PreSonus 1818VSL User Manual

AudioBox™ 1818VSL

Owner’s Manual

OverviewHookupConnecting

Software: Virtual StudioLive

to a

Computer

AB1818VSL Remote,

and Studio One Artist

TutorialsTechnical

Information

and Warranty

Troubleshooting

®

www.presonus.com

Important Safety Instructions

The exclamation point within an equilateral triangle is intended to alert the user
to the presence of important operating and maintenance (servicing) instructions
in this manual.

The lightning flash with arrowhead symbol within an equilateral triangle is

intended to alert the user to the presence of uninsulated “dangerous” voltage
within the product’s enclosure that may be of sufficient magnitude to constitute a risk of
electric shock to humans.

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE THE COVER.
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED
PERSONNEL.

CAUTION: To reduce the risk of electric shock, do not expose this appliance to
rain and moisture. The apparatus shall not be exposed to dripping or splashing
liquids and no object filled with liquids, such as vases, shall be placed on the

apparatus.

CAUTION: These service instructions are for use by qualified service personnel
only. To reduce the risk of electric shock, do not perform any servicing other than
that contained in the operation instructions. Repairs must be performed by

qualified service personnel.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry a cloth.

7. Do not block any ventilation openings. Install in accordance

with the manufacturer’s instructions.

8. Do not install near any heat sources, such as radiators, heat registers,

stoves, or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A

polarized plug has two blades, with one wider than the other. A grounding-type
plug has two blades and a third grounding prong. The wide blade and the
third prong are provided for your safety. If the provided plug does not fit into
your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched, particularly at plugs,

convenience receptacles, and the point where they exit from the apparatus.

11. Use only attachments/accessories specified by PreSonus.

12. Use only with the cart, stand, tripod, bracket, or table

specified by the manufacturer or sold with this apparatus.
When a cart is used, use caution when moving the cart/
apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms

or when unused for long periods of time.

14. Servicing is required when the apparatus has been damaged in any way, such as
if a power-supply cord or plug is damaged; or liquid has been spilled, or objects
have fallen, into the apparatus; or if the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped. All PreSonus products
in the USA should be serviced at the PreSonus factory in Baton Rouge, Louisiana.
If your product requires a repair, contact [e-mail] to arrange for a
return-authorization number. Customers outside the USA should contact their local
distributor. Your distributor’s contact information is available at www.presonus.com.

15. The apparatus shall be connected to a Mains power outlet
with a protective grounding/earthing connection.

16. Where the Mains plug or an appliance coupler is used as the disconnect
device, the disconnect device shall remain readily operable.

EU Directives on the Protection of the
Environment and Other Euro Stuff

RoHS This product is compliant with the EU Directive 2011/65/EU for the Restriction

of the use of Certain Hazardous Substances in Electrical and Electronic Equipment.
No lead (Pb), cadmium (Cd), mercury (Hg), hexavalent chromium (Cr+6), PBB
or PBDE is intentionally added to this device. Any traces of impurities of these
substances contained in the parts are below the RoHS specified threshold levels.

REACh This product is compliant with the European Union Directive
EC1907/206 for the Registration, Evaluation, Authorization, and Restriction
of chemicals (REACh) and contains none or less than 0.1% of the
chemicals listed as hazardous chemicals in the REACh regulation.

WEEE This symbol on the product or its packaging indicates that this
product must not be disposed of with other waste. Instead, it is your
responsibility to dispose of your waste equipment by handing it over to
a designated collection point for the recycling of waste electrical and
electronic equipment. The separate collection and recycling of your waste
equipment at the time of disposal will help conserve natural resources and
ensure that it is recycled in a manner that protects human health and the environment. For
more information about where you can drop off your waste equipment for recycling, please
contact your local city recycling office or the dealer from whom you purchased the product.

CE This product complies with the European Union Council Directives
and Standards relating to electromagnetic compatibility EMC Directive
(2006/95/EC) and the Low Voltage Directive (2004/108/EC).

AudioBox™ 1818VSL

1.0 Overview — 1

1.1 Introduction — 1

1.2 Summary of AudioBox 1818VSL

Hardware Features — 2

1.3 Summary of Studio One Artist
Software Features — 2

1.4 Summary of Virtual StudioLive
Software Features — 3

4.1.5 Loading Scenes and Presets
from VSL — 30

4.1.6 Using VSL to Create a
Monitor Mix — 31

4.2 AB1818VSL Remote — 33

4.2.1 Networking your iPad
and Computer — 33

4.2.2 Connecting to Virtual
StudioLive — 36

4.2.3 AB1818VSL Remote:
Overview Page — 37

OverviewHookupConnecting

to a

Computer

1.5 What is in the Box — 4

2.0 Hookup — 5

2.1 Front-Panel Connections — 5

2.2 Rear-Panel Connections — 7

2.3 Typical Band Hookup Diagram — 9

2.4 Speaker-Switching

Hookup Diagram — 10

3.0 Connecting to a
Computer — 11

3.1 System Requirements — 11

3.2 Installation for Windows — 12

3.3 Installation for Mac OS X — 14

3.4 Using the AudioBox 1818VSL with

Popular Audio Applications — 15

4.2.4 Aux Mix Page — 42

4.2.5 Settings Page — 44

4.2.6 Channel Zoom Page — 46

4.3 Studio One Artist Quick Start — 47

4.3.1 Installation and
Authorization — 47

4.3.2 Enabling the Audio Driver — 52

4.3.3 Configuring MIDI Devices — 53

4.3.4 Creating a New Song — 56

4.3.5 Creating Audio Tracks — 58

4.3.6 Creating MIDI Tracks — 59

4.3.7 Adding Virtual Instruments

and Plug-in Effects to
Your Song — 60

5.0 Tutorials — 62

5.1 Microphone Types — 62

AB1818VSL Remote,

and Studio One Artist

Software: Virtual StudioLive

TutorialsTechnical

Information

and Warranty

Troubleshooting

4.0 Software: Virtual StudioLive
and Studio One Artist — 17

4.1 Virtual StudioLive — 17

4.1.1 Virtual StudioLive: Setup — 17

4.1.2 Virtual StudioLive:
Browser — 22

4.1.3 Virtual StudioLive: Overview
and Fat Channel Tab — 23

4.1.4 VSL Controls: Definitions
and Uses — 24

5.1.1 Condenser — 62

5.1.2 Dynamic — 62

5.1.3 USB Microphones and
Other Types — 62

5.1.4 Microphone Placement — 63

5.2 A Brief Tutorial on Dynamics
Processing — 66

5.2.1 Common Questions Regarding

Dynamics Processing — 66

iii

Overview Hookup Connecting

5.2.2 Types of Dynamic
Processing — 67

5.2.3 Compression Settings: Some
Starting Points — 72

5.3 Equalizers — 74

5.3.1 What is an EQ? — 74

Computer

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Software: Virtual StudioLive

