New Products Winter 2013

NEW PRODUCTS WINTER 2013 3 AI ™ 26 12 ADL 700 Tube Vacuum Channel Strip StudioLive Active Integration Systems PA 2.5 ® 2.0 ™ Live-Recording Software Capture 10 24 Studio One Digital Audio Workstation ™ 9 22 Studio Monitors Eris PRM1 Measurement Microphone ™ ™ 4 20 Sceptre Studio Monitors StudioLive 32.4.2AI Digital Mixer PAGE 12 PAGE

2 4 The powerful product The powerfulproduct you workandcreate. W RAM, it’s the perfect host for PreSonus’ for current host it’s RAM, perfect the 2.0, and lavish amounts of 532MHz of amounts SD LPDDR2 lavish 2.0, and Active don’t know even exist? other that each and futureand hardware software. and multistream CPU, Wi-Fi, 100 Mb Ethernet, USB more processing more processing computer-on-a-chip. With a32-bit, 96kHz with shared inter shared with chain communicates wirelessly. Seamlessly gorithms. Andgorithms. vastly that’s before. come anything than power ting-edge OMAP™5multicore,ting-edge 2GHz Cortex-A signal-processing al- signal-processing faces and common common and faces integrated software integrated Integration. ecosystem thatchangeshow ecosystem that delivers a highly integrated and and that ahighly integrated delivers ecosystem flexible workflow on stage and in the and in studio.workflowstage on flexible An To that requires areal achieve computer. Bottom line: ActiveBottom line: Integration isagrowing So Active Integration is based onacut Active IntegrationSo isbased h at’s the opposite of a bunch of products thatat’s products of abunch of opposite the ecosystem where every part of your signal signal your of part where every ecosystem

- - 10,000 16 14 NEW StudioLive 32 32+1 input and output streams of input andoutputstreamsof 2 GHz serted oneachauxmixandmainbus speed ofmulticoreOMAP5 CPU times more onboard RAM than times more onboardRAMthan kidding!) number of31-bandgraphicEQspre-in- number ofaux(monitor)mixes number ofsubgroupbuses number ofaccessiblechannelswithout number ofXMAX™ClassApreamplifiers StudioLive 24.4.2 (Honest! We’re not StudioLive 24.4.2 (Honest!We’renot have toresortbankswitching built-in 48 x32 4 FireWire S800interface

can share and sell yourcan performances. share sell and built-in toNimbit® afree that upload you so account Capture™ 2.5 DAW Artist Studio 2.0,and One® with software: VSL-AI,tivity SLRemote-AI, QMix™-AI, W a third-party wirelessrouter. WiFi USB and included touchusing the iPod module ly remotely from controlled alaptop, iPad, oriPhone/ New More processing. effects. connectivity. signal Wireless you much more wanted to give thanwe that. More eight more channels onto our ” We mixer? a32-channel with have could just stuck and much, much more. and FireWire interface, S800audio a48x34 Quick Scenes, mute groups, delay, and reverbwith buses internal FX inputs,channel line 4 micpreamps,ing 32XMAX™ 32 next-generation mixer digital featur Naturally, suite ofproduc apowerful with it ships The new StudioLive 32.4.2AI can be wirelessbe 32.4.2AI can StudioLive new The StudioLive 32.4.2AIisa32-channel, When are you are you “When e heard itforyears: features that our customers have asked for. ™ 32.4.2AI. StudioLive 24.4.2.But - coming out 32 re al channels, a wealth of new features, Wi-FiLANadapterincluded,andthe ofnewfeatures, al channels,awealth 32re - - OMAP “processor” chips.Thenew 32.4.2AI hasafull-on Other digital mixers have wimpy little Other digitalmixershavewimpy little A realmulticoreCPU onboard.xxxx other compact digitalmixerscanonlydream of. 32.4.2AI speed your workflow and improve your sound in ways ™ 5 multicore, 2 GHz, Cortex-A CPU that lets the 5multicore,2 GHz,Cortex-ACPUthatlets the

most processing powerofanycompact Control 14different monitormixes. of doingthis.Neener, neener. newest competitors just dream newest competitors justdream digital sweat. Both of our digital sweat. Both ofour it without breaking a it withoutbreakinga QMix-AI handles QMix-AI handles digital mixer.

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See page 28 forSee page about more details the new StudioLive 32.4.2AI mixer. AI QMix

AI QMix StudioLive Remote-AI AI QMix Thunderbolt and Dante options. ships slot card option 32.4.2AI’s StudioLive of end the by but ports S800 FireWire dual with 32.4.2AI your upgrade to able be you’ll 2013, latency ultra-low for Thunderbolt to mixer Dante for easycomputer connectivity or to networking. AI QMix

Room Analysis, Room ® System Delay and Output Check wizards Output Check Delay and System RTA and Spectrograph plus bus every on and bus. on every channel Smaart Channel Info Page with… StudioLivenaming synchronization. New to 32.4.2AI is the Channel Info Page. From this numberchannel or bus screen, you can view the for each channeland create a custom name StudioLive on stored are names These bus. or 32.4.2AI and are broadcast to the entire network, QMix-AI willso VSL-AI, SL Remote-AI, and works This strips. channel the in names display strip scribble a other way as well: Labeling the to the network,it software will also broadcast in including StudioLive 32.4.2AI. are organized into 9organized into are , Vocal – Percussion, VOX , HRN –Guitar, KEY – Keyboards -AI for iPhone. Browsible Fat Channel Browsible Fat presets – Bass, , BAS categories (DRM – Drum – GTR Horns, PRC – don’t you so Misc.), – MIS SYS – System, find to presets 99 through scroll to have your favorite bongo preset. AI ™ QMix AI QMix AI QMix StudioLive Remote-AI Dedicated USB 2.0 port and includ - port and USB 2.0 Dedicated wireless LAN adapter for Wi-Fi ed Remote-AI with SL communications QMix for iPad and AI QMix No computer needed. computer No Six Quick Scene buttons, toMixing four bands in one night and need but- Scene Quick The scene? each store quickly allow buttons These fingertips. your at are tons havingsix different scenes without you to store Nowand name them. to add them to the library faster. you can get set up for total recall even

60 compressors; 60 4-band, fully 4-band, 60 compressors; 60 limiters 60 and EQs; parametric give you two different sets of any time (think darksettings at exam- overheads, for bright vs. with the extended power of the Active Inte- power of the Active with the extended New, obese,double Fat Six mute groups functions. Mute …with All On and All Off and to be muted groups allow multiple channels With six mute unmuted with a single button. FOH engineergroups, a chan- can assign drum nels to one mute group, - the horn section to anoth er mute group, backup vocalists to a third, etc. So when the horn section takes a break, you can those openthe entire section and kill all mute andvocalist when the lead Or mics instantly. acousticfor their Page/Plant guitarist come out once.can mute the entire drum kit at jam, you

Four 32-bit DSP 32-bit Four engines effects … loaded with rich, two processors gration CPU: with precisearmed and two detailed reverbs delay effects. Channel with A/B compare gates; 60 filters; high-pass 54 on memories Dual ple)—and the ability to instantly compare them. at processors different 468 to up adds it fact, In more fingertips.That’s your than double the processing power of the competition, X. including Mixer

6 9 - - Measurement Technology, all Technology, Measurement ® - micro or “reference,” A measurement, a PRM1 employs The and comes chassis has an all-metal The mic StudioLive digital-mixer owners can have have can owners digital-mixer StudioLive au- powerful, and affordable a complete, system. and correction dio-analysis - phone is special type of condenser micro an accurate provide is designed to phone that sound character of a room’s reproduction such tools, for useistics with audio-analysis analyzers as real-time and spectrographs. (RTAs) While measurement be quite can microphones the affordable expensive, delivers PRM1 PreSonus results. high-quality elec ¼" pre-polarized capsule tret-condenser a linearand delivers be- frequency response - measure most Like and 20 kHz. tween 20 Hz polar an omnidirectional it has mics, ment EIN -37 dB/Pa, at Sensitivity is rated pattern. 70 dB, at 26 dB, S/N ratio at (A-weighted) SPL 106 dB, and maximum at range dynamic 132 dB SPL.at case. and hard windscreen, foam with a clip, - micro measurement new PRM1 our With / Virtual StudioLive Virtual phone and free software (VSL) mixer-control StudioLive-AI with Smaart PRM1 Measurement Microphone

