Studiolive 32Ai, 24Ai and 16Ai Consoles with Universal Control Ai, SL Remote Ai, and QMix Ai
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I absolutely love the way the Fat channel from the new 192 integrates with S1. I assume this is made possible due to UC Surface. Is there any chance that we can see the same integration with the AI boards and S1? I use the 16.4.2ai as my main interface in the studio. It's great because I can create very good headphone mixes for the musicians using the on board fat channel and FX. It allows me to create a rough starting point for a mix during the recording process, and get the vibe going. I know I can print the eq and dynamics to the track as I'm recording, but I'm not one to commit during tracking. Are there any hardware/software limitations that would restrict the ability for the AI boards and the RM's from controlling the Fat channel plugin in S1, like possible the 192? I want to insert a fat channel plugin in S1, and adjust the fat channel on my AI console, and see it change in S1, just like it does with the 192.

Mods; if this is a discussion that would be better suited in the S1 forum, please feel free to move this thread.
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by matthewgorman on Thu Dec 03, 2015 1:55 pm
I think it can stay here for a while. If we dont get traffic maybe we move it.

It was stated earlier that RM control could come to S1. Now with the 192 you can see how it could be implemented. I have both units, and it would be great to get the fat channel control, and also direct access to the outputs for the RM mixers.

I have never seen anything along these lines involving the AI mixers. The only method I am aware of is to record in Capture, set to sync the mix scene. Then open the capture session in Studio One and the fat channel will sync to the settings on the board as they were recorded.

Matt

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by Sing4LTS on Thu Dec 03, 2015 2:30 pm
I guess I'm making the assumption that that 192, is actually utilizing UC surface to get the integration with S1. And from what we've been told about the possibility of it coming to the RM (again assuming this is possible because UC surface integration), and the fact that the RM and Ai boards are built on the same platform (another assumption), one could reasonably deduce that it "should" be possible with the Ai boards as well. LOL man, that's a lot of assumptions.
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by sjc193 on Thu Dec 03, 2015 2:39 pm
As I understand it (and honestly I haven't really used it yet but I've been thinking this through because I surely will soon) in Capture there is a "sync fat channel" button, what that does is it saves a snapshot of all the current fat channel settings from the AI board and puts them into the Capture file. Its does not record the automation of each fat channel throughout the recording process, it just saves a snapshot, so, you want to get that rough mix where you want it best you can and then save the snapshot. Typically that would probably come at the end, because during the recording you might make a tweak here or there to make it better, or even add another instrument when someone shows up late (that never happens right). So, you just recorded a song, you save the snapshot of all the FAT channels, close capture, and then open the capture file in studio one and all of your FAT channel pluggins are automatically added to the S1 song and populated with the settings that were saved from the AI mixer in the snapshot. That's how it currently will work with all the latest FirmWare/Software in place, and for me that's great because I record live shows and I always use capture for that.

But in the studio, everyone I know just records right into StudioOne, bypassing Capture and that makes sense. But it seems to me that they should be able to very easily do the same thing they did with capture and add a FAT channel AI sync button to S1 so that (to OP) you use your AI mixer to do the headphone mixes and everything just like do now, so mix on the mixer, not S1 (as opposed to the workflow of the 192), then when the song is done recording, you hit the "FAT channel AI sync" button in S1 and now all of your settings from the board are automatically populated into your S1 session. To me this seems like it would be an easy implementation by Presonus, at least for now, the code already exists in capture.

I don't see control of S1 from an AI mixer ever really coming, although they did say control of Capture from UC Surface is coming soon, and that's cool.

For now I wonder if you couldn't somehow open capture and do the Fat channel sync button, then open that session in S1 and somehow copy all the FAT plugs from one song to the other? A bit of a stretch, but easier than filling out each FAT plug by hand. . .

Steve

StudioLive RM32AI
Rackmount Windows 8.1 PC Quad core 8G ram
ASUS RT-N66U Dual Band Router
IPad2, IPad Air 2, Studio One 3 Pro, 1 DBX Driverack 260
2 QSC KW 153's, 2 Turbosound TMS-1's
2 OHM MR450D Subs with Kilomax 18inch drivers
4 EV ZLX-12P's, 1 TurboSound iX15, 2 Yamaha S115V's
1 Crest Pro-Lite 7.5 (7500 watts) amp, 2 Behringer EP4000 amps
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by Sing4LTS on Thu Dec 03, 2015 3:16 pm
sjc193 wrote
But in the studio, everyone I know just records right into StudioOne, bypassing Capture and that makes sense. But it seems to me that they should be able to very easily do the same thing they did with capture and add a FAT channel AI sync button to S1 so that (to OP) you use your AI mixer to do the headphone mixes and everything just like do now, so mix on the mixer, not S1 (as opposed to the workflow of the 192), then when the song is done recording, you hit the "FAT channel AI sync" button in S1 and now all of your settings from the board are automatically populated into your S1 session. To me this seems like it would be an easy implementation by Presonus, at least for now, the code already exists in capture.