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and Warranty

5.3.2 Equalization Settings:
How to Find the Best and Leave
the Rest — 76

5.3.3 General EQ Suggestions — 79

5.4 Aux Bus Mixing — 82

5.4.1 Monitor Mixing — 82

5.4.2 Effects Processing — 82

5.5 Digital Effects — 83

5.5.1 Reverb — 83

5.5.2 Delay — 84

5.4.3 Modulation Effects — 84

6.0 Technical Information — 85

6.1 Specifications — 85

7.0 Troubleshooting and
Warranty — 87

7.1 Troubleshooting — 87

7.2 PreSonus Limited Warranty — 88

Index — 90

Current Section 0Owner’s Manual
Current Sub Section 0.0

OverviewHookupConnecting

to a

Computer

AB1818VSL Remote,

and Studio One Artist

Software: Virtual StudioLive

TutorialsTechnical

Information

and Warranty

Troubleshooting

v

PreSonus AudioBox™ 1818VSL

vi

Owner’s Manual

1.0 Overview

1.1 Introduction

Overview 1
Introduction 1.1

Overview

HookupConnecting

Thank you for purchasing the PreSonus AudioBox™ 1818VSL. PreSonus Audio
Electronics has designed the AudioBox 1818VSL utilizing high-grade components to
ensure optimum performance that will last a lifetime. Loaded with 8 high-headroom,
Class A, XMAX™ microphone preamplifiers; a built-in 18x18 USB 2.0 recording
and playback engine; MIDI I/O; S/PDIF I/O; ADAT I/O; BNC word clock output;
Fat Channel processing with 3-band EQs, compressors, limiters, and downward
expanders; delay and reverb effects; and more, AudioBox 1818VSL breaks new
boundaries for music performance and production. All you need is a computer with
a USB 2.0 connection, a few microphones and cables, powered speakers, and your
instruments, and you are ready to record in the studio or in front of a live audience!

We encourage you to contact us at 225-216-7887 (9 a.m. to 5 p.m. Central Time)
with questions or comments regarding your PreSonus AudioBox 1818VSL.
PreSonus Audio Electronics is committed to constant product improvement, and
we value your suggestions highly. We believe the best way to achieve our goal
of constant product improvement is by listening to the real experts: our valued
customers. We appreciate the support you have shown us through the purchase
of this product and are confident that you will enjoy your AudioBox 1818VSL!

ABOUT THIS MANUAL: We suggest that you use this manual to familiarize yourself with the
features, applications, and correct connection procedures for your AudioBox 1818VSL before trying
to connect it to your computer. This will help you avoid problems during installation and setup.

Throughout this manual you will find Power User Tips that can quickly make you an
AudioBox 1818VSL expert. In addition to the Power User Tips, you will find an assortment
of audio tutorials at the back of this manual. These tutorials cover everything from
microphone placement to equalizer and compression-setting suggestions.

to a

Computer

AB1818VSL Remote,

and Studio One Artist

Software: Virtual StudioLive

TutorialsTechnical

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and Warranty

Troubleshooting

1

1 Overview

1.2 Summary of AudioBox 1818VSL Hardware Features

PreSonus AudioBox™ 1818VSL

Computer

and Studio One Artist

Overview

Hookup Connecting

to a

Software: Virtual StudioLive

AB1818VSL Remote,

Tutorials Technical

1.2 Summary of AudioBox 1818VSL Hardware Features

• 24-bit/96 kHz sampling rate

• 8 Class A XMAX microphone preamplifiers

• 2 Instrument inputs

• 6 Line inputs

• MIDI I/O

• S/PDIF I/O

• ADAT I/O

• BNC word clock output

• High-definition analog-to-digital converters (114 dB dynamic range)

• 18x18 USB 2.0 audio interface

• Headphone output

• Rugged steel chassis

• Virtual StudioLive™ monitor-mixing software

• Studio One™ Artist

• Compatible with Cubase, Digital Performer, Logic, Nuendo, Pro Tools
9+, Sonar, Studio One, and other audio-recording software

Information

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and Warranty

• Mac OS X®- and Windows®-compatible

1.3 Summary of Studio One Artist Software Features

All PreSonus audio interfaces include PreSonus Studio One Artist recording
software, which comes with over 4 GB of plug-ins, loops, and samples, giving
you everything you need for music recording and production. The Studio
One Artist Quick Start Guide is located in Section 4.3 of this manual. You will
find a complete user manual on the Studio One Artist installation DVD.

• Unlimited track count, inserts, and sends

• 20 high-quality, native plug-ins: amp modeling (Ampire), delay (Analog Delay,
Beat Delay), distortion (Redlight Dist), dynamics processing (Channel Strip,
Compressor, Gate, Expander, Limiter, Tricomp), equalizer (Channel Strip, Pro EQ),
modulation (Autofilter, Chorus, Flange, Phaser, X-Trem), reverb (MixVerb, Room
Reverb), and utility (Binaural Pan, Mixtool, Phase Meter, Spectrum Meter, Tuner)

• Over 4 GB of loops, samples, and instruments, featuring: Presence
virtual sample player, Impact virtual drum machine, SampleOne virtual
sampler, Mojito virtual analog-modeled subtractive synthesizer

• Innovative and intuitive MIDI mapping

• Powerful drag-and-drop functionality for faster workflow

• Mac OS X®- and Windows®-compatible

2

Owner’s Manual

Overview 1

Summary of Virtual StudioLive Software Features 1.4

1.4 Summary of Virtual StudioLive Software Features

Virtual StudioLive is a powerful monitor-mixing application that allows you to
add professional dynamics processing, EQ, and effects to your monitor mixes.

• Easy drag-and-drop workflow

• Drag presets directly to channels

• Drag parts of presets directly to components in the Fat Channel

• StudioLive 16.0.2 Fat Channel with:

• High-pass Filter

• Downward Expander

• Compressor

• 3-band semi-parametric EQ

• Limiter

• Two effects buses with 32-bit floating-point reverbs and delays

• Quickly drop entire Scenes to the mixer for instant
recall of all channel and effects settings

• Load effects quickly by simply dragging and dropping

• Mixer overview:

• See all of the most-used mixer parameters at once

Overview

HookupConnecting

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and Studio One Artist

Software: Virtual StudioLive

TutorialsTechnical

• See the state of all Fat Channel settings at once

• See all Aux mixes at once

• See the current effects and parameter settings

Information

and Warranty

Troubleshooting

3

1 Overview

1.5 What is in the Box

PreSonus AudioBox™ 1818VSL

Computer

and Studio One Artist

Overview

Hookup

Connecting

to a

Software: Virtual StudioLive

AB1818VSL Remote,

Tutorials Technical

1.5 What is in the Box

In addition to this manual, your AudioBox 1818VSL package contains the following:

PreSonus AudioBox 1818VSL USB 2.0 recording interface

6’ (1.8m) USB cable

External power supply

Information

Troubleshooting

and Warranty

Software library containing:

• PreSonus Studio One Artist program DVD plus gigabytes of third-party content

• PreSonus Virtual StudioLive and AudioBox driver CD

4

Owner’s Manual

2.0 Hookup

2.1 Front-Panel Connections

Hookup 2

Front-Panel Connections 2.1

OverviewConnecting

Hookup

Microphone Inputs. Your AudioBox 1818VSL is equipped with PreSonus
XMAX microphone preamplifiers for use with all types of microphones.
The XMAX has a Class A input buffer, followed by a dual-servo gain
stage. This arrangement results in ultra-low noise and wide gain control,
allowing you to boost signals without increasing background noise.

