owner’s Manual
Technical Information
AudioBox 22VSL Specifications 6.1
6
Frequency Response
20 Hz - 20 kHz, ± 0.2 dB
THD+N
0.002%, 1 kHz, 20 kHz BW, A-wtd
S/N Ratio
107 dB, 1 kHz, max gain, 20 kHz BW, unwtd
Output Level
+10 dBu
Output Impedance
51Ω
Hookup
¼” TRS, female, impedance balanced
Connecting
to a
Computer
Connector Type
Overview
Analog Outputs:
Power (AB22)
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Power:
USB Bus Power, 5 VDC, 500 mA
Bit Depth
24-bit
Sample Rates
44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz
Maximum Latency
6 mS, analog input to analog output
ADC Dynamic Range
114 dB, 48 kHz sample rate, A-wtd
DAC Dynamic Range
114 dB, 48 kHz sample rate, A-wtd
MIDI I/O
5-pin DIN connectors
Technical
Information
USB 2.0 high-speed
Troubleshooting
and Warranty
Host Interface
Tutorials
Digital:
53
PreSonus AudioBox™ 22/44VSL
6
Technical Information
6.2 AudioBox 44VSL Specifications
Overview
6.2
AudioBox 44VSL Specifications
Microphone Preamp
Hookup
Connecting
to a
Computer
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Connector Type
Combo, XLR, female, balanced
Mic Preamp EIN
-133 dB, 20 kHz BW, max gain, Rs=40Ω, A-wtd
Frequency Response
20 Hz - 22 kHz, ±0.25 dB, unity gain
THD+N
0.002%, +4 dBu, 1 kHz, unity gain, 22 kHz BW, A-wtd
S/N Ratio
97 dB, +4 dBu, 1 kHz, unity gain, 22 kHz BW, A-wtd
Gain Control Range
-15 dB to +65 dB
Input Max Headroom
+16 dBu, < 0.5% THD
Input Impedance
1.7 kΩ
Phantom Power
+48 VDC, 32 mA total unit
Instrument Input (channels 1 and 2 only)
Tutorials
Technical
Information
Troubleshooting
and Warranty
Connector Type
Combo, ¼” TS, female, unbalanced
Frequency Response
20 Hz - 22 kHz, +/- 0.25 dB, unity gain
THD+N
0.003%, +4 dBu, 1 kHz, unity gain, 22 kHz BW, A-wtd
S/N Ratio
89 dB, +4 dBu, 1 kHz, unity gain, 22 kHz BW, A-wtd
Gain Control Range
-30 dB to +50 dB
Input Max Headroom
+21 dBu, < 0.5% THD
Input Impedance 1 MΩ
Line Inputs (channels 3 and 4 only):
Connector Type
Combo, ¼” TRS, female, balanced
Frequency Response
20 Hz - 22 kHz, ±0.25 dB, unity gain
THD+N
0.002%, +4 dBu, 1 kHz, unity gain, 22 kHz BW, A-wtd
S/N Ratio
98 dB, +4 dBu, 1 kHz, unity gain, 22 kHz BW, A-wtd
Gain Control Range
-20 dB to +20 dB
Input Max Headroom
+21 dBu, < 0.5% THD
Input Impedance 10 kΩ
54
Owner’s Manual
Technical Information
AudioBox 44VSL Specifications 6.2
6
Maximum Power
120 mW/ch @ 60Ω load
Frequency Response
20 Hz - 20 kHz, ±0.5 dB, max gain
THD+N
0.01%, 1 kHz, max gain, 20 kHz BW, A-wtd
S/N Ratio
96 dB, 1 kHz, max gain, 20 kHz BW, A-wtd
Hookup
¼” TRS, female, stereo
Connecting
to a
Computer
Connector Type
Overview
Headphone Output:
Connector Type
¼” TRS, female, impedance balanced
Frequency Response
20 Hz - 22 kHz, +/- 0.25 dB
THD+N
0.003%, 1 kHz, 22 kHz BW, A-wtd
S/N Ratio
109 dB, 1 kHz, 22 kHz BW, A-wtd
Output Level
+10 dBu, < 0.5% THD
Output Impedance
51Ω
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Analog Output:
Power
Tutorials
Power:
2.1 mm barrel connector, 12 VDC, 1A
USB 2.0 high-speed
Bit Depth
24-bit
Sample Rates
44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz
Maximum Latency
6 mS, analog input to analog output
ADC Dynamic Range
114 dB, 48 kHz sample rate, A-wtd
DAC Dynamic Range
114 dB, 48 kHz sample rate, A-wtd
MIDI I/O
5-pin DIN connectors
Troubleshooting
and Warranty
Host Interface
Technical
Information
Digital:
55
7
Troubleshooting & Warranty
7.1Troubleshooting
PreSonus AudioBox™ 22/44VSL
Overview
7.0 Troubleshooting & Warranty
7.1Troubleshooting
Hookup
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 AudioBox interface and Studio One™ digital audio
workstation software. PreSonus does not provide support for computer
hardware, operating systems, and non-PreSonus hardware and software, and it
may be necessary to contact the manufacturer of these products for technical
support. Please check our Web site (www.presonus.com) regularly for software
information and updates, firmware updates, and support documentation for
frequently asked questions. You can get individual technical assistance by calling
PreSonus at 1-225-216-7887, Monday through Friday, between the hours of
9 a.m. and 5 p.m. Central Time (GMT -06:00 CST). PreSonus technical support
is available via email during the same hours at [email protected].
