AudioBox™ USB
Troubleshooting
and Warranty
Technical
Information
Tutorials
Studio One Artist
Connecting
to a
Computer
™
®
www.presonus.com
Overview
Owner’s Manual
Hookup
AudioBox USB
English
Español
Deutsch
Français
Important Safety Instructions
The exclamation point within an equilateral triangle is intended
to alert the user to the presence of important operating and
maintenance (servicing) instructions in this manual.
The lightning flash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of
uninsulated “dangerous” voltage within the product’s enclosure that may
be of sufficient magnitude to constitute a risk of electric shock to humans.
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT
REMOVE THE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER
SERVICING TO QUALIFIED PERSONNEL.
CAUTION: To reduce the risk of electric shock, do not expose this
appliance to rain and moisture. The apparatus shall not be
exposed to dripping or splashing liquids and no object filled with liquids,
such as vases, shall be placed on the apparatus.
CAUTION: These service instructions are for use by qualified
service personnel only. To reduce the risk of electric shock, do not
perform any servicing other than that contained in the operation
instructions. Repairs must be performed by qualified service personnel.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry a cloth.
7. Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8. Do not install near any heat sources, such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades, with one wider than
the other. A grounding-type plug has two blades and a third
grounding prong. The wide blade and the third prong are provided
for your safety. If the provided plug does not fit into your outlet,
consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched,
particularly at plugs, convenience receptacles, and
the point where they exit from the apparatus.
11. Use only attachments/accessories specified by PreSonus.
12. Use only with the cart, stand, tripod, bracket, or table
specified by the manufacturer or sold with
this apparatus. When a cart is used, use
caution when moving the cart/apparatus
combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. Servicing is required when the apparatus has been damaged in any
way, such as if a power-supply cord or plug is damaged; or liquid
has been spilled, or objects have fallen, into the apparatus; or if the
apparatus has been exposed to rain or moisture, does not operate
normally, or has been dropped. All PreSonus products in the USA
should be serviced at the PreSonus factory in Baton Rouge, Louisiana.
If your PreSonus product requires a repair, contact [email protected]
presonus.com to arrange for a return-authorization number.
Customers outside the USA should contact their local distributor. Your
distributor’s contact information is available at www.presonus.com.
15. The apparatus shall be connected to a Mains power outlet
with a protective grounding/earthing connection.
16. Where the Mains plug or an appliance coupler
is used as the disconnect device, the disconnect
device shall remain readily operable.
EU Directives on the Protection of the
Environment and Other Euro Stuff
RoHS This product is compliant with the EU Directive 2002/95/EG for
the Restriction of the use of Certain Hazardous Substances in Electrical
and Electronic Equipment. No lead (Pb), cadmium (Cd), mercury (Hg),
hexavalent chromium (Cr+6), PBB or PBDE is intentionally added to
this device. Any traces of impurities of these substances contained
in the parts are below the RoHS specified threshold levels.
REACh This product is compliant with the European Union Directive
EC1907/206 for the Registration, Evaluation, Authorization, and
Restriction of chemicals (REACh) and contains none or less than 0.1% of
the chemicals listed as hazardous chemicals in the REACh regulation.
WEEE As with the disposal of all old electrical
and electronic equipment, this product is not to
be treated as regular household waste. Instead it
shall be handed over to the applicable collection
point for the recycling of electrical and electronic equipment.
CE This product complies with the European Union Council Directives
and Standards relating to electromagnetic compatibility EMC Directive
(2006/95/EC) and the Low Voltage Directive (2004/108/EC).
5.0 Tutorials — 30
1.0Overview — 1
5.1
1.4
What is in the Box — 3
5.1.4 Microphone Placement — 31
5.2
A Brief Tutorial on Dynamics
Processing — 34
2.0 Hookup — 4
5.2.1Common Questions Regarding
Dynamics Processing — 34
2.1
Front-Panel Connections — 4
2.2
Rear-Panel Connections — 6
5.2.2 Types of Dynamic
Processing — 35
5.2.3 Compression Settings:
Some Starting Points — 39
2.3 Basic Hookup Diagram — 7
3.0 Connecting to a
Computer — 8
5.3
Equalizers — 42
5.3.1 What is an EQ? — 42
3.2
Installation for Windows — 9
5.3.2 Equalization Settings:
How to Find the Best and
Leave the Rest — 44
3.3
Installation for Mac OS X — 11
5.3.3 General EQ Suggestions — 47
3.4
Using the AudioBox USB with Popular
Audio Applications — 11
3.1
System Requirements — 8
3.5
5.4
4.1
Installation and Authorization — 15
4.2
Enabling the Audio Driver — 20
Digital Effects — 50
5.4.1Reverb — 50
Windows Control Panel — 13
4.0 Studio One Artist
Quick Start — 15
Hookup
Summary of Studio One Artist
Software Features — 2
5.1.3 USB Microphones and
Other Types — 30
Connecting
to a
Computer
1.3
5.1.2Dynamic — 30
Studio One Artist
Summary of AudioBox USB
Hardware Features — 2
5.4.2Delay — 51
5.4.3 Modulation Effects — 51
6.0 Technical Information — 52
6.1
AudioBox USB Specifications — 52
4.3
Configuring MIDI Devices — 21
7.0 Troubleshooting and
Warranty — 54
4.4
Creating a New Song — 25
7.1
4.5
Creating Audio Tracks — 26
4.6
Creating MIDI Tracks — 28
7.2 PreSonus AudioBox Limited
Warranty — 55
4.7
Adding Virtual Instruments and Plug-in
Effects to Your Song — 29
Troubleshooting — 54
Index — 56
Tutorials
1.2
5.1.1Condenser — 30
Technical
Information
Introduction — 1
Troubleshooting
and Warranty
1.1
Microphone Types — 30
Overview
AudioBox™ USB
Overview
Hookup
Connecting
to a
Computer
Studio One Artist
Tutorials
Technical
Information
Troubleshooting
and Warranty
iv
PreSonus AudioBox™ USB
Current Section
Current Sub Section
0
0.0
Owner’s Manual
Overview1
Introduction1.1
Studio One Artist
Connecting
to a
Computer
Hookup
Introduction
Tutorials
Thank you for purchasing the PreSonus AudioBox™ USB. PreSonus Audio
Electronics has designed the AudioBox USB utilizing high-grade components
to ensure optimum performance that will last a lifetime. Loaded with 2 highheadroom, Class A, microphone preamplifiers; a built-in 2x2 USB 1.1 recording
and playback engine; MIDI I/O; and more, AudioBox USB breaks new boundaries
for music performance and production. All you need is a computer with a
USB connection, a few microphones and cables, powered speakers, and your
instruments, and you are ready to record in the studio or in front of a live audience!