The eight analog inputs of the AudioBox 1818VSL feature combo jacks. This
convenient connector accepts either a ¼-inch phone plug or an XLR plug.

48-volt Phantom Power. The AudioBox 1818VSL provides 48V phantom power
for every microphone input, in banks of four. This feature can be individually
enabled for each bank, using the buttons on the left side of the front panel.

WARNING: Phantom power is only required for condenser micro phones and
can severely damage dynamic mics, especially ribbon mics. Therefore, switch

phantom power off for all channels where it is not required.

XLR connector wiring for phantom power:

Pin 1 = GND

Pin 2 = +48V

Pin 3 = +48V

Instrument Inputs. The ¼-inch TS connectors on channels 1 and 2 are for use with
instruments (guitar, bass, etc.). When an instrument is plugged into the instrument
input, the mic preamp is bypassed, and the AudioBox 1818VSL becomes an
instrument preamplifier.

to a

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Power User Tip: Active instruments are those that have an internal preamp or a line-level output.
Active instruments should be plugged into a line input rather than into an instrument input.
Plugging a line-level source into the instrument inputs on the front of the AudioBox 1818VSL not
only risks damage to these inputs but also results in a very loud and often distorted audio signal.

Please note: As with any audio input device, plugging in a microphone or an instrument, or

turning phantom power on or off, will create a momentary spike in the audio output of your
AudioBox 1818VSL. Because of this, we highly recommend that you turn down the channel trim before
changing connections or turning phantom power on or off. This simple step will add years to life of
your audio equipment.

5

Overview Connecting

Hookup

2 Hookup

2.1 Front-Panel Connections

Line-level Inputs. Channels 3-8 of the AudioBox 1818VSL have a ¼-inch, balanced
TRS connection for line-level input. When these inputs are engaged, the microphone­preamp circuit is bypassed. Typical examples of line-level connections are synthesizer
outputs, CD/DVD-player outputs, and (with exceptions) signal-processor outputs.

Input Gain/Trim Control. These knobs provide the following gain structure:

PreSonus AudioBox™ 1818VSL

Computer

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• XLR Microphone / TS ¼-inch Instrument inputs: 80 dB
of variable gain (-15/-30 dB to +65/50 dB)

• TRS ¼-inch Line Level inputs: 40 dB of variable gain (-20 dB to +20 dB)

Clip Indicator. All channels feature clip LEDs next to the trim controls. The red clip
indicator LED will illuminate when the channel’s input signal reaches 0 dBFS. At this
level, your mic preamp/line trim signal will exhibit signs of clipping (distortion).

Power User Tip: Never run your input levels higher than the channel inputs can
handle. If you overdrive the analog-to-digital converters, it will cause digital
distortion (digital clipping), which sounds terrible. The XMAX™ preamps in your
AudioBox 1818 VSL provide plenty of headroom; take advantage of it.

Phones. The Phones knob controls the volume of the headphone output
on the front of the unit. The headphone amplifier is quite powerful, and the
volume goes to 11, so use the maximum setting with extreme caution.

Main. The Main knob controls the output level for the Main Outputs on
the back of the AudioBox 1818VSL, with a range of -80 dB to 0 dB.

USB Sync LED. This LED will illuminate blue when the AudioBox 1818VSL is
properly powered and synced to a USB 2.0 connection. It will flash blue and
red when the unit is properly powered but no USB connection is detected.

¼-inch Phones Jack. This is where you connect
headphones to your AudioBox 1818VSL.

Main Output Meters. These meters display the signal level going to the Main and
Line 1/2 Outputs on the back panel of the AudioBox 1818VSL. The level set by
the Main Output knob on the front panel has no effect on the metered level.

Power User Tip: Because Outputs 1 and 2 share the same signal source, you can use these meters to
monitor that output pair as well.

6

Owner’s Manual

2.2 Rear-Panel Connections

Hookup 2

Rear-Panel Connections 2.2

OverviewConnecting

Line Outputs. The AudioBox 1818VSL has eight line outputs to route
to external devices, such as headphone amps and DJ mixers. Outputs
1 and 2 share their playback streams with the Main Outs. Outputs
7 and 8 share their playback streams with the headphone output.
Outputs 3 through 6 have independent playback streams.

Main Out. These are the main outputs for the AudioBox 1818VSL. The output level of
the Main Outs is controlled by the Main volume knob on the front of the unit.

MIDI I/O. MIDI stands for “Musical Instrument Digital Interface.” MIDI inputs
and outputs allow connection to, and communication with, external MIDI
equipment. One function of these ports is MIDI sequencing but the MIDI
protocol can be used for much more than instruments and sequencing.

NOTE: MIDI is not audio but is frequently used to trigger or control an audio
source (such as a plug-in or synthesizer). It’s important to ensure that your
MIDI data is correctly sent and received by the appropriate hardware or
software devices. If the devices generate audio, you may also need to return
the audio to an AudioBox 1818VSL input channel. Please consult the User’s
Manuals of your MIDI devices for help with MIDI setup and usage.

Hookup

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Computer

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Software: Virtual StudioLive

TutorialsTechnical

Information

S/PDIF In and Out Jacks. The S/PDIF standard allows two channels of audio
to be transmitted at rates up to 24 bit, 96 kHz. The S/PDIF I/O also allows the
AudioBox 1818VSL to send and receive word clock to external digital devices.

Power User Tip: Remember to set “S/PDIF” as the Clock Source and set the sample
rate to correspond to the external device in the AudioBox VSL Setup Tab (Windows)
or in Audio MIDI Setup (OS X) when using the S/PDIF input for external sync.

ADAT–S/MUX Input and Output. These are ADAT–S/MUX connections for your
external digital devices. When recording or playing back at 44.1 kHz or 48 kHz, the
ADAT input and output will stream 8 channels. When recording or playing back at

88.2 kHz or 96 kHz, each connection will stream 4 channels. The ADAT–S/MUX I/O
also allows the AudioBox to send and receive word clock to external digital devices.