Connecting
to a
Computer
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
AudioBox Will Not Connect to Computer
Verify that the USB cable is properly connected both to the AudioBox
and to your computer. Disconnect unnecessary peripheral USB devices.
Verify that your AudioBox is connected to a USB 2.0 connection.
Tutorials
Input Phasing While Monitoring in VSL
Technical
Information
If you are using a DAW at the same time as AudioBox VSL, make sure
that the input channel in your DAW has software monitoring disabled.
You will be monitoring through AudioBox VSL, not your DAW.
Troubleshooting
Troubleshooting
and
andWarranty
Warranty
56
Owner’s Manual
7
Overview
PreSonus AudioBox Limited Warranty
Technical
Information
Tutorials
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Connecting
to a
Computer
Hookup
PreSonus Audio Electronics, Inc., warrants this product to be free of defects in
materials 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.
Troubleshooting
Troubleshooting
and Warranty
Warranty
7.2 Troubleshooting and Warranty
PreSonus AudioBox Limited Warranty 7.2
PreSonus Audio Electronics, Inc.
7257 Florida Blvd.
Baton Rouge, LA 70806
57
Owner’s Manual
Declaration of
­Conformity
Responsible Party: PreSonus Audio Electronics
Address:
7257 Florida Blvd., Baton Rouge, LA
70806 USA
Phone: 225-216-7887
declares that AudioBox™ 22VSL/AudioBox 44VSL
complies with
Part 15 of the FCC rules.
Operation is subject to the following two conditions:
1. This device may not cause harmful interference, and;
2. This device must accept any interference
received, including interference that may cause
undesired operation
Note: No product support is available when you call the number above. Refer
to your Certificate of Warranty in your Owner’s Manual for PreSonus’ Product
Support telephone number.
Baton Rouge • USA • www.presonus.com
59
Overview
Hookup
Connecting
to a
Computer
Software: Virtual StudioLive
SL Remote,
and Studio One Artist
Tutorials
Technical
Information
Troubleshooting
and Warranty
60
PreSonus AudioBox™ 22/44VSL
Current Section
Current Sub Section
0
0.0
Added bonus: PreSonus’ previously Top Secret recipe for…
Jambalaya
Ingredients:
••
••
••
••
••
••
••
••
••
••
••
••
5 lbs link andouille sausage
3 lbs boneless chicken
2 lbs ground beef
3 lbs onions (yellow or purple)
2 stalks of celery
1 lb bell peppers (green or red)
1 batch green onions
3 lbs rice
Tony Chachere’s Cajun Seasoning
1 bottle chicken stock concentrate (or 3 cubes chicken bullion)
1 can Rotel tomotoes with chilies, diced (regular hot)
Tabasco sauce
Cooking Instructions:
1. In a 16 qt. pot or larger, slice link sausage and pan-fry until brown.
2. Add ground beef and brown.
3. Do not remove from pot Add diced onions, celery, and bell peppers,
1 can Rotel Original diced tomatoes w/chilies, 3 oz concentrate chicken stock,
½ teaspoon of Cajun seasoning, 1 teaspoon of Tabasco hot sauce
(or more…maybe lots more).
4. Cook until onions are translucent.
5. Add chicken and cook until it turns white.
6. Add diced green onions, 1 tsp. salt, ½ gallon water and bring to a boil.
7. Add rice and bring to a boil. Cook on high for 8 m
­ inutes, covered, stirring every 2 minutes
8. Cook covered on low for 10 minutes, stirring only once.
9. Turn off and let sit for 30 minutes.
10. Serve and enjoy!
Serves 20
© 2016 PreSonus Audio Electronics, Inc. and All Rights Reserved. PreSonus, StudioLive, XMAX, QMix, and AudioBox are trademarks of PreSonus Audio Electronics, Inc.. Studio One
and Capture are trademarks of PreSonus Software, Ltd. Macintosh is a trademark of Apple, Inc., in the U.S. and other countries. Windows is a registered trademark of Microsoft, Inc., in
the U.S. and other countries. Other product names mentioned herein may be trademarks of their respective companies All specifications subject to change without notice…
except the jambalaya recipe, which is a classic.
61
AudioBox 22/44VSL
™
Owner’s Manual
EMC Statement:
NOTE: This equipment has been tested and found to comply with the limits for a
Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined
by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and the receiver.
• Connect the equipment into an outlet on a circuit different from that to which the
receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modifications to this device not expressly
approved by PreSonus Audio Electronics could void the user’s authority to operate the
equipment under FCC rules.
This apparatus does not exceed the Class A/Class B (whichever is applicable) limits
for radio noise emissions from digital apparatus as set out in the radio interference
regulations of the Canadian Department of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits radioélectriques
dépassant les limites applicables aux appareils numériques de classe A/de classe B
(selon le cas) prescrites dans le règlement sur le brouillage radioélectrique édicté par
le ministère des communications du Canada.
®
18011 Grand Bay Ct. • Baton Rouge,
Louisiana 70809 USA• 1-225-216-7887
www.presonus.com
Part# 820-AB0013-D