StudioLive™ Series III Digital Mix Console / Recorder with Motorized Faders Owner’s Manual ® www.presonus.
Table of Contents 4.7 FX Buses — 29 4.7.1 Creating Internal Bus FX Mixes — 29 1 Overview — 1 4.8 Fixed Subgroups — 30 1.1 Introduction — 1 4.9 Talkback System — 30 1.2 About this Manual — 1 1.3 Feature Summary — 2 1.4 What’s in the Box — 3 2 Getting Started — 4 5.1.1 Input Mode — 34 2.1 Level Setting Procedure — 4 5.1.2 Gate Mode — 37 2.2 Useful Concepts — 8 5.1.3 Compressor Mode — 40 5.1.4 EQ Mode — 45 5.1.5 Aux Sends Mode — 50 5.1.6 User Mode — 51 4.9.
8.2 8.3 8.1.2 Global Lockout — 68 11.4 EQ Frequency Guides — 96 8.1.3 Utilities — 69 11.5 EQ Setting Suggestions — 97 8.1.4 Audio Routing — 69 11.6 Using Input Delay — 99 11.6.1 Aligning the Backline with Vocal Mic — 100 FX — 71 8.2.1 Digital XL Reverb — 71 8.2.2 335 Digital Reverb — 72 8.2.3 PAE-16 Digital Reverb — 72 8.2.4 Vintage Plate Reverb — 73 8.2.5 Mono Delay — 73 8.2.6 Stereo Delay — 74 8.2.7 Pingpong Delay — 74 11.6.2 Aligning Direct and Mic’d Signals — 101 11.7 11.7.
1 1.1 StudioLive™ Series III Owner’s Manual Overview Introduction 1 Overview 1.1 Introduction Thank you for purchasing your PreSonus® StudioLive™ Series III Digital Mixer. PreSonus Audio Electronics has built your StudioLive mixer with high-grade components to ensure optimum performance for many years to come.
1 1.3 1.3 StudioLive™ Series III Owner’s Manual Overview Feature Summary Feature Summary General Controls •• 33/25/17 touch-sensitive, motorized faders •• RGB Select buttons with user-assignable colors •• Transport control •• All-new Fat Channel controls including: -- 8 scribble strips, encoders, and multicolor buttons -- Customizable user layer -- 7-inch color touchscreen Inputs and Outputs •• 40/32/22 total inputs •• 16/10 FlexMix outputs •• Bluetooth™ 4.
1 1.4 1.
2 2.1 2 StudioLive™ Series III Owner’s Manual Getting Started Level Setting Procedure Getting Started Before you begin, here are a few rules to get you started: •• Always turn down the Main fader and both the Monitor and Phones knobs in the Monitor section before making connections. •• Before plugging or unplugging a microphone while other channels are active, mute the channel to which you are connecting. •• Your faders should be set on or near the “U” mark whenever possible.
2 2.1 StudioLive™ Series III Owner’s Manual Getting Started Level Setting Procedure 3. Plug your StudioLive into a power outlet and turn it on. 4. Move all of the faders on your StudioLive down to the lowest setting. 5. Press the Select button on Channel 1 to bring it into focus in the Fat Channel. 6. Press the Analog button in the Fat Channel to patch in the analog input.
2 2.1 StudioLive™ Series III Owner’s Manual Getting Started Level Setting Procedure 7. Press the Input button in the Fat Channel. 8. Turn the first knob in the Fat Channel section (Preamp Gain) counterclockwise to its lowest setting. 9. If your microphone requires phantom power, press the +48v button in the Fat Channel. 10. Turn on your powered monitors or power amp. 11. Speak or sing into your microphone at the same volume as the performance. 12.
2 2.1 Getting Started Level Setting Procedure StudioLive™ Series III Owner’s Manual 13. Raise the Channel 1 fader to its “U” setting (unity gain). 14. Press the “Main” button in the Fat Channel to assign Channel 1 to the Main output bus. 15. Raise the Main fader while singing or speaking into the microphone until you are satisfied with output level. 16. Use the Fat Channel controls to add dynamics processing and EQ as needed.
2 2.2 StudioLive™ Series III Owner’s Manual Getting Started Useful Concepts 2.2 Useful Concepts This section covers some basic workflow concepts to help you to more quickly get acquainted with your StudioLive. 2.2.1 Select Buttons and the Fat Channel All around the StudioLive, you will see Select buttons. There is a Select button on each channel as well as the master fader. Each of these buttons serves exactly the same purpose: to access the available Fat Channel parameters for its channel or bus.
2 2.2 StudioLive™ Series III Owner’s Manual Getting Started Useful Concepts 2.2.2 FlexMixes In a traditional analog console, there are several different types of buses, each feeding a dedicated output. Your StudioLive mixer features 16/10 analog Mix outputs, each driven by a FlexMix bus. Why do we call them FlexMixes? Because each FlexMix can be configured as any one of four bus types: •• Pre- or Post-Fader Send Aux Bus.
3 3.1 Hookup Rear Panel Connections 3 Hookup 3.1 Rear Panel Connections StudioLive™ Series III Owner’s Manual Microphone Inputs. Your StudioLive Series III mixer is supplied with 32/24/16 PreSonus XMAX microphone preamplifiers, for use with all types of microphones. The XMAX preamp features a Class A input buffer circuit, followed by a dual-servo gain stage.
3 3.1 Hookup Rear Panel Connections StudioLive™ Series III Owner’s Manual Aux Inputs. The StudioLive offers two balanced stereo auxiliary inputs. While these line inputs are generally used as effects returns, they can also be used for any line-level source (synthesizers, amp modelers, etc.). The left input of each pair is normalled to the right input, so if you are returning a mono signal to the mix, connect it to the left input, and the signal will be routed to both sides of the mix.