I don't see control of S1 from an AI mixer ever really coming, although they did say control of Capture from UC Surface is coming soon, and that's cool.

For now I wonder if you couldn't somehow open capture and do the Fat channel sync button, then open that session in S1 and somehow copy all the FAT plugs from one song to the other? A bit of a stretch, but easier than filling out each FAT plug by hand. . .

Steve


I really like the idea of a fat channel sync in S1 as it is in capture. That would be a great starting point.

As for "control of S1" that's not really what I'm looking for. I don't think that will ever be possible. What I do think is possible is for the specialized fat channel plugin that is used in S1 to control UC surface and thus make changes to the internal DSP in the 192; to allow the same functionality and control the Ai boards via UC Surface. Presonus has already made mention that they intend to put this functionality into the RM series, along with the ability to control the preamps. So why not the Ai's, obviously without the preamp control?
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by matthewgorman on Thu Dec 03, 2015 3:39 pm
I have never seen anything along these lines involving the AI mixers. The only method I am aware of is to record in Capture, set to sync the mix scene. Then open the capture session in Studio One and the fat channel will sync to the settings on the board as they were recorded.


:shock:

What I do think is possible is for the specialized fat channel plugin that is used in S1 to control UC surface and thus make changes to the internal DSP in the 192; to allow the same functionality and control the Ai boards via UC Surface. Presonus has already made mention that they intend to put this functionality into the RM series, along with the ability to control the preamps. So why not the Ai's, obviously without the preamp control?


It would seem that the request is legit, but I don't know enough to say if there is some internal architecture going on that would prevent it. The best part of the 192 integration is that you can not only control all the parameters, you can either link the dsp to the S1 plug, leaving an out to change the parameters down the road. Or you can link and print the DSP and move on with your day.

Its a really solid opening effort for a young product. However, I would take your idea over to the answers site and put in a feature request. Link to the FR thread below:

http://answers.presonus.com/questions/s ... re-request

Matt

Lenovo ThinkServer TS140 Win 10 64bit, 8GB RAM, Intel Xeon
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by Lawrence on Thu Dec 03, 2015 3:42 pm
As someone who doesn't own any of Presonus's digital mixers, let me ask...

Is there some benefit (for S1 users) with using Capture to record with those boards instead of just using Studio One? I only ask because I often enough read what looks like S1 owner/users discussing moving Capture files over to it so I can only assume there must be some benefit I'm not aware of or they'd probably just always be recording directly into S1.

Thanks.
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by matthewgorman on Thu Dec 03, 2015 6:13 pm
Lawrence wroteAs someone who doesn't own any of Presonus's digital mixers, let me ask...

Is there some benefit (for S1 users) with using Capture to record with those boards instead of just using Studio One? I only ask because I often enough read what looks like S1 owner/users discussing moving Capture files over to it so I can only assume there must be some benefit I'm not aware of or they'd probably just always be recording directly into S1.

Thanks.


From my standpoint, Capture is really easy to set up and get going. I have recorded studio work in a live band situation, and just fired up Capture, all tracks are loaded and record armed, and you can get right to it. We had one session that wound up being a 6 hr capture file, kind of like having a few rolls of tape after you are done. In a way its comforting, like the old days. Where Capture stops is in the overdubbing, vocal comping, punch ins, etc.

From an outside perspective, I think alot of the mention of working in Capture is from the FOH engineers. Its a comfortable workflow, no routing, no cue mixes, none of the things that can weigh down a daw. I can tell you in a live situation, I don't have time to mess with that. I can open Capture and hit start recording, and every possible track is armed, record locked, and recording with that one button. Between getting the PA set up, running mics, soundchecks, etc, I don't have a lot of time to set up a daw session, and I am not organized enough top have it set up prior. But literally, in the time it takes for S1 to open up, create a new song, name it, record arm all tracks, and hit record, I probably have 10 minutes of recorded audio already, including capturing all the aux mixes, all mixer channels, and a stereo mix of the mains.