Technical
Information
We encourage you to contact us with questions or comments regarding this
product. You can reach us by email at [email protected] or call us at 1-225216-7887 between 9 a.m. and 5 p.m. Central Time (GMT -06:00 CST). 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 USB!
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 USB 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 USB Hardware Features
Overview
1.2
PreSonus AudioBox™ USB
Summary of AudioBox USB Hardware Features
•• 24-bit/48 kHz sampling rate
•• 2 Class A microphone preamplifiers
Hookup
•• 2 Instrument inputs
•• MIDI I/O
•• 2x2 USB 1.1 audio interface
Connecting
to a
Computer
•• Headphone output
•• Analog monitor mixing with playback/input mix control
•• Rugged steel chassis
Studio One Artist
•• 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 more than 6 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)
•• M
ore than 6 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
What is in the Box 1.4
Overview
What is in the Box
Connecting
to a
Computer
Hookup
Your AudioBox USB package contains the following:
PreSonus AudioBox USB recording interface
Studio One Artist
6’ (1.8m) USB cable
Tutorials
Software library containing
•• PreSonus Studio One Artist program DVD plus gigabytes of third-party content
Technical
Information
•• AudioBox driver and manual CD
Troubleshooting
and Warranty
1.4
3
PreSonus AudioBox™ USB
2Hookup
2.1 Front-Panel Connections
Overview
2.0Hookup
2.1
Front-Panel Connections
Hookup
Connecting
to a
Computer
Studio One Artist
Microphone/Instrument Inputs. Both channels of the AudioBox USB have Mic/
Instrument combo jacks. This convenient connector accepts either a ¼-inch phone
plug or an XLR plug.
••
Microphone Inputs. The XLR inputs on channels 1 and 2 are equipped with two
custom PreSonus microphone preamplifiers. These preamps work great with all
types of microphones including dynamic, ribbon, and condenser microphones.
Tutorials
Technical
Information
Power User Tip: Dynamic microphones and ribbon microphones (which are a special type of
dynamic mic) are generally lower-output devices that, with few exceptions, require no external
power source. Sending phantom power to a ribbon mic that doesn’t require it can cause severe
damage to the mic – usually beyond repair. Condenser microphones are generally more sensitive
than dynamic and ribbon microphones and typically require external +48V phantom power. Always
review your microphone’s documentation and follow its recommended operating practices.
••
Troubleshooting
and Warranty
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 USB becomes an instrument preamplifier.
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 USB 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 USB. 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 USB provides 48V phantom power for the
microphone input on each channel. Press the 48V button to enable phantom power
for all microphone inputs.
WARNING: Phantom power is only required for condenser micro­phones and
can severely damage some dynamic mics, especially ribbon mics. Therefore,
switch phantom power off for all channels where it is not required.
XLR connector wiring for phantom power:
4
Pin 1 = GND
Pin 2 = +48V
Pin 3 = +48V
Hookup2
Front-Panel Connections 2.1
Overview
Owner’s Manual
••
XLR Microphone Instrument inputs: 40 dB of variable gain (-10 to +30 dB)
••
TS ¼-inch Instrument Level inputs: 60 dB of variable gain (0 dB to +60 dB)
Hookup
Input Gain/Trim Control. These knobs provide the following gain structure:
Connecting
to a
Computer
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).
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.
Studio One Artist
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.
Tutorials
Please note: When creating monitor mixes using Studio One or another DAW, it is important that
you turn the Mixer knob all the way to the Playback position. Monitoring both the input signal
and the playback stream will create a doubling effect that will make monitoring difficult.
Technical
Information
Phones. The Phones knob controls the volume of the headphone output
on the rear of the unit. The headphone amplifier is quite powerful, and the
volume goes to 11, so use the maximum setting with extreme caution.
Troubleshooting
and Warranty
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 10 dB.
Power LED. This LED will illuminate red when the AudioBox is
properly powered and synced to a USB connection.
5
PreSonus AudioBox™ USB
2Hookup
2.2 Rear-Panel Connections
Overview
2.2
Rear-Panel Connections
Hookup
Connecting
to a
Computer
¼-inch Phones (headphone) Jack. This is where you connect headphones to your
AudioBox USB.
Studio One Artist
Tutorials
Main Out. These are the main outputs for the AudioBox USB. The output level of the
Main Outs is controlled by the Main volume knob on the front of the unit.
Technical
Information
Power User Tip: You must connect speakers or headphones directly to your AudioBox USB in order
to monitor playback from your computer.
Troubleshooting
and Warranty
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.
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 USB input channel. Please consult the User’s Manuals
of your MIDI devices for help with MIDI setup and usage.
USB Port. This is where you connect the USB cable from your AudioBox USB to your
computer. The AudioBox USB is bus-powered via this connection and does not
require an external power supply.
Your AudioBox USB is compatible with all types of USB ports (1.1, 2.0, and 3.0).
6
Owner’s Manual
Hookup2
Basic Hookup Diagram 2.3
Overview
Basic Hookup Diagram
48V
Hookup
AUDIOBOX USB
Power
Clip
0
1
60
+30
11
Connecting
to a
Computer
-10
Clip
Mic•Instrument
2
-10
0
60
+30
INPUTS
-80
PLAYBACK
10
Tutorials
Studio One Artist
1
headphones
Designed by
PreSonus in
the USA.
Manufactured
in PRC.
vocal mic
IN
OUT
Technical
Information
guitar
L
Troubleshooting
and Warranty
2.3
R
USB
MIDI
MAIN OUT
PHONES
computer
midi
monitors
7
3
3.1
Connecting to a Computer
System Requirements
PreSonus AudioBox™ USB
Overview
3.0 Connecting to a Computer
Your AudioBox USB is a rugged USB 1.1 audio interface with zerolatency analog monitoring control and professional audio tools.
Hookup
3.1
System Requirements
Below are the minimum computer-system requirements for
PreSonus Studio One Artist and AudioBox USB.*
Connecting
to a
Computer
Mac
•• Operating Systems:
Studio One Artist
••
Mac OS X 10.6 or higher
•• Hardware:
Tutorials
••
Minimum: Intel® Core™ Duo 1.5 GHz processor, 2 GB RAM
••
Recommended: Intel Core 2 Duo or Intel iCore
processor or better, 4 GB or more RAM
Windows
Technical
Information
•• Operating Systems (32- or 64-bit):
••
Windows 7, Vista
•• Hardware:
Troubleshooting
and Warranty
••
Minimum: Intel Core Duo or AMD Athlon™ X2 processor, 2 GB RAM
••
Recommended: Intel Core 2 Duo or AMD Athlon X4 or better, 4 GB or more 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.
8
The AudioBox installer requires that your AudioBox USB be connected to your
computer. Connect your AudioBox USB to an available USB port and insert the
Installation CD into your disc drive. The AudioBox installer will auto-launch and take
you through each step of the installation process. Please read each message carefully.
