PreSonus StudioLive Series III Rack Mixers

StudioLive Series III Rack Mixers
™
Rackmount Digital Mixing
and Remote I/O System with AVB
Owner’s Manual
®
www.presonus.com
English
Table of Contents
1Overview — 1
5Resources — 18
1.1
Introduction — 1
5.1
Stereo Microphone Placement — 18
1.2
About This Manual — 1
5.2
Compression Setting Suggestions — 21
1.3Features — 1
5.3
EQ Frequency Guides — 23
1.4
What is in the Box — 2
5.4
EQ Setting Suggestions — 24
1.5
What You Will Need — 3
5.5
Technical Specifications — 26
2
Getting Started — 4
5.6
StudioLive Series III Rackmount Mixer
Block Diagrams — 27
2.1
Step 1: Register Your StudioLive Series III
Rackmount Mixer — 4
6Warranty — 28
2.2
Step 2: Add a Control Device — 5
6.1
2.3
2.4
2.2.1
Wired LAN Networking (Ethernet) — 5
2.2.2
Wired to a Computer (USB) — 6
Step 3: Update Firmware — 6
2.3.1
Direct Updating over the Internet — 6
2.3.2
Manual Firmware Updates — 7
Step 4: Set Up an AVB Network — 8
3Hookup — 9
3.1
Front Panel — 9
3.2
Rear Panel — 10
4
Connecting Your
Audio System — 12
4.1
Level Setting Procedure — 12
4.2
Typical Setup Diagrams — 14
4.2.1
Typical Band Setup
(StudioLive 32R) — 14
4.2.2
Typical Band Setup
(StudioLive 16R) — 15
4.2.3
Typical Church Setup
(StudioLive 32R) — 16
4.2.4
Typical Church Setup
(StudioLive 16R) — 17
Warranty Information — 28
StudioLive™ Series III Rack Mixers
Owner’s Manual
1Overview
1.1Introduction
1Overview
1.1
Introduction
Thank you for purchasing a PreSonus® StudioLive™ Series III rackmount digital
mixer. PreSonus Audio Electronics, Inc., has designed the StudioLive 32R, StudioLive
24R and StudioLive 16R utilizing high-grade components to ensure optimum
performance that will last a lifetime. PreSonus Audio Electronics has built your
StudioLive mixer with high-grade components to ensure optimum performance for
many years to come. Loaded with 32, 24, or 16 high-headroom XMAX™ microphone
preamplifiers, a built-in multitrack USB recording and playback interface, powerful
Fat Channel signal processing, high quality effects, extensive routing, stereo SD
recording, and more, StudioLive Series III rack mixers break new boundaries for
music performance and production. All you need is a compatible computer with a
USB connection or an SD card, a few microphones and cables, speakers, and your
instruments, and you are ready to record in the studio or in front of a live audience!
We encourage you to contact us with questions or comments regarding
this product. 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.
1.2
About This Manual
We suggest that you use this manual to familiarize yourself with the features and
correct connection procedures for your mixer before trying to use it. This will help
you avoid problems during installation and setup. Throughout this manual you
will find Power User Tips. These tips provide useful hints on how to best use your
StudioLive mixer and take advantage of unique workflow functions and features.
When frame size differences occur, the StudioLive 32R will be called out
first, followed by the StudioLive 24R, and then the StudioLive 16R.
This manual only covers the hardware and basic setup. Complete information
regarding Universal Control, UC Surface, QMix-UC, and Capture as well as a
Quick Start Guide for Studio One Artist can be found in StudioLive Software
Library Reference Manual, available as a download from www.PreSonus.com.
For more information on using Series III rackmount mixers as
stageboxes and remote monitor mixers for Series III console mixers,
please review the StudioLive Series III Stagebox Mode Addendum,
available as a download from www.PreSonus.com as well.
1.3
Features
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34/26/18 total analog inputs
44
32/24/16 mic/line channel inputs plus 2 RCA inputs
44
16/12/6 TRS FlexMix outputs
44
2 XLR (Left/Right) Main outputs
44
Stereo headphone output
44
32/32/16 input channels
44
32R and 24R: 2 stereo aux inputs (AVB or USB)
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1 stereo digital return (SD Card, AVB, or USB)
1
StudioLive™ Series III Rack Mixers
Owner’s Manual
1Overview
1.4 What is in the Box
44
1.4
26/26/10 buses:
99
16/16/6 FlexMixes
99
4/4/2 internal effects buses
99
32R and 24R: 4 dedicated subgroups
44
24/24/8 Filter DCAs
44
1 Ethernet control network port with Dynamic, Self
Assigned, and Manual IP address modes
44
1 Ethercon AVB audio network port
44
Onboard stereo SD recorder
44
38x38 (32R and 24R) / 18x18 (16R) USB recording interface
44
55x55 (32R and 24R) / 32x32 (16R) AVB recording interface
44
Studio-quality converters with 115 dB dynamic range
44
48 kHz operation with 24-bit resolution (44.1 kHz option coming soon)
44
UC Surface touch control software for Mac®, Windows®, iPad®, and Android™
available free from Apple App Store, Google Play, and Amazon App Store
44
Studio One® Artist digital audio workstation software for Mac and Windows
44
Capture™ multitrack recording software for Mac and Windows
44
QMix®-UC aux-control software for iOS® and Android™
available free from Apple App Store, and Google Play
What is in the Box
Your StudioLive Series III rackmount mixer package contains the following:
PreSonus StudioLive 32R, StudioLive 24R, and StudioLive
16R digital recording and performance mixer
USB cable
IEC power cord
Product registration and software authorization card
StudioLive Series III Rackmount mixer Quick Start Guide
StudioLive™ Series III Rack Mixers
Rack-Mount Digital Performance/Recording Mixers
Quick Start Guide
Mezcladoras montables en rack
StudioLive™ Series III
Mezcladoras digitales montables en rack para presentaciones
en vivo/grabación
Guía de inicio rápido
StudioLive™ Series III Rackmixer
Rackfähige Digitalmixer für den Live- und Studioeinsatz
Kurzanleitung
StudioLive™ Série III – Mélangeurs en rack
Mélangeurs numériques de sonorisation et d’enregistrement en rack
Guide de prise en main
®
www.presonus.com
2
StudioLive™ Series III Rack Mixers
Owner’s Manual
1Overview
1.5 What You Will Need
PreSonus Health Safety and Compliance Guide
What is not in the box:
44
This manual
44
StudioLive Software Library Manual
44
StudioLive Software Library
44
StudioLive Series III Stagebox Mode Addendum
Once you’ve registered your mixer, you can download UC Surface for macOS and
Windows, Capture, and Studio One Artist from your My PreSonus account.
UC Surface for iPad and QMix-UC for iPhone/iPod touch
can be downloaded from the Apple App Store.
