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PreSonus Audio Electronics, Inc. is an American manufacturer of professional audio equipment and software, used to create, record, mix, and master music and other audio. This includes their line of digital audio workstation software, Studio One.

New monitor controller, an overview of the PreSonus Monitor Station V2.

I just bought a new monitor controller as my old became bad in time. I had a cheap ESI passive controller. Now I bought the PreSonus Monitor Station V2.

It has two sets of TSR stereo inputs, One S/P Dif coaxial input and aux Unbalanced RCA/ 1/8 inch stereo input. You can connect three sets of monitors and four headphones. The monitor outs have adjusments pots, so you can equal the volume of each set of speaker to each other.

On the headphone side you can choose either the main source or selectable cue source. Volume is adjustable per headphone out.

Of course there are dim, mono, mute and talkback buttons. An back electret mic is in internal for talkback functions. If you press talkback shortly it acts like on/off, if you hold it longer it acts like momentary switch, whereby dI'm is automaticly engaged. The dI'm and talkback functions have a potentiometer to adjust the levels of it.

All main connctors are on balanced TSR 1/4 inch jacks. 

The unit has a dedicated powersupply and happily enough an on/off switch.

In terms of soundquality: for my homestudio it might be overkill, but I like the way it sounds nutral and natural. I have a small room to work in, and fairly large monitors - PreSonus Eris E8 with 8 inch woofers. Not so long ago, I also bought the ISO Acoustics ISO 200 monitor stands, and man what a difference it made compared to the Auralex MoPads Foam pads! Now with the new controller my sound is as best it can get for a budget homestudio. 

As I use use a Focusrite Scarlett 18i20 3rd gen audio interface - I have five stereo outputs. The first two pairs are used for stereo 1 (DAW only) and stereo 2 (DAW plus all my connected instruments/mics). So while tracking, I select stereo 2 on the controller to hear directly without latency what I'm recording, and for listening back and mixing I use stereo 1 to only hear the sound of the DAW.

All in all it set me back € 275,= for the PreSonus Monitor Station V2, and € 159,= for the ISO Acoustics ISO 200 monitor stands.

Verdict: The PreSonus is a good choice for budget concious homestudio owners, and the ISO Acoustics ISO 200 stands are much better then foam pads!

New Studio Live Series 3 coming along

Hi all,

picture with PreSonus Studio Live Series 3 is where I’m in the middle of getting set up. I removed the monitor bridge. I’m thinking I’ll put longer poles in the speaker stands. I was using short ones as speakers were too high as was on bridge.

I will post some more stuff when I have time but I figured I’d show the difference coming on down in the Servants Quarters:).



PreSonus releases 16 Channel Faderport

this looks amazing! 16 motorized faders, a macro button, footswitch for start and stop, faders can control plugin parameters! A market drop button! HUI compatibility.

At 1k asking price it offers twice as many faders as it’s Mackie and Avid competitors. It’s little brother cuts the price and fader count exactly in half.

Looks like it has a nice compact footprint on the tabletop too.

PreSonus StudioLive 16.0.2

Is anyone using this interface? I love it because it's also a physical mixer but it has some quirks which I've noticed on other PreSonus equipment as well.
I use it with Mixcraft 8 Pro Studio and it works fine but after being armed for a couple of hours, seems to need a release and renew of the driver.
In other words, after I've recorded for a couple hours, the recording will get noisy. I simply close the daw and reopen and it's fine.
It's not Mixcraft because it happens in others I've tested as well, like reaper and Samplitude.
Anyone get this sort of behavior out of it?
PC Specs:
AMD FX-8350 8-Core @4Ghz
16GB Ram
2GB video card

Anyone use a PreSonus StudioLive as their interface?

G'day, new here.

I'm at an intermediate level of home recording. Have produced/engineered a couple of records, one of which was played on radio so at a certain level of skill but still consider myself a novice with much to learn really.

Been running an Maudio profire 2626 with a Mac, using Studio One as my DAW.

Tracking live drums i'm at a point where I'm feeling the need to expand my mic preamp's...

First I thought I'd just get a Mic preamp rack and expand my setup via ADAT which is still an option. And relatively cheap.. 8 more pre's for less than $400 and I continue using my current setup.

Came across the PreSonus Studio live AR16 which is advertised as a multi track interface (as well as a live analog mixer) and has 12 mic preamp's and many extra benefits that come with a mixing desk all in one..

It appears to be pretty great.

The thing is pretty cheap and unlike anything I've come across before. Does anyone know if theres any real downside to using this as a dedicated interface for multi-channel recording in a home studio?

Or is it a gimmick and am I missing something?

Thanks in advance.

PreSonus Firepod Replacement (Audio Interface or USB Mixer)

Sad news! Just upgraded Mac OS to Sierra from Snow Leopard, then PreSonus Firepod that served me right these years doesn't supported anymore (over latest OS).

So, I'm looking for a replacement, whether Audio Interface OR USB Mixer! I'm here to seeking your precious suggestions, opinions even advices!

These years, I realized that I mostly used 4 inputs from Firepod, and a lot of time processing source (clean recording) over DAW.