It is recommended that you quit all applications before you start the installation.
Studio One Artist
Windows Vista Users: If you see any Windows Security
alerts, click “Install this driver software anyway.”
Hookup
Installation for Windows
Overview
Connecting to a Computer
3
Installation for Windows 3.2
Tutorials
1. The installer will open to the Welcome screen.
Technical
Information
Click “Next.”
Troubleshooting
and Warranty
3.2
Connecting
to a
Computer
Owner’s Manual
2. You will be asked if you would like the installer to
automatically create an icon on your desktop for the
AudioBox control panel.
This control panel allows you to adjust the
buffer size and sample rate of your AudioBox
USB. Creating a desktop icon will provide
you with quick access to these controls.
Click “Next.”
9
3
3.3
PreSonus AudioBox™ USB
Connecting to a Computer
Installation for Mac OS X
Overview
3. The installer will now scan your computer, you
will be prompted to begin the installation.
If your AudioBox is not detected by the
installer, you will prompted to connect it.
Hookup
Click “Install Driver.”
Connecting
to a
Computer
Studio One Artist
4. Once the driver has been installed successfully, you will
be alerted.
Click “Next” to finish the installation.
Tutorials
Technical
Information
Troubleshooting
and Warranty
5. In order for the driver to operate properly, you must
restart your computer.
Click “Finish” to automatically reboot your computer.
6. Once your computer has restarted,
your AudioBox USB is now ready to use!
3.3
Installation for Mac OS X
Your AudioBox USB is a class-compliant Core Audio device. No
installation is necessary on Mac computers. Simply connect
your AudioBox USB to your Mac to begin using it.
10
Owner’s Manual
Connecting to a Computer
3
Using the AudioBox USB with Popular Audio Applications 3.4
Using the AudioBox USB with Popular Audio Applications
Overview
3.4
Hookup
Complete setup instructions for Studio One Artist and a brief tutorial
on its features can be found in Section 4 of this manual. However, you
can use your AudioBox USB 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 USB driver as the audio-device driver for your software.
Connecting
to a
Computer
Below are basic driver-setup instructions for four popular audio applications.
Apple Logic Pro/Express 7+:
Studio One Artist
1. Launch Logic Pro/Express.
2. Go to Logic | Preferences | Audio.
3. Click on the Devices Tab.
Tutorials
4. On the Core Audio tab, check Enabled.
5. Select PreSonus AudioBox USB from the device menu.
Technical
Information
6. You will be asked if you’d like to relaunch Logic. Click “try (re)launch.”
7. Your AudioBox USB features custom I/O labels for faster workflow.
To enable these labels for use in Logic, go to Options | Audio | I/O Labels.
Troubleshooting
and Warranty
8. The second column in the pop-up window will be named
“Provided by Driver.” Activate each of these labels for your AudioBox USB. When you are done, close this window.
9. You are now ready to use your AudioBox USB.
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.
4. Select PreSonus AudioBox USB from the ASIO Driver drop-down list.
5. Click “Switch” to begin using the AudioBox USB driver.
6. Once you have successfully changed the driver, go to Devices |
VST Connections to enable your input and output buses.
11
3
3.4
Connecting to a Computer
Using the AudioBox USB with Popular Audio Applications
PreSonus AudioBox™ USB
Overview
Cakewalk Sonar 6+
1. Launch Sonar.
2. Go to Options | Audio... and click on the Advanced tab.
Hookup
3. Change the Driver Mode to “ASIO.” (Using WDM, rather than
ASIO, for pro-audio applications is not recommended.)
Connecting
to a
Computer
4. Click the “OK” button.
5. Restart Sonar.
Studio One Artist
6. Go to Options | Audio... and click on the Drivers tab.
7. Highlight all input and output drivers beginning with “PreSonus AudioBox USB.”
8. Go to Options | Audio... and click on the General tab.
Tutorials
9. Set the Playback Timing Master to “PreSonus AudioBox USB... DAW Out 1.”
10.Set the Recording Timing Master to “PreSonus AudioBox USB... Mic/Inst 1.”
Technical
Information
Ableton Live 5+
1. Launch Ableton Live
Troubleshooting
and Warranty
2. Go to Options | Preferences | Audio
3. Choose Driver Type: Asio | Audio Device: ASIO PreSonus AudioBox USB
4. Go to Input Config: Enable and select the desired Input channels.
5. Go to Output Config: Enable and select the desired Output channels.
6. You may now select the AudioBox USB’s inputs
and outputs for each track created in Live.
12
Connecting to a Computer
3
Windows Control Panel 3.5
Overview
Windows Control Panel
Your AudioBox USB features a control panel on Windows systems
that allows you to adjust the buffer size and sample rate.
Launches the AudioBox USB Control Panel Automatically on Startup.
When this is enabled, the AudioBox USB Control Panel will automatically
launch each time you boot your Windows.
Sample Rate Selector
Changes Sample Rate.
Studio One Artist
Sets the sample rate to 44.1 or 48 kHz.
A higher sample rate will increase the fidelity of the
recording. It will also increase the file size and the amount
of system resources necessary to process the audio.
Tutorials
Changing the sample rate will produce a momentary popping noise.
Because of this, it is recommended that you turn the Main and Phones
volumes down on your AudioBox prior to changing the sample rate.
ASIO Buffer Size (Windows Only)
Connecting
to a
Computer
Run at Startup Hookup
On Mac systems, these functions are accessible
from within your DAW application.
Changes the Buffer Size.
You can set the buffer size from 32 to 2,048 samples. The buffer size
determines the roundtrip time it takes audio data to be converted from
analog to digital and back to analog. As a general rule, the higher the
buffer size, the better the system performance, but the less playable
virtual instruments and the like become. In general, 512 samples (11 to 12
milliseconds) will provide you with a large enough buffer for optimum
system performance but small enough to be unobtrusive. You should set
your buffer size prior to launching your host application.
13
Technical
Information
3.5
Troubleshooting
and Warranty
Owner’s Manual
4
4.1
PreSonus AudioBox™ USB
Studio One Artist
Installation and Authorization
Overview
4.0
Studio One Artist Quick Start
Hookup
Connecting
to a
Computer
Studio One Artist
Tutorials
Technical
Information
Troubleshooting
and Warranty
Your AudioBox USB comes 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. As
a valued PreSonus customer, you are also eligible for a discount
upgrade to Studio One Producer or 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
Once you have installed the AudioBox USB drivers and connected
your AudioBox USB to your computer, you can use the included
PreSonus Studio One Artist music-production software to begin
recording, mixing, and producing your music. To install Studio One
Artist, insert your installation disc into your computer’s DVD drive.
Follow the onscreen instructions to complete the installation process.