UC Surface and QMix-UC for Android can be downloaded from the Google Play Store.
More details on the StudioLive Software Library can found
in the Reference Manual at www.presonus.com.
1.5
What You Will Need
The following items are not included with your StudioLive Series III
rackmount mixer, but are needed to complete your new mixing system:
44
LAN network with Internet access or an SD or SDHC card
with at least 2 GB capacity for firmware updates.
44
Wireless router. Visit www.PreSonus.com for recommended routers.
44
UC Surface running on a computer (macOS or Windows), Android device, or iPad
connected either wired or wirelessly to the same LAN network as your mixer.
3
2
2.1
2
Getting Started
Step 1: Register Your StudioLive Series III Rackmount Mixer
StudioLive™ Series III Rack Mixers
Owner’s Manual
Getting Started
This section will guide you through registering your mixer, updating
its firmware and connecting it to a network. Please review the brief
networking tutorial located in Section 2.2 to familiarize yourself with
networking best practices. Visit www.presonus.com for the latest system
requirements and an updated list of compatible hardware.
In general, you will need the following:
2.1
44
LAN network connection and router
44
Internet connection for registration and firmware download.
44
A device running UC Surface
Step 1: Register Your StudioLive Series III Rackmount Mixer
1. Go to my.presonus.com and log in or create a new
user account, if you don’t have one.
2. Once you have logged into your my PreSonus account, click
the Register a Product button at the top of the page.
3. Select “Hardware” from the drop-down menu in the dialog, enter
the information for your mixer, and check the box stating you have
read and agree to the license agreement. Click/tap the Register
button when you are done to register your controller.
4
2
2.2
StudioLive™ Series III Rack Mixers
Owner’s Manual
Getting Started
Step 2: Add a Control Device
2.2
Step 2: Add a Control Device
Control and Audio Data Connections
You can connect your mixer to UC Surface as follows:
44
Wired to a standard LAN network (control only).
44
Wired to a computer via USB (control and audio).
In the sections that follow, we will describe all these configurations in detail.
Power User Tip: WPA and WPA2 are protocols created to make wireless networks secure.
WPA stands for “Wi-Fi Protected Access,” and WPA2 is a later version that conforms to the
IEEE 802.11i networking standard. Most routers have settings that manage their security
protocols; consult the documentation for your router to learn how to change these
settings.
2.2.1
Wired LAN Networking (Ethernet)
The easiest way to configure your control network is to connect your mixer
and devices (computer, iPad, or Android) to a wireless router. This allows you to
quickly connect devices for remote control using UC Surface and QMix-UC.
1. Connect your StudioLive Series III Rackmount mixer
to a wireless router with an Ethernet cable.
Tablet control UC Surface
Laptop with UC Surface
Ethernet cable
2. Power on the router and then power on the mixer.
3. Connect your computer, Android and iOS device to the wireless
network. You can also connect your computer directly to the
wireless router using an Ethernet cable if you prefer.
4. The Control LED on the front of your StudioLive mixer will turn blue once it is
connected and communicating properly to the network.
5
2
2.3
StudioLive™ Series III Rack Mixers
Owner’s Manual
Getting Started
Step 3: Update Firmware
2.2.2
Wired to a Computer (USB)
Your StudioLive Series III rackmount mixer can be connected
directly to UC Surface running on a computer using USB.
Please note: In this configuration, you can only use one device – your computer – to
control your StudioLive mixer.
To begin, you have to install Universal Control and UC Surface on your computer.
Please review the StudioLive Software Library Reference Manual for complete details.
Once Universal Control has been installed, connect your
StudioLive mixer using USB and launch Universal Control.
USB cable
Laptop with UC Surface
The Control LED on the front of your StudioLive mixer will turn blue once it is
connected and communicating properly to the computer.
2.3
Step 3: Update Firmware
2.3.1
Direct Updating over the Internet
The easiest way to update your StudioLive Series III rackmount mixer firmware is to
connect your mixer to a device running UC Surface that also has Internet access
Power User Tip: Because direct updating from the Internet is the safest and fastest
method of updating your mixer’s firmware, it is highly recommended that you use this
method whenever possible.
IMPORTANT: To use Internet updates, your PreSonus hardware must be registered to your
My PreSonus account.
From UC Surface
Tablet control UC Surface
Laptop with UC Surface
Ethernet cable
To Internet
1. Connect both your mixer and your UC Surface device to a
network with Internet access (wired or wireless).
2. Open UC Surface and connect to your mixer.
6
2
2.3
Getting Started
Step 3: Update Firmware
StudioLive™ Series III Rack Mixers
Owner’s Manual
3. Click or touch the Settings icon at the top right of the UC Surface window.
4. On the Device Settings tab, click “Check Firmware Update.”
5. You will be asked if you would like to proceed
with the firmware update. Click “OK.”
6. A progress bar will be shown in UC Surface during the first part of
the firmware update. Once it is complete, UC Surface will inform you
that it is finished and will ask you to power-cycle the mixer.
7. When you restart your mixer, verify that the last four digits of the firmware
version on it are the same as the firmware files you downloaded.
For more information, see the StudioLive Software Library Reference Manual.
2.3.2
Manual Firmware Updates
To manually update your mixer’s firmware, you will need a computer
with Internet access and a method to transfer the file from one
computer to another (USB Thumb drive, SD card, etc.).
1. Log in to your my.presonus.com account.
2. Once you have logged in, click the My Products button at the top of the page.
3. Click on the Hardware tab to view your registered hardware products.
4. Find your mixer model on the page and click the View More Details link.
5. Click on the update Firmware button to download the files to your computer.
6. When the download completes, open your Downloads folder. Depending on
your computer’s system preferences, the firmware .zip archive file might not
automatically decompress. If it doesn’t, double-click the file, and it will
decompress. You will find a single .img file inside. Drag it to your
removable media.
7. On the computer connected to your mixer, launch UC Surface and click on the
Settings page button.
7
2
2.4
Getting Started
Step 4: Set Up an AVB Network
StudioLive™ Series III Rack Mixers
Owner’s Manual
8. Drag the .img file into the Firmware Update section.
The firmware update will start automatically.
2.4
Step 4: Set Up an AVB Network
The StudioLive Series III Rackmount mixers can be used as a
stagebox for the StudioLive Series III console mixers over an
AVB network with or without DSP processing engaged.
While connected to a console mixer either directly or over an AVB network,
a Series III rackmount mixer supports sending and receiving audio as
well as remotely controlling preamp levels and phantom power.
For complete information on using your StudioLive Series III Rackmount
mixer as a stagebox or remote I/O for a StudioLive Series III console mixer,
please review the StudioLive Series III Stagebox Mode Addendum.