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® store hen compare you Does come the with mixer a 1-click their own control onstage musicians Can with unlimited program, tracks DAW a real Is give can Only digital one mixer 32-channel

32-channel digital mixers, ask some ask digital mixers, 32-channel hard not is — or is questions about the that software — included. It makes a huge difference. makes — included. It you Can recording program? multi-channel - measure with a professional the room” “shoot and then optimize program and analysis ment system? the performance PA of your with iPhonesmixes or iPod touches? Does the comes that do with program the mixer iPad everything it to? want you and included?loads of plug-ins, 32.4.2AI. StudioLive all this andyou more: W

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2.5 full-feature DAW full-feature 2.5 with with Edit, enhance, produce Edit,

ensuring near-perfect ensuring near-perfect clock performance and optimal converter whenperformance networking two or digital-audiomore devices. JetPLL quickly locks to any digital

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SL Remote SL Thunderbolt and Dante options. 32.4.2AI’s StudioLive option-card slot ships FireWirewith dual soon but ports S800 - up to able be you’ll Thunderbolt to grade for ultra-low-latency computer connectivity, Dante for easyor to Ethernet networking. Full iPad mix control mix Full iPad -

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ency. Finally, XMAX is Finally, ency. A circuitry, all Class with no crossover distortion, and clearer, delivers purer, and more musical results than the Class AB designs found in The preamps. many result of the XMAXnet Smaart Set speaker delay Set speaker -

on high-voltage (30V)high-voltage on that de- power rails liver more headroom, deeper lows, smoother highs, and a richer overall sound. XMAX uses only discrete — no op- components amps— for ultra-low noise and transpar

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Virtual StudioLive-AI Virtual New New

Full laptop control Full laptop Seamlessly integrated AI software suite can optimize your PA system to the venue, then take the venue, you to system fromSeamlesslysoftware integrated AI Riffoptimize your PA suite can to Release

8 11

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with StudioLive Big Meter mode . the com- Turns puter monitor into a gigantic meter bridge for easily intelligible input metering from any distance. - Improved session/file handling. File names and folder structure are or ganized by artist, performance, location, and song (marker) so you spend less time manually keeping files. your on tabs Virtual-soundcheck tools. Dedicated soundcheck virtual makes workflow incredibly simple by keeping related sessions organized (by artist name, location, etc.) and instantly recallable into a new session. Choose the session to use for your soundcheck, press Play, and do the soundcheck (without the band present). Then click again to exit Soundcheck mode and start recording the new session.

File recovery. File recovery. Even after a complete power loss, Capture will automatically recover the session the files all and next time it is opened. Stereo Playback mode. Capture 2 can be used in Stereo mode with built-in computer soundcards. All tracks are routed to a single stereo to output. Want review and edit that killer show the band just played on your laptop en route to the next gig? No problem.

Auto save. No lost work - user-defin with able Auto-Save intervals. Capture also auto-stores the active session whenever the transport is stopped. tracks. Rearrange Drag-and-drop tracks to reorder the arrangement. This makes importing backing tracks and getting them on the correct channels of your StudioLive mixer quick and easy. -

Diagnostics. Remaining-time and disk-perfor mance displays tell you exactly how much recording space you have left and how well your hard drive is performing. Vastly Improved Workflow

“Record Now” one-step Now” “Record . Single-clickrecording on the Start page to instantly create a new session and immediately start recording from every input.

Inadvertently stopping the recording by leaning on the keyboard is no longer possible. Session lock. And it’s free only with StudioLive only with it’s free And mixers. digital AI Enhanced Reliability and Stability Reliability Enhanced New pre-record Roll back buffer. a recording up to a minute before you actually start- ed recording (no more missing the seconds few first when the band starts early). The world’s best live-recording software is now even better. software live-recording best world’s The better. even now is

extra at that!). 2.0. ™ and recent sessions. Cool new Start page gives you instant access to new, previous, instant access to new, apture version 1 introduced the 1 introduced apture version accessible to anyone using aaccessible to anyone By continuing to innovate, incorpo- By continuing to innovate, It rep- C world to the first purpose-built live- purpose-built first the to world software.performance recording 2-click ease-of- The revolutionary, record- use made live-performance ing StudioLive mixer. our ever-growing rating feedback from user base, Capture 2.0 takes live-per formance recording to a new level. resents a major leap forward — further workflow StudioLive the streamlining — and further distancing us from our digital-mixer competition, who only offer the compromises of conventional (and make their users pay DAWs Capture 2.0 has a completely redesigned user interface with a new Start page, main pageRecording with switchable marker list, Big Meter view, and dedicated Soundcheck mode. It has an overall darker color scheme for high visibility inand legibility lighting difficult conditions. NEW Capture NEW

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acoustic acoustic 1,000W • 18" LF • 18" 1,000W 18sAI Active Integration

StudioLive AI PA 315AI 2,000W 8" CoActual LF 15" Active Integration The first-ever confluence of advanced of advanced confluence first-ever The 328AI 2,000W 8" CoActual 2 x 8" LF Active Integration science, massive DSP, full iPad control, and irresponsibly high power. irresponsibly and control, full iPad DSP, massive science, 312AI 2,000W 8" CoActual LF 12" Active Integration

- - - systems with the with systems IVE. PA Gunness provided the unique coax the provided Gunness , Class D power amplifier. , Class amplifier. D power 2,000 watt Add the ability to set up, tune, and mon- tune, set to up, the ability Add 1,500 rack-mount speaker processor built processor speaker rack-mount 1,500 $ and subwoofer has the equivalent of a the equivalent has and subwoofer itor these speakers using SL Room Control Control Room SL using theseitor speakers have and you and Windows®, OS X®, for iPad®, of the decade. ment in, they deliver sound quality that simply in, they quality sound that deliver hasn’t been possible before in active sys in active been before possible hasn’t - advance speaker-design PA major the first tems. TUDIO. L TUDIO. PreSonus provided the new Active Integration™ Integration™ the new Active provided PreSonus system full-range everyBecause AI PA StudioLive signal-processing technology. signal-processing designer David David designer accuracy of huge studio monitors. Renown speaker Renown monitors. studio accuracy of huge ial designs and cutting-edge Temporal EQ™ digital Temporal and cutting-edge designs ial with along a wireless; onboard ing; and Ethercon) whoop-ass, whoop-ass, S CPU (with 96 kHz, 32-bit floating-point process 32-bit floating-point CPU (with 96 kHz,

The other fathers of StudioLiveThe other fathers of PreSonus’ Jim Odom, PA: AI and Officer, Strategy Chief Bob “Thinks in Code” Tudor, “Thinks in Code” Tudor, Bob Officer. Technical Chief -

tools and DSP. tools and DSP. NEW StudioLive AI 3-Way A StudioLiveNEW 3-Way AI Systems. PA ctive ” are all results of his” are all ™ designed prodesigned of innovative processing career-long emphasis on career-long David Gunness loudspeakers at Fulcum Acoustic, Before cofoundingBefore at Eastern Acoustic patents and writes technologypatents and writes improving loudspeaker perfor improving reinforcement system, the DSA mance with innovative software Focusing Works (EAW). Gunness holds five holds Gunness (EAW). Works whitepapers, many published by Electro-Voice and later and Electro-Voice digitally steered array, and a suite and a digitally steered array, AES. The KF900 large-scale sound large-scale KF900 The AES. techniques marketed as “Gunness - -

ecosystem every where part of your signal at’s the opposite of a bunch of products at’s that h So Active Integration is basedSo Integration Active on a cut Bottom line: Active Integration is a growing Integration line:Bottom Active To achieve that requires a real computer. computer. achieve a real requires that To An An flexible on workflow stagestudio. and in the ecosystem delivers integrated a highly that and ecosystem that changes how that changes ecosystem Integration. integrated software faces and common signal-processing- al ting-edge OMAP™ 5 multi-core, 2 GHz Cortex-A 2 GHz Cortex-A ting-edge OMAP™ 5 multi-core, power than anything come before. that’s with shared inter chain communicates wirelessly. Seamlessly wirelessly. communicates chain vastly gorithms. And computer-on-a-chip. With a 32-bit, 96 kHz 96 kHz a 32-bit, With computer-on-a-chip. more processingmore multistream CPU, Wi-Fi, 100 Mb Ethernet, USB Ethernet, Mb 100 Wi-Fi, CPU, multistream and future hardware and software. and software. hardware and future don’t even know that each that other exist? even know don’t Active 2.0, and lavish LPDDR2 SD amounts of 532 MHz RAM, it’s the perfectRAM, it’s hostcurrent for PreSonus’ W you work and create.you work and The powerful productThe powerful