3 3.1 Hookup Rear Panel Connections StudioLive™ Series III Owner’s Manual Tape In/Out. These RCA input and output jacks can be used to connect a music player (MP3, CD, tape) or other consumer device to your system. The Tape inputs are an available input source within the mixer, while the Tape outputs mirror the output of the Main output pair. Monitor Outputs. This pair of balanced TRS outputs are intended to be connected to a pair of monitors in the control room or sound booth.
3 3.2 StudioLive™ Series III Owner’s Manual Hookup Top Panel Connections Power Input. Connect the provided IEC power cable to this input. Power Switch. Push the top part of this switch to power your StudioLive on, and the bottom to switch power off. 3.2 Top Panel Connections Lamp Connector. This 12V BNC connection is provided to connect a third-party console lamp. Do not use a bulb that is larger than 12V, 380 mA. SD Card Slot.
3 3.3 3.
3 3.4 3.
4 4.1 4 Basic Mixing and Routing Channel Strip Basics StudioLive™ Series III Owner’s Manual Basic Mixing and Routing StudioLive Series III mixers offer many powerful and flexible mixing tools that allow you to quickly set up and monitor multiple mixes at once and have been designed to make managing multiple layers of input channels, mix masters, and fader mixes, as well as navigating even the most complicated systems simple. 4.
4 4.2 Basic Mixing and Routing Fader Layers and Banks StudioLive™ Series III Owner’s Manual Level Meter Each channel has a three-segment LED level meter, which gives a quick indication of signal levels flowing through that input, mix, or bus. The bottom segment begins to light when the signal reaches -40 dBFS. The middle segment begins to light when the signal reaches -18 dBFS. The top LED, which is red to remind you that clipping is near or already occurring, begins to light when the signal reaches -1.
4 4.3 4.3 StudioLive™ Series III Owner’s Manual Basic Mixing and Routing User Fader Layer User Fader Layer The User layer lets you choose a hand-picked selection of channels that are visible when you press the User button. This can be useful to access crucial channels quickly, especially in mixes with high channel counts. To assign channels to the User layer, do the following. 1. Navigate to the User layer by pressing the User button. 2.
4 4.4 Basic Mixing and Routing Filter DCA Groups 4.4 StudioLive™ Series III Owner’s Manual Filter DCA Groups Professional mixing consoles have addressed the problem of managing complex mixes with population groups that reduce the channels you’re viewing at one time and DCAs that control the overall level of a group of channels. We’ve combined the best aspects of these solutions with Filter DCAs.
4 4.5 Basic Mixing and Routing Main Meters 4.4.2 StudioLive™ Series III Owner’s Manual Editing or Deleting a Filter DCA Group 1. To edit or delete a Filter DCA Group, first touch its name to select it. 2. Touch the Edit button to enter the Filter DCA Group Edit screen. 3. To add or remove a channel from the group, touch the name of the channel in the provided list to select or deselect them. To name or rename the group, touch the name field. To delete this group, touch the Delete button.
4 4.6 Basic Mixing and Routing FlexMixes StudioLive™ Series III Owner’s Manual When a mix is selected, the Master fader will control its output level. To view the master output level for every mix, press the Mix/FX Masters button. To choose the type of FlexMix behavior to be used for the Aux (Aux, Subgroup, or Matrix), touch the gear-shaped button to open the FlexMix Settings screen and make your selection from the menu. Once you’re done, exit the FlexMix Settings screen and create your mix.
4 4.6 StudioLive™ Series III Owner’s Manual Basic Mixing and Routing FlexMixes To create an Aux Mix: 1. Press the Mix/FX Master button. This will bring up the FlexMix Masters onto the channel strips. 2. Press the Select button for the FlexMix Master you’d like to make an Aux Mix. 3. Press the Settings button on the Master Control Touchscreen. 4. Press the Aux button under FlexMix Mode. Pre/Post Channel Sends You can select the send positions for the channels routed to each Aux mix.
4 4.6 StudioLive™ Series III Owner’s Manual Basic Mixing and Routing FlexMixes 4.6.1.1 Creating Aux Mixes Creating custom monitor mixes is critical. If musicians can’t hear themselves or their bandmates, their performance will suffer. A monitor mix can be mono or stereo. Most often, an individual live monitor mix is mono and is sent to a floor-wedge or sidefill monitor (the obvious exception being in-ear monitor systems).
4 4.6 StudioLive™ Series III Owner’s Manual Basic Mixing and Routing FlexMixes 4.6.1.2 Working with External Effects Processors Creating a mix to send to an external effects processor is similar to creating an internal FX mix, only in this case, we route the mix signal to a mix output (Mix Output 7, in this example), and route the effected signal from the processor back to a stereo Aux input (Aux Input 1, in this example) on the mixer.
4 4.6 StudioLive™ Series III Owner’s Manual Basic Mixing and Routing FlexMixes 4.6.2 5. Press the Main button in the Fat Channel to assign Aux Input 1 to the main output mix. 6. Press the Mix 7 button in the Mix Select section to access settings for Aux 7 (the Aux mix you’re using to send channels to the external processor). The faders move to show send levels to Aux 7 for each channel in your mix. 7.
4 4.6 StudioLive™ Series III Owner’s Manual Basic Mixing and Routing FlexMixes 4.6.2.1 Creating Instrument Subgroups Grouping individual instruments that create a section in your mix has obvious advantages: The entire group can be muted or soloed, brought up or down in a mix, and faded in or out for a more polished intro or outro. Because subgroups can also be processed by the Fat Channel, some common groups are drums, backing vocals, horn sections, and string sections.
4 4.6 StudioLive™ Series III Owner’s Manual Basic Mixing and Routing FlexMixes Level OL -2 5. In the Fat Channel, press the Stereo Link button. 6. Assign the Subgroup to the Main bus by pressing the Main assign in the Fat Channel. 7. Turn the Pan knob all the way clockwise to set the stereo pan to hard left and right. Now Subgroups 1 and 2 are linked, with Sub 1 panned hard left and Sub 2 panned hard right. The channel panning is preserved.