8
StudioLive™ Series III Rack Mixers
Owner’s Manual
3Hookup
3.1 Front Panel
3Hookup
3.1
Front Panel
Power/Status LED. This displays the current state of your StudioLive Series III
rackmount mixer:
44
44
44
44
44
Off. The mixer is not turned on.
Blue. The mixer is powered on and operating normally.
Flashing Red. There was an error booting the mixer.
Flashing Yellow. The mixer is in the process of updating firmware.
Green. The mixer has completed loading new firmware.
Control LED. This displays the status of the LAN network you are using to control
your mixer.
44
44
44
Off. The mixer is not turned on.
Blue. The mixer is powered on and a control device is connected.
Red. The mixer is powered on and no control device is connected.
SD Card Record Indicator. This LED displays the recording status of the
SD recorder. When the SD Card is recording, this LED will illuminate Red. When it is
not, it will be off.
SD Card Playback Indicator. This LED displays the playback status of the SD
recorder. When the SD Card is recording or playing back, the LED will illuminate
green. When it is not, it will be off.
Headphones. This ¼-inch TRS connection is for use with headphones. The Phones
knob controls the level.
Mute All. Mutes all inputs and mix outputs. This button is linked with the Mute All
button in the Global Settings view of UC Surface software.
Power User Tip: The Mute All button is both latching and momentary. When the button is
pressed and immediately released, it will latch in the “on” state. When the button is
pressed and held it, will turn on while held and off when released.
Power User Tip: The mute state of each channel and bus is retained while Mute All is
active. In this way, if a channel was muted before Mute All was enabled, it will still be
muted when Mute All is turned off
Mic/Line Inputs. These inputs use TRS-XLR combo jacks that can accept both XLR
and balanced or unbalanced 1/4” cables. The ¼-inch TRS connectors bypass the gain
stage and are scaled to accept line-level signals up to +18 dBFS.
Power User Tip: When the line inputs are engaged, the microphone preamp circuit is
bypassed completely, and no trim control is available. Typical examples of line-level
connections are synthesizer outputs, signal processors, and stand-alone mic preamps
and channel strips. Use the output level control on your line-level device to adjust its level.
Note: As with many audio devices, plugging a microphone or line-level device, or
enabling/disabling phantom power can create a momentary noise spike in the audio
output of your StudioLive mixer. It is highly recommended that you mute or turn down a
channel’s fader before changing connections or toggling phantom power on or off.
9
3Hookup
3.2 Rear Panel
3.2
StudioLive™ Series III Rack Mixers
Owner’s Manual
Rear Panel
Mic/Line Inputs (StudioLive 32R and 16R). On the StudioLive 32R and 16R, the first
24/12 inputs are located on the front panel, the last 8/4 inputs are located on the rear
panel. These inputs use TRS-XLR combo jacks that can accept both XLR and balanced
or unbalanced 1/4” cables. The ¼-inch TRS connectors bypass the gain stage and are
scaled to accept line-level signals up to +18 dBFS.
RCA Inputs. The last two inputs on the StudioLive Series III rackmount mixers also
feature RCA inputs for connecting consuming line level devices like DVD players.
These inputs are summed with their mic/line counterparts.
Mix Outputs. Your StudioLive features 16/12/6 Mix Outputs.
These Mix Outputs may be used to output Aux, Subgroup, or
Matrix mixes depending on how you configure their dedicated
mix buses. More information about configuring FlexMixes can be
found in the StudioLive Software Library Reference Manual.
Main Outputs. The StudioLive features stereo main outputs on XLR jacks.
Audio Network. This connection accepts both Ethercon and RJ-45 connections and
is used for AVB audio networking.
10
3Hookup
3.2 Rear Panel
StudioLive™ Series III Rack Mixers
Owner’s Manual
Ethernet Port. This RJ-45 port is used to connect your StudioLive to a standard LAN
network for control applications only.
More information about AVB and control networking can be found in Section 2.4.
USB Port. This female USB-B jack provides connection to a computer for audio
interfacing, control, and file transfer duties.
Power Input and Switch. Connect the provided IEC power
cable to this input. Push the top of the switch to power your
StudioLive on, and the bottom to switch power off.
11
4
4.1
4
Connecting Your Audio System
Level Setting Procedure
StudioLive™ Series III Rack Mixers
Owner’s Manual
Connecting Your Audio System
Before you begin, here are a few rules to get you started:
44
Always turn down the Main and Mix faders in UC Surface as well as the Phones
level before making connections. Conversely, you can also enable Mute All.
44
Before plugging or unplugging a microphone while other channels
are active, mute the channel to which you are connecting.
44
Your faders in UC Surface should be set on or near the
“U” mark whenever possible. The “U” indicates unity gain,
meaning the signal is neither boosted nor attenuated.
44
Do not allow your inputs to clip. Watch the level meters; when signal nears
Clipping, the channel LED illuminates red, indicating that the analog-to-digital
converters are in danger of being overdriven. Overdriving the converters
will cause digital distortion, which has a negative effect on sound quality.
Your P.A. and studio equipment should be powered on in the following order:
44
Sound sources (keyboards, direct boxes, microphones,
etc.) connected to the StudioLive inputs.
44
StudioLive mixer
44
Computer (if applicable)
44
Power amplifiers or powered loudspeakers
When it is time to power down, your system should be turned off in the
reverse order. Now that you know what not to do, let’s get started!
4.1
Level Setting Procedure
Note: This section assumes that you’ve already installed and configured your mixer to
work with UC Surface on your computer, iPad, or Android device. Please review Section 2.
1. Plug a microphone into a mic cable and plug the cable into the StudioLive
Channel 1 mic input.
2. Connect the Main Outputs of your mixer to your power amplifier or
powered monitors.
If you’re using passive speakers, connect them to your
power amplifier using speaker cables.
3. Plug your mixer into a power outlet and turn it on.
4. Power on your powered speakers or speaker amplifier.
12
4
4.1
Connecting Your Audio System
Level Setting Procedure
StudioLive™ Series III Rack Mixers
Owner’s Manual
5. Select Channel 1 in UC Surface.
6. If your microphone requires phantom power, engage +48V button.
7. Speak or sing into your microphone at approximately the same volume you
expect during the performance.
8. Adjust the input trim in UC Surface while watching the input meter. Adjust the
input gain until the meter reaches a little more than halfway up. The meter
should never turn red.
9. Raise the Channel 1 fader in UC Surface until it reaches 0 dB (unity gain).
10. In UC Surface, bring up the Main mix level fader until you can
comfortably listen to your microphone through your speakers.
From this point, you can use the Fat Channel to add dynamics processing and EQ
as needed. For details on using the Fat Channel see the StudioLive Software Library
Reference Manual.