12 15

hortly after the launch of StudioLive mixers, PreSonus about howbegan dreaming The typical approach used by used approach typical The Knowing these problems are PreSonus problem: one was There to further bring a controlled studio live venue. environment to the StudioLive mixers brought some to themeasure of control but to get to go toheart of the issue, we had the powered speaker. source: the tois loudspeakers powered most overcome live-sound obstacles SPL ispure brute force. High with great, but a simple two-way system the HF element directly abovewith staggeredresults in LF unit the this type ofsound arrival times. So loudspeaker cannot possibly have optimal impulse response over aan wide area. the poweredamong nearly universal the market today, loudspeakers on PreSonus began searching for a loudspeaker technology that would away as many variables astake possible and make a live environ- as close to a controlled studioment environment as possible. not a loudspeaker company. was Fulcrum approached we why That’s David engineer, legendary Acoustics’ instant- team Fulcrum The Gunness. understood what PreSonus wasly trying to accomplish and brought us each design coaxial 8”, 3-way, the to StudioLive AI-Series loudspeaker employs. S Why did PreSonus get into the decide to business? PA loudspeaker Q: - shadowed by the horn. TQ™ process the horn. TQ™ by shadowed driver to the compression allows ing without frequencies lower at work sonic artifacts. with the HF in conjunction works control directional improve horn to operating of the horn’s the bottom at directional This increases range. be accom- can beyond what control alone. the horn plished by back sound a coaxial horn “leaks” reflects This the woofer cone. onto and produces of time, forward, out don’t respond that colorations tonal eliminates TQ™ EQ. conventional to removing thereby these colorations, one of the primary shortcomings of designs. competitors’ The woofer’s larger radiating surface radiating The woofer’s larger end of its range, the low-frequency At

the magnet structure, shared by the by shared structure, magnet This driver. woofer and compression compact, more in a much results assembly. lightweight diaphragm compression-driver the to in close proximity located woofer coil. voice is used frequency pattern for high and also the HF en- keep to control This al- off of the ergy woofer cone. remain to AI PA the StudioLive lows levels. high at stable sonically the allowing thereby and woofer, driver fill in the to compression is that woofer frequency range The PreSonus CoActual design may look familiar design CoActual The PreSonus innovations of technical are a number but there it from its competition.that differentiate The new CoActual driver uses a singleThe new CoActual also keeps This magnet structure high-frequency horn A purpose-built overlaps the HF horn The crossover - high bass range Resonance-free frame New 60˚x90˚horn New 60˚x90˚horn design Shared magnet structure lates the high frequencies, resulting resulting frequencies, the high lates get worsein sonic artifacts as that the driver (and the woof gets louder The increases). excursion er-cone - dramati changes sound character level. withcally output Butyl midrange/woofer surround 8” “midrange” extends down into 8” 1.75" titanium compression driver 1.75" The excursion of the woofer moduThe excursion of the -

- enclosures. resulting in overly deep in overly resulting The assembly is quite long, The assembly and the woofer voice coil are widelyand the woofer coil are voice in significant resulting separated, anomalies. distance/time So if coaxial designs solve so many problems, solve so designs So if coaxial popular? they more why aren’t Because conventional coaxial trans conventional Because their own set of problems: have ducers diaphragm The compression-driver slightly above and slightly below and slightly above slightly beam- in extreme results crossover width in in the plane irregularities When located. drivers the which are co-located, the horn and woofer are performance bethe beamwidth can crossover. smoother through much are driver output and compression for allow to overlapped intentionally a very response smooth beamwidth cannot be This crossover. through done with spaced devices. In StudioLive the woofer AI systems, - through through transducer ™ never sum coherently area. a wide listening over crossover of the horn/ spacing The physical driver and woofer compression A coaxial this impossible. make withdesign, closely and HF spaced coherence maintains LF elements, a wide over the crossover through area. listening both the LF and HFthe fact that output providing are transducers The CoActual avoids AI PA useddesign in StudioLive as performancethe typical problems use separate, withsociated that designs woofersspaced and horns: and horns can woofers Separate woofer and horn, With a separated NEW StudioLive AI 3-Way Active PA Systems. Coaxial finally done right. done finally Coaxial Systems. PA Active StudioLiveNEW 3-Way AI

http://www.fulcrum-acoustic.com/technologies/buildingabettercoax Crisper stereo image • Greater sound- Crisper stereo image • Greater separation between More stage depth • complex mix components Increased resistance to feedback • More seamless transitions between distributed loudspeakers Less fatiguing listening experience at very high SPLs. The text on this page is page this on text The from theliberally borrowed site. Web Fulcrum Acoustic visit the whole story, For 14 COACTUAL BENEFITS 17

User –User custom preset with RoomSL Control ◗ ◗ Optional Dante Optional Card Networking 2013) late (coming Plywood or Birch Construction Comfortable, Handles Ergonomic Pole Integrated Insert Stacking Interlocking Provisions 0 ft. – full-range speaker on Sub Pole Normal – live performance 2 ft. – full-range speaker on speaker stand Extended LF – fatter end low 4 ft. – full-range speaker on stage (…which would make Active make would (…which ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ Polarity Invert Polarity Delay Onboard Three Settings: Three Operation Three Modes:

Ferrite Woofer Ferrite Variable crossover Variable Output level Dynamic limiting User-adjustable contours Excursion limiting ...and more with Room ControlSL software. ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ StudioLive 18sAI subwoofer features: StudioLive Universal Switch Universal Supply Power Mode Factor Power with Correction Integration Active Point Floating 32-bit with DSP Connection Wireless and Wired and Wireless with Networking Over: Control Designed Custom 18" Inputs Line Stereo Combo) (XLR-¼” Line-Level Stereo (XLR) Throughputs Con- Level Speaker dB) 6 + to dB (-6 trol Option Sum Mono Signal Summed Sends Outputs Both to for Port 2.0 USB Wi-Fi USB Included Disaster and Module Recovery Ethercon

USB 2.0 Port for for Port 2.0 USB Wi-Fi USB Included Disaster and Module Recovery Ethercon Connection Plywood or Birch Construction Comfortable, Handles Ergonomic Fly M10 Integrated Points Pole Integrated Mounts D Class Watt, 1,000 Amplification Mic Preamp Mic ™ User – CustomUser preset with SL Room Control Engages custom per filter low-cut model Sets phase and timeSets phase alignment for optimized performance 18sAI with ◗ ◗ ◗ ◗ ◗ ◗ with 12V Phantom 12V with Power Line Combo Balanced Attenuation w/ Input Output Mix Audio Attenuation Speaker Control External Subwoofer External Mode XMAX

Coaxial Speaker Co- herence Alignment Performance contouring Dynamic limiting Excursion limiting Output level Operation modes ...and more with SL Control Room Live Performance MP3 – Music Playback Floor Monitor – Stage Wedge ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ Wireless and wired and Wireless with networking over control Operation Four Modes