Matt

Lenovo ThinkServer TS140 Win 10 64bit, 8GB RAM, Intel Xeon
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by Lawrence on Thu Dec 03, 2015 6:48 pm
Thanks Matt.

I may have incorrectly assumed (again, not having used those boards) ithat an S1 song template could always put you exactly where you'd need to be in much the same fashion, with nothing else to do but hit record on the transport, with the board doing all the cues and all that as normal and S1 only acting as a simple audio recorder.

Thanks for the detailed explanation.
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by sjc193 on Fri Dec 04, 2015 9:17 am
And the other benefit to Capture over S1 currently as discussed is that you can sync all of your FAT channel settings for each channel on the mixer to the Capture file, then when you open it in StudioOne, all Tracks show up just as if you had recorded it in StudioOne, with the benefit of having the S1 FAT plugin automatically added to each track and the settings of that plug match what they did on the mixer.

This way you might have a good starting point to getting a good CD mix going with out nearly as much effort. For Live Sound guys like me, sometimes you just want to hear the recording in the car, you don't necessarily want to make an album that would ever sell, you just want to listen to it in the car but you don't want it to suck and you don't want to spend a lot of time on it either (contradictory statement), it's the impossible task really, but this FAT channel sync really helps get you there faster. It puts each channel at a decent starting point and you can get a half descent mix by simply adjusting the faders, again, this might give you something to listen to in the car fairly quickly.

In theory you spent 3 hours getting each of those FAT channels just right for the live mix, so you may have just saved yourself 3 hours in the studio if you can bring those settings into S1. But your sound system has to be tuned very well for all of this to pan out in the end, luckily Presonus gives us Smaart to help with that too.

All that said, for me to get a good sounding CD in the car it typically takes me hours and hours and hours, so this may all just be a pipe dream LOL

Steve

StudioLive RM32AI
Rackmount Windows 8.1 PC Quad core 8G ram
ASUS RT-N66U Dual Band Router
IPad2, IPad Air 2, Studio One 3 Pro, 1 DBX Driverack 260
2 QSC KW 153's, 2 Turbosound TMS-1's
2 OHM MR450D Subs with Kilomax 18inch drivers
4 EV ZLX-12P's, 1 TurboSound iX15, 2 Yamaha S115V's
1 Crest Pro-Lite 7.5 (7500 watts) amp, 2 Behringer EP4000 amps
10 58/57 mics, 1 SM86, 1 sE8, 1 sE2200, 1 AT2020, 2 AT2021
1 beta52 kick mic, 2 e609, 2 Radial J48 DI's, 1 PRO48 DI
2 4Bar lights, 1 4Play, 1 6Spot, 1 fog machine
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by sjc193 on Fri Dec 04, 2015 9:30 am
Sing4LTS wroteI guess I'm making the assumption that that 192, is actually utilizing UC surface to get the integration with S1. And from what we've been told about the possibility of it coming to the RM (again assuming this is possible because UC surface integration), and the fact that the RM and Ai boards are built on the same platform (another assumption), one could reasonably deduce that it "should" be possible with the Ai boards as well. LOL man, that's a lot of assumptions.


Even with all the assumptions, I agree that what you are saying will happen eventually. How many years will it take for Presonus to release it, I don't know, but I do think they are headed that way with the RM and there is absolutely no reason it wouldn't carry over to the AI mixer, they both are already tied to the exact same UC Surface Application, the AI mixer can control the UC Surface App, so if they bring control of the S1 FAT plug to UC Surface, it stands to reason the the actual mixer could affect UC Surface which in turn affects the S1 plug (and visa versa S1 plug changes affect UC Surface which affects the mixer FAT channels). This would nearly make the AI mixer into a S1 controller but on an extremely limited, yet useful, basis.

Presonus does want everything connected eventually I believe. It wouldn't matter if you touch the EQ gain in StudioOne Fat plug, or UC Surface, or right on the mixer surface, they all would be connected so they all would affect each other and you end up with this seamless, well, Active Integration! I'm pretty sure this has been the idea all along, including the AI mixers and not just the RM or 192.