Power User Tip: Remember to select “ADAT ” as the Clock Source and set the sample
rate to correspond the external device in the AudioBox VSL Setup Tab (Windows)
or in Audio MIDI Setup (OS X) when using the ADAT input for external sync.

and Warranty

Troubleshooting

7

Computer

and Studio One Artist

2 Hookup

2.2 Rear-Panel Connections

Overview Connecting

BNC Sync Output. This is a 75Ω word clock output that allows the AudioBox
1818VSL to transmit word clock information to other digital audio devices.

Power User Tip: A 75Ω BNC word clock cable is required to achieve proper sync.

Hookup

to a

Software: Virtual StudioLive

AB1818VSL Remote,

USB 2.0 Port. This is where you connect the USB cable from your
AudioBox 1818VSL to your computer. The AudioBox 1818VSL
must be connected to a USB 2.0 port to work properly.

PreSonus AudioBox™ 1818VSL

Tutorials Technical

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Power Input. This is where you connect the power supply for your AudioBox
1818VSL. The AudioBox 1818VSL cannot be bus powered.

Power Switch. This is the On/Off switch for your AudioBox 1818VSL.

8

Owner’s Manual

Hookup 2

Typical Band Hookup Diagram 2.3

2.3 Typical Band Hookup Diagram

powered speakers

headphone amps

OverviewConnecting

Hookup

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Computer

guitar and ampbass

drumset

AB1818VSL Remote,

and Studio One Artist

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9

2 Hookup

2.4 Speaker-Switching Hookup Diagram

PreSonus AudioBox™ 1818VSL

Computer

and Studio One Artist

Overview Connecting

Hookup

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Software: Virtual StudioLive

AB1818VSL Remote,

Tutorials Technical

2.4 Speaker-Switching Hookup Diagram

studio monitors monitor stationstudio monitors

Information

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10

Owner’s Manual

Connecting to a Computer 3

System Requirements 3.1

3.0 Connecting to a Computer

Your AudioBox 1818VSL is a rugged USB 2.0 audio interface with
flexible monitoring control and professional audio tools.

3.1 System Requirements

Below are the minimum computer-system requirements for
PreSonus Studio One Artist and Virtual StudioLive software.*

Mac

• Operating Systems:

• Mac OS X 10.6 or higher

• Hardware:

• Minimum: Intel® Core™ Duo Processor, 2 GB RAM

• Recommended: Intel Core 2 Duo or Intel iCore

Windows

• Operating Systems (32- or 64-bit):

• Windows 7, Vista

processor or better, 2 GB or more RAM

OverviewHookupConnecting

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AB1818VSL Remote,

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Software: Virtual StudioLive

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• Hardware:

• Minimum: Intel Core Duo or AMD Athlon™ X2 processor, 2 GB RAM

• Recommended: Intel Core 2 Duo or AMD Athlon X4 or better, 4 GB or more RAM

NOTE: The speed of your processor, amount of RAM, and capacity, size, and speed of your hard
drives will greatly affect the overall performance of your recording system. A faster processor
and more RAM can reduce signal latency (delay) and improve overall performance.

*Subject to change. Check www.presonus.com for updates.

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11

3 Connecting to a Computer

3.2 Installation for Windows

PreSonus AudioBox™ 1818VSL

Computer

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and Studio One Artist

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3.2 Installation for Windows

The AudioBox installer requires that your AudioBox 1818VSL be
connected to your computer. Connect your AudioBox 1818VSL to an
available USB 2.0 port and insert the Installation CD into your disc drive.
The AudioBox installer will auto-launch and take you through each step
of the installation process. Please read each message carefully.

It is recommended that you quit all applications before you start the installation.

Windows Vista Users: If you see any Windows Security
alerts, click “Install this driver software anyway.”

1. The installer will open to the Welcome screen.

Click “Next.”

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and Warranty

2. You will be asked if you would like the installer to
automatically create an icon on your desktop for
AudioBox Virtual StudioLive software.

This software allows you to create near-zero
latency monitor mixes with dynamics and
effects. Creating a desktop icon will provide
you with quick access to these controls.

Click “Next.”

12

Owner’s Manual

Connecting to a Computer 3
Installation for Mac OS X 3.2

3. The installer will now scanned your computer, you will
be prompted to begin the installation. If your AudioBox
is not detected by the installer, you will prompted to
connect it.

Click “Install Driver.”

4. Once the driver has been installed successfully, you will
be alerted.

Click “Next” to finish the installation.

OverviewHookupConnecting

Connecting

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to a

Computer

Computer

5. In order for the driver to operate properly, you must
restart your computer.

Click “Finish” to automatically reboot your computer.

6. Once your computer has restarted,
connect your AudioBox 1818VSL.

Your AudioBox 1818VSL is now ready to use!

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13

3 Connecting to a Computer

3.3 Installation for Mac OS X

PreSonus AudioBox™ 1818VSL

Computer

Computer

and Studio One Artist

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Connecting

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3.3 Installation for Mac OS X

After inserting the Installation CD into your disc drive, browse the disc,
and run the AudioBox 1818VSL installer, which will take you through each
step of the installation process. Please read each message carefully and be
especially careful that you do not connect your AudioBox too soon.

1. You will be directed to the Welcome screen. Click
“Continue” and follow the onscreen instructions.

2. You will be directed to choose the hard drive onto
which you want to install the drivers and Virtual
StudioLive software. You must choose your system
drive; storage drives and partitions cannot be used as
hosts for the driver.

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When installation is completed, you will find the
Universal Control program in your Applications folder.
It is recommended that you place this in your Dock.

Click “Install.”

3. When installation is completed, your computer will
restart. Once it has rebooted, connect your
AudioBox 1818VSL to your Mac with a USB cable and
power it on. You are now ready to use your AudioBox
1818VSL!

14

Owner’s Manual

Connecting to a Computer 3

Using the AudioBox 1818VSL with Popular Audio Applications 3.4

3.4 Using the AudioBox 1818VSL with Popular Audio Applications

Apple Logic Pro/Express 7+:

Complete setup instructions for Studio One Artist and a brief tutorial on
its features can be found in Section 4.3 of this manual. However, you can
use your AudioBox 1818VSL with any audio-recording application that
supports Core Audio or ASIO. Please consult the documentation that came
with your audio application for specific instructions on how to select the
AudioBox 1818VSL driver as the audio-device driver for your software.

Below are basic driver-setup instructions for four popular audio applications.