Power-Factor Power-Factor LF 2 x 500 watts MF 1 x 500 watts HF 1 x 500 watts reflection Horn Linear time and am- plitude anomalies correction ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ All StudioLive AI full-range speakers feature: All StudioLive AI full-range 2,000 Watt, Triamped, 2,000 Watt, Triamped, Amplification D Class Switch Universal Supply Power Mode with Correction Integration Active Floating-Point 32-bit DSP Three- Asymmetric Crossover Way Equaliza- Temporal tion:

hink of the StudioLive What’s up with the What’s 328AI design that has two 8-inch bass transducers? 328AI as a really skinny for tight,315AI cramped venues where a wider speaker would take up precious stage space and compromise sight lines (i.e., block the heroic profile of your egotistic lead sing- er). The 328 AI’s two 8-inch bass transducers have the same radiating surface as a single 15-inch. And yet it’s much skinnier. T Q: Integration ’s massive DSP the all-meat patty if you’re into really labored metaphors.) really into if you’re patty metaphors.) labored all-meat the DSP massive ’s Integration et sauce of StudioLive AI 3-Way Active PA Systems. Systems. et sauce of PA Active StudioLive AI 3-Way - ment the precise temporal temporal the precise ment that filters (time-domain) for the responsible are ben- TQ remarkable most tuned Loudspeakers efits. a crisper provide with TQ greater image, stereo more depth, soundstage between theseparation of a complex components mix, resistance increased seam- more feedback, to is ™ - pro of the addition Then, because TQ provides multiple fully ad- fully multiple provides TQ tening experience verytening at SPLs. high Integration, of Active power cessing Acoustic’s add Fulcrum to able we’re powerfulmost tool: a very specific Finite large type addressable, of fully This (FIR) filter. Response Impulse proprietary algorithm lets StudioLive - detailed frequen more achieve AI PA cy-response adjustments. and less transient sources (such as (such sources transient and less and vocals, uncolored voice), human intelligibility. excellent Impulse Finite large dressable, With this filter (FIR) filters. Response detailed more implement we can adjustmentsm, frequency-response - imple we can important, and more between distributed transitions less lis and a less-fatiguing loudspeakers, achieved with outboard speaker processors costingspeaker processors loudspeaker designs, TQ designs, loudspeaker between $1,500 and $3,000. between $1,500 In StudioLive AI speakers, it’s it’s speakers, AI StudioLive In In Fulcrum Acoustic’s passive Acoustic’s Fulcrum In handled by Active Integration. hile DSP has long been includ- has hile DSP in loudspeakers, it has generally generally it has in loudspeakers, Fulcrum Acoustic’s TQ™ Acoustic’s Fulcrum uses a complement TQ First, ed - fea been as an additional handled a part the design of than rather ture, Designers itself. of the loudspeaker the best would build and engineers they could loudspeaker physical and then useto improve DSP filters the end performance provide and to user with some EQ options. Equalization Temporal includedalgorithms are from process in the design Rather the beginning. a comprise choosing than between two competing for settling like attributes, high-frequency horns with patterns imperfect coverage - aestheti achieve to in order we response, transient pleasing cally that the attribute optimize physically with DSP be and addressed cannot with DSP. solve the other problem Response (IIR) Impulse of Infinite and parametric low-pass, high-pass, - natu tune for to plus delay, filters, The balance. spectral ral-sounding balance aesthetic is a pleasing result sources between transient highly instruments) as percussion (such W Temporal EQ is the secr is the EQ Temporal

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Feature: Speaker EQ. SL Room Control gives you access to the onboard 31- band graphic and 8-band parametric EQs in your StudioLive AI-speakers. This allows you to set your system EQ per speaker, freeing up your mixer’s output EQs for other things. EQ Preset Browser Preset EQ and Labels Custom for Field Comments Speaker Each Load and Save Preset Store and Create Mode Operation User Speak- Each Onboard from Away Use for er Control Room SL (32- 8 and 7 Windows 64-bit) and Lion 10.7 X OS Mac Mountain 10.8 and 64-bit and (32- Lion support) later or 5.1 iOS Apple

Group Speaker Group with Management Solo and Mute, Level, EQ Graphic 31-Band Parametric 8-Band EQ Filters Notch 10 Limiter Crossover Variable Hz 150 – 75 from only) (18sAI Mute Solo Delay Speaker ms) 250 to (up Level Output

Onboard Operation- modesal Excursion limiting External Sub Mode (full-range only) temperature Over Polarity invert only) (18sAI clip detectionADC Network setup wizard soft Power-amp limiting ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ Remote Control Over: Control Remote to Scanning Network Detect Automatically Speakers All Browser Network Performance for: Monitoring - - is a speak StudioLive AI-Series AI-Series StudioLive It provides remote wireless remote provides It In short, this powerful In software software for software loudspeakers. control/monitoring control/monitoring remote- er-management system and system er-management SL Room Control SL Room Wireless and wired integration with SL Room Control Wireless and wired integration control over all onboard features, over all onboardfeatures, control including EQ, a 31-band graphic and limiter, 8-band EQ, parametric as well set as network delay, speaker Room SL grouping. up and speaker also communi - Control constantly performancecates such parameters and clipping. as temperature opensapplication up the power of the optimization providing onboard DSP, - avail only previously were tools that units. in stand-alone rack able Integrati on ecosystem of interactive products that we keep going on and on about. on about. on and going we keep that products of interactive ecosystem on Integrati wired control Wireless and YES YES YES YES preamp XMAX mic YES YES YES —— POWER 2,000W 2,000W 2,000W TOTAL 1,000W LF power 1,000W 1,000W 1,000W 1,000W LF woofer 12-inch 15-inch 2x8-inch 18-inch MR power —— 500W 500W 500W Coaxial ™ MR woofer 8-inch 8-inch 8-inch —— HF power 500W 500W 500W —— PreSonus CoActual HF driver 1.75 -inch 1.75 -inch 1.75 -inch —— 18sAI S312AI S315AI S328AI StudioLive AI PA Exclusive: Wireless and wired integration with SL Room Contolwith SL Room and wired integration Wireless Exclusive: AI PA StudioLive Set up, adjust and monitor StudioLive AI 3-Wa y Active PA Systems with an iPad. iPad. an with Systems PA y Active StudioLive monitor and adjust up, Set 3-Wa AI while maintaining group level control. solo individual speakers in the system SL Room Control provides individual Onceand grouped speaker management. delay timeyou have EQ’d and set the you canand level for each speaker, speakersgroup them together. Grouping levelallows you to adjust the overall of your entire FOH or satellite system at once. In addition, you can mute or Feature: Speaker Grouping

18 21 A purpose-built high-frequency horn is used for high frequency pattern control and to keep the HF energy off of the woofer cone. But that’s only part of the solution. Fulcrum Acoustic’s ingenious (but extremely processor- intensive) DSP algorithms eliminate horn reflections, coloration and spatial variability, and allow high- efficiency bass transducers to cover the vocal range. No other studio-monitor manufacturer has access to this cutting-edge technology. It’s what enables Sceptre CoActual monitors to deliver clarity and coherence that has previously only been available in ultra-high-end systems.

sound character changes dramatically with output level. Our CoActual transducers keep the compression- driver diaphragm located in close proximity to the woofer voice coil. New 60˚x90˚ horn design / 8" integrated " cone transducer seamlessly covers lower frequencies 6 pattern. But previous coaxial designs have had their own problems: The compression driver diaphragm and woofer voice coil are widely separated, resulting in significant distance/time anomalies. The excursion of the woofer modulates the high frequencies, resulting in sonic artifacts that get worse as the driver gets louder (and the woofer cone excursion increases).The

The coaxial conundrum The coaxial Asymmetrical dispersion pattern from sources. two separate point source for a consistent acoustic center and a symmetrical dispersion

Speaker designers have long been aware that coaxial designs offer the advantages of a single Symmetrical pattern from adispersion single point source. How Dave Gunness’ unique transducer unique Gunness’ Dave How

structure

Shared magnet driver Titanium compression ”

David Gunness, co-founder, Fulcrum Acoustic design and Temporal and design monitor. the coaxial DSP perfected EQ Rather than - can’t repro nuancesfine be music that your of designs.duced The conventional Sceptre’s by soundstage, panoramic and stunning fine detail, This exceptional will you. astonish dynamics performance of an advanced is the result coaxial 96 kHz, with a 32-bit, integrally design works that processordual-core Acoustic’s running Fulcrum Equalization Technology™. TQ™ Temporal choosing a compromise between two competing attributes, we physically optimize the be attribute than can’t addressed with DSP… and solve the other problem with DSP. “ Studio Monitors. ™ Balanced XLR and ¼-inch TRS line-level inputs with A-taper level control 102 dB maximum continuous SPL RF shielding, current-output limiting, and over- temperature protection you’ll discover monitors, you’ll studio time you hearhe first 2-way CoActual™ Sceptre-series T High-pass filter High-pass (Off, 60 Hz, 80 Hz, and 100 Hz Sensitivity (+4 dBV) dBu to -10 200W RMS, Class biamplification D with internal heat sink