Running the Studio One Installer
To Install Studio One Artist, insert your Studio One Artist installation DVD
into your computer’s DVD drive.
•• 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 Macintosh hard drive.
14
Studio One Artist
4
Installation and Authorization 4.1
Creating a User Account
2. If you are a new Studio One user, you will need to create a user account.
Click on the “Create New Account” link if your computer is connected to
the Internet.
•• If you already have a PreSonus user account, you can
skip to “Activating Studio One Artist On Line.”
3. Fill out the user registration form. You will be asked to create a
username and password. This information will be used to access your
PreSonus user account on the PreSonus Web site. With this account,
you can manage registration for all of your PreSonus hardware and
software products. You will be notified of, and will have access to,
important information and updates related to your PreSonus products,
ensuring you get the best performance possible from them.
Your username and password will also provide you with access to the
PreSonus user forums to chat with other PreSonus users as well as
PreSonus employees.
4. Once your user account has been successfully created, you will be
alerted that the activation email has been sent to the email address
that you provided.
Don’t forget to activate your PreSonus user account
the next time you check your email!
15
Technical
Information
Tutorials
•• If your computer is not connected to the Internet,
skip to “Activating Studio One Artist Offline.”
Studio One Artist
Connecting
to a
Computer
Hookup
1. After installing Studio One Artist, launch the program, and the Activate
Studio One menu will appear. Click on the Activate or Upgrade link to
begin.
Overview
Troubleshooting
and Warranty
Owner’s Manual
PreSonus AudioBox™ USB
4
Studio One Artist
4.1 Installation and Authorization
Overview
Activating Studio One Artist Online
Hookup
Now that you have created a user account, you can activate your
copy of Studio One Artist. Click on the Activate Online link and enter
your previously created account username, password, and the
product key you received with the Studio One Artist installation disc.
Your Studio One Product Key is located on
the Studio One Artist disc wallet.
Connecting
to a
Computer
Click on the Activate button to finish the activation process.
Studio One Artist
Activating Studio One Artist Offline
Tutorials
1. If your computer is not connected to the Internet, visit
http://www.presonus.com/registration/ on an Internetconnected computer to create your account.
Technical
Information
2. Once you have created your user account, log in and click on the
Software Registration link.
Troubleshooting
and Warranty
3. Enter the Product Key located on the Studio One Artist disc wallet.
Click “Submit.”
4. When product key is registered, you see a list of links to download
Studio One Artist and its bundled content. Click the Registration Home
link to go back to the main page.
Click on the “My Software” link.
16
Studio One Artist
4
Installation and Authorization 4.1
5. Click on the “Download License” link.
A file called “Studio One 2 Artist.license” will be saved onto your
computer. You will need to copy this onto a piece of removable media
and transfer it onto the computer on which you want to run Studio
One Artist.
Connecting
to a
Computer
6. Launch Studio One Artist.
Overview
Hookup
Owner’s Manual
From the Activate Studio One Menu, click on the “Activate Offline”
link.
Installing Bundled Content for Studio One Artist
Studio One Artist comes bundled with an array of
demo and tutorial material, instruments, loops,
samples, and other third-party content. The Studio
One Artist bundle includes all that you need to begin
producing music.
Upon completing the Studio One Artist
installation and activation process, the
Studio One Content Installer will appear.
1. Click on “Install content from DVD or local folder.”
17
Troubleshooting
and Warranty
Technical
Information
Tutorials
Studio One Artist
7. Drag the “Studio One 2 Artist.license” file onto the Offline Activation
window to complete the activation.
4
4.1
Studio One Artist
Installation and Authorization
PreSonus AudioBox™ USB
Overview
2. At the top of the installation menu, select the source
from which the content will be installed, as well as the
location where you wish to install the content. The
source of the content will be the same DVD from which
you installed Studio One Artist. By default, Studio One
Artist will point to your DVD drive as the content
source. Listed in the installation menu are separate
entries for each available item. Click the check box next
to each item you wish to install, then click on the Install
Packets button at the bottom left of the menu to install
the selected content.
Hookup
Connecting
to a
Computer
Studio One Artist
When finished installing content, click on
the Done button to exit the menu.
Power User Tip: Studio One Artist content can be installed at any time by
accessing the Studio One 2>Studio One Installation... menu. If you choose not
to install any portion of the content, you can install it at a later time.
Tutorials
Installing Third-Party Content
Technical
Information
To Install any of the third-party content, click on the arrow button next to
its name in the content list (Celemony Melodyne Trial, Native Instruments
Komplete Player).
Troubleshooting
and Warranty
Notice that next to Native Instruments Komplete there
is serial number listed. You will need this number to
authorize this plug-in the first time you open it.
When you have finished installing content, click the “Done” button.
18
Studio One Artist
4
Enabling the Audio Driver 4.2
Overview
Enabling the Audio Driver
Connecting
to a
Computer
Hookup
Studio One Artist was designed with PreSonus interfaces in mind,
so AudioBox USB setup is quick and easy. When Studio One Artist
is launched, by default you will be taken to the Start page. On this
page, you will find document-management and device-configuration
controls, as well as a customizable artist profile, a news feed,
and links to demos and tutorials from PreSonus. If you have an
Internet connection on your computer, these links will be updated
as new tutorials become available on the PreSonus Web site.
Shows Active Audio Driver and Sample Rate and Provides
Quick Links to Configure Audio and MIDI.
In the middle of the Start page, you will see the Setup
area. Studio One Artist automatically scans your
system for all available drivers and selects a driver. By
default, it will choose a PreSonus driver if one is
available.
Technical
Information
Start Page: Setup Area Studio One Artist
Complete information on all aspects of Studio One Artist is
available in the Reference Manual PDF located on the Studio
One Artist installation disc. The information in this tutorial covers
only the basic aspects of Studio One Artist and is intended
to get you set up and recording as quickly as possible.
Tutorials
4.2
Selecting a Different Audio Driver
from the Start Page.
If you do not see “PreSonus AudioBox USB” on
the Start page when you launch Studio One, click
on the Configure Audio Devices link in the Setup
area to open the Audio Setup Options window.
In the Audio Device menu, select “PreSonus AudioBox.”
Click the Apply button and then OK.
After you have verified that the PreSonus AudioBox driver
has been detected, please continue to the next section to set
up your external MIDI devices. If you do not have any MIDI
devices to connect at this time, please skip to Section 4.4.
19
Troubleshooting
and Warranty
Owner’s Manual
4
4.3
PreSonus AudioBox™ USB
Studio One Artist
Configuring MIDI Devices
Overview
4.3
Configuring MIDI Devices
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 module. Please consult
the Reference Manual located on your Studio One Artist installation
DVD 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 the drivers for these devices before
beginning this section. Please consult the documentation that came
with your MIDI hardware for complete installation instructions.