1. Launch Logic Pro/Express.

2. Go to Logic | Preferences | Audio.

3. Click on the Devices Tab .

4. On the Core Audio tab, check Enabled.

5. Select PreSonus AudioBox 1818VSL from the device menu.

6. You will be asked if you’d like to relaunch Logic. Click “try (re)launch.”

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Steinberg Cubase 4+

7. Your AudioBox 1818VSL features custom I/O labels for faster workflow.
To enable these labels for use in Logic, go to Options | Audio | I/O Labels.

8. The second column in the pop-up window will be named
“Provided by Driver.” Activate each of these labels for your
AudioBox 1818VSL. When you are done, close this window.

9. You are now ready to use your AudioBox 1818VSL.

1. Launch Cubase.

2. Go to Devices | Device Setup.

3. Select “VST Audio System” from the Devices column in the Device Setup.

4. Select PreSonus AudioBox 1818VSL from the ASIO Driver dropdown list.

5. Click “Switch” to begin using the AudioBox 1818VSL driver.

6. Once you have successfully changed the driver, go to Devices |
VST Connections to enable your input and output buses.

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15

3 Connecting to a Computer

3.4 Using the AudioBox 1818VSL with Popular Audio Applications

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Cakewalk Sonar 6+

1. Launch Sonar.

2. Go to Options | Audio... and click on the Advanced tab.

3. Change the Driver Mode to “ASIO.” (Using WDM, rather than

ASIO, for pro-audio applications is not recommended.)

4. Click the “OK” button.

5. Restart Sonar.

6. Go to Options | Audio... and click on the Drivers tab.

7. Highlight all input and output drivers begin­ning with “PreSonus AudioBox 1818VSL.”

8. Go to Options | Audio... and click on the General tab.

9. Set the Playback Timing Master to “ PreSonus AudioBox... DAW Out 1.”

10. Set the Recording Timing Master to “PreSonus AudioBox... Mic/Inst 1.”

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Ableton Live 5+

1. Launch Ableton Live

2. Go to Options | Preferences | Audio

3. Choose Driver Type: Asio | Audio Device: ASIO PreSonus AudioBox 1818VSL

4. Go to Input Config: Enable and select the desired Input channels.

5. Go to Output Config: Enable and select the desired Output channels.

6. You may now select the AudioBox 1818VSL’s inputs
and outputs for each track created in Live.

ProTools 10+

1. Launch ProTools

1. Go to Setup | Hardware and select AudioBox 1818VSL
from the Peripherals list. Click OK.

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1. Go to Setup | Playback Engine and select AudioBox 1818VSL
from the menu at the top of the window. Click OK.

Owner’s Manual

Software: Virtual StudioLive and Studio One Artist 4
Virtual StudioLive 4.1

4.0 Software: Virtual StudioLive and Studio One Artist

Your AudioBox 1818VSL comes with a powerful software bundle that
provides everything you need to record, produce and mix an album.
This software package, including Virtual StudioLive™ (VSL) and Studio
One™ Artist, is designed to help you get the most from your studio.

4.1 Virtual StudioLive

Virtual StudioLive is a powerful monitoring software that essentially
turns your AudioBox 1818VSL into a mini-StudioLive™ 16.0.2. VSL
provides control of channel, effects bus, and Main bus levels; Fat
Channel parameters; and effects. VSL also includes a librarian,
allowing you to easily manage your presets and mix Scenes.

Controlling VSL is as easy as drag-and-drop. Load Fat Channel presets and
Scenes by simply dragging them onto the channel or mixer overview. You
can load Fat Channel presets as a complete channel strip or as individual
gate, compressor, and EQ presets. You can even drag presets out of the
browser and exchange them with other AudioBox 22/44/1818VSL owners.

4.1.1 Virtual StudioLive: Setup

The VSL Setup tab lets you set basic driver parameters such as buffer size
and sample rate and enables you to adjust the user preferences in VSL. To
access the Setup options, click on the Setup Tab button at the top of the
VSL window.

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Meter Decay Sets the Response Time for the Meters in the Device Window.

VSL gives you the option to set the response time for the channel meters.
By default, this is set to Normal. Enable Slow Meter decay to more
accurately meter the peaks and falls of the signal. Enable Fast Metering to
monitor your signal in real time.

Meter Peak Hold Sets the Clip Indicator to Remain Illuminated.

When this option is enabled, the clip indicator on any given channel
meter in VSL will remain illuminated until manually cleared, even if the
signal is no longer clipping. The meters will also display the last peak
value until a new peak is established. To clear the clip indicator, click on it
with your mouse.

Meter Post Fader Sets the Channel Metering to Post Fader Signal

When this option is enabled, the channel meters in VSL will display the
signal level after it has been boosted or attenuated by the channel fader.
By default, all metering in VSL is pre-fader.

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0.0 Current Sub Section

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Run at Startup (Windows Only) Launches the Virtual StudioLive Application Automatically on Startup.

When this is enabled, VSL will automatically launch each time you boot
your Windows.

On the Mac, you can set this up first by dragging VSL to your dock,
then by right-clicking it and selecting Options>Open at Login.

Please Note: VSL is disabled when it is not launched and all audio routing
must be made either in your DAW or in your system preferences.

Sample Rate Selector (OS X Only) Changes Sample Rate.

Sets the sample rate to 44.1, 48, 88.2, or 96 kHz.

A higher sample rate will increase the fidelity of the
recording. It will also increase the file size and the amount
of system resources necessary to process the audio.

Changing the sample rate will produce a momentary popping noise.
Because of this, it is recommended that you turn the Main and Phones
volumes down on your AudioBox prior to changing the sample rate.

On Windows systems, the sample rate is set from
inside your host audio application.

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Performance (OS X only) Changes VSL’s Input Monitoring Buffer Size.

VSL offers three Performance modes for input monitoring: Fastest,
Normal, and Safe. These modes allow you to adjust the VSL’s buffer to
either lower the input latency or increase it depending on your
computer’s speed.

• Fastest: Sets VSL’s input buffer to 1 millisecond.

• Normal: Sets VSL’s input buffer to 2 milliseconds.

• Safe: Sets VSL’s input buffer to 4 milliseconds.

For most machines, Normal mode will provide
excellent stability with nominal latency.

Buffer Size Selector (Windows only) Changes the Buffer Size.

You can set the buffer size from 64 (44.1 or 48 kHz) or 128 (88.2 or 96 kHz)
to 2048 samples. The buffer size determines the roundtrip time it takes
audio data to be converted from analog to digital and back to analog. As
a general rule, the higher the buffer size, the better the system
performance, but the less playable virtual instruments and the like
become. In general, 512 samples (11 to 12 milliseconds) will provide you
with a large enough buffer for optimum system performance, but low
enough to be unobtrusive. You should set your buffer size and sample
rate prior to launching your host application.

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On the Mac, the buffer size is set from inside your host application.

Power User Tip: The buffer size you set in VSL (Windows) or in your audio application
(Mac OS X), applies only to the driver’s performance in your ASIO or Core Audio application.