Acoustic-tuning HFcontrols: Driver Adjust (0 dB, +1 dB, -1.5 dB, -4 dB) SpaceAcoustic dB,settings (0 -1.5 dB, -3 dB, -6 dB) Series CoActual Series ™ with multiple ™ FIR filters FIR 32-bit, 96 kHz, dual-core, active floating-point providesDSP Temporal critical EQ

Unique coaxial transducer integrates 8-inch (Sceptre S8) or (Sceptre6.5-inch S6) midrange driver and 1-inch (25 mm), horn-loaded HF transducer with Coaxial Speaker Coherence Alignment

CoActual technology combines DSP time-correction and point-source design for symmetrical soundstage and micro-definition imaging NEW Sceptre NEW

20 23

K100 low-frequency transducer ™ RF interference, output current limiting, (25 mm), ultra-low-mass, silk-dome,1-inch (25 mm), high-frequency transducer biamplification AB Class 130 Watt, port for superior bass-frequency acoustic Front-firing reproduction Professional control: Midrange (±6 dB, continuously dB, continuously variable), High-Passvariable), HF (±6 100 Hz) and Acoustic Space settings80 Hz, (Off, contour mixing accurate for dB) -4 -2, (flat, Protection: subsonic protection transient, and over-temperature, internal bracing Optimized, resonance-suppressing and unbalanced RCA inputsBalanced XLR / ¼-inch SPL continuous maximum 105 dB Eris E8 2-way active monitor Eris E8 2-way 8-inch Kevlar for superior bass- K100 low-frequency transducer ™ .25-inch Kevlar frequency reproduction dB, continu- Professional control: Midrange (±6 ously variable), HF (±6 dB, continuously variable), and Acoustic Space(Off, 80 Hz, 100 Hz), High-Pass contour mixing accurate for dB) -4 -2, (flat, settings Protection: RF interference, output-current limiting, subsonic transient, and over-temperature, Optimized, resonance-suppressing internal bracing and unbalanced RCA inputsBalanced XLR / ¼-inch SPL continuous 102 dB maximum (25 mm), ultra-low-mass, silk-dome,1-inch (25 mm), high-frequency transducer biamplification AB Class Watt, 70 port acoustic Front-firing Eris E5 monitor active 2-way 5

musical genre Low Cutoff switch allows accurate performance with or without a subwoofer Balanced XLR / ¼" and unbalanced RCA inputs Amps deliver high current for fast dynamic response to complex musical wave- forms High and mid- frequency level controls let you customize for each Acoustic Space switch lets you optimize performance in different control-room locations Input Gain control for proper level setting environment and ere’s a dirty little ere’s Series High-Definition High-Definition Series Monitors. Studio Our Eris Series end up with You At their heart, the ™ Monitor, mix, and master with affordable, active, 2-way designs 2-way active, affordable, with master and mix, Monitor, H secret: Most monitors arein Eris’ price range designed so that they sound impressive in —the listening room lots of bonky bass and tizzy treble — but they accurate when aren’t you’re trying to do a serious mix in your studio. are true pro monitors with the back-panel acoustic-tuning tools you need to tailor their sound to your room musical genre. mixes that sound good everywhere, not just in your studio. Eris E5 and E8 are state-of-the-art, thanks to long-throw Kevlar™ low-frequency transducers, low-mass silk- dome tweeters, and plenty of responsive amplification. AB Class that don’t treatthat a kid. you like Eris NEW NEW

22 24 andincredibly easyt o use. But stillleanandmean… vements. Over 90improvements.

f “ internal harddrive. RAM recordingtomy iMac Corei7with16GB reliably onmy3.4GHz punch in/out/in/out,andplayback able toputalltracksinrecord, total of384plug-ins),andIwas ProEQ, andWaves L-1 Limiter(a Ultimate Compressor,PreSonus limit). EachtrackhadMcDSP6030 (as opposedtothe32-trackPT regular record/mixfunctions. am alreadycomfortabledoingmost Studio Onesoundsbetter. seemed especially worth sharing. brochure… We getaccolades all the timebut this one An e-mailthatcameinwhile we were preparing our rom aFORMERPro Tools 10user. San Diego. Blown awayin I createda128-tracksession I’ve beenusingitfor3hoursand Just alittle testimonial ” Improvements tracks and back. instruments intoaudio plex multi-output you caninstantlyturn com- virtual instruments.Now Multitrack transformfor Improvements Track Transform counts. workflow with large track the folder. This simplifies preview foralltracksin Track, with a waveform Edit directlyontheFolder Folder Track Editing faster andmorepowerful. parts makescompingmuch automatic beaming into Single-swipe comping with Comping New inStudio One

virtual virtual timesaver. exports—a huge results in much faster outputs atonce Rendering multiple Enhancements. Audio Export Enhancements. Automation quality. improvement insound results in a significant reworked ampmodels, sponses, matched with cabinet impulse re- ly overhauled. All-new …has been complete- Ampire XT envelopes. editing of automation Easier andfaster

® 2.5 the arrangement. directly ontoevents in drag-and-drop effects lets you dothingslike a new modifier key that flow is even faster with Drag-and-drop work- Event Effects. Drag-and-Drop real time. to newaudiotracksin buses orinstruments way, you canprint from an audio track. In this nels astheinputto strument orbuschan- output ofvirtual-in- enables youtousethe new feature that This is a completely from Buses. Re-recording

unprocessed sound. 20% withthe original, that squashedsound and thenonlymix the drums mercilessly, threshold tosquash the ratio, and dropthe on adrum bus, crank can dropacompressor timesaver. and simply—ahuge MIDI tracksquickly remove legatofrom Instantly applyor Correction (MIDI). Legato andOverlap Native Effects cessing onPreSonus Built-in parallelpro- for Effects. Mix andLock Wet/Dry ™ . You

Professional, andFree. Studio OneArtist,Producer, have beenupdated, All versionsofStudioOne2 adds nearly100enhancementsandfeatures. 2. Thisfree(toStudioOne2users)update Studio One2.5,amajorupdateto We arepleasedtoannouncethereleaseof including including a a a gear gear gear UDIOM UDIOM UDIOM AWARDS 2012 QUALITY &INNOVATION of the of the of the Winner Winner DAW e e e year year year 2013 2013 2013 DIA DIA DIA

25 26 The ADL 700isnow shipping. I world amongworld top recording engineers the best-sounding preamplifiers inthe that has areputation won asoneof discrete design distinctive A, Class finest fortheprice. Thefinest—period. preamp that can money buy. Not the DeMaria to create thefinest tube tube-circuit designer Anthony collaborated n 2005,we famed with The a result was theADL600, rich, fullmixes. and andtight deep bass guitars; vocals; smooth, andarticulate sound better: anythingvirtually you through run it clear-yet-distinctive soundthat makes tube preampnoise abig, with warm, such asVictorartists Wooten. my Douglass, andMark Mancina and and producers like Chuck Ainlay, Jim- The ADL600isanultra-low- gineering mastermind behind some of of mastermind some behind gineering designs fromand EQ thePreSonus en- totally newcompressor with topology channel ofour superb ADL600tube created theADL700.It combines a producers alike, PreSonus has now sional andamateur musicians and Responding to therequests ofprofes with innovative signal processing. A channelofthe ADL 600 preamp with How one of the world’s finest tube preamplifiers ledtooneoftheworld’sfinesttubechannelstrips. tubepreamplifiers finest How oneoftheworld’s - fluctuations. Asoptical compressor that are to susceptible temperature opticaltypically compressors. used innovativean equally compressor. amp asdistinctive astheADLdeserved In our not-so-humble opinion,apre - preamp). microphone ing our award-winning A Class XMAX™ our best loved analog circuits (includ- A new approach to compressor design. Premium channel have strips two ADL700scan stereotwo be linked, time andprecise repeatability. of compressor provides afaster attack greatsound with reliability. type This compressor to emulate tube atriode signed FET (Field-Effect Transistor) the same song. quite different,be even on snare hitsin resulting attack andrelease timescan components heat down,the uporcool Also note thatAlso thecompressors of a custom-deThe ADL700uses - The maximum headroom andsuperb tone. operating ±300Vpower rails with for three military-grade usingwithout theEQ. oftonalities you variety awider to get effects, andfiltering coloring enabling mic-input impedance can create subtle best ofboth. response. TheADL700gives you the frequencies, achieving amore natural sor, you can better control different if you before place EQ thecompres to alter thecompressor setting. But, settings needing to without theEQ allows you to make dramatic changes out harsh artifacts. Q provide subtler signal-shaping- with isolated filters andoptimized-per-band sicality inmind.Thecombination of that EQ metric mu was designedwith - custom- imaging. allowing formore accurate stereo We sparednoexpense. Selectable microphone impedance. Switchable compressor / EQ signal flow. Baton Rouge EQinstead of “British.” The hand-built ADL700 employs orraising Lowering theADL700 Placing thecompressor before EQ a includes The ADL700also special transformer design also transformerspecial design also designed, 4-band semi-para- vacuum tubes, - test at your PreSonus dealer today. at just how avalue itis. good you’re going pleasantly to be surprised But after you’ve heard it, thinkthat we ICs inthesignal path. transformers. There are noop-amps or and custom-designed, proprietary tenuators, meters, analog andLED VU film capacitor, including at switched right downto thelast polypropylene maximum rejection. common-mode ensures low-noise operation, with Give the ADL 700 a serious listening listening Give theADL700aserious The ADL700isnotinexpensive. We only thefinest components use 9. 8. 7. 6. 5. 4. 3. 2. 1. Makeup Gain Release Ratio Attack Threshold Gain Trim Impedance Select Source/ Input High-Pass Filter