It hasn't come to complete fruition yet, but when it does, it should put these mixers in a class of their own over other similar mixers at the same price range. Being a FOH guy and knowing lots of other FOH guys, I have seen a lot of them swear off Presonus forever due to the Classic SL mixers DSP board issues and go and buy X32's or others, live sound guys do not like it when their equipment dies and 1000 people are looking at them like bleep? It hurts deep, and my classic 16.4.2 DSP crashed on me twice in 3 years needing repair, but I pay enough attention to know that Presonus learned their lesson on that hardware issue, the AI's are better, and they have always been ahead of the game software wise, SL Remote was amazing and UC Surface is going to be far beyond that once all the little quirks are out. But it really is this integration to S1 that no other mixer has, same with Smaart and other features as well and it all will make the AI family of mixers stand out far above the class, at least in my eyes. Currently while these mixers are truly in their infancy, it is difficult to see for the layman sound guy, many are still looking at analog boards in the same price range, if they only knew the difference. . . :reading:

Steve

StudioLive RM32AI
Rackmount Windows 8.1 PC Quad core 8G ram
ASUS RT-N66U Dual Band Router
IPad2, IPad Air 2, Studio One 3 Pro, 1 DBX Driverack 260
2 QSC KW 153's, 2 Turbosound TMS-1's
2 OHM MR450D Subs with Kilomax 18inch drivers
4 EV ZLX-12P's, 1 TurboSound iX15, 2 Yamaha S115V's
1 Crest Pro-Lite 7.5 (7500 watts) amp, 2 Behringer EP4000 amps
10 58/57 mics, 1 SM86, 1 sE8, 1 sE2200, 1 AT2020, 2 AT2021
1 beta52 kick mic, 2 e609, 2 Radial J48 DI's, 1 PRO48 DI
2 4Bar lights, 1 4Play, 1 6Spot, 1 fog machine
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by matthewgorman on Fri Dec 04, 2015 12:25 pm
In theory you spent 3 hours getting each of those FAT channels just right for the live mix, so you may have just saved yourself 3 hours in the studio if you can bring those settings into S1. But your sound system has to be tuned very well for all of this to pan out in the end, luckily Presonus gives us Smaart to help with that too.


This is a great point that unfortunately has never been able to be utilized by me. My focus is way more in studio work than live work. The one thing that gets me? My eq descisions to accomodate the sound to a room with a crowd, do not translate to what I want to hear when mixing in the studio. I stopped syncing my sessions, because I was basically restarting everything once I got in to mix it.

Matt

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by Sing4LTS on Fri Dec 04, 2015 1:00 pm
Feature request has been added. Please go vote!

http://answers.presonus.com/2898/reques ... hin-series
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by Lawrence on Fri Dec 04, 2015 1:19 pm
matthewgorman wroteThis is a great point that unfortunately has never been able to be utilized by me. My focus is way more in studio work than live work. The one thing that gets me? My eq descisions to accomodate the sound to a room with a crowd, do not translate to what I want to hear when mixing in the studio. I stopped syncing my sessions, because I was basically restarting everything once I got in to mix it.


I think that's where my question was rooted.

I don't do live sound work but I have done remote recordings in the past and my habit is to always start a mix fresh (and it usually happens some time later anyway), not so much try to recreate the mix from the live recording session. So for me the mix is almost always...

"Remove all the plugs, pull all the faders down, all I need is the audio tracks... to start."

But sjc193 made a very good point. If you - do - want to end up in the same place for the mix, and if Capture pushes all of those settings over very easily, that's a very, very good reason to use it.
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by matthewgorman on Fri Dec 04, 2015 1:28 pm
Absolutely. There are a lot of time when I go back through and listen, and the amount of low end that needed to be carved out because of the room now sounds thin and bad.

Or maybe I should stop having a few beers while mixing a show?

Matt

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by Lawrence on Fri Dec 04, 2015 1:35 pm
I've watched FOH people do that kinda thing and what I've seen sometimes is...

1. The FOH guy mixes the show in the room as usual.
2. Somewhere else, sometimes in another room, maybe another guy is doing the recording, taking in mults from auxes or whatever and recording that.

I guess the question is... "What to push / record?". Record the signals as they are for the show with EQ and Compression and all that or record pre-fx. My preference would always be the latter, dry... but... if the band is using a lot of rack gear, comps and things in hardware racks, pre-fx mults for everything might be a little more tricky.
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by sjc193 on Fri Dec 04, 2015 2:49 pm
matthewgorman wrote
In theory you spent 3 hours getting each of those FAT channels just right for the live mix, so you may have just saved yourself 3 hours in the studio if you can bring those settings into S1. But your sound system has to be tuned very well for all of this to pan out in the end, luckily Presonus gives us Smaart to help with that too.