4 4.6 StudioLive™ Series III Owner’s Manual Basic Mixing and Routing FlexMixes 3. After you have gone through the entire kit and are satisfied with each channel’s EQ and dynamics, have the drummer play the entire kit, and select the Mix 1 in the Mix Select area and set the relative volume and panning for each mic in the mix. 4. Press the FlexMix fader’s Select button to use the Fat Channel section to add dynamics processing and EQ to the stereo drum group. BANK Mix 1 4.6.
4 4.7 StudioLive™ Series III Owner’s Manual Basic Mixing and Routing FX Buses 4.6.3.1 Creating a Front Fill Mix In some venues, the house PA doesn’t cover the front rows effectively. This can be especially problematic in the band on stage is using in-ear monitors instead of floor wedges. Without floor wedges the people seated in the first few rows are actually “behind” the PA because they will hear more stage volume from the instruments on stage than from the front-of-house system.
4 4.8 StudioLive™ Series III Owner’s Manual Basic Mixing and Routing Fixed Subgroups Fixed Subgroups 4.8 In addition to the 16 FlexMixes, StudioLive mixers are equipped with four subgroups. Like the FlexMix Subgroups, the StudioLive allows you to group channels and apply the Fat Channel’s noise gate, limiter, compression, and EQ to the group as a whole, in addition to the processing available for each channel. Subgroups can be soloed and muted.
4 4.9 Basic Mixing and Routing Talkback System 4.9.1 StudioLive™ Series III Owner’s Manual Talkback Edit Screen Press the Talkback Channel’s Select button to open the Talkback Edit screen, giving you access to additional options. •• Source. Sets the signal source for the Talkback channel. Select between Analog (Talkback mic input) and AVB (designated Talkback signal from a networked audio device). •• Preamp Gain. Sets the preamp gain for the Talkback mic input. •• Talk Destination.
5 4.9 5 StudioLive™ Series III Owner’s Manual The Fat Channel Talkback System The Fat Channel The Fat Channel gives you powerful signal processing, mixing, and configuration tools for each channel and bus on your StudioLive. To begin working on a channel or mix with the Fat Channel, simply press its Select button. When you press a Select button, the number (and name, if applicable) of the selected channel or mix is shown on the touchscreen.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation The Fat Channel provides differing types of processing and utility settings depending on what type of channel or mix is selected. The following is a quick reference of the available processors and utility settings for each type of signal that the Fat Channel can process. 5.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation 9 1 8 2 3 4 5 6 7 1. Processor On/Off. Enables/Disables the currently active processor. 2. Input. Displays the Fat Channel overview for the currently selected channel or bus in the Fat Channel and on the Touch Screen. See Section 5.1.1. 3. Gate. Displays the parameters for the noise gate in the Fat Channel and on the Touch Screen. See Section 5.1.2 4. Comp.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation pass through unaffected. You can set the threshold from 0 to -84 dB. See Section 5.1.2 for more information on the Noise Gate and its parameters. 5. Compressor Threshold. This encoder sets, and the scribble strip displays, the compressor threshold for the selected channel or output bus. When the signal’s amplitude (level) exceeds the threshold setting, the compressor engages.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation 12. Delay. Sets the amount of alignment delay applied to the input channel or bus. Touch to enable manipulation by the Master Control encoder. See Section 11.6 and 11.7 for more information. 13. HPF Frequency. Sets the High Pass Filter cut-off frequency. Touch to enable manipulation by the Master Control encoder. 14. Pan. Sets the pan position. Touch to enable manipulation by the Master Control encoder. 15. Preamp Gain.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation -- Comp./Limiter. Enable this option to link the compression & limiting detection behavior for linked channels or buses. With this option on, signals occurring either linked channel cause identical gain reduction behavior in both. Disable this option to let the compressor/limiter act independently on each linked channel. -- Names. Enable this option to keep linked channel/bus names identical.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation 4. Release. Sets the time it takes for the gate to “close” when a signal falls beneath the threshold. Power User Tip: Gate release times should typically be set so that the natural decay of the instrument or vocal being gated is not affected. Shorter release times help to clean up the noise in a signal but may cause “chattering“ with percussive instruments.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation 8. Key Filter. Sets the Key Filter frequency. 9. Key Listen. Touch to enable the Key Listen function. 10. Output Meter. Displays the post-Gate signal level. 11. Gain Reduction Meter. Displays the amount of Gain Reduction applied by the Gate to the channel. 12. Expander. Enables the Expander. 13. Gate. Enables the Gate. 14. Input Meter. Displays the pre-Gate signal level. 15. Release.