- 15. 14. 13. 12. 11. 10. EQ Gain High-Mid Band EQ Frequency High-Mid Band EQ Gain Low-Mid Band EQ Frequency Low-Mid Band Low Band EQ Gain Frequency Low Band EQ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ ■ (–100 dBS/Nratio) Ultra lownoise and lineinputswithInputSelect Microphone, instrument, fine Trim controls Switched Gainandvariable impedance Selectable microphone-input >73 dBGain 6922 vacuumtubes 12AT7 andtwohand-selected One hand-selecteddual-triode dual-transformer design High-voltage, ClassA,

24. 23. 22. 21. 20. 19. 18. 17. 16.

Meter -6dB Compressor Bypass High Gain Phantom Power Polarity Instrument Input Level High BandEQGain Frequency High Band EQ High BandEQ

■ ■ ■ ■ ■ ■ ■ ■ 33. 32. 31. 30. 29. 28. 27. 26. 25. gain reduction) metering (output and Dual-mode analogVU parametric equalizer Four-band, semi- stereo link makeup gain,and threshold, ratio, with attack,release, compressor/limiter Fully variable FET invert –20 dBpad,polarity filter, 48V phantom, Variable high-pass Mic Input Line Input Comp Link Output HF Peak Reverse EQ/Compressor EQ Bypass LF Peak Gain-Reduction

27 29

SPECIfICATIONS X2 processor X2 ® Duo processor (Intel Core 2 Duo or Duo processor processor or better recommended) ™

7 x64/x86 SP1, Windows 8 x64/x86 8 Windows SP1, x64/x86 7 ® ® X 10.6.8 or later or 10.6.8 X ® Core 2.0 ® 2,000W, Class D triamplification D Class 2,000W, ™ (Intel Core 2 Quad or AMD Athlon X4 or betterAthlon (Intel Core 2 Quad or AMD recommended) Mac OS Intel GB recommended) 2 GB RAM (4 Windows Intel Core Duo or AMD Athlon GB recommended) 2 GB RAM (4 for activation) Internet connection (needed DVD-ROM drive resolution 768 x 1280 with Monitor GB hard-drive space 20 Pole Pull-tested Sub Kit (four M10 eye bolts) M10 15-inch, ferrite, low-frequency transducer (1) driver midrange ferrite 8-inch, coaxial (1) 1.75-inch titanium compression driver (1) 500W HF 500W MR/LF 1,000W LF Intel Xeon ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ Dimensions (W x D x H): 16.22” (412 mm) x mm) (412 16.22” H): x D x (W Dimensions mm) (604.5 23.80” x mm) 19.42”(493.3 Weight: 62 lbs./28.12 kg lbs./28.12 62 Weight: AC power requirements: 100-240 VAC, 50/60 Hz 50/60 VAC, 100-240 requirements: power AC Optional Dante Ethernet network card Accessories Windows Systems Mac and Windows Transducers 90˚ x 60˚ Dispersion: Horn Power: Mac ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ Capture 2.0 Capture Capture StudioLive 315AI Computer system requirements Computer system ◗ ◗ ◗ ◗

2,000W, Class D triamplification D Class 2,000W, Frequency response: 20 Hz to 20 kHz to 20 Frequency response: 20 Hz voltage) Sensitivity (@ 1 kHz open-circuit dB SPL -37 dB/Pa (14 mV/Pa) 1 Pa=94 200Ω impedance: Rated 1,000Ω impedance: load Minimum dB 26 (A-weighted): EIN SPL dB 132 load): kΩ (1 SPL Max. kHz) 1 1%, ≤ (THD dB 106 load): kΩ (1 range Dynamic S/N ratio: 70 dB Phantom power: 9-52V Current consumption: 2 mA mm) (192 7.56” Length: mm) (21 0.83” Width: oz (150g) 5.3 Weight: Environmental conditions: 0-95% humidity C, 10-50˚ (1) 12-inch, ferrite, low-frequency transducer (1) driver midrange ferrite 8-inch, coaxial (1) 1.75-inch titanium compression driver (1) 500W HF 500W MR/LF 1,000W LF line-level TRS ¼” balanced XLR/ combo (1) input with attenuation control microphone input balanced XLR (1) mix output balanced XLR (1) Ethercon (control only) WiFi LAN adapter for use with included USB ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ Power Physical Type: Black electret condenser electret Black Type: Element: Pressure, FET preamplifier FET Pressure, Element: Polar Pattern: Omnidirectional Polar Pattern: Connections: Polarity Pin 2 output positive volt- Polarity Pin 2 output positive Connections: receivesto Pin 3) when diaphragm age (relative (moves inward) positive pressure Connector:3 pin XLR Male Connector:3 Performance Transducers Horn Dispersion: 60˚ x 90˚ x 60˚ Dispersion: Horn Inputs / Outputs Power: ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ StudioLive AI Active Integration PA Systems StudioLive Integration PA AI Active PRM1 StudioLive 312AI ◗ ◗ X4 ® ™

3GS or later or iPod touch ® 1 or later 5.1 or later 5.1 or later ®

® ®

or better recommended) or better Intel Core 2 Duo or Intel Xeon® processor or Xeon® processor Intel 2 Duo or Intel Core Athlon Quad or AMD (Intel Core 2 better) GB or more recommended) 2 GB RAM (4 later or 10.6.8 X OS Mac 2 Duo or processor (Intel Core Intel Core Duo - or better recommend Intel Xeon® processor ed) GB or more recommended) 2 GB RAM (4 port 1394b) (IEEE S800 FireWire Internet connection recommended DVD-ROM drive storage driveInternal or external 7200 RPM recommended resolution 1280x768 with Monitor 64-bit) or (32- 8 or 7 Windows X2 processorIntel Core Duo or AMD Athlon X4 or better2 Quad or AMD Athlon (Intel Core recommended) GB or more recommended) 2 GB RAM (4 or later Mac OS X 10.7.2 2 Duo orIntel Core Duo processor (Intel Core better recommended) i3 processor or Core GB or more recommended) 2 GB RAM (4 port 1394b) (IEEE S800 FireWire Internet connection recommended DVD-ROM drive Internal or external 7200 RPM storage drive recommended resolution 1024x768 with Monitor Apple iOS Apple iPad Apple iOS Apple iPhone ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ Apple iPad Mac Windows and Mac Systems Windows Mac Windows and Mac Systems Apple iPad ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ QMix-AI Computer system requirements Virtual StudioLive-AI Virtual Computer system requirements SL Remote-AI Computer system requirements ◗ ◗ ◗ ◗ ◗ ◗