13
4
4.2
StudioLive™ Series III Rack Mixers
Owner’s Manual
Connecting Your Audio System
Typical Setup Diagrams
4.2
Typical Setup Diagrams
4.2.1
Typical Band Setup (StudioLive 32R)
acoustic
guitar/DI
keyboard/DI
Ch 8
Ch 2
backup vocal mics
electric guitar
amp (lead)
Ch 6
Ch 5
Ch 4
wireless mic
bass/DI
Ch 10
Ch 9
Ch 7
lead vocal
Ch 3
Ch 1
DI
Box
drum kit
DI
Box
headphones
drum
monitor
music source
wireless in-ear
(keys)
wireless in-ear
(bass)
wireless in-ear
(lead guitar)
wireless in-ear
(lead vocals)
Mix Out 7-8
Mix Out 5-6
Mix Out 3-4
Mix Out 1-2
subwoofers
main
speakers
floor wedges
Laptop running Capture 2.0
Use USB to record up to 32 channels
plus the Main mix.
For more recording options,
use AVB over the Network Audio connection.
side
fill
iPad running
UC Surface
Mobile devices (iOS or Android)
running QMix-UC
14
4
4.2
StudioLive™ Series III Rack Mixers
Owner’s Manual
Connecting Your Audio System
Typical Setup Diagrams
4.2.2
Typical Band Setup (StudioLive 16R)
wireless
mic
backup
vocal
lead
vocal
Ch 5
Ch 6
bass/DI
electric guitar
amp (lead)
acoustic
guitar/DI
Ch 3
Ch 4
Ch 2
Ch 1
drum kit
DI
Box
DI
Box
headphones
wireless in-ear
(lead guitar)
wireless in-ear
(lead vocals)
Mix Out 3-4
Mix Out 1-2
music source
keyboard/DI
main
speakers
and
subwoofers
floor wedges
Laptop running Capture 2.0
Use USB to record up to 16 channels
and the Main mix.
iPad running
UC Surface
Mobile devices (iOS or Android)
running QMix-UC
15
4
4.2
StudioLive™ Series III Rack Mixers
Owner’s Manual
Connecting Your Audio System
Typical Setup Diagrams
4.2.3
Typical Church Setup (StudioLive 32R)
keyboard/DI
acoustic
guitar/DI
electric guitar
amp (rhythm)
Ch 10
Ch 9
electric guitar
amp (lead)
wireless mic
backup vocal mics
lead vocal
Ch 6
Ch 5
Ch 8
Ch 4
piano
bass/DI
Ch 2
Ch 7
Ch 3
Ch 1
DI
Box
DI
Box
drum kit
headphones
hanging
choir mics
dvd player
podium
mic
wireless in-ear
(keys)
wireless in-ear
(bass)
wireless in-ear
(lead guitar)
wireless in-ear
(lead vocals)
Mix Out 7-8
Mix Out 5-6
Mix Out 3-4
Mix Out 1-2
floor wedges
subwoofers
main
speakers
Mix Out 13-16
Laptop running Capture 2.0
Use USB to record up to 32 channels
plus the Main mix.
For more recording options,
use AVB over the Network Audio connection.
cry room
iPad running
UC Surface
Mobile devices (iOS or Android)
running QMix-UC
16
4
4.2
StudioLive™ Series III Rack Mixers
Owner’s Manual
Connecting Your Audio System
Typical Setup Diagrams
4.2.4
Typical Church Setup (StudioLive 16R)
backup
vocal
lead
vocal
Ch 5
Ch 6
bass/DI
electric guitar
amp (lead)
acoustic
guitar/DI
hanging
choir mic
Ch 3
Ch 4
Ch 2
Ch 1
DI
Box
drum kit
DI
Box
headphones
main
speakers
and
subwoofers
piano
drum
monitor
wireless in-ear
(lead vocals)
keyboard/DI
podium
mic
Mix Out 1-2
dvd player
floor wedges
Cry
Room
Laptop running Capture 2.0
Use USB to record up to 16 channels
and the Main mix.
iPad running
UC Surface
Mobile devices (iOS or Android)
running QMix-UC
17
5Resources
5.1 Stereo Microphone Placement
StudioLive™ Series III Rack Mixers
Owner’s Manual
5Resources
5.1
Stereo Microphone Placement
The following are a few recording applications to help you get started with your
StudioLive. These are by no means the only ways to record these instruments.
Microphone selection and placement is 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
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.
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5Resources
5.1 Stereo Microphone Placement
StudioLive™ Series III Rack Mixers
Owner’s Manual
Acoustic Guitar
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 drumoverheads picture on the next page.)
Bass Guitar (Direct and Speaker)
Plug the electric bass guitar into a passive direct box. Connect the
instrument output from the passive direct box to a bass amplifier. Place a
dynamic microphone an inch or two away from the speaker and connect
it to a StudioLive microphone input. Connect the line output from the
passive direct box to a line input on a different channel of the StudioLive.
For recording, place these signals on separate tracks. During mixing, you
can blend the direct and amplifier signal to taste. This technique can also
be used in live applications.
19
5Resources
5.1 Stereo Microphone Placement
StudioLive™ Series III Rack Mixers
Owner’s Manual
Drum Overheads (XY example)
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.
Snare Drum (top and bottom)
Point a dynamic microphone at the center of the snare, making sure it is placed so
that the drummer will not hit it. Place a small-diaphragm condenser microphone
under the drum, pointed at the snares. Experiment with the placement of
both microphones. Also experiment with inverting the phase of the bottom
microphone. This technique can be used in live applications.
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5Resources
5.2 Compression Setting Suggestions
5.2
Compression Setting Suggestions
The following are the compression presets that were used in
the PreSonus BlueMax. We have included them as a jumpingoff point for setting up compression on the StudioLive.
Vocals
Soft. This is an easy compression with a low ratio setting for ballads, allowing a wider
dynamic range. It’s good for live use. This setting helps the vocal “sit in the track.”
THRESHOLD
RATIO
ATTACK
RELEASE
-8.2 dB
1.8:1
0.002 ms
38 ms
Medium. This setting has more limiting than the Soft compression setting,
producing a narrower dynamic range. It moves the vocal more up front in the mix.
THRESHOLD
RATIO
ATTACK
RELEASE
-3.3 dB
2.8:1
0.002 ms
38 ms
Screamer. 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.”
THRESHOLD
RATIO
ATTACK
RELEASE
-1.1 dB
3.8:1
0.002 ms
38 ms
Percussion
Snare/Kick. This setting allows the first transient through and compresses
the rest of the signal, giving a hard “snap” up front and a longer release.
THRESHOLD
RATIO
ATTACK
RELEASE
-2.1 dB
3.5:1
78 ms
300 ms
Left/Right (Stereo) Overheads. The low ratio and threshold in this
setting gives a “fat” contour to even out the sound from overhead
drum mics. Low end is increased, and the overall sound is more
present and less ambient. You get more “boom” and less “room.”