Studio One Artist
Setting Up an External MIDI Keyboard Controller from the Start Page
Tutorials
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 module will be set up as an Instrument.
Technical
Information
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.
Troubleshooting
and Warranty
1. C
onnect the MIDI Out of your external MIDI
controller to a MIDI In on your AudioBox USB or
other MIDI interface. If you are using a USB MIDI
controller, connect it to your computer and
power it on.
2. C
lick on the Configure External Devices link in the
Setup area on the Start page to launch the External
Devices window.
20
Owner’s Manual
Studio One Artist
4
Configuring MIDI Devices 4.3
Studio One Artist
Connecting
to a
Computer
Hookup
Overview
3. Click the Add button.
6. Y
ou 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.
7. In the Receive From drop-down menu, select the
MIDI-interface input from which Studio One Artist
will receive MIDI data. In this case, the AudioBox
USB.
In the Send To drop-down menu, select the MIDI interface output
(AudioBox USB) from which Studio One Artist will send MIDI data to
your keyboard. If your keyboard controller does not need to receive MIDI
data from Studio One, you can leave this unselected. If your keyboard
does need to receive MIDI data, you must connect a MIDI cable from
the MIDI Out of the MIDI interface to the MIDI In of the keyboard.
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.
Click OK.
21
Troubleshooting
and Warranty
5. F rom the menu on the left, select New
Keyboard. At this point, you can customize
the name of your keyboard by entering
the manufacturer and device names.
Technical
Information
Tutorials
4. The Add Device window will launch.
PreSonus AudioBox™ USB
4
Studio One Artist
4.3 Configuring MIDI Devices
Overview
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 this window and skip to Section 4.4.
Hookup
Setting up an External MIDI Sound Module from the Start Page
Connecting
to a
Computer
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.
Studio One Artist
1. Connect the MIDI In of your external sound module
to the MIDI Out of your AudioBox USB or other MIDI
interface.
Tutorials
Technical
Information
2. In the External Devices window, click the Add
button.
Troubleshooting
and Warranty
22
Studio One Artist
4
Creating a New Song 4.4
Overview
3. T he Add Device window will launch.
Tutorials
6. In the Send To drop-down menu, select the
MIDI-interface output from which Studio One Artist
will send MIDI data to your sound module—in this
case, via the AudioBox USB.
Studio One Artist
5. S pecify which MIDI channels will be used to
communicate with this keyboard. For most
purposes, you should select all MIDI channels. If
you are unsure of which MIDI channels to select, we
suggest you select all 16.
Connecting
to a
Computer
Hookup
4. F rom the menu on the left, select “New
Instrument.” At this point, you can customize
the name of your sound module by entering
the manufacturer and device names.
In the Receive From drop-down menu, select the MIDI-interface
output (AudioBox USB) from which Studio One Artist will receive
sound-module MIDI data. If your sound module will not need to
send information to Studio One, you can leave this unspecified.
Click OK and close the External Devices window. You are now ready to
start recording in Studio One Artist. The rest of 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.
23
Technical
Information
Troubleshooting
and Warranty
Owner’s Manual
4
4.4
Studio One Artist
Creating a New Song
Overview
4.4
PreSonus AudioBox™ USB
Creating a New Song
Now that you’ve configured your MIDI devices, let’s create a
new Song. We‘ll start by setting up your default audio I/O.
Hookup
1. From the Start page, select “Create a new Song.”
Connecting
to a
Computer
2. In the browser window, name your Song and
choose the directory in which you’d like it saved.
You’ll notice a list of templates on the left. The
AudioBox USB template will create a Song with a
track for each of the AudioBox inputs. Every track is
armed for recording, and no further setup is
required. Select this template and click “OK.”
Studio One Artist
3. The rest of this section will guide you through
creating a Song from an empty session.
Tutorials
Technical
Information
4. To begin a new Song, select Empty Song from the
Templates list. At this point, you should give your
Song a name and select your preferred sample rate
and bit depth. You can also determine the length of
your Song and the type of time format you would
like to use (Notation Bars, Seconds, Samples, or
Frames). Click the OK button when you are finished.
Troubleshooting
and Warranty
5. If you plan on importing loops into your
Song, you may want to select Stretch Audio
Loops to Song Tempo so that any loop of a
known BPM (like those in the included content
library) will import at the correct tempo.
6. When the Song window launches, launch the
Audio Setup window by going to Studio One |
Options… (Windows) or Studio One | Preferences
(Mac) and click on the Audio Setup button.
24
Studio One Artist
4
Creating a New Song 4.4
10. If you would like the same inputs to be
available every time you launch Studio One
Artist, click the “Make Default” button.
11. Click on the Outputs tab, and you will see all of the
available outputs on your AudioBox USB. We
recommend that you create stereo outputs for the
Main outputs on your AudioBox USB.
12. 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.
13. If you would like this output configuration
available every time you launch Studio One
Artist, click the Make Default button.
14. Now that you’ve configured your MIDI and
audio I/O and created a new Song, let’s
go through some of the basics of Studio
One Artist so you can start recording!
25
Connecting
to a
Computer
Studio One Artist
9. W
e recommend that you create a mono input
for each of the inputs on your AudioBox USB.
If you plan on recording in stereo, you should
also create a stereo bus and assign it to the
appropriate set of inputs. You can remove any bus
by simply selecting it and clicking the Remove
button. To customize the names of your buses,
double-click on the default name to open a text
box. When you have finished typing, hit Enter.
Tutorials
8. Go to Song>Song Setup menu and click on “Audio
I/O Setup.”
Hookup
Overview
7. Click on the Song Setup button to open the
Song Setup window, then click on the Audio
I/O Setup icon.
Technical
Information
Troubleshooting
and Warranty
Owner’s Manual
4
4.5
Studio One Artist
Creating Audio Tracks
Overview
4.5
PreSonus AudioBox™ USB
Creating Audio Tracks
Hookup
1. In the upper left corner of the Arrange window, you will
notice several buttons. The third button from the left is
the Add Tracks button. Click this button to bring up the
Add Tracks window.
Connecting
to a
Computer
2. In the Add Tracks window, you can select the number
and type of tracks you’d like to create (Mono Audio,
Stereo Audio, Folder, Instrument, or Automation) and
can customize the track name and color as well as add a
preset rack of effects to the track.
Studio One Artist
3. Once you have added your tracks, you can assign the
input by simply clicking on the input to which a track is
currently assigned. This will bring up the inputs list. You
can also access the audio I/O setup from here.
Tutorials
4. If you would like to add a track for each of the available
inputs and have the routing automatically assigned,
simply go to Track | Add Tracks for All Inputs.
Technical
Information
Troubleshooting
and Warranty
5. T o begin recording, create an audio track, assign it
to Input 1, and connect a microphone to the first
channel on the AudioBox USB. Select Record Enable
on your track in Studio One Artist. Turn up the Channel
1 level 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).