5 5.1 The Fat Channel Fat Channel Navigation StudioLive™ Series III Owner’s Manual 2. Press the Gate button in the Fat Channel, to access gate/expander controls for the bass channel. 3. Select the kick drum channel as the Key Source or by using the Key Source selector on the touchscreen. 4. Adjust the Threshold, Attack, and Release controls to create the gating effect you’re looking for. None Ch. 1 Ch. 2 Ch.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation The compressor models can be selected from the Touchscreen when Compressor mode is active in the Fat Channel: 2 1 4 3 7 5 6 1. Signal Source. Displays whether this channel is receiving signal from an analog or digital source. 2. Name and Number. Displays currently selected channel or bus name and number. 3. Settings Button. Touch to access additional settings. 4. Current Parameter.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation 5. Gain. Sets the amount of “makeup gain” to apply to a signal. Once a signal is compressed, its overall level is often reduced. This gain control lets you bring it back up to the proper level after compression occurs. 6. Compressor Knee Soft/Hard. Press this button to toggle the compressor between soft and hard-knee modes. Soft-knee compression offers a smooth transition between uncompressed and compressed states.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation 5.1.3.2 Tube Leveling Amplifier When the Tube Leveling Amplifier is selected, the following controls are available in the Fat Channel: 1 2 3 4 TUBE Gain Peak Reduction TUBE TUBE Key Fltr 52.00 34.00 Compress Off Lim/Cmp Key Lstn 1. Gain. Sets input gain to the compressor.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation 5.1.3.3 Class-A FET Leveling Amplifier When the Class-A FET Leveling Amplifier is selected, the following controls are available in the Fat Channel: 1 2 3 4 5 6 FET Release FET Ratio FET Key Fltr 250 ms 4:1 FET Input FET Output FET Attack -24.00 dB -24.00 dB 0.10 ms Off Key Lstn 1. Input Gain. Sets input gain to the compressor.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation 5.1.3.4 Sidechaining the Compressor Sidechaining a compressor allows you to reduce the level of one input source to make room for another. This is especially useful in live broadcast or application where music and commentary are happening simultaneously. In recording applications, this is generally accomplished with careful level automation.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation 6. Comp>EQ. The Compressor and EQ can be reordered in the signal path. By default, the signal passes through the compressor before passing through through EQ. When reordered, the EQ is placed before the compressor in the signal path. Power User Tip: Placing the compressor before the EQ allows you to make dramatic changes to the EQ settings without needing to alter the compressor setting.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation Press the Processor button to turn the EQ on or off. When the Fat Channel is in EQ mode, the touchscreen shows an EQ overview screen, displaying the relevant parameters (as available in the Fat Channel), along with useful metering and a graphical representation of the effect of current settings.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation 5.1.4.2 Passive Program EQ When the Passive EQ is selected, the following controls are available in the Fat Channel: 1 2 3 4 5 6 7 8 LOW Boost LOW Atten LOW Freq HIGH Boost HIGH Bndwdth HIGH Freq HIGH Atten ATTN Select 0.00 0.00 30 Hz 0.02 0.06 5 kHz 0.00 10 kHz 1. Low Boost. Sets the level of boost applied around the chosen low frequency.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation 5.1.4.3 Vintage 1970s EQ When the Vintage 1970s EQ is selected, the following controls are available in the Fat Channel: 1 2 3 4 5 6 7 LOW Gain LOW Freq L-MID Gain L-MID Freq H-MID Gain H-MID Freq HIGH Gain 0.00 dB 60 Hz 0.00 dB 700 Hz 0.00 dB 4.8 kHz 0.00 1. Low Gain. Sets the amount of boost or cut to apply the low-frequency band of this EQ. 2. Low Frequency.
5 5.1 StudioLive™ Series III Owner’s Manual The Fat Channel Fat Channel Navigation 5.1.4.4 Using the RTA While Mixing The Standard EQ is equipped with a Real-time analyzer, or RTA, in which x = frequency and y = amplitude. An RTA provides a close visual representation of what you are hearing because it is a view of amplitude and frequency content over a specified plane in real time.
5 5.1 The Fat Channel Fat Channel Navigation StudioLive™ Series III Owner’s Manual 3. Stereo Aux Pan. The encoder controls the pan position of the channel in the Stereo Aux. 4. Mono Matrix. The encoder controls the send level of the channel to the Mono Matrix Mix. The button beneath controls the channel mute in the Mono Matrix Mix. 5. Subgroup. If a FlexMix is configured as a mono Subgroup, its screen will be blank.
5 5.2 5.2 The Fat Channel Fat Channel Meters StudioLive™ Series III Owner’s Manual Fat Channel Meters On the left side of the Fat Channel control section, you’ll see the “Level” meter. This meter gives you a visual indication of input signal level for the selected channel or mix. On the right side, you’ll see meters that pertain to dynamics processing: “Comp” shows compressor gain reduction, and “Gate” shows gate gain reduction. 5.
5 5.5 The Fat Channel Output Assignment Buttons StudioLive™ Series III Owner’s Manual Output Assignment Buttons 5.5 When an input channel is selected, you can use these buttons to assign it to an output path. Press Main to send the selected channel output to the Main bus. Press SubGrp to send the channel output to a subgroup.
5 5.6 5.6 The Fat Channel A/B Comparison for EQ and Dynamics Settings StudioLive™ Series III Owner’s Manual A/B Comparison for EQ and Dynamics Settings The A/B button lets you make A/B comparisons of EQ, compressor, and gate settings for the selected channel or mix. This function lets you try various changes as you look for the optimum setting, without the risk of losing your original settings. If this button is dimmed, you’re looking at the “A” set of parameter settings.
5 5.8 The Fat Channel Copy/Paste & Preset Load/Save StudioLive™ Series III Owner’s Manual Copy/Paste & Preset Load/Save 5.8 Press Copy to copy Fat Channel settings from the currently selected channel to one or more other channels. Once Copy is pressed, the Select buttons for all other channels start blinking. Press the Select button on any channels to which you want to copy Fat Channel settings from the currently selected channel. Press Load to paste the settings to the selected channels.
5 5.8 The Fat Channel Copy/Paste & Preset Load/Save StudioLive™ Series III Owner’s Manual 2. To partially load a preset (say, EQ parameters only), press the relevant buttons in the Filter column to disable loading for one or more processors. 3. To filter the presets by channel category (such as Kick Drum or Guitar), make a selection from the Category selector. 4. Select a preset and load it by pressing the Recall button in the Master Control area.
6 6.1 6 Tape Controls Pairing a Bluetooth Device StudioLive™ Series III Owner’s Manual Tape Controls By default, the Tape channel is sourced from the analog Tape In jacks on the rear of the mixer and the currently paired Bluetooth audio device simultaneously. The two signals are mixed together and summed on the Tape In channel. If you prefer, you can instead route audio from a connected network device, computer connected via USB, or from audio files stored on an inserted SD card.