THRESHOLD
RATIO
ATTACK
RELEASE
-13.7 dB
1.3:1
27 ms
128 ms
Fretted Instruments
Electric Bass. The fast attack and slow release in this setting will tighten
up the electric bass and give you control for a more consistent level.
THRESHOLD
RATIO
ATTACK
RELEASE
-4.4 dB
2.6:1
45.7 ms
189 ms
Acoustic Guitar. This setting accentuates the attack of the
acoustic guitar and helps maintain an even signal level, keeping
the acoustic guitar from disappearing in the track.
THRESHOLD
RATIO
ATTACK
RELEASE
-6.3 dB
3.4:1
188 ms
400 ms
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5Resources
5.2 Compression Setting Suggestions
Electric Guitar. This is a setting for “crunch” electric rhythm
guitar. A slow attack helps to get the electric rhythm guitar “up
close and personal” and gives punch to your crunch.
THRESHOLD
RATIO
ATTACK
RELEASE
-0.1 dB
2.4:1
26 ms
193 ms
Keyboards
Piano. This is a special setting for an even level across the keyboard. It is
designed to help even up the top and bottom of an acoustic piano. In other
words, it helps the left hand to be heard along with the right hand.
THRESHOLD
RATIO
ATTACK
RELEASE
-10.8 dB
1.9:1
108 ms
112 ms
Synth. The fast attack and release on this setting can be used for
synthesizer horn stabs or for bass lines played on a synthesizer.
THRESHOLD
RATIO
ATTACK
RELEASE
-11.9 dB
1.8:1
0.002 ms
85 ms
Orchestral. Use this setting for string pads and other types of synthesized orchestra
parts. It will decrease the overall dynamic range for easier placement in the mix.
THRESHOLD
RATIO
ATTACK
RELEASE
3.3 dB
2.5:1
1.8 ms
50 ms
Stereo Mix
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.
THRESHOLD
RATIO
ATTACK
RELEASE
5.5 dB
7.1:1
0.001 ms
98 ms
Contour. This setting fattens up the main mix.
THRESHOLD
RATIO
ATTACK
RELEASE
-13.4 dB
1.2:1
0.002 ms
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.
THRESHOLD
RATIO
ATTACK
RELEASE
-4.6 dB
2.4:1
7.2 ms
93 ms
Pump. This is a setting for making the compressor “pump” in a desirable
way. This effect is good for snare drums to increase the length of
the transient by bringing the signal up after the initial spike.
THRESHOLD
RATIO
ATTACK
RELEASE
0 dB
1.9:1
1 ms
0.001 ms
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5Resources
5.3 EQ Frequency Guides
EQ Frequency Guides
5.3
Table 1
Instrument
What to Cut
Why to Cut
What to Boost
Why to Boost
Human Voice
7 kHz
Sibilance
8 kHz
Big sound
2 kHz
Shrill
3 kHz and above
Clarity
1 kHz
Nasal
200-400 Hz
Body
80 Hz and below
Popping P’s
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
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
Piano
Electric Guitar
Acoustic Guitar
Electric Bass
String Bass
Snare Drum
Kick Drum
Toms
Cymbals
Horns
String section
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
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StudioLive™ Series III Rack Mixers
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5Resources
5.4 EQ Setting Suggestions
Table 2
•
BOOST
harder bass to low
frequency
instruments (kick,
tom, bass)
•
guitar and snare
fullness
•
piano and horns
warmth
•
bass line clarity
(especially for softer
playback levels)
•
•
•
•
bass line clarity
and punch
•
•
•
fullness to low
frequency
instruments
(kick, tom, bass)
•
•
50 Hz
100 Hz
•
•
•
vocal fullness
•
hard hitting snare
and guitar
200 Hz
400 Hz
•
increase guitar clarity
lessen guitar “boom”
•
decrease bass
“boom” to increase
clarity in the mix
•
bass line clarity
and punch
800 Hz
•
decrease kick and
tom dullness
decrease muddiness in
vocals and mid-range
instruments
decrease long bass
overtones in cymbals
1.5 kHz
vocal presence
kick & tom attack
more finger sound
on bass
•
piano and acoustic
guitar attack
•
brighter rock guitar
•
•
•
•
•
bass “pluck”
acoustic/electric
guitar attack
•
lower piano register
attack
•
vocal clarity
3 kHz
adds distance to
background
instruments
•
softens a “thin” guitar
decrease guitar
thinness
•
enhance background
vocal breathiness
•
lessen overly
bright guitar
overtones
•
disguise vocals and
guitars that are slightly
out of tune
•
harder cymbals
percussion attack
more finger sound on bass
•
•
sharpness to:
synths, rock guitars,
acoustic guitars, piano
•
reduce vocal dullness
7 kHz
•
•
brighten vocals,
acoustic guitar,
piano
kick & tom attack
5 kHz
decrease dullness
in guitars
•
10 kHz
•
•
breathier vocals
brighten cymbals,
string instruments,
flutes
more realistic
samples and synths
15 kHz
vocals: reduce
“s” sound
vocals: reduce
“s” sound
CUT
EQ Setting Suggestions
5.4
As with the compression settings in Section 5.2, the right EQ setting for any given
instrument will depend upon the room and the tonality of the instrument.