This is a great point that unfortunately has never been able to be utilized by me. My focus is way more in studio work than live work. The one thing that gets me? My eq descisions to accomodate the sound to a room with a crowd, do not translate to what I want to hear when mixing in the studio. I stopped syncing my sessions, because I was basically restarting everything once I got in to mix it.


I think that's why I wrote this right after that paragraph: "All that said, for me to get a good sounding CD in the car it typically takes me hours and hours and hours, so this may all just be a pipe dream LOL"

To make a proper CD, you really should start from scratch again, especially if getting paid to do it, do it right.

But the pipe dream is still alive for me, the nerd in me wants to figure out the connection from Live sound to CD sound, it's difficult for me to believe there is no connection, but most people will say they are two completely different beasts. I agree and disagree. I come from a live sound background, I have spent hundreds of hours in studios as a performer too but typically was behind the mic with headphones not behind the computer. For the past 4 years now since I got my first StudioLive and computer, I've had the chance to record countless great bands and play with StudioOne later, just for fun, and like I said to make a CD for in the car for myself. I now have it down to about a 3 or 4 hour job to cut an 80 minute CD, but that typically doesn't include much automation, I try not to have to change any settings with automation because, well, it takes time and I don't have much time. But sometimes you have to automate the faders at aleast a little bit from song to song so I have been working on that, but I don't automate the plugins really. I also certainly don't listen to every second of the performance tweaking along the way like a real Studio Engineer would and should do. I do more of a spot check type workflow.

Gadget used to often say on this forum regarding live sound that you should not be EQing the channel to fix the speaker. I believe that statement goes straight to the heart of a connection between live sound and CD sound when it come to the mix. With all of the layers of EQ involved on an SL mixer (channel eq > subgroup eq > output eq > driverack eq) how do you know which one to use when? That's the trick and I am certainly still learning to understand it, I don't have it all figured out yet. But the nerd in me has been working on it and I think the Capture Sync may be a pretty good indicator of whether or not you did use the layers of EQ properly. In theory, (and this is just a Steve Chapel theory I didn't read this anywhere), the first layer of EQ, actually let's call it FAT to include the comp/gate/highpass/EQ, so the first layer of FAT (which is channel FAT) should in theory work for both a Studio/CD mix and a live mix, it is the layers of FAT after the first layer that would change between studio and live mixes. So, if my theory is correct, and you do a good job of mixing a live act, placing your eq cuts and compression in the correct "layers of FAT", then when you sync the FAT channels to capture and pull it up in StudioOne, it should sound pretty good, but of course it might need a couple subgroups with FAT or other plugs on them and it will need automation on the faders and certainly it would need mastered in the project which is also where I cut my songs up into tracks (super easy in project!) Bamm! Now I have a CD for the car.

So now I keep that in mind while mixing a Live Act, and I think over time I have begun to pick out what issues I'm hearing and which "Layer of FAT" to address the issue on, it's a bit of a mind freak but I do believe there is a rhyme or reason to it, it just takes a lot of practice, lucky for me the musicians around this area keep me quite busy and I get the practice that's for sure, every Genre of music you can think of too. What begins to happen over time is that the 3rd and 4th layers of FAT, the output layers, they begin to fall into place and I don't really have to change them much from gig to gig, even from room to room, once I have the system really humming changing the EQ for the room usually just messes it up more than anything for me, the room affects my FX settings and max volume level more than anything else. Not that I won't run a Smaart every once in a while just to see what the trace looks like.

That's the theory anyways, does it work? We'll see over time, I haven't used the capture FAT sync yet but I will soon, I have run a virtual sound check into headphones and remixed from there to try to get CD sound and I have certainly learned a few things about my mix doing that. All in good fun!

The beauty of the Capture FAT sync is that you can still record all tracks dry, this gives you the option to start from scratch and make a professional live record, or start from your Live mix and go from there, gotta love options! It's a great option and they really should give you that sync button in StudioOne because no one uses Capture in the Studio right?