Now, what's your suggestions to me? Do you think USB will be the best bet? You know what? My very first m-audio mobilepre still serving me right now, what a shame PreSonus (I'm sorry).

Zoom UAC-8, Behringer UMC 1820, Tascam US-16x08, Roland Octa-Capture...or any others?

What do you say? I might need to proceed to grab one soon. Hope to hear from you very soon! Appreciate!

PreSonus Eris monitors ( E8's)

@dvdhawk, @audiokid, @pcrecord, @Boswell, @Kurt Foster, @Brien Holcombe, @kmetal, et al...

On his visit to Cleveland last week, Dave Hawk was kind enough to bring me a pair of PreSonus Eris E8 monitors to demo. I didn't set them up right away, because I was trying to improve the sound of my space first; but after adding 3 bass traps, a cloud, and some broadband treatment, and listening to the results of this treatment, I felt that I could get a decent enough representation of their performance, so I finally set them up.

About the monitors:

The Eris E8's are active, ( 75 watts for the low frequencies, 65 watts for the high frequencies), they have an 8" Kevlar driver and a 1.25" silk dome tweeter. The X-Over is at 2.2k. They are front-ported.
The stated frequency range is 37Hz - 22Khz.
There are a variety of tonal and db modes on the rear of each cabinet:
Low Cut (Switch): Flat, 100Hz, 80Hz, @-12db slope
Mid Range (Pot); Band-pass type EQ, boosts or cuts 1k by as much as +/- 6db, (or anything in between). The manual does not state what the Q is for this BPF.
Hi Frequency : (Pot) shelf type EQ, boosts ( or cuts) at 4.5k and up by as much as +/-6db
Acoustic Space ( switch) cuts the level of all frequencies from 800Hz and down by either -2db or -4db.
According to the manual, this switch is provided to compensate for low frequency boosts that can occur when the monitors are placed in close proximity to walls or corners.

According to the manual, the monitors can be used either vertically or horizontally. (I've currently got them set horizontally with the tweeters on the outsides). The monitors are set off the walls by 32".

As a side note, these monitors are heavy - and built very well from what I can tell; rugged, with a "professional" look and feel to them. If you do ever try these, you'll want to use VERY solid speaker stands. ;)

My observations:
I started out by setting all controls on the monitors to flat ( or zero), and playing some commercial music that I am familiar with, and that I've used for reference purposes in the past. The level was around 77db at 36" away from the speakers.

The first song I chose was The Police's Wrapped Around Your Finger.
I found the lows to be tight and defined, the mid-range was a lot better than what I would have normally expected from monitors in this price range; I didn't find them to be at all harsh in that range as some other pro monitors I've used have been ( cough, ahem NS10's... cough)
The highs were beautiful; sparkly, silky... I could hear ultra-high frequency textures occurring in several of the songs I chose - this seemed to be a recurring facet from song to song.
I then played some heavier classic rock; my choice was The Stone's Can't You Hear Me Knockin' and Gimme Shelter.
Knockin' was (predictably) mid-range pronounced, with punch and energy - but not at all harsh.
Shelter was really nice. The imaging in that track is interesting to begin with, and the Eris monitors had a great depth and space. I could hear a few things going on, in different "front-to-back" layers that I hadn't heard quite as pronounced before.
The final piece I played through them was Seal's Kissed By A Rose; I chose this one because I know this song has serious multiple layering of different instruments, with textures in nearly all ranges across the spectrum.
This track is like an onion, as you peel away one layer, another emerges, and so on..
It was impressive, to say the least ( but it's also an incredible mix to begin with!) I was able to hear all kinds of different subtle and esoteric things going on. Bottom end was tight and defined, yet warm. I wasn't hearing any 300hz "mud". It didnt sound scooped at that range, just.. well, "even" is the term I would use.
The mid-range was ultra smooth, and the top end was gorgeous... air, silk, sparkling...
The imaging was where I felt these monitors really shined on this song. There was a beautiful depth and space, that I don't hear nearly as much with my Alesis Monitor Ones. I could actually hear placement of certain things - things like "just left of center", or "back and to the right"

Now, to be fair, I haven't yet tried mixing something of my own through them to check for translation.
I plan on doing this today, ( I wanted to wait until I had some acoustic treatment in place) and I will post an example of a track I've been having some difficulty with.

I cannot offer a comparison to monitors like Focals, or Adams, or Genelecs, because I don't own any of those monitors to do a true side by side comparison. I would have to leave that to guys who have the ability to A/B these with other models.
I can tell you that I have mixed through some very nice monitors over the years, in pro studios, and so far, based on what I've heard, I don't see any problems with using these to mix a record with... not yet, anyway.
We'll see how it goes with this song that's been giving me some trouble.