Owner’s Manual

ADAT Mode (Windows Only) Sets ADAT I/O to ADAT or S/MUX Mode

Software: Virtual StudioLive, AB1818VSL Remote, & Studio One Artist 4
Virtual StudioLive 4.1

When recording or playing back at 44.1 kHz or 48 kHz, the ADAT I/O on
the AudioBox 1818VSL will provide 8 audio channels over the optical
inputs and outputs. When recording or playing back at 88.2 kHz or 96 kHz,
these connections will provide 4 audio channels.

In order to record or playback at 88.2 kHz or 96 kHz over
ADAT, you must set the correct Input and Output ADAT
Modes. AudioBox VSL provides two modes:

ADAT 8x8: Channels 1-8 (44.1/48 kHz)

ADAT SMUX 4x4: Channels 1-4 (88.2/96 kHz)

If you are recording at 88.2 kHz or 96 kHz, you must set the ADAT In Mode
to “ADAT SMUX 4x4” in addition to setting the correct sample rate.

If you are outputting audio through the optical outputs
on your AudioBox 1818VSL at 88.2 kHz or 96 kHz, you
must set the ADAT Out Mode to “ADAT SMUX 4x4” .

By default, these Modes are set to ADAT 8x8. As long
as you are using your AudioBox 1818VSL at 44.1 kHz or
48 kHz, you do not need to make any changes.

Power User Tip: Failure to set the correct ADAT Mode for the sample rate being used will result in audio
artifacts. Setting ADAT mode is not necessary when using Analog or S/PDIF I/O at higher sample rates.

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ADAT Mode (OS X Only) Sets ADAT I/O to ADAT or S/MUX Mode

When recording or playing back at 44.1 kHz or 48 kHz, the ADAT I/O
on the AudioBox 1818VSL will provide 8 audio channels over the
optical inputs and outputs. When recording or playing back at 88.2
kHz or 96 kHz, these connections will provide 4 audio channels.

In order to record or playback at 88.2 kHz or 96 kHz over ADAT,
you must set the correct Input and Output ADAT Modes. These
settings are available in OS X’s Audio MIDI Setup Utility.

By default, these Modes are set to 18ch-24bit. As long
as you are using your AudioBox 1818VSL at 44.1 kHz or
48 kHz, you do not need to make any changes.

To record or playback at 88.2 kHz or 96 kHz, open the Audio MIDI Setup
Utility on your Mac (Applications/Utilities/Audio MIDI Setup).

Once Audio MIDI Setup opens, click on the Audio window. If the Audio
window doesn’t open when Audio MIDI Setup first opens, go to Window
and select “Show Audio window.”

Select “AudioBox 1818VSL” from the audio device list on the left. To the
left of the Sample Rate selection menu, you will find the ADAT Mode
menu:

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18ch -24bit: Channels 1-8 (44.1/48 kHz)

14ch - 24bit: Channels 1-4 (88.2/96 kHz)

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Power User Tip: Failure to set the correct ADAT Mode for the sample rate being used will result in audio
artifacts. Setting ADAT mode is not necessary when using Analog or S/PDIF I/O at higher sample rates.

Clock Source Select
(Windows Only)

If you are recording at 88.2 kHz or 96 kHz, you must set the ADAT Input
Mode to “14ch -24bit” in addition to setting the correct sample rate.

If you are outputting audio through the optical outputs on your AudioBox
1818VSL at 88.2 kHz or 96 kHz, you must set the ADAT Output Mode to
“14ch - 24bit” .

Changes the Clock Source for the AudioBox 1818VSL.

The clock-source setting determines the port from which the AudioBox
1818VSL is receiving word clock information. This keeps the AudioBox in
sync with other digital devices. You can choose between Internal, S/PDIF,
or ADAT.

In general, you will want the AudioBox 1818VSL to be your
master clock, in which case you should set the clock to “Internal”.
This setting also means that your AudioBox is generating word
clock and sending this information out of its digital outputs.

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Power User Tip: When slaved to an external clock, the AudioBox 1818VSL will not
automatically change its sample rate to match the external clock. As a result, it may fail to
sync to the clock source. If your AudioBox is not syncing to an external source, make sure that
both your master device and the AudioBox 1818VSL are set to the same sample rate.

Setting Clock Source
(OS X)

If you want the AudioBox to receive sync from an external device,
choose the digital input to which the external device is connected
(S/PDIF or ADAT). The AudioBox 1818VSL’s sync light will flash from
blue to red. When the AudioBox is in sync, the light will be blue.

Using Audio MIDI Setup to Set the Clock Source for the AudioBox 1818VSL.

The clock-source setting determines the port from which
the AudioBox 1818VSL is receiving word clock information.
This keeps the AudioBox in sync with other digital devices.
You can choose between Internal, S/PDIF, or ADAT.

In general, you will want the AudioBox 1818VSL to be your
master clock, in which case you should set the clock to “Internal.”
This setting also means that your AudioBox is generating word
clock and sending this information out of its digital outputs.

If you want the AudioBox to receive sync from an external
device, open the Audio MIDI Setup Utility on your Mac
(Applications/Utilities/Audio MIDI Setup).

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Once Audio MIDI Setup opens, click on the Audio window. If
the Audio window doesn’t open when Audio MIDI Setup first
opens, go to Window and select “Show Audio window.”

Owner’s Manual

Main to S/PDIF In Bypasses the SPDIF Input and Routes Main Mix to DAW Inputs 9 and 10.

Software: Virtual StudioLive, AB1818VSL Remote, & Studio One Artist 4

Virtual StudioLive 4.1

Select “AudioBox 1818VSL” from the audio device list
on the left. Using the Clock Source pull-down menu,
choose the digital input to which the external device
is connected (S/PDIF or ADAT). The AudioBox’s sync
light will flash from blue to red. When the AudioBox is
in sync, the light will be blue.

Power User Tip: When slaved to an external clock, the
AudioBox will not automatically change its sample rate
to match the external clock. As a result, it may fail to sync
to the clock source. If your AudioBox is not syncing to an
external source, make sure that both your master device
and the AudioBox are set to the same sample rate.

VSL gives you the option to record the Main Mix in your DAW
application. This means that whatever you are listening to through
your AudioBox 1818VSL Main Outputs will be recorded in your
DAW by record-enabling Inputs 9 and 10 (S/PDIF Left and Right).

When this option is selected, you will not be able to record the
signal connected to the physical SPDIF input on the back of your
AudioBox 1818VSL on its own. However, if the S/PDIF stereo input is
a part of the Main Mix in VSL, it will be recorded as part of the mix.

It should be noted that the Main Level knob on the front of the
AudioBox 1818VSL will not have any effect on the recording.