Vocals
Pop Female Vocals
LOW ON/OFF
LOW SHELF
LOW FREQ (Hz)
LOW Q
LOW GAIN
LOW MID
ON/OFF
LOW MID
FREQ (Hz)
LOW MID Q
LOW MID GAIN
ON
OFF
130
0.6
-2
ON
465
0.6
-2
HIGH MID ON/
OFF
HI MID FREQ
(kHz)
HIGH MID Q
HIGH MID GAIN
HIGH ON/OFF
HIGH SHELF
HIGH FREQ
(kHz)
HIGH Q
HIGH GAIN
ON
2.4
0.4
+2
ON
OFF
6.0
0.3
+8
Rock Female Vocals
LOW ON/OFF
LOW SHELF
LOW FREQ (Hz)
LOW Q
LOW GAIN
LOW MID
ON/OFF
LOW MID
FREQ (Hz)
LOW MID Q
LOW MID GAIN
ON
ON
155
N/A
+4
ON
465
0.4
+6
HIGH MID ON/
OFF
HI MID FREQ
(kHz)
HIGH MID Q
HIGH MID GAIN
HIGH ON/OFF
HIGH SHELF
HIGH FREQ
(kHz)
HIGH Q
HIGH GAIN
ON
1.4
0.6
+6
ON
OFF
4.2
0.5
+2
Pop Male Vocals
LOW ON/OFF
LOW SHELF
LOW FREQ (Hz)
LOW Q
LOW GAIN
LOW MID
ON/OFF
LOW MID
FREQ (Hz)
LOW MID Q
LOW MID GAIN
ON
OFF
225
0.3
-2
ON
960
0.3
0
HIGH MID ON/
OFF
HI MID FREQ
(kHz)
HIGH MID Q
HIGH MID GAIN
HIGH ON/OFF
HIGH SHELF
HIGH FREQ
(kHz)
HIGH Q
HIGH GAIN
ON
2.0
0.6
+2
ON
OFF
7.2
0.5
+4
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StudioLive™ Series III Rack Mixers
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5Resources
5.4 EQ Setting Suggestions
Rock Male Vocals
LOW ON/OFF
LOW SHELF
LOW FREQ (Hz)
LOW Q
LOW GAIN
LOW MID
ON/OFF
LOW MID
FREQ (Hz)
LOW MID Q
LOW MID GAIN
ON
OFF
155
0.5
+2
ON
265
0.3
-6
HIGH MID ON/
OFF
HI MID FREQ
(kHz)
HIGH MID Q
HIGH MID GAIN
HIGH ON/OFF
HIGH SHELF
HIGH FREQ
(kHz)
HIGH Q
HIGH GAIN
ON
2.4
0.6
-2
ON
ON
7.2
0.6
+4
Percussion
Snare
LOW ON/OFF
LOW SHELF
LOW FREQ (Hz)
LOW Q
LOW GAIN
LOW MID
ON/OFF
LOW MID
FREQ (Hz)
LOW MID Q
LOW MID GAIN
ON
OFF
130
0.6
-4
ON
665
0.5
+4
HIGH MID ON/
OFF
HI MID FREQ
(kHz)
HIGH MID Q
HIGH MID GAIN
HIGH ON/OFF
HIGH SHELF
HIGH FREQ
(kHz)
HIGH Q
HIGH GAIN
ON
1.6
0.3
+4
ON
ON
4.2
N/A
+4
Left/Right (Stereo) Overheads
LOW ON/OFF
LOW SHELF
LOW FREQ (Hz)
LOW Q
LOW GAIN
LOW MID
ON/OFF
LOW MID
FREQ (Hz)
LOW MID Q
LOW MID GAIN
ON
OFF
108
0.6
-2
ON
385
0.6
-2
HIGH MID ON/
OFF
HI MID FREQ
(kHz)
HIGH MID Q
HIGH MID GAIN
HIGH ON/OFF
HIGH SHELF
HIGH FREQ
(kHz)
HIGH Q
HIGH GAIN
ON
2.9
0.3
0
ON
ON
8.0
N/A
+4
Kick Drum
LOW ON/OFF
LOW SHELF
LOW FREQ (Hz)
LOW Q
LOW GAIN
LOW MID
ON/OFF
LOW MID
FREQ (Hz)
LOW MID Q
LOW MID GAIN
ON
OFF
108
0.4
+4
ON
265
2.0
-4
HIGH MID ON/
OFF
HI MID FREQ
(kHz)
HIGH MID Q
HIGH MID GAIN
HIGH ON/OFF
HIGH SHELF
HIGH FREQ
(kHz)
HIGH Q
HIGH GAIN
ON
1.6
0.6
0
ON
OFF
6.0
2.0
+4
Fretted Instruments
Electric Bass
LOW ON/OFF
LOW SHELF
LOW FREQ (Hz)
LOW Q
LOW GAIN
LOW MID
ON/OFF
LOW MID
FREQ (Hz)
LOW MID Q
LOW MID GAIN
ON
ON
36
N/A
-8
ON
130
0.4
+4
HIGH MID ON/
OFF
HI MID FREQ
(kHz)
HIGH MID Q
HIGH MID GAIN
HIGH ON/OFF
HIGH SHELF
HIGH FREQ
(kHz)
HIGH Q
HIGH GAIN
ON
2.0
0.6
+4
ON
ON
4.2
N/A
+1
Acoustic Guitar
LOW ON/OFF
LOW SHELF
LOW FREQ (Hz)
LOW Q
LOW GAIN
LOW MID
ON/OFF
LOW MID
FREQ (Hz)
LOW MID Q
LOW MID GAIN
ON
OFF
155
0.4
+4
ON
665
2.0
+2
HIGH MID ON/
OFF
HI MID FREQ
(kHz)
HIGH MID Q
HIGH MID GAIN
HIGH ON/OFF
HIGH SHELF
HIGH FREQ
(kHz)
HIGH Q
HIGH GAIN
ON
2.0
0.3
0
ON
ON
6.0
N/A
+4
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5.5 Technical Specifications
Distorted Electric Guitar
LOW ON/OFF
LOW SHELF
LOW FREQ (Hz)
LOW Q
LOW GAIN
LOW MID
ON/OFF
LOW MID
FREQ (Hz)
LOW MID Q
LOW MID GAIN
ON
OFF
320
0.5
+6
ON
960
0.4
0
HIGH MID ON/
OFF
HI MID FREQ
(kHz)
HIGH MID Q
HIGH MID GAIN
HIGH ON/OFF
HIGH SHELF
HIGH FREQ
(kHz)
HIGH Q
HIGH GAIN
ON
3.5
1.0
+4
ON
ON
12
N/A
0
Keyboards
Piano
LOW ON/OFF
LOW SHELF
LOW FREQ (Hz)
LOW Q
LOW GAIN
LOW MID
ON/OFF
LOW MID
FREQ (Hz)
LOW MID Q
LOW MID GAIN
ON
ON
108
N/A
-2
ON
665
0.2
+2
HIGH MID ON/
OFF
HI MID FREQ
(kHz)
HIGH MID Q
HIGH MID GAIN
HIGH ON/OFF
HIGH SHELF
HIGH FREQ
(kHz)
HIGH Q
HIGH GAIN
ON
2.9
0.4
+2
ON
OFF
7.2
0.6
+4
5.5
Technical Specifications
Microphone Preamplifier
Input Type
XLR Female, balanced
Frequency Response to Main Output (at unity gain)
20-20 kHz, ±0.5 dBu
Input Impedance
1 kΩ
THD to Main Output
<0.005%, +4 dBu, 20-20 kHz, unity gain, unwtd
S/N Ratio to Main Output (Ref = +4 dB, 20 kHz BW, unity gain, A-wtd)
94 dB
Common Mode Rejection Ratio (1 kHz at unity gain)
65 dB
Gain Control Range (±1 dB)
0 dB to +60 dB
Maximum Input Level (unity gain)
+12 dBu
Phantom Power (±2 VDC)
48 VDC, switchable per channel
Line Inputs
Type
¼” TRS Female, balanced
Frequ¬ency Response to Main Output (at unity gain)
20-20 kHz, ±0.5 dBu
Input Impedance
10 kΩ
THD to Main Output
<0.005%, +4 dBu, 20-20 kHz, unity gain, unwtd
S/N Ratio to Main Output (Ref = +4 dB, 20 kHz BW, unity gain, A-wtd)
94 dB
Maximum Input Level
+18 dBu
RCA Inputs
Type
RCA Female, unbalanced (stereo pair)
Maximum Input Level
+12 dBu, ±0.5 dBu
XLR Outputs
Type
XLR Male, balanced
Maximum Output Level
+24 dBu, ±0.5 dBu
Output Impedance
100Ω
FlexMix Line Outputs
Type
¼” TRS Female, balanced
Maximum Output Level
+18 dBu, ±0.5 dBu
Output Impedance
100Ω
StudioLive™ Series III Rack Mixers
Owner’s Manual
5Resources
5.6 StudioLive Series III Rackmount Mixer Block Diagrams