7 7.1 7 SD Recording Creating a New Session for Recording StudioLive™ Series III Owner’s Manual SD Recording Your StudioLive mixer has audio recording and playback abilities that can come in very handy, especially in a live sound context. You can record multi-track live performances to an SD card for later use. Also, you can play back multi-track audio from previously recorded performances, for use as a “virtual sound check,” allowing you to dial in your mix even when the band isn’t around.
7 7.2 SD Recording Loading a Session for Playback StudioLive™ Series III Owner’s Manual When you’ve entered the artist name, performance name, or location for one Session, it is saved for easy use in future sessions (up to 10 of each category at a time). Saved designators can be easily selected by touching the drop-down menus in the right column of controls on this page. Use the Master Control encoder to scroll through choices.
7 7.3 7.3 StudioLive™ Series III Owner’s Manual SD Recording Capture Screen Capture Screen PreSonus Capture is a multitrack digital-audio recording application designed to make recording with StudioLive mixers quick and easy. This application is built into StudioLive Series III mixers, allowing you to track directly to an SD card using the same high-quality audio engine as PreSonus’ groundbreaking Studio One DAW.
StudioLive™ Series III Owner’s Manual 7 SD Recording 7.3.1 Recording Status Messages 7.3.1 Recording Status Messages The following indicators on the Capture screen will help you to keep an eye on how well your recording session is going: Status: •• Ready. SD Card session is loaded, is currently not busy, and is waiting for user input. •• Recording. Audio is being recorded to any Track(s) that are currently armed for recording. •• Preparing... The session currently processing an action.
7 7.4 7.4 SD Recording Sound Check Button StudioLive™ Series III Owner’s Manual Sound Check Button We’ve all been there. The drummer is stuck in traffic. The guitarist is stuck at work. And you’re stuck at front-of-house (FOH) with a hyped up lead singer and bass player and no way to dial in a front-of-house mix, let alone set up the singer’s in-ear mix. Don’t panic! With Capture’s Virtual Soundcheck mode, dialing a good rough mix without the band—or with half the band missing—is quick and simple. 1.
8 8.1 8 StudioLive™ Series III Owner’s Manual Master Control Home Button Features Master Control The Master Control area contains the all-important touchscreen and an array of controls that give you access to vital functions of the mixer (such as FX, networking, DAW interactions, and so on). The following section details the use of these controls and the features they bring. 8.1 Home Button Features When you press the Home button, the Home screen is displayed on the touchscreen.
8 8.1 StudioLive™ Series III Owner’s Manual Master Control Home Button Features 8.1.1 System Screen The System screen gives you access to many useful settings and functions that let you choose how your StudioLive looks and operates. The following functions are available: 1 2 3 4 9 8 7 6 5 1. Sample Rate. Displays the mixer’s sample rate. StudioLive Series III mixers have a fixed sample rate of 48 kHz. 2. Show Peak Hold.
8 8.1 Master Control Home Button Features StudioLive™ Series III Owner’s Manual QMix-UC Device Permissions When setting permissions for a device running QMix-UC software, the Mix selector gives you the following modes of control permission to choose from: •• None. Select this to disable remote control on the selected device. •• All Auxes. Control of every Aux Mix Send level and pan setting. •• Aux X. Control of an individual Aux Send level and pan setting. •• Wheel of Me Only Toggle.
8 8.1 Master Control Home Button Features StudioLive™ Series III Owner’s Manual 8.1.1.2 User Buttons Assigns (StudioLive 32 and 24 Only) The StudioLive 32 and 24 feature eight user-assignable buttons. These buttons can control the following functions: Mute Groups 1-8, Tap Tempo A-D, Quick Scenes 1-8, Scene Navigation, or DAW Navigation. By default, these buttons are assigned to Mute Groups 1-8. From the System menu, touch the User Assign button to set custom functions to the User Buttons.
8 8.1 Master Control Home Button Features StudioLive™ Series III Owner’s Manual In this screen, you can choose the function to assign to the chosen button, in the following categories: •• Mute Groups. Lets you create stored sets of mute settings that correspond with the current state of the mixer, recallable at the press of the chosen User Button. Once a User Button is configured as a Mute Group, you can edit the Mute Group by pressing and holding the User Button until it begins to flash.
8 8.1 Master Control Home Button Features StudioLive™ Series III Owner’s Manual 8.1.1.4 Firmware Update From the System menu, you can check the current firmware version and check for firmware updates by pressing the Firmware button. Press the Check for Updates button to check for a new firmware version, which may be on an SD card, the internet (when connected), or a connected UC Surface device.
8 8.1 Master Control Home Button Features 8.1.3 StudioLive™ Series III Owner’s Manual Utilities Your StudioLive is equipped with a variety of utilities that allow you to test the functionality of your mixer. Pressing the Utility button from the Home screen will open this menu. The following test modes are available: •• Mardi Gras. Causes all faders, LEDs, and displays to cycle through their ranges of motion, color, and brightness. •• Meters and Button LEDs.
8 8.1 Master Control Home Button Features StudioLive™ Series III Owner’s Manual 8.1.4.1 Network Sends This screen lets you route any of the 16 FlexMix outputs as well as the 4 Subgroups, Main L/R, Solo L/R, and FX Sends A-D to any one of the last 16 AVB Network sends. Press the arrow buttons to either side of the list to scroll through the list, and touch the Mix Output and desired AVB Send to make the routing. 8.1.4.
8 8.2 StudioLive™ Series III Owner’s Manual Master Control FX 8.2 FX The FX button gives you access to a set of screens that let you assign and configure the built-in Send FX and Insert FX processors in your StudioLive. When you first press FX, the FX Rack screen appears on the touchscreen. This screen displays the current effect processor inserted on each of the four internal effect buses. From here, you can mute each effect.