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Power User Tip: Do not route the track on which you are recording the Main Mix
in your DAW to Outputs 1-8. This will send the Main Mix back to the DAW input
channels in VSL and create a feedback loop. It is highly recommended that you
either do not select an output for the Main Mix recording track in your DAW.

Main to S/PDIF Out Patches the Main Mix to the S/PDIF Output.

This preference allows you to patch the Main Mix to your S/PDIF
output. This is especially useful when utilizing a studio control
center with a S/PDIF input (like the PreSonus Central Station).

When this preference is enabled, the Main Mix in VSL will be routed
to the S/PDIF output on the back of your AudioBox 1818VSL
in addition to your Main Outputs and Line Outputs 1/2.

Power User Tip: When this preference is enabled, you will not be able to patch
signal from your DAW directly to the S/PDIF output on your AudioBox 1818VSL.

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Information

4.1.2 Virtual StudioLive: Browser

When you first launch VSL, notice the Browser window along the right
side of the screen. The Browser in VSL functions similarly to the Browser
in Studio One. From the Browser, you can see all of your Scenes, Fat
Channel presets, and FX presets that are saved on your computer.
You can also create new settings from this window. Simply drag­and-drop a Scene or preset to load it on your AudioBox 1818VSL.

Browser Tab Buttons Displays the Different Preset Categories.

All of your Scenes and presets are contained in dedicated folders in VSL.
To view a specific set of presets, simply click on its tab.

• SCENE. Displays stored Scenes. A Scene is like a snapshot of your
mix. It stores all Fat Channel parameters for every input and bus, as
well as fader positions, the aux and effects mixes, FX bus settings, and
channel mutes and solos. Creating a Scene requires simply dialing
in a mix that you would like to use at a later date and saving it.

• FAT CH. Displays stored Fat Channel presets. VSL comes equipped with Fat
Channel presets that have been custom-designed by professional audio
engineers. These presets can be altered, renamed, and overwritten; you can
build your own nearly limitless custom library of channel-strip settings.

• FX. Displays stored effects presets. VSL comes loaded with 50 custom
reverb and delay presets designed by PreSonus. In addition to these
presets, you can build your own nearly limitless custom effects library.
The factory presets can be altered, renamed, and overwritten.

Troubleshooting

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Add New Button Creates a New Scene or Preset.

Just below the Browser tabs, you will see the Add New button. Clicking
this button will immediately create a new Scene or preset.

Remove Button Deletes a Stored Scene or Preset.

Right next to the Add New button, you will find
the Remove button. Clicking this button will delete
the currently selected, stored Scenes or presets.

Show/Hide Browser Displays/Hides the Browser Window.

The Browser can be hidden from view to provide more real-estate for

your mix. Simply click on the “Hide Browser” button to close the Browser.

To reopen the Browser, click on the “Show Browser” button in the upper

right corner of your VSL window.

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Owner’s Manual

Software: Virtual StudioLive, AB1818VSL Remote, & Studio One Artist 4

Virtual StudioLive 4.1

4.1.3 Virtual StudioLive: Overview and Fat Channel Tab

VSL provides you with two ways to look at your mix and to
dial in FX settings: The Overview and Fat Channel Tabs.

The Overview Tab provides you with a complete graphical
representation of your Virtual StudioLive mix environment.

The Fat Channel Tab opens a detailed overview of the Fat Channel
parameters for the currently selected channel. The Fat Channel
Tab can be opened either from the tab button at the top of the VSL
window or by simply double-clicking on any of the microviews.

From either tab you can:

• Adjust levels for all analog and digital inputs, all eight playback
streams, both effects buses, the main output level of the
entire mix, and the output levels of each monitor mix.

• Adjust the panning for the analog and digital
inputs and playback streams

• Adjust the send level for both the analog and digital
inputs and playback streams to each FX bus

• Adjust the send level for each channel to
outputs 3 and 4, 5 and 6, and 7 and 8

• Adjust the parameters for the FX preset on each FX bus

• Solo and mute each analog input and playback stream

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• Meter the inputs and outputs

From either the Overview or the Fat Channel tab, you can
access the show/hide channel buttons to help keep your
mix organized. You can hide the following channel groups
from your mix: ADAT, DAW Returns, and Outputs.

Show/Hide ADAT Inputs Button Displays/Removes ADAT Input Channels from the Mix.

When this button is enabled, the ADAT input channels will
be displayed in the mixer. If you disable this button, you will
no longer see the ADAT channels in the mixer; however, any
changes or routing that have been made will still be active,
and these channels will still be heard in your mixes.

Show/Hide DAW Returns Button Displays/Removes DAW Playback Streams from the Mix.

When this button is enabled, DAW Playback Streams 1 through
8 will be displayed in the mixer. If you disable this button, you
will no longer see these channels in the mixer; however, any
changes or routing that have been made will still be active,
and these channels will still be heard in your mixes.

Please Note: From VSL, you only have access to DAW Returns 1-8. The ADAT
and S/PDIF output streams can only be accessed from your DAW.

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Show/Hide Outputs Button Displays/Removes Output Channels from the Mix.

When this button is enabled, the stereo output channels will be displayed
in the mixer. If you disable this button, you will no longer see the stereo
outputs in the mixer; however, any changes or routing that have been
made will still be active, and you will still be able to hear your monitor
mixes through all eight outputs.

This button will not remove the Main Output from
the mixer. This output is always visible.

Please Note: From VSL, you can create and send mixes to all eight Line Outputs on your
AudioBox 1818VSL. Outputs 1 and 2 share a mix with the Main Outputs, so the mix you create
for your Main Outputs will be heard through both pairs of outputs. Outputs 7 and 8 share a
mix with the headphone output, so creating a mix for Outputs 7 and 8 will send an identical
mix stream to the headphone output on the front panel of the AudioBox 1818VSL.

4.1.4 VSL Controls: Definitions and Uses

VSL is a powerful application that allows you to create monitor mixes
using all of the processing features of a StudioLive 16.0.2 digital mixer.
These monitor mixes are not recorded in your host application. It is vital
to remember that lowering the channel fader in VSL will not lower the
signal in your host application, so it is possible to clip the recording
without clipping the monitor mix. You must set the level for the
recording using the trim knobs on the face of the AudioBox 1818VSL.

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A quick note on playback streams: The channels labeled “DAW” in VSL carry a playback
stream from your host application (DAW). Traditionally, if you wanted to route a track in your
DAW to a physical output on your interface, you assigned this output in your host application.
Because the Virtual StudioLive application provides much more flexible routing, you can
now route this same track to one output or every output, by itself or as part of a mix.

VSL On/Off Enables / Disables VSL Mixing.

When the VSL On/Off button is disengaged, your AudioBox 1818VSL
functions as a simple 18x18 audio interface with no monitor mix or DSP
capability. If you plan on mixing exclusively in your DAW or do not need
to create monitor mixes using your computer, disabling VSL can greatly
simplify your work environment.