Headphone Output
Type
¼” TRS Female, active stereo
Maximum Output
100 mW/ch. @ 60Ω load
Frequency Response
20 Hz – 20 kHz (± 0.5 dB)
THD+N
0.01%, 1 kHz, max gain, 20 Hz BW, unwtd
S/N Ratio
96 dB, 1 kHz, max gain, 20 Hz BW, unwtd
System Crosstalk
Input to Output
-90 dB (Ref = +4 dBu, 20 Hz-20 kHz, unwtd)
Adjacent Channels
-87 dB (Ref = +4 dBu, 20 Hz-20 kHz, unwtd)
Digital Audio and Control
ADC Dynamic Range
115 dB (A-wtd, 48 kHz)
DAC Dynamic Range
115 dB (A-wtd, 48 kHz)
USB Recording Port
USB 2.0, Type-B
AES/EBU Output
XLR Male
Network Control Port
RJ-45
AVB Audio Network Port
Ethercon
Internal Processing
32-bit, floating point
Sampling Rate
48 kHz (44.1 kHz coming soon)
A/D/A Bit Depth
24
Reference Level for 0 dBFS
+18 dBu
Total System Latency
1.9 ms (local routing, analog in-analog out, all processing active)
Clock
Jitter
<20 ps RMS (20 Hz - 20 kHz)
Jitter Attenuation
>60 dB (1 ns in, 1 ps out)
Power / Environmental
ConnectorIEC
Input-Voltage Range
90 to 230 VAC (±10%)
Power Requirements (continuous)
85W
Recommended Ambient Operating Temperature
0˚ to 40˚ Celsius / 32˚ to 104˚ Fahrenheit
Physical
StudioLive 16R
StudioLive 24R
StudioLive 32R
Dimensions (HxWxD)
1.75” x 19” x 12”
3.5” x 19” x 12”
3.5” x 19” x 12”
(45 mm x 483 mm x 305 mm)
(90 mm x 483 mm x 305 mm)
(90 mm x 483 mm x 305 mm)
8.6 lbs. (3.9 kg)
10.8 lbs. (4.9 kg)
11.2 lbs. (5 kg)
Product Weight
5.6
StudioLive Series III Rackmount Mixer Block Diagrams
We’ve finally made block diagrams too large for our printed manuals. Please visit
the downloads page for each model on our Web site for the latest block diagrams
of the StudioLive Series III rackmount mixers, provided in Adobe PDF format.
27
StudioLive™ Series III Rack Mixers
Owner’s Manual
6Warranty
6.1 Warranty Information
6Warranty
6.1
Warranty Information
PreSonus’s warranty obligations for this hardware product
are limited to the terms set forth below:
How Consumer Law Relates To This Warranty:
THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY HAVE OTHER
RIGHTS THAT VARY FROM STATE TO STATE (OR BY COUNTRY OR PROVINCE). OTHER
THAN AS PERMITTED BY LAW, PRESONUS® DOES NOT EXCLUDE, LIMIT OR SUSPEND
OTHER RIGHTS YOU MAY HAVE, INCLUDING THOSE THAT MAY ARISE FROM THE
NONCONFORMITY OF A SALES CONTRACT. FOR A FULL UNDERSTANDING OF YOUR
RIGHTS YOU SHOULD CONSULT THE LAWS OF YOUR COUNTRY PROVINCE OR STATE.
PreSonus Products And EU Statutory Warranty:
When you purchase PreSonus products, European Union consumer
law provides statutory warranty rights in addition to the coverage
you receive from the PreSonus limited warranty. A summary of the EU
Statutory Warranty and the PreSonus Limited Warranty is below:
EU Consumer Law
PreSonus Limited Warranty
Repair or Replacement
Coverage For
Defects present when customer
takes delivery
Defects arising after customer takes delivery
Warranty Period
2 years (minimum) from
original date of purchase (unless
superseded by PreSonus)
1 year from original date of purchase (unless superseded
by PreSonus)
Cost of Coverage
Provided at no additional cost
Included at no additional cost
Who to contact to
make a claim
The seller
PreSonus technical support for your region
What This Warranty Covers:
PreSonus Audio Electronics, Inc., (“PreSonus”) warrants defects in material and
workmanship in PreSonus-branded products under normal use. This Limited
Warranty applies only to hardware products manufactured by or for PreSonus that
can be identified by the PreSonus trademark, trade name, or logo affixed to them.
Exclusions and Limitations:
This warranty does not cover the following:
1. Damage caused by accident, abuse, improper installation, failure to
follow instructions in the applicable owner’s manual or improper
operation, rental, product modification, alteration, or neglect.
2. Damage from improper grounding, faulty wiring (AC and signal),
faulty equipment, or connection to a voltage range outside
published specifications (see applicable owner’s manual).
3. Damage to drivers or diaphragm assemblies found to have burnt voice
coils from over/under driving or signal surge from another device.
4. Damage occurring during shipment or improper handling.
5. Damage caused by repair or service performed by
persons not authorized by PreSonus.
6. Products on which the serial number has been altered, defaced, or removed.
7. Products purchased from an unauthorized PreSonus dealer (products
that have transferable warranties are excluded from this provision,
provided the customer and the product are registered with PreSonus).
28
StudioLive™ Series III Rack Mixers
Owner’s Manual
6Warranty
6.1 Warranty Information
Who This Warranty Protects:
This Warranty protects only the original retail purchaser of the product
(products that have transferable warranties are excluded from this provision
provided the customer and the product are registered with PreSonus).