™

and Windows ®

-AI ™ Artist 2.5 ® 2.0 ™ Studio One: Windows XP, Vista, Windows Vista, Studio One: Windows XP, 64-bit) or (32- 8 or 7 64-bit) or (32- 8 or 7 Windows Capture: ❚ ❚ ❚ ❚ Bidirectional control of commonly used mixerBidirectional control of commonly used parameters workflow drag-and-drop Easy directly to channels Drag presets Drag parts of presets directly to components in Fat Channel the EQ and Fat Channel gate, compressor, Adjust the plus the graphic EQ and effects mixer forQuickly drop entire scenes to the instant recall of all channel, effects, and graphicinstant recall of all channel, effects, and EQ settings dragging presetsquickly by simply Load effects into the GUI Technology Measurement Smaart Integrated 32-bit, 96 kHz multitrack recording application recording multitrack kHz 96 32-bit, channels and stereo stream(unlimited input for Mac from StudioLive) Record Now button starts recordingRecord Now button click with one mouse to one minuteup audio Prerecord captures Record before you press session recovery Auto-Save and automatic cut, editing suite (copy, Essential paste, splice, resize) virtualSoundcheck mode for quick soundchecks Session Lock averts accidental keyboard access withPeak LED-style meter bridge clip indicators Meter mode makes monitorBig a huge meter bridge Marker placement and recall Export between markers Stereo Playback mode for use with computer soundcards Full transport control OpenTL or .aiff .wav, individual Import/export Windows with easy-to-use wizards for audio analysis, system optimization, and feedback suppression as Studio One as easy to use Makes StudioLive channels toUse the mouse to quickly assign mute, solo, etc. multiple buses, ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ Capture Virtual StudioLive Virtual Computer system requirements Studio One ◗ ◗ ◗ ◗ ◗ ◗

® inserts Artist 2.5 ™ aux outputs subgroup outputs subgroup TRS stereo (L/R) aux inputs aux (L/R) stereo TRS TRS stereo (L/R) main outputs main (L/R) stereo TRS outputs control-room (L/R) stereo TRS output headphone TRS TRS line, and ¼” and line, TRS OS X and Windows OS X and Scene creation, storage, and recall creation, storage, Scene menus System ” ” ” ” ® ❚ ❚ ❚ ❚ 14 ¼” 14 pre-insert, balanced direct outputs,32 sockets) (DB25 25-32 17-24, 9-16, 1-8, Ch. S/PDIF digital out ports 1394b) (IEEE S800 FireWire 2 port with included Wi-Fi LANUSB 2.0 Dedicated controladapter for direct wireless or Dante-plus-dual-FireWire-S800 Optional cards I/O Thunderbolt-plus-dual-FireWire-S800 converters analog-to-digital High-definition range) dynamic dB (118 point, floating 32-bit Unlimited-headroom, mixing and effects processing digital kHz 48 and kHz 44.1 frequency sample Internal chassis steel non-flex Rugged, 100 mm long-throw faders Military-grade, quick-touch buttons BNC 12V lamp socket Optional dust covers available 1 XLR talkback-mic input with phantom1 XLR talkback-mic power and level control tape inputs Unbalanced RCA stereo (L/R) and outputs with level control outputs stereo (L/R) main XLR PreSonus’ revolutionary digital-audio worksta- digital-audio revolutionary PreSonus’ of GB 4+ and count track unlimited with tion third-party resources.. ¼ mono output with level control XLR ¼ ¼ 4 ¼” 2-digit Channel Selected display 2-digit Channel XLR mic,main inputs, each with 32 ¼ 2 ¼” ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ Digitalia Physical control-panel application forUniversal Control control-panel Mac Studio One Input/output ◗ ◗ ◗ ◗ ◗ ◗ ◗ StudioLive 32.4.2AI Included Software ◗ ◗ ◗

Aux 1-14 and FX A-D output 1-14 Aux recall Fader-position Selected channel level reduction Selected channel gain Sub buses 1 to 4 outputs Main stereo Up to 80 at a time a at 80 to Up Up to 99 at a time, plus… factory presets for instru- user-editable 50 ments and vocal Pre-dynamics/pre-fader input output Post-dynamics/post-fader Gain reduction ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ Global Scene Storage: all current StudioLive settings Main outputs, aux outputs 50 channel-strip presets for drums, bass,channel-strip presets 50 guitars, keyboards, and vocals All settings can be copied among channels andbe copied All settings can saved as user presets. Output Assign: 4 subgroups and main subgroups 4 Output Assign: Limiter: variable Threshold -28 dBfs to 0, ∞:1 0, to dBfs -28 Threshold variable Limiter: Ratio Compressor: Threshold,-56 to 0 dB; Ratio 1:1 to 1:1 Ratio dB; 0 to Threshold,-56 Compressor: Release ms; 150 to 0.2 Attack ∞:1; = LIM 14:1, Knee Soft dB; 28 to 0 Gain Makeup ms; 900 to 2.5 150 and Attack ms 10 with Mode Auto switch; ms Release 32 x 16- LED Fat Channel matrix: Channel Fat LED 16- x 32 Lockout mode to keep inspired amateurs fromLockout mode to keep inspired amateurs your settingschanging matrix LCD 194 x 64 Effects parameters Individual channel-strip Scene storage example, “SaturdayCustomizable naming (for Service” ) Gig” or “Main Worship bank meter main 15-LED x 8 display 15-LED horizontal Pan/Balance Automatic Global AutoStore Scenes for dial buttons—speed Scene Quick 6 ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ Scene store and recall 6 mute groups with All On / All Off switch 16 31-band graphic equalizers 4 internal digital effects-processors customizable presets 2 reverbs and 2 delays with Alt EQ/Dyn button - A/B two complete sets of Fat settings Channel EQ and dynamics-processor Metering/displays ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗

Threshold: 0 to -84 dB, Attack: 0.02 to 500 to 0.02 Attack: dB, -84 to 0 Threshold: 7-10, 11-14, Main) Mic Level control 3-6, 1-2, (Aux Select Output button Talk controlinput with level XLR mic Rear-panel power phantom 48V continuous and Level control button Mains to Input Tape Digital source on/off Mix volume control Cue PFL/AFL and Solo In Place (SIP) buttons Headphone-output level control control monitor-level Control-room Solo Bus to Monitor button button Monitor to Input Tape Monitor button Main L/R Digital Return to to Monitor buttonMain Mix Low EQ: sweepable from 36 Hz to 465 Hz, ±15 Hz, 465 to Hz 36 from sweepable EQ: Low dB, switchable shelf or peaking Mid EQ: sweepable from 90 Hz to 1.2 kHz,Low 4.0 to 0.1 Q variable dB, ±15 kHz, 5 to Hz 380 from sweepable EQ: Mid High 4.0 to 0.1 Q variable dB, ±15 kHz, 18 to kHz 1.4 from sweepable EQ: High peaking or shelf switchable dB, ±15 Master EQ On/Off button ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ Gate: Key Filter:Release: 0.05 to 2 sec. Bandpass ms, band- resonant second-order kHz, 16 to Hz 40 function Listen Key with (0.7) Q filter pass Access to all Fat Channel functionsAccess to all Fat System Talkback Level Control and Select (Fat Channel Level Control metering) switch (except phase reverse) Aux Input A and B Aux Input A and 4-band, fully parametric equalizer High-pass filter: 6 dB/oct., sweepable from Off to Off from sweepable dB/oct., 6 filter: High-pass only) aux’s and channels (main kHz 1 Polarity Invert (main channels only) Stereo link for input channels, aux buses, and subgroups Pan with dedicated 15-LED display 2 Track In Track 2 Solo Bus Monitor Bus ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ Master section Fat Channel with rotary encoders: ◗ ◗ ◗ ◗

insert (rear panel) (24-bit/44.1 kHz and 48 kHz) 48 and kHz (24-bit/44.1 mic preamplifier mic ™ Solo Mute Access to Fat Channel functions (except reverse) phase and filter high-pass Solo Pre/post-fader send Output-level control Access to Fat Channel functions (except phase reverse) Fat Channel metering Mix and Mix/Pan Aux A andchannels, input 32 sources: Available Talkback Input, Tape B, Mute Pre/post-fader send Output-level control Access to Fat Channel (except phase reverse) Effects-send Select for Fat Channel metering for aux-bus mixing and Fat ChannelMix button metering Trim control with –20 to +20 dBV line/-15 to +65 to line/-15 dBV +20 to –20 with control Trim dB!) (80 range gain mic dBu condenser for switch power phantom +48V microphones FireWire Input Select 100 mm precision faders Lighted Solo and Mute buttons Access to Fat Channel functions LED clip + metering ladder 15-LED Analog ¼” ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ StudioLive Mixer Digital 32.4.2AI 4 subgroup buses, each with: 14 aux sends, each with 4 internal effects sends, each with: 4 subgroups Stereo/mono main out 14 auxiliary mixes digital recording48-in/34-out FireWire interface 32 channel strips with high-headroom Class A inputs with high-headroom 32 mic/line XMAX ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗

SPECIfICATIONS

SPECIfICATIONS SPECIfICATIONS ◗ ◗ ◗ ◗ ◗ ◗ StudioLive 18sAI StudioLive 18sAI StudioLive 328AI StudioLive 315A(continued) ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ Accessories Optional DanteEthernetnetworkcard Accessories AC power requirements: 100-240 VAC, 50/60 Hz Optional DanteEthernetnetworkcard Weight: 56 lbs. (25.4 kg) Power: AC power requirements: 100-240 VAC, 50/60 Hz Weight: 71.6 lbs. (32.48 kg) Inputs /Outputs Power Transducer (398.27 mm) x 29.13” (739.9 mm) Dimensions (W x D x H): 15” (381 mm) x 15.68” Inputs /Outputs Horn Dispersion: 60˚ x 90˚ Transducers (546.9 mm) x 26.42” (671.1 mm) Dimensions (W x D x H): 24” (609.6 mm) x 21.53” Inputs /Outputs ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ stereo line inputs (2) combo, balanced XLR-¼” TRS, 1,000W, Class D amplifier (1) 18-inch, ferrite transducer Protective cover M10 Kit(foureyebolts) Pull-tested SubPole, Ethercon (controlonly) USB for usewithincluded WiFi LANadapter (1) balanced XLR mix output (1) balanced XLR microphone input input with attenuation control (1) combo XLR/ balanced ¼” TRS line-level 2 x 500W LF 500W MR/LF 500W HF (1) 1.75-inch titanium compression driver (1) coaxial 8-inch, ferrite midrange driver (2) 8-inch, ferrite, low-frequency transducers Protective cover M10 Kit(foureyebolts) Pull-tested SubPole Ethercon (controlonly) USB for usewithincluded WiFi LANadapter (1) balanced XLR mix output (1) balanced XLR microphone input input with attenuation control (1) combo XLR/ balanced ¼” TRS line-level 2,000W, Class D triamplification

◗ ◗ ◗ ◗ Computer systemrequirements Studio One2.5 Computer systemrequirements SL RoomControl Studio One2.5 Studio ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ Accessories Optional DanteEthernetnetworkcard AC power requirements: 100-240 VAC, 50/60 Hz Weight: 94 lbs. (42.64 kg) Mac andWindowsSystems Windows Mac Apple iPad Mac andWindowsSystems Windows Mac (609.6 mm) x 21.85” (555 mm) Dimensions (W x D x H): 25.98” (659.9 mm) x 24” ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ recommended) recommended) (Intel Core 2 Duoor AMD AthlonX4orbetter Internet connection (neededforactivation) 2 GBRAM(4recommended) Intel CoreDuoorAMDAthlon Windows 2 GBRAM(4recommended) Intel Mac OS Apple iPad1or later Apple iOS5.1orlater Monitor with 1024x768 resolution 2 GBRAM(4ormore recommended) Intel Windows 2 GBRAM(4ormore recommended) Core i3 orbetterrecommended) Intel CoreDuoprocessor(Intel 2 Duoor Mac Protective cover Dolly, SubPole) StudioLive AIProductPack(includesSub Pull-tested SubPole Mountable Sub Dolly Ethercon (controlonly) USB for usewithincluded WiFi LANadapter summed-mono line outputs (2) balanced XLR,switchablestereo/ recommended) (Intel Core2QuadorAMDAthlon X4 orbetter or IntelXeon ® ® ® OSX10.7.2orlater Core Core ® X 10.6.8 or later ® ® 7 x64/x86 SP1, Windows 8 x64/x86 7 x64/x86 SP1, Windows 8 x64/x86 ™ ™

® Duo processor (Intel Core 2 Duo Duoprocessor(IntelCore2 Duo DuoorAMDAthlon processor or better processoror better

® X2 processor X2 processor ™ X2 processor X2 processor

◗ ◗ ◗ ◗ Eris Sceptre Eris Sceptre ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ Frequency response Frequency response 102/105 dBmaximumcontinuousSPL Inputs /Outputs Power AC power requirements: 100-240 VAC, 50/60 Hz Weight Dimensions (WxD H) 102 dBmaximumcontinuousSPL Inputs /Outputs Power Transducers Transducers ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ™ E8 = 35 Hz - 22 kHz E5 = 53Hz - 22kHz (1) unbalanced RCAline-levelinput (1) balanced ¼-inch TRS line-level input (1) balanced XLR line-level input biamplification 70W (E5) or 130W (E8) Class AB dome, high-frequencytransducer (1) 1-inch (25 mm) ultra-low-mass, silk- transducer (1) 5.25” (E5) or 8” (E8) Kevlar low-frequency S8 23.3 lbs. (10.57 kg) S6 18 lbs. (8.16 kg) 15” (381 mm) S8 = 11” (279.4 mm) x 10.5” (266.7 mm) x (304.8 mm) S6 = 9” (22.6 mm) x 9.6” (243.8 mm) x 12” S8 = 35 Hz - 22 kHz S6 = 53 Hz - 22 kHz (1) balanced ¼” TRS line-level input (1) balanced XLR line-level input 200W RMS, Class D biamplification 1-inch (25mm)horn-loadedHFtransducer (1) coaxial 6.5” (S6) or 8” (S8) midrange driver 20 GB hard-drivespace Monitor with 1280 x 768 resolution DVD-ROM drive E5/E8 ™ ™ S6/S8 ™

◗ All specifications subject to change without notice. tioned hereinmaybetrademarksoftheirrespective companies. trademarks ofFulcrumAcoustic.Otherproduct namesmen- Inc., intheU.S.andothercountries.Temporal EQandTQare other countries.Windows isaregisteredtrademarkofMicrosoft, OS areregisteredtrademarksofApple,Inc.,in theU.S.and registered trademarksofPreSonusSoftwareLtd. Macand Dist, SampleOne,StudioOne,andTricomp aretrademarksor Electronics, Inc.Capture,Impact,MixverbPresence,RedLight- are trademarksorregisteredofPreSonusAudio PreSonus, QMix,RifftoRelease,Sceptre,StudioLive,andXMAX AudioBox, CoActual,DigiMax,Eris,FireStudio,Nimbit, © 2013PreSonusAudioElectronics,Inc.AllRightsReserved. ◗ ADL 700 ADL 700 ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ ◗ 300V preamplifier rails (1) 12AT7 and (2) 6922 vacuum tubes AC power requirements: 100-240 VAC, 50/60 Hz Weight Dimensions(WxDH) Input /Output AC power requirements: 100-240 VAC, 50/60 Hz Weight: 22.75lb.(10.32kg) mm) x 3.5” (88.9 mm) Dimensions (WxDxH): 19” (482.6 mm) x 17” (431.8 Gain: >73 dB S/N ratio: -100dB Frequency response: 10 Hz to 45 kHz, ±1 dB ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ E8 22.2 lbs (10.07 kg) E5 10.2 lbs (4.63 kg) x 15.12” (384 mm) E8 9.84” (250 mm) x 11.77” (299 mm) x 10.24” (260 mm) E5 7” (178 mm) x 7.68” (195 mm) (1) transformer-balanced XLRline output (1) transformer-balanced XLRmic input (1) transformer-balanced XLRline input (front panel) (1) unbalanced ¼”instrumentinput

31 NEW PRODUCTS WINTER 2013 www.presonus.com