When VSL is turned on, you will have access to all
its mixing capability on your computer.

VSL is automatically disabled when you quit the application.

Select Button Accesses the Fat Channel.

Above each fader in VSL, you will see Select buttons. There is a Select
button on each of the analog and digital inputs, each DAW return, on
both effects buses, and on the Main output bus. Each of these buttons
serves exactly the same purpose: to access the Fat Channel parameters
for its channel or bus.

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Owner’s Manual

Solo Button Turns Soloing On and Off.

Software: Virtual StudioLive, AB1818VSL Remote, & Studio One Artist 4

Virtual StudioLive 4.1

This button will solo its channel to the outputs so that only the soloed
channel will be audible. When a Solo button is enabled, that channel or
bus will automatically be selected, and its Select button will illuminate.

Mute Button Turns Muting On and Off.

This button mutes its channel. It will illuminate red when the channel is
muted. When a mute button is engaged, its channel will be muted in all
outputs.

Monitor Sends and Pan Controls Sets the Level and Panning of Each Channel in the Monitor Mixes.

Above each channel are channel sends and pans for each output pair. A

channel send is just like a fader on a mixer. It sets the volume level of its
channel in the monitor mix. The pan control sets the channel’s relative
position in the left/right stereo mix. When a pair of channels is stereo
linked, the pan control sets the spread of the channels in the left/right
stereo mix.

The top control for each output pair is the send level,

and the lower control is the pan control.

FX Sends Controls Sets the Level of Each Channel in the FX Mixes.

The FXA and FXB Send controls sets the level of each channel in the FX
Buses. The higher the level, the wetter the processed signal will be.

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Channel Pan Control Sets the Panning of Each Channel in the Main Mix.

The pan control sets the channel’s relative positions in the stereo main
mix. When a pair of channels is stereo linked, the pan control sets the
spread of the channels in the left/right mix.

Fader Controls the Overall Level of the Channel or Bus.

Each input channel features a fader for accurate level adjustment. Unity
gain (0 dB) is denoted by a “U.”

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Meter Displays the Pre-fader Level of Each Channel.

Each channel features a fader for accurate level monitoring. Each meter
displays the pre-fader, pre-Fat Channel signal. If the Post button is
engaged, the meter will display the post-Fat Channel, pre-fader signal.

In this way, you will always have a visual cue to how hot your recording
signal is in your monitor mix.

Stereo Link Button Joins the Channel into a Stereo Pair.

The Link button joins two channels into a stereo pair. When channels are
linked, the volume of both will be controlled with either fader. A stereo
link can be enabled when either channel in the pair is selected. When the
Stereo Link button is enabled, all dynamics settings, bus assignments, etc.,
are pasted to the other channel in the pair.

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Phase Reverse Button Reverses the Phase of the Input Channel.

Push this button to invert the phase of the selected channel’s signal (that
is, to change the phase 180°). The button will illuminate, indicating that
Phase Reverse is active. The Phase Reverse button can be used to correct
audio signals that are out of phase and cancelling/reinforcing each other.

Phase Reverse is accessible from the Main VSL Page and from the Gate
Zoom.

Phase Reverse is only available on the analog input channels.

Power User Tip: Use Phase Reverse when recording with more than one open
microphone to combat phase cancellation between microphones.

Post Button Engages Post Fat Channel Recording.

Each of the analog inputs can be recorded pre- or post-Fat Channel EQ
and dynamics processing. To record the EQ and dynamics processing on
any channel, simply enable the Post button. It will illuminate, indicating
that the Fat Channel signal path is being routed to your DAW’s recording
input. If this mode is not enabled, the signal recorded in your DAW will
not include any of the Fat Channel processing (Phase Reverse, Gate,
Compressor, EQ, Limiter).

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It should be noted that the effects buses cannot be recorded. You can
add reverb and delay to your recorded files later, using DAW plug-ins.

The Post button is only available on the Overview Tab
and only for the analog and digital input channels.

Owner’s Manual

High-Pass Filter Freq Adjust the High-pass Filter’s Cutoff Frequency.

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The high-pass filter’s cutoff frequency can be set from 18 Hz to 1.3 kHz.

Remember that all frequencies below a high-pass filter’s cutoff
frequency are attenuated. See Section 5.3.1 for details.

The slope of the high-pass filter is -6 dB/octave.

The high-pass filter is accessible from either the Overview or Fat Channel
tabs and is available on all input channels and playback streams.

Power User Tip: A high-pass filter attenuates all frequencies below the set threshold. Use this
filter, instead of an equalizer, to remove unwanted low frequencies from your source signal.

Gate On/Off Button Turns the Gate On and Off for the Selected Channel or Bus.

This button engages and disengages the gate for the selected channel. It
will illuminate to indicate that the gate has been enabled.

The gate is available for all input and output buses.

Gate Threshold Sets the Threshold of the Gate for the Selected Channel or Bus.

The Gate Threshold determines the level at which the gate will open.
Essentially, all signals above the threshold setting are passed, unaffected.
You can set the threshold from 0 to -84 dB.

The gate can be controlled either via the
Threshold knob or from the Gate Graph.

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Compressor On/Off Turns the Compressor On and Off for the Selected Channel or Bus.

This button engages or disengages the compressor for the selected
channel or output bus. It will illuminate to indicate that the compressor
has been enabled.

The compressor is available for all input and output buses.

Auto Mode Button Enables Automatic Response Mode.

When Auto mode is active, the Attack and Release controls become
inoperative, and a preprogrammed attack and release curve is used. In
this mode, the attack is set to 10 ms, and the release is set to 150 ms. All
other compressor parameters can still be adjusted manually.

Compressor Threshold Sets the Threshold of the Compressor for the Selected Channel or Bus.

When the signal’s amplitude (level) exceeds the threshold setting, the
compressor engages. Turning the knob counterclockwise lowers the
threshold so that compression begins at a lower amplitude. The threshold
can be set from -56 to 0 dB.

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Compressor Ratio Sets the Compression Ratio for the Selected Channel or Bus.

Compression Ratio sets the compression slope, which is a function of the
output level versus the input level. For example, if you have the ratio set
to 2:1, then for every 2 dB of level increase above the threshold, the
compressor’s output will only increase 1 dB. The ratio can be set from 1:1
to 14:1.

Compressor Attack Sets the Compressor Attack for the Selected Channel or Bus.

Compressor Attack sets the speed at which the compressor acts on the
input signal. A slow attack time (fully clockwise) allows the beginning
component of a signal (commonly referred to as the initial transient) to
pass through, uncompressed, whereas a fast attack time (fully
counterclockwise) triggers compression immediately when a signal
exceeds the threshold. You can set the attack from 0.