How Long This Warranty Lasts:
The Warranty begins on the original date of purchase from
the retail purchaser, and the duration is as follows:
1-Year Limited Warranty
Product Category
Model
Transferable
Recording Interfaces
AudioBox® iOne, AudioBox iTwo, AudioBox Stereo, AudioBox Studio, AudioBox
USB, AudioBox VSL (1818, 44, 22), FireStudio™ Project, FireStudio Mobile,
FireStudio Mobile Studio, Studio 192, Studio 192 Mobile
No
Preamplifiers
ADL600, ADL700, BlueTube DP V2, DigiMax D8, DigiMax DP88, Eureka, RC500,
Studio Channel, TubePre V2
No
StudioLive® Mixers
16.0.2, 16.4.2AI, 24.4.2AI, 32.4.2AI, AR8, AR12, AR16, RM16AI, RM32AI
No
Monitoring & Controlling
Eris®, Central Station PLUS, FaderPort™, HP4, HP60, Monitor Station, Monitor
Station V2, R-Series, Sceptre®, Temblor®
No
Accessories
Covers, Dolly, PRM1 mic, Sub Pole, breakout cables, power supplies, M10 Kit
No
3-Years Limited Warranty
Product Category
Model
Transferable
Live Sound
StudioLive AI 328, 312, 315, 18S, ULT12, ULT15, ULT18, AIR10, AIR12, AIR15,
AIR15S, AIR18S
Yes
What PreSonus Will Do:
PreSonus will repair or replace, at our sole and absolute option, products covered by this warranty
at no charge for labor or materials. If the product must be shipped to PreSonus for warranty service,
the customer must pay the initial shipping charges. PreSonus will pay the return shipping charges.
How to Get Warranty Service (USA):
1. You must have an active user account with PreSonus, and your hardware must be
on file with your account. If you do not have an account, please go to:
http://www.presonus.com/registration and complete the registration process.
2. Contact our Technical Support Department at (225) 216-7887 or log a
support ticket at: http://support.presonus.com. TO AVOID THE POSSIBILITY
OF SENDING IN A PRODUCT THAT DOES NOT HAVE A PROBLEM, ALL SERVICE
REQUESTS SHALL BE CONFIRMED BY OUR TECH SUPPORT DEPARTMENT.
3. The return authorization number as well as shipping instructions shall
be provided after your service request is reviewed and confirmed.
4. The product should be returned for service in the original product
packaging. Products may be shipped in a manufactured “flight”- or
“road”-style cases but PreSonus will NOT cover any shipping damage to
these cases. Products that are not shipped in the original product package
or a manufactured case may not receive a warranty repair, at PreSonus’s
sole discretion. Depending on the product model and the condition of
your original packaging, your product may not be returned to you in the
original packaging. The return shipping box may be a generic box that has
been fitted for that model tested if the original gift box is not available.
29
How to Get Warranty Service (outside of USA):
5. You must have an active user account with PreSonus and your hardware must
be on file with your account. If you do not have an account, please go to: http://
www.presonus.com/registration and complete the registration process.
6. Contact the Technical Support/Service Department for your region
at http://www.presonus.com/buy/international_distributors and
follow procedures provided by your PreSonus contact.
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ANY IMPLIED WARRANTIES, INCLUDING WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE
LIMITED IN DURATION TO THE LENGTH OF THIS WARRANTY.
Some states, countries, or provinces do not allow limitations on how long
an implied warranty lasts, so the above limitation may not apply to you.
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PRESONUS’S LIABILITY FOR ANY DEFECTIVE PRODUCT IS LIMITED TO THE
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TO ANY OTHER EQUIPMENT OR OTHER ITEMS AT THE SITE OF USE, AND, TO THE
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Product features, design, and specifications are subject to change without notice.
Dinner is Served
Added bonus: PreSonus’ previously Top Secret recipe for…
Chicken and Andouille Gumbo
Ingredients:
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1 C All-Purpose flour
¾ C Vegetable Oil
1 large onion (diced)
1 small onion (quartered)
6 celery stalks (diced)
1 large green bell pepper (diced)
3 cloves garlic (2 minced, 1 whole)
1 lb link Andouille sausage
4 Chicken leg quarters
4 qt water
4 bay leaves
1 tsp thyme
1 tsp Old Bay seasoning
1-2 C frozen okra, sliced
¼ C fresh parsley, minced
6-8 eggs (optional)
Cooking Instructions:
1. In a large pot, combine whole chicken leg quarters, water, quartered onion, Old Bay, 2 bay leaves and 1 whole clove garlic.
Cover and bring to a low boil. Simmer stock until chicken is falling off the bone. Remove the chicken and set aside. Discard
the onion, bay leaves, and garlic, reserving the liquid.
2. In a heavy saucepan, heat 1 Tbsp of the oil on medium high heat and brown the andouille until it is cooked through. Set
aside sausage for later.
3. In the same saucepan, add and heat remaining oil. Slowly add flour 1-2 Tbsp at a time, stirring continuously. Continue
cooking and stirring the roux until it is a dark brown (it should look like melted dark chocolate). Be careful to not to get the
oil too hot or the flour will burn and you’ll have to start over.
4. Once roux has reached the correct color, add diced onion, celery, green pepper, and minced garlic. Cook until vegetables
are very tender. Do not cover.
5. Slowly add 1 quart of chicken broth and bring to a low boil, stirring constantly.
6. Transfer roux mixture to a soup pot and bring to low boil. Do not cover, the roux will settle on the bottom of the pot and burn.
7. Add remaining chicken broth, bay leaves, and thyme. Simmer for 30 minutes.
8. While gumbo is simmering, debone and shred chicken and slice the andouille.
9. Add chicken and andouille to gumbo and return to a simmer. Simmer for 30-45 minutes.
10. Stir in frozen okra and parsley and bring to a rolling boil.
11. Optional: Crack one egg into a teacup and quickly pour into the boiling gumbo. Repeat with the other eggs being careful
not to cluster them too closely. After all the eggs have risen back to the surface, reduce heat and simmer.
12. Correct seasoning with salt and pepper (red, white and/or black) if necessary.
13. Serve over rice with potato salad.
Serves 12
© 2017 PreSonus Audio Electronics, Inc. All Rights Reserved. AudioBox, CoActual, DigiMax, Eris, FireStudio, Nimbit, PreSonus, QMix, Riff to Release, Sceptre, StudioLive, Active
Integration, and XMAX are trademarks or registered trademarks of PreSonus Audio Electronics, Inc. Capture, Impact, Mixverb Presence, RedLightDist, SampleOne, Studio One, and
Tricomp are trademarks or registered trademarks of PreSonus Software Ltd. Mac and Mac OS are registered trademarks 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 recipe, which is a classic.
StudioLive Series III Rack Mixers
™
Rackmount Digital Mixing
and Remote I/O System with AVB
Owner’s Manual
®
18011 Grand Bay Ct. • Baton Rouge,
Louisiana 70809 USA• 1-225-216-7887
www.presonus.com
Part# 70-22000062-A