8 8.2 StudioLive™ Series III Owner’s Manual Master Control FX •• LF Damping Freq. Use this control with create a warmer sound. This will enhance content at the frequency you set. •• LF Damping Gain. Sets the level at which the damping frequency will be boosted. 8.2.2 335 Digital Reverb This reverb mimics the controls and sound of classic 1970s digital reverb and provides the following controls: •• Predelay.
8 8.2 StudioLive™ Series III Owner’s Manual Master Control FX 8.2.4 Vintage Plate Reverb This reverb effect is inspired by a classic mechanical plate reverb unit and provides the following parameters: •• Predelay. Sets the length of short delay before the onset of reverberation, lending a sense of space to the reflections. •• Reflection. This control allows you to set the level (in decibels) of the early reflections. The louder the early reflections, the smaller the room will seem. •• Low Pass.
8 8.2 StudioLive™ Series III Owner’s Manual Master Control FX 8.2.6 Stereo Delay This delay effect is inspired by a classic 80’s-era dual-delay unit and provides the following controls: •• Delay Time A and B. Sets the length of their respective delay line. •• Tap Assign A and B. Assigns the respective Tap Tempo function to the TAP button. •• Feedback A and B. Sets the amount of delayed signal to be fed back to their respective inputs of the effect.
8 8.3 StudioLive™ Series III Owner’s Manual Master Control UCNET 8.3 UCNET UCNET is a special networking protocol that PreSonus created to enable advanced remote control and audio transmission features between various PreSonus hardware and software products. This includes devices running Studio One, Capture, UC Surface, and QMix-UC software. Note: For more information on networking configuration and setup for UCNETcompatible products, please see the StudioLive Software Library Reference Manual. 8.3.
8 8.5 StudioLive™ Series III Owner’s Manual Master Control Scenes Scenes 8.5 The StudioLive allows you to create and store a library of scenes. A scene is like a snapshot of your mix. It stores each Fat Channel parameter for every input and bus, as well as each fader’s position, the aux and effects mixes, channel mutes and solos, and the input selection (analog input or digital playback stream). To begin working with scenes, press the Scenes button. This brings the Scenes screen onto the touchscreen.
8 8.5 StudioLive™ Series III Owner’s Manual Master Control Scenes The Fat Channel will be restored to the same setting for every input and output on the StudioLive. Each of the dynamics processors and the four EQ bands will be turned off. Their parameters will be set as follows: Fat Channel Parameters CHANNEL HIPASS GAIN 0db PAN Source Analog OFF NOISE GATE STATE OFF RANGE LIMIT EQ LOW L.MID H.
8 8.5 StudioLive™ Series III Owner’s Manual Master Control Scenes 8.5.3 2. Press and hold the Tap Tempo button. 3. Simultaneously turn Encoder 7: Compressor Threshold in the Fat Channel. The compressor threshold for Channel 1 will return to its Zero Out setting (0 dB). Creating and Recalling a Scene Creating a scene requires simply dialing in a mix that you would like to use at a later date and saving it. This has obvious benefits for both studio and live sound.
8 8.5 StudioLive™ Series III Owner’s Manual Master Control Scenes 3. Scroll to an empty location and press Store to enter a custom name. The StudioLive allows you to customize the name with uppercase and lowercase letters and a selection of numerals and punctuation marks. 4. Press the Store button again to save the scene to your mixer’s memory. To recall a scene, touch one of the stored scenes in the library list to select it, then press the Recall button to recall the scene.
9 9.1 9 StudioLive™ Series III Owner’s Manual Monitoring Controls Solo Controls Monitoring Controls In addition to the main outputs, your StudioLive mixer features a set of monitor outputs and a headphone jack, each with its own distinct signal path. While you can use these outputs to listen to the main mix, you can also assign other signals to them, such as Aux mixes, the solo bus, or the tape input.
9 9.1 StudioLive™ Series III Owner’s Manual Monitoring Controls Solo Controls •• SIP (Solo In Place). This is also known as “destructive solo.” When channels are soloed in this mode, every channel that isn’t soloed will be muted, and only the soloed channels will be sent to their assigned outputs. While useful in dialing in dynamics during soundcheck, this mode is dangerous during a live show. We recommend that this mode be turned off when mixing live events.
9 9.1 StudioLive™ Series III Owner’s Manual Monitoring Controls Solo Controls 5. Solo Modes. (Defaults to Radio mode) These buttons let you choose from the following behavioral modes for channel soloing: -- Latch. In this mode, you can solo multiple channels or buses at once. -- Radio. In this mode, only one channel or bus can be soloed at a time. When this mode is chosen, the Select Follows Solo button appears.
9 9.1 StudioLive™ Series III Owner’s Manual Monitoring Controls Solo Controls 7. 9.1.3 Press Solo on the channels or buses you want to monitor. The signal being fed to the Main outputs is unaffected. Using Solo in Place to Set Up a Mix We started this manual with a quick and easy way to set up the input levels for your StudioLive, ensuring that you have the highest possible input level without clipping your analog-to-digital converters.
9 9.1 StudioLive™ Series III Owner’s Manual Monitoring Controls Solo Controls 7. The Fat Channel is now focused on the selected channel, giving you access to EQ, dynamics, and effects settings for the kick-drum channel. Set these to your liking. 8. Once you’re satisfied, press the Solo button on the next channel and repeat step 6. In this way, continue with each channel in your mix. 9.
10 9.1 10 StudioLive™ Series III Owner’s Manual Graphic EQ Solo Controls Graphic EQ Your StudioLive comes packed with eight 31-band graphic EQ processors that can be freely assigned to the Main mix, or your choice of FlexMixes. These can be used for system tuning, subtle tweaks, or wherever you find them useful. Graphic EQs are generally used to fine-tune the overall mix for a particular room.