6. C
onnect a set of headphones to the AudioBox
headphone output. If you wish to listen to your
AudioBox USB with studio monitors, make sure to
connect them to the AudioBox‘s Main outputs.
You are now ready to record. For complete
instructions, please consult the Studio One
Reference Manual, which is located on your
Studio One Artist installation DVD.
26
Owner’s Manual
Studio One Artist
4
Creating MIDI Tracks 4.6
Level
Mute
Hookup
Solo
Overview
Anatomy of an Audio Track
Meter
Rec Arm
ST/Mono
Connecting
to a
Computer
Audio
Input
Creating MIDI Tracks
1. Click on the Add Tracks button. When the Add Tracks window launches,
select Instrument as the track format and click the OK button.
Troubleshooting
and Warranty
4.6
Technical
Information
Tutorials
Studio One Artist
Mon (In S1)
2. To assign your MIDI input, click on the MIDI Inputs list and select your
external sound module.
3. If you have added virtual inputs to your session,
you will also see them as available inputs.
4. If you selected your MIDI keyboard controller as the default keyboard,
it will already be selected. If not, choose your MIDI controller from the
Output menu directly below.
5. To the left of the Add Track button, you will find the Inspector button.
Click it to display more parameters for the selected track.
27
4
4.7
Studio One Artist
Adding Vitrual Instruments and Effects to Your Song
PreSonus AudioBox™ USB
Overview
6. At the bottom of the Inspector menu, you will see your Bank and
Program selections. From here, you can remotely change the patch on
your sound module.
Hookup
MIDI data does not contain audio signals. To hear your sound
module, you must connect the audio output of the sound
module to an AudioBox input, then connect the AudioBox’s
audio outputs to a sound system. (You also can listen on
headphones, using the headphone output.) When you are
ready to mix your Song, you must convert the recorded MIDI
data to an audio waveform by recording a new audio track.
Connecting
to a
Computer
4.7
Adding Virtual Instruments and Plug-in Effects to Your Song
Studio One Artist
You can add plug-ins and instruments to your Song by draggingand-dropping from the browser. You can also drag an effect
or group of effects from one channel to another, drag in
customized effects chains, and instantly load your favorite virtualinstrument patch without ever scrolling through a menu.
Tutorials
Opening the Browser
Technical
Information
In the lower right corner of the Arrange window are three buttons. The
Edit button opens or closes the audio editor or the MIDI piano-roll editor,
depending on which type of track is selected. The Mix button opens and
closes the mixer window.
Troubleshooting
and Warranty
The Browse button opens the Browser window, which displays all of
the available virtual instruments, plug-in effects, audio files, and MIDI
files, as well as the pool of audio files loaded into the current session.
Drag-and-Drop Virtual Instruments
To add a virtual instrument to your session, click the
Browse and Instrument buttons to open the
instrument browser. Select the instrument or one of its
patches from the instrument browser and drag it into
the Arrange view. Studio One Artist will automatically
create a new track and load the instrument as the
input.
28
Studio One Artist
4
Adding Virtual Instruments and Plug-in Effects to Your Song 4.7
Drag-and-Drop Effects
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 on the track.
29
Troubleshooting
and Warranty
Drag-and-Drop Audio and MIDI Files
Technical
Information
Tutorials
Studio One Artist
Connecting
to a
Computer
To add a plug-in effect to a track, click the Effects
button and select the plug-in or one of its presets in
the effects browser, then drag the selection over the
track to which you would like to add the effect.
Overview
Hookup
Owner’s Manual
PreSonus AudioBox™ USB
5Tutorials
5.1 Microphone Types
Overview
5.0 Tutorials
5.1
Microphone Types
Hookup
The AudioBox USB work with most types of microphones,
including dynamic, ribbon, and condenser microphones.
5.1.1
Condenser
Connecting
to a
Computer
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 USB sends 48 VDC phantom power from the XLR inputs only.
Tutorials
Tutorials
5.1.2
Dynamic
Technical
Information
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.
Dynamic microphones, especially ribbon microphones, tend to generate low output
voltages, so they typically need more preamp gain than condenser microphones.
Troubleshooting
and Warranty
Ribbon
Ribbon microphones are a special type of dynamic microphone and
get their name from the thin metal ribbon used in their design. Ribbon
microphones capture sound with very high fidelity—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 because a USB
microphone is, in effect, an audio interface, we recommended that you not use
them with the AudioBox USB, 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
manual for power requirement and compatibility information.
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.
30
Tutorials5
Microphone Types 5.1
Overview
Microphone Placement
Hookup
The following are a few recording applications to help you get started with
your AudioBox USB. 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 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
Troubleshooting
and Warranty
Electric Guitar
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.
Connecting
to a
Computer
5.1.4
Studio One Artist
Owner’s Manual
5Tutorials
5.1 Microphone Types
PreSonus AudioBox™ USB
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
Studio One Artist
Tutorials
Tutorials
Bass Guitar (Direct and Speaker)
Technical
Information
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 USB 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.
Troubleshooting
and Warranty
32
Tutorials5
Microphone Types 5.1
Drum Overheads (XY example)
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
Troubleshooting
and Warranty
Snare Drum (top and bottom)
Technical
Information
Tutorials
Tutorials
Studio One Artist
Connecting
to a
Computer
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.
Overview
Hookup
Owner’s Manual
5Tutorials
5.2 A Brief Tutorial on Dynamic Processing
Overview
5.2
PreSonus AudioBox™ USB
A Brief Tutorial on Dynamics Processing
Hookup
Studio One Artist software is included with the AudioBox USB. This powerful
DAW includes an assortment of dynamics plug-ins. 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. 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?
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.
Tutorials
Tutorials
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!
Technical
Information
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.
Troubleshooting
and Warranty
Why do we need compression?
Consider the previous discussion: You are mixing a rock performance with an
average dynamic range of 20 dB. You wish to add an uncompressed vocal to the
mix. The average dynamic range of an uncompressed vocal is around 40 dB. In
other words, a vocal performance can go from -30 dBu to +10 dBu. The passages
that are +10 dBu and higher will be heard over the mix. However, the passages
that are at -30 dBu and below will never be heard over the roar of the rest of the
mix. A compressor can be used in this situation to reduce (compress) the dynamic
range of the vocal to around 10 dB. The vocal can now be placed at around +5
dBu. At this level, the dynamic range of the vocal is from 0 dBu to +10 dBu. The
lower level phrases will now be well above the lower level of the mix, and louder
phrases will not overpower the mix, allowing the vocal to “sit in the track.”
The same points can be made about any instrument in the mix. Each instrument
has its place, and a good compressor can assist the engineer in the overall blend.
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.
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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?
Studio One Artist
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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.
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.