PreSonus FaderPort 8 Makes DAW Control Fast and Easy

Baton Rouge, Louisiana—December 2016… Compact and easy to use, the PreSonus® FaderPort™ 8 Mix Production Controller connects via USB 2.0 to provide precise tactile control over your favorite DAW’s mix and automation functions, including complete transport control. With 8 touch-sensitive, motorized, 100 mm faders and 57 buttons covering 78 different functions, you can quickly zoom in on audio files for editing, adjust your click-track tempo with a simple tap, modify plugin parameters, manage aux mixes—and, of course, control track levels with the touch of a finger.
The unique Session Navigator provides easy access to eight mission-critical functions for maximum flexibility. Dedicated buttons are provided to instantly arm all tracks for recording; control mutes and Solo Clear; view only the tracks, buses, and VCAs you want to see; and more. You’re not limited to preset controls, either: Four programmable User buttons let you quickly and easily access your favorite functions.
Large, illuminated buttons make finding the function you need quick and easy. Eight high-definition digital scribble strips provide visual feedback. And if you select a track with your mouse, the FaderPort 8 will follow your selection, giving you another way to quickly access the function you need.
The FaderPort 8’s streamlined workflow and support for the Mackie Control and HUI protocols make it fast and easy to control virtually any DAW. No driver installation is necessary; just plug the control surface into a USB port and take command of your mix and plugins.
When used with Studio One, the FaderPort 8 is a revelation, letting you do things like bypass all the plugins on any track with one button-press and open the Channel Editor and enable your faders to control each channel's custom macro. Use the Control Link feature so that the Pan/Param encoder can follow your mouse, providing instant hands-on control of any parameter—or lock the encoder to the current parameter. Use the Session Navigator to quickly scroll through the different sections in the Arranger track; and more. You’ll be amazed how much faster you can work.
For more information, please visit

PreSonus CTC-1 Pro Console Shaper

PreSonus CTC-1 Pro Console Shaper Adds the Sound of Classic Consoles to Studio One

PreSonus CTC-1 Add-on.
Baton Rouge, Louisiana—December 2016…
PreSonus is shipping CTC-1 Pro Console Shaper, the second in its series of Mix Engine FX plugins for Studio One 3 Professional. The new Studio One Add-on, which works with Studio One Professional 3.3.1 and later, provides three great-sounding models of classic British, vintage tube, and custom consoles and adds several major enhancements to the Mix Engine FX environment.
Introduced in Studio One 3.2 Professional, Mix Engine FX is a plugin paradigm exclusive to Studio One Professional that can subtly alter or completely transform Studio One’s native mix engine. In contrast to conventional plugins that must be inserted independently on each channel, with limited or no interoperability, Mix Engine FX can process every channel routed through a bus, both individually at the source and at their summing point, using one plugin . Any bus, including the main stereo bus, can have its own Mix Engine FX assigned, allowing for limitless sonic possibilities.
Utilizing state-of-the-art State Space Modeling technology, CTC-1 captures the character and personality of these legendary analog consoles, with authentic modeling of input drive, channel noise, crosstalk, and character. It offers easy-to-use automatic gain compensation and a pass-thru option for added flexibility.
The Drive stage faithfully re-creates the characteristic dynamic behavior of an analog console input preamp. Increasing the Drive amount first adds subtle and beautiful harmonics to the signal, then goes into saturation or analog distortion when the amount increases above a certain level. The character and sonic quality of this effect varies significantly between each model.
Inherent signal noise is key in defining the sonic character of an analog console. The modeled analog noise in CTC-1 is unique because it’s different on every channel, which is only possible with Mix Engine FX. Add a small amount of noise to any mix, and it will give the overall sound a more “analog” character. For songs that have a fade at the end, activate the noise gate to fade out the noise automatically, avoiding any unwanted noise tails.
Crosstalk also plays an important role in re-creating the sound of an analog mixer. Unlike other plugins that work on a single channel or bus insert and only provide crosstalk between left and right signals, the crosstalk generated in CTC-1 spills over naturally into adjacent channels, with decreasing amounts the further away a channel is from the source. Implementing this feature required delving deep into the DAW mix engine and required extensive research and development but the result is completely new and revolutionary.
Every analog console or summing mixer has a unique sonic signature that makes it recognizable in the mix. CTC-1 not only captures the unique character of the consoles modeled, it allows you to easily increase this character by a variable amount, which is like running the signal through the same console multiple times.
Adding high amounts of Drive to the signal can result in extreme gain offsets inside the console, which could have a negative impact on subsequent plugins by offsetting dynamics threshold levels or creating distortion. CTC-1 is equipped with special gain compensation algorithms to avoid this effect. Two settings are available: With the Bus setting, master gain compensation is applied inside the bus in which CTC-1 is inserted, before any bus insert effects; with the Channel setting, individual gain compensation is applied in each channel routed into the bus.
Since CTC-1 is a Mix Engine FX plugin , and processing is applied to many sources individually, CPU load could get out of control, especially when working on a large project with many channels. Here, ECO mode comes to the rescue, reducing processing by using simplified algorithms with less attention to the nonlinearity in the signals.
The CTC-1 Pro Console Shaper Add-on for Studio One 3 Professional 3.3.1 (or later) is available for $79.99 U.S. at the PreSonus Shop. To purchase this Add-on and for more information, please visit