10 10.1 10.1 StudioLive™ Series III Owner’s Manual Graphic EQ Assigning GEQs Assigning GEQs To assign a Graphic EQ to one of the mixes, select the desired mix and press the GEQ button. This will open the GEQ screen: Press the Assign button to select the mix(es) on which you’d like to insert a GEQ. Touching a mix will insert a Graphic EQ post-fader: On the upper right hand side of the screen, you will see how many GEQs are available to be assigned.
10 10.3 StudioLive™ Series III Owner’s Manual Graphic EQ GEQ Presets 5. To Faders. Enable this button to control your GEQ from your StudioLive faders. 6. RTA. Enables the RTA. See Section 10.4. 7. Pre/Post-GEQ. Enables Pre- or Post-GEQ viewing on the RTA. See Section 10.4. 8. Presets. Opens the GEQ Presets screen. See Section 10.3. 10.3 GEQ Presets To store or load a GEQ preset for the currently selected instance, touch the Presets button while the GEQ screen is active.
10 10.4 Graphic EQ Using the RTA to Ring Out Monitors StudioLive™ Series III Owner’s Manual 4. Slowly bring the aux output level up until you hear (and see) feedback. Note: Ringing out stage monitors will produce feedback. If you are not careful, you can produce a lot of feedback. Do not make sudden gain boosts; go slowly and carefully to avoid causing any damage to speakers and ears. 5. Feedback will show up as a line peak on the RTA. 6.
11 11.1 Resources Networking Overview 11 Resources 11.1 Networking Overview StudioLive™ Series III Owner’s Manual Networking your StudioLive Series III mixer involves both hardware and software components. The entire installation and configuration procedure is given in this manual, but before beginning, you must download and install UC Surface touchcontrol software onto a macOS or Windows computer or an iPad, as described in the StudioLive Software Library Reference Manual.
11 11.1 StudioLive™ Series III Owner’s Manual Resources Networking Overview 11.1.1 Wired Ethernet Control Setup A wired Ethernet setup is the simplest: Ethernet cable Ethernet cable Network router Network router Touch screen computer Lap top 1. Connect standard CAT5e or CAT6 Ethernet cables from your computer’s Ethernet port to an Ethernet router, and from the router to the Control port on the StudioLive’s rear panel. 2.
11 11.2 StudioLive™ Series III Owner’s Manual Resources Stereo Microphone Placement macOS 10.8 and later 1. On the Menu bar click on the Wireless Status icon. 2. Select the name of the wireless network you set for your wireless router. 3. Enter the password. 4. Click Join. Note: Information on connecting your iOS device to the wireless network can be found in the StudioLive Software Library Reference Manual. See Section 8.3 for information on customizing IP settings. 11.
11 11.2 Resources Stereo Microphone Placement StudioLive™ Series III Owner’s Manual Acoustic Guitar Point a small-diaphragm condenser microphone at the 12th fret, approximately 8 inches away. Point a large-diaphragm condenser microphone at the bridge of the guitar, approximately 12 inches from the guitar. Experiment with distances and microphone placement. Another popular method is using an XY microphone placement with two small-diaphragm condenser microphones.
11 11.2 Resources Stereo Microphone Placement StudioLive™ Series III Owner’s Manual Drum Overheads (XY example) Place two small-diaphragm condenser microphones on an XY stereo-microphone holder (bar). Position the microphones so that each one is at a 45-degree angle, pointed down at the drum kit, approximately 7 or 8 feet above the floor or drum riser. Experiment with height. This technique can be used in live applications as well.
11 11.3 StudioLive™ Series III Owner’s Manual Resources Compression Setting Suggestions 11.3 Compression Setting Suggestions The following are the compression presets that were used in the PreSonus BlueMax. We have included them as a jumping-off point for setting up compression on the StudioLive. Vocals Soft. This is an easy compression with a low ratio setting for ballads, allowing a wider dynamic range. It’s good for live use. This setting helps the vocal “sit in the track.
11 11.3 StudioLive™ Series III Owner’s Manual Resources Compression Setting Suggestions Keyboards Piano. This is a special setting for an even level across the keyboard. It is designed to help even up the top and bottom of an acoustic piano. In other words, it helps the left hand to be heard along with the right hand. THRESHOLD RATIO ATTACK RELEASE -10.8 dB 1.9:1 108 ms 112 ms Synth.
11 11.4 StudioLive™ Series III Owner’s Manual Resources EQ Frequency Guides EQ Frequency Guides 11.
11 11.
11 11.5 StudioLive™ Series III Owner’s Manual Resources EQ Setting Suggestions Pop Male Vocals LOW ON/OFF LOW SHELF LOW FREQ (Hz) LOW Q LOW GAIN LOW MID ON/OFF LOW MID FREQ (Hz) LOW MID Q LOW MID GAIN ON OFF 225 0.3 -2 ON 960 0.3 0 HIGH MID ON/ OFF HI MID FREQ (kHz) HIGH MID Q HIGH MID GAIN HIGH ON/OFF HIGH SHELF HIGH FREQ (kHz) HIGH Q HIGH GAIN ON 2.0 0.6 +2 ON OFF 7.2 0.
11 11.6 StudioLive™ Series III Owner’s Manual Resources Using Input Delay Fretted Instruments Electric Bass LOW ON/OFF LOW SHELF LOW FREQ (Hz) LOW Q LOW GAIN LOW MID ON/OFF LOW MID FREQ (Hz) LOW MID Q LOW MID GAIN ON ON 36 N/A -8 ON 130 0.4 +4 HIGH MID ON/ OFF HI MID FREQ (kHz) HIGH MID Q HIGH MID GAIN HIGH ON/OFF HIGH SHELF HIGH FREQ (kHz) HIGH Q HIGH GAIN ON 2.0 0.6 +4 ON ON 4.