Types of Dynamic Processing
Troubleshooting
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5.2.2
Tutorials
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Technical
Information
Owner’s Manual
Compression/Limiting
Punch, apparent loudness, presence—these are just three of the many
terms used to describe the effects of compression/limiting.
Compression and limiting are forms of dynamic-range (gain) control. Audio
signals have very wide peak-to-average signal-level ratios (sometimes
referred to as dynamic range, which is the difference between the loudest
level and the softest level). The peak signal can cause overload in the 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
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.
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5Tutorials
5.2 A Brief Tutorial on Dynamic Processing
PreSonus AudioBox™ USB
Overview
Hookup
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!)
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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.
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.
Studio One Artist
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. 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,
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.
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A Brief Tutorial on Dynamic Processing 5.2
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).
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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.
Studio One Artist
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.
Hookup
Overview
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.
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).
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
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
37
Technical
Information
Troubleshooting
and Warranty
Owner’s Manual
5Tutorials
5.2 A Brief Tutorial on Dynamic Processing
PreSonus AudioBox™ USB
Overview
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.
Expansion— Terminology
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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.
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Noise Gates
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
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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 slow-rising
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.
Key Listen. The key listen allows the user to listen to
the signal that is being filtered by the gate.
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A Brief Tutorial on Dynamic Processing 5.2
Overview
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.
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Hookup
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
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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 Studio One Artist.
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
-8.2 dB
Ratio
1.8:1
Attack
0.002 ms
Release
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
-3.3 dB
Ratio
2.8:1
Attack
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.”
Threshold
-1.1 dB
RRatio
3.8:1
Attack
0.002 ms
Release
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
-2.1 dB
Ratio
3.5:1
Studio One Artist
Attack
78 ms
Release
300 ms
39
Troubleshooting
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Owner’s Manual
PreSonus AudioBox™ USB
5Tutorials
5.2 A Brief Tutorial on Dynamic Processing
Overview
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.”
Hookup
Thresholdhold
-13.7 dB
RatRatioio
1.3:1
AttAttackack
27 ms
Release
128 ms
Fretted Instruments
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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.
Studio One Artist
Thresholdhold
-4.4 dB
RatRatioio
2.6:1
AttAttackack
45.7 ms
Release
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.
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Thresholdhold
-6.3 dB
RatRatioio
3.4:1
AttAttackack
188 ms
Release
400 ms
Technical
Information
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.
Thresholdhold
-0.1 dB
RatRatioio
2.4:1
AttAttackack
26 ms
Release
193 ms
Troubleshooting
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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.
Thresholdhold
-10.8 dB
RatRatioio
1.9:1
AttAttackack
108 ms
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
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.
Thresholdhold
3.3 dB
40
RatRatioio
2.5:1
AttAttackack
1.8 ms
Release
50 ms
Tutorials5
A Brief Tutorial on Dynamic Processing 5.2
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.
RatRatioio
7.1:1
AttAttackack
0.001 ms
Release
98 ms
Hookup
Thresholdhold
5.5 dB
Contour. This setting fattens up the main mix.
RatRatioio
1.2:1
AttAttackack
0.002 ms
Release
182 ms
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Thresholdhold
-13.4 dB
Effects
RatRatioio
2.4:1
AttAttackack
7.2 ms
Studio One Artist
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
Release
93 ms
Release
0.001 ms
Technical
Information
AttAttackack
1 ms
Troubleshooting
and Warranty
RatRatioio
1.9:1
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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
Overview
Owner’s Manual
41
PreSonus AudioBox™ USB
5Tutorials
5.3Equalizers
Overview
5.3
Equalizers
Hookup
Studio One Artist also includes several EQ plug-ins. Here’s a brief
explanation of how an EQ functions, as well as some charts to help you
navigate the frequency ranges of various instruments so you can quickly
choose the best EQ settings for your recordings and live mixes.
5.3.1
What is an EQ?
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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.
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.
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Parametric EQ
Technical
Information
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 VSL-series interfaces, have quasi-parametric EQ, which
is semi-parametric EQ with a simple, switchable Q setting (typically, High and Low Q).
Troubleshooting
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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
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Owner’s Manual
Tutorials5
Equalizers5.3
Overview
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.
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Hookup
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.
Studio One Artist
Shelving EQ
A shelving EQ attenuates or boost frequencies above or below a specified cutoff
point. Shelving equalizers come in two different varieties: high-pass and low-pass.
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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
Troubleshooting
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Technical
Information
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.
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.”
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PreSonus AudioBox™ USB
5Tutorials
5.3Equalizers
Overview
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.
Hookup
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.
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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.
Studio One Artist
5.3.2
Equalization Settings: How to Find the Best and Leave the Rest
How do you find the best and worst each instrument has to offer and
adjust their frequency content accordingly? Here’s a quick guide:
First, solo just the instrument with which you are working. Most engineers start
building their mix with the drums and work from the bottom up (kick, snare,
toms, hi-hat, overheads). 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
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.
••
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.
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••
Technical
Information
Troubleshooting
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Additional advice:
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Owner’s Manual
Tutorials5
Equalizers5.3
Acoustic Guitar
Electric Bass
String Bass
Snare Drum
Kick Drum
Toms
Cymbals
Horns
String section
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
Sharp attack
400 Hz
Muddy
2-5 kHz
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
Hookup
7 kHz
Connecting
to a
Computer
Why to Boost
Studio One Artist
Electric Guitar
What to Boost
Tutorials
Tutorials
Piano
Why to Cut
Technical
Information
Human Voice
What to Cut
Troubleshooting
and Warranty
Instrument
Overview
Table 1
45
Overview
Table 2
Hookup
Connecting
to a
Computer
Studio One Artist
Tutorials
Tutorials
Technical
Information
Troubleshooting
and Warranty
46
PreSonus AudioBox™ USB
5Tutorials
5.3Equalizers
Owner’s Manual
Tutorials5
Equalizers5.3
General EQ Suggestions
Overview
5.3.3
Connecting
to a
Computer
Hookup
Studio One Artist includes two different EQ plugins, Channel Strip and Pro
EQ. Like every plugin in Studio One Artist, both EQ plugins come with a
complete collection of factory presets and allow you to both customize
factory presets and create your own. What follows are a few generic EQ
settings for some of the most common 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
Tutorials
Tutorials
LOW
ON/OFF
ON
Studio One Artist
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
Troubleshooting
and Warranty
LOW
ON/OFF
ON
Technical
Information
Rock Female Vocals
Pop Male 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
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™ USB
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
Studio One Artist
Tutorials
Tutorials
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
Technical
Information
Troubleshooting
and Warranty
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
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
Equalizers5.3
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
Studio One Artist
Piano
49
PreSonus AudioBox™ USB
5Tutorials
5.4 Digital Effects
Overview
5.4
Digital Effects
Studio One Artist includes an array of time-based and modulation
effects. What follows 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.