Steve

StudioLive RM32AI
Rackmount Windows 8.1 PC Quad core 8G ram
ASUS RT-N66U Dual Band Router
IPad2, IPad Air 2, Studio One 3 Pro, 1 DBX Driverack 260
2 QSC KW 153's, 2 Turbosound TMS-1's
2 OHM MR450D Subs with Kilomax 18inch drivers
4 EV ZLX-12P's, 1 TurboSound iX15, 2 Yamaha S115V's
1 Crest Pro-Lite 7.5 (7500 watts) amp, 2 Behringer EP4000 amps
10 58/57 mics, 1 SM86, 1 sE8, 1 sE2200, 1 AT2020, 2 AT2021
1 beta52 kick mic, 2 e609, 2 Radial J48 DI's, 1 PRO48 DI
2 4Bar lights, 1 4Play, 1 6Spot, 1 fog machine
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by Sing4LTS on Fri Dec 04, 2015 3:54 pm
I used to do a lot of live recording using capture as well, and I've never found the Fat Channel Sync that useful, just for the same reasons you guys are discussing. There are just too many variables in a live venue setting, mainly the room, and stage volume.

Now I am starting to focus more on studio projects, and I've moved my 16.4.2ai out of the trusty road case and into my control room, which is why I'm looking to get this integration with Studio One. Capture is great for live recording, but in the studio it just doesn't cut it.

Generally when I'm in the studio it looks something like this:
Drummer is in room A. I have anywhere from 8-10 mics on the kit, plugged into the snake that runs back to the control room. Drummer plays while I adjust the fat channels until I have a good sound coming into the control room. Drummer hears himself through stereo Aux1&2, and he's hearing a good sounding kit through his phones.

Guitar player is in Room B. He's on aux 3-4, and is also getting the fat channel processed drums in his cans. His channel also gets tweaked until I have a good sound in the control room and gets aux'd out accordingly.

Bass (DI for now), and Vox, are with me in the control room, and are working off the mains. They too get tweaked and aux'd back out to the players in rooms A and B.

Once I have a decent mix going on, I'm ready to record. 16 tracks are armed in S1, and are sent to the main outs (tape return) not back to the firewire returns. My mixing is going to be done in the box, not on the SL. So we track, without printing dynamics and EQ, just in case I want to tweak a little more later. Basic tracking is done.

Time to do punch ins and overdubs.
My raw tracks in S1 are now being fed back to the musicians in their raw state, because they are routed to the 2track return which is routed to their aux mixes. So when we are doing punch ins they hear a lifeless version of the track they just laid down, then the punch in comes in, and they hear the processed version off the board as they are playing along, then the punch out and they are back to the lifeless version coming off the two track.

You see the problem here? Sure I could utilize the firewire returns and route everything back on a 1:1 channel basis, but then I'm limited to 16 tracks. With the Studio 192 fat plugin sync, the problem fixes itself.

Now...with all of that being said; am I really going to use those exact same settings on my final mixdown? Of course not. In fact I'm probably going to replace the fat channel plugin with some tasty Slate VMR modules. But I'll be able to look at my compressor settings and my EQ settings, that are in the current fat channel, and get a pretty darn good starting point for tweaking my Slate plugs. However unlike a live mix that was recorded in capture where I would just start over from scratch, in this studio situation I'm not nearly as likely to do that.

What it really comes down to is the ability to switch from the onboard DSP of the Ai, (or RM) to the S1 Plugin Fat channel seamlessly like is done on the 192 while punching in and overdubbing.

Anyway, that's my pipe dream. LOL
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by matthewgorman on Fri Dec 04, 2015 4:18 pm
It makes perfect sense, but thats why I voted up your FR.

Matt

Lenovo ThinkServer TS140 Win 10 64bit, 8GB RAM, Intel Xeon
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by sjc193 on Fri Dec 04, 2015 4:35 pm
I voted for it too, but I wouldn't be surprised if this was already slated for the future by presonus

Steve

StudioLive RM32AI
Rackmount Windows 8.1 PC Quad core 8G ram
ASUS RT-N66U Dual Band Router
IPad2, IPad Air 2, Studio One 3 Pro, 1 DBX Driverack 260
2 QSC KW 153's, 2 Turbosound TMS-1's
2 OHM MR450D Subs with Kilomax 18inch drivers
4 EV ZLX-12P's, 1 TurboSound iX15, 2 Yamaha S115V's
1 Crest Pro-Lite 7.5 (7500 watts) amp, 2 Behringer EP4000 amps
10 58/57 mics, 1 SM86, 1 sE8, 1 sE2200, 1 AT2020, 2 AT2021
1 beta52 kick mic, 2 e609, 2 Radial J48 DI's, 1 PRO48 DI
2 4Bar lights, 1 4Play, 1 6Spot, 1 fog machine

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