11 11.6 StudioLive™ Series III Owner’s Manual Resources Using Input Delay 11.6.1 Aligning the Backline with Vocal Mic In this example, we will delay the guitar amp’s close mic to its arrival at the vocal mic. In general, snare drums and guitar amps are the most common culprits of backline bleed. Depending on where your vocalist is standing, either one or both could need to be delayed to compensate for whatever amount of comb filtering is present. 5.5 ms Rhythm Guitar and Amp 5.5 ms DELAY 5.
11 11.7 StudioLive™ Series III Owner’s Manual Resources Using Output Delay 11.6.2 7. Use the eighth encoder to the input delay to 5.5 ms. 8. Ask your guitarist to play a staccato pulse and listen for any remaining flamming. Move up or down 0.1 ms until you hear the tightest sound.
11 11.7 Resources Using Output Delay StudioLive™ Series III Owner’s Manual In large venues that push the limits of the Front-of-House system’s coverage, using delay speakers distributed throughout the room, each delayed to the main system, allows you to create listening zones for more even coverage and better intelligibility. Sound travels at a rate of 1,130 feet per second (with some variation due to temperature, humidity, and elevation). Therefore, it takes 1.1 ms for sound to travel one foot.
11 11.7 StudioLive™ Series III Owner’s Manual Resources Using Output Delay The goal of distributed sound is for the people in the back row have the same listening experience as the people in the front, but it isn’t as easy as just bringing an extra pair of speakers. To create a distributed sound system, you need to delay the signal going to the additional speakers. Mains delayed to backline Front Fill delayed to Mains Under balcony delayed to Mains 1.
11 11.8 StudioLive™ Series III Owner’s Manual Resources Effect Types 11.7.3 Aligning Subs to Mains When your subwoofer and your full-range loudspeaker are placed some distance apart, low-frequency cancellation or reinforcement can occur when the same frequencies are reproduced by both systems. Using an alignment delay on your subwoofer system will compensate for this. To set the correct delay for a custom installation, you will need to do some calculating: 1.
11 11.8 StudioLive™ Series III Owner’s Manual Resources Effect Types Below are some of the most common reverb parameters for the reverb effects: Decay. Decay is the time (in seconds) required for the reflections (reverberation) to die away. 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. Predelay.
11 11.8 StudioLive™ Series III Owner’s Manual Resources Effect Types Variable Feedback. Variable feedback, or regeneration, produces multiple 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. F_Frequency. Sets the center frequency in Hz for the Filter Delay. F_Gain. Sets the boost at the center frequency for the Filter Delay. F_Q. Sets the Q for the Filter Delay.
11 11.9 StudioLive™ Series III Owner’s Manual Resources Technical Specifications 11.9 Technical Specifications Microphone Preamplifier Input Type XLR Female, balanced Frequency Response to Main Output (at unity gain) 20-20 kHz, ±0.5 dBu Input Impedance 1 kΩ THD to Main Output <0.
StudioLive™ Series III Owner’s Manual 11 Resources 11.10 Block Diagrams System Crosstalk Input to Output -90 dB (Ref = +4 dBu, 20 Hz-20 kHz, unwtd) Adjacent Channels -87 dB (Ref = +4 dBu, 20 Hz-20 kHz, unwtd) Digital Audio and Control ADC Dynamic Range 115 dB (A-wtd, 48 kHz) DAC Dynamic Range 115 dB (A-wtd, 48 kHz) USB Recording Port USB 2.0, Type-B Bluetooth™ Input 4.
12 12.1 Troubleshooting and Warranty Troubleshooting 12 Troubleshooting and Warranty 12.1 Troubleshooting StudioLive™ Series III Owner’s Manual Please check the PreSonus Web site (www.presonus.com) regularly for software information and updates, firmware updates, and support documentation, including frequently asked questions. Online technical support is available to registered users through your My PreSonus account. Visit my.presonus.com to register. Fader Movements Have No Effect on Audio.
13 13.1 StudioLive™ Series III Owner’s Manual Warranty Information How Consumer Law Relates To This Warranty 13 Warranty Information PreSonus’ warranty obligations for this hardware product are limited to the terms set forth below: 13.1 How Consumer Law Relates To This Warranty THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY HAVE OTHER RIGHTS THAT VARY FROM STATE TO STATE (OR BY COUNTRY OR PROVINCE).
13 13.5 Warranty Information Who This Warranty Protects 13.5 StudioLive™ Series III Owner’s Manual Who This Warranty Protects This Warranty protects only the original retail purchaser of the product (products that have transferable warranties are excluded from this provision provided the customer and the product are registered with PreSonus) 13.6 How Long This Warranty Lasts A 1-Year Limited Warranty begins on the original date of purchase from the retail purchaser. 13.
13 Warranty Information 13.11 Exclusion of Damages 13.11 StudioLive™ Series III Owner’s Manual Exclusion of Damages PRESONUS’S LIABILITY FOR ANY DEFECTIVE PRODUCT IS LIMITED TO THE REPAIR OR REPLACEMENT OF THE PRODUCT, AT PRESONUS’S SOLE OPTION. IF PRESONUS ELECTS TO REPLACE THE PRODUCT, THE REPLACEMENT MAY BE A RECONDITIONED UNIT.
Dinner is Served Added bonus: PreSonus’ previously Top Secret recipe for… Garfish Balls Ingredients: •• •• •• •• •• •• •• •• •• •• 5 lbs ground garfish 4 white potatoes 1 large onion 2 celery stalks 1 bunch parsley 6 green onions 1 tsp cayenne pepper 1 tsp black pepper 2 tsp salt Flour Cooking Instructions: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. Peel potatoes and boil until tender. Set aside to cool. Finely dice onion and celery and sauté in butter until tender. Set aside to cool.
StudioLive™ Series III Digital Mix Console / Recorder with Motorized Faders Owner’s Manual ® 18011 Grand Bay Ct. • Baton Rouge, Louisiana 70809 USA• 1-225-216-7887 www.presonus.