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.
Tutorials
Tutorials
The following parameters can usually be adjusted in a reverb effect:
Technical
Information
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.
Troubleshooting
and Warranty
••
50
Owner’s Manual
Tutorials5
Digital Effects 5.4
Delay
Overview
5.4.2
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
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
Tutorials
Tutorials
Chorus
Technical
Information
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.
Troubleshooting
and Warranty
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.
Depth: The depth control affects how much the total delay time changes over
time. As the delay time changes, slight frequency modulations can be heard.
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
6
6.1
PreSonus AudioBox™ USB
Technical Information
AudioBox USB Specifications
Overview
6.0 Technical Information
6.1
AudioBox USB Specifications
Hookup
Microphone Preamp
Connecting
to a
Computer
Studio One Artist
Mic Preamp EIN
-115 dB, 20 kHz BW, max gain, Rs=40Ω, A-wtd
Frequency Response
14 Hz - 70 kHz, +/- 0.3 dB, unity gain
THD+N
0.008%, 0 dBu, 1 kHz, unity gain, 20 kHz BW, A-wtd
S/N Ratio
>95 dB, 0 dBu, 1 kHz, unity gain, 20 kHz BW, unwtd
Gain Control Range
0 dB to +35 dB
Input Max Headroom
-3 dBu, < 0.5% THD
Input Impedance
1200Ω
+48 VDC, 10 mA total
Connector Type
Combo, ¼” TS, female, unbalanced
Gain Control Range
-30 dB to +50 dB
Input Impedance 0.5 MΩ
Troubleshooting
and Warranty
Phantom Power
Technical
Information
Combo, XLR, female, balanced Tutorials
Type
Instrument Input
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
Analog Outputs:
Connector Type
¼” TRS, female, impedance balanced
Frequency Response
20 Hz - 20 kHz, +/- 0.2 dB
THD+N
0.002%, 1 kHz, 20 kHz BW, A-wtd
Power:
Power
52
USB bus power
Owner’s Manual
Techincal Information
6
AudioBox USB Specifications 6.1
Reference Level of 0dBFS
+4 dBu
ADC Dynamic Range
102 dB, 48 kHz sample rate, A-wtd
DAC Dynamic Range
110 dB, 48 kHz sample rate, A-wtd
MIDI I/O
5-pin DIN connectors
Hookup
44.1 kHz, 48 kHz,
Connecting
to a
Computer
Sample Rates
Studio One Artist
24-bit
Tutorials
Bit Depth
Technical
Information
USB 1.1
Troubleshooting
and Warranty
Host Interface
Overview
Digital:
53
7
Troubleshooting and Warranty
7.1Troubleshooting
PreSonus AudioBox™ USB
Overview
7.0 Troubleshooting and 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
Studio One Artist
AudioBox Will Not Connect to Computer
Tutorials
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 connection.
Technical
Information
Input Phasing While Monitoring using Studio One or Another DAW
Verify that the mixer knob on the front of the AudioBox is
turned fully clockwise to the Playback position.
Troubleshooting
Troubleshooting
and
andWarranty
Warranty
If you prefer to use the analog zero-latency monitoring on your AudioBox,
make sure that the input channel in your DAW has software monitoring
disabled. You will be monitoring through the analog bus on your AudioBox,
not your DAW, using the Mixer knob on the front of your AudioBox to
blend the playback from your computer with your analog input signal.
54
PreSonus Audio Electronics, Inc.
7257 Florida Blvd.
Baton Rouge, LA 70806
55
Connecting
to a
Computer
Studio One Artist
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.
Tutorials
PreSonus AudioBox Limited Warranty
Hookup
Overview
Troubleshooting and Warranty
7
PreSonus AudioBox Limited Warranty 7.2
Technical
Information
7.2 Troubleshooting
Troubleshooting
and Warranty
Warranty
Owner’s Manual
PreSonus AudioBox™ USB
Overview
Index
Hookup
Connecting
to a
Computer
Studio One Artist
A
K
Ableton Live 12
Attack 37, 38
Audio Device
Studio One Artist 19
Audio I/O Set-up
Studio One Artist 24–29
Key Filter 39
Key Listen 38
B
M
Buffer Size (see also, Latency) 13
Makeup Gain 37
MIDI Controller 20
MIDI Sound Module 22
C
Tutorials
Compressor
Definition 35–36
Suggested Settings 39
Terminology Associated With 36
Cubase 11
D
Technical
Information
Decay 50
Delay 51
Delay Time 51
Downward Expansion 38
Dynamic Range 34
Troubleshooting
Troubleshooting
and
andWarranty
Warranty
E
Equalizer
Definition 42
Parametric 42
Shelving 43
Expansion
Definition 37
L
Limiter 36
Logic 11
N
Noise Gate
Definition 39
P
Phantom Power 4, 30
Plug-ins 28
Predelay 50
Q
Q, Definition 42
R
Range 38
Ratio 36, 38
Release 37, 38
Reverb 50
Run at Startup 13
F
S
Fader Locate. See Recalling Faders
Frequency Tables 45–46
G
Sample Rate 13
Sidechain 37
Soft knee 37
Sonar 12
Gate 35
T
H
Threshold 36, 38
Hard knee 37
V
I
Variable Feedback 51
Import Audio
Studio One 29
56
Owner’s Manual
Hookup
Overview
Declaration of
­Conformity
7257 Florida Blvd., Baton Rouge, LA
70806 USA
Phone: 225-216-7887
declares that AudioBox™ USB complies with
Part 15 of the FCC rules.
Studio One Artist
Address:
Connecting
to a
Computer
Responsible Party: PreSonus Audio Electronics
Tutorials
Operation is subject to the following two conditions:
1. This device may not cause harmful interference, and;
Technical
Information
2. This device must accept any interference
received, including interference that may cause
undesired operation
Troubleshooting
and Warranty
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
57
Overview
Hookup
Connecting
to a
Computer
Studio One Artist
Tutorials
Technical
Information
Troubleshooting
and Warranty
58
PreSonus AudioBox™ USB
Current Section
Current Sub Section
0
0.0
Overview
Added bonus: PreSonus’ previously Top Secret recipe for…
Jambalaya
Connecting
to a
Computer
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 tomatoes with chilies, diced (regular hot)
Tabasco sauce
Studio One Artist
••
••
••
••
••
••
••
••
••
••
••
••
Hookup
Ingredients:
Tutorials
Cooking Instructions:
Troubleshooting
and Warranty
Technical
Information
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
© 2012 PreSonus Audio Electronics, Inc. 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. Mac 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.
59
AudioBox USB
™
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.
®
7257 Florida Boulevard • Baton Rouge,
Louisiana 70806 USA • 1-225-216-7887
www.presonus.com
Part# 820-AB0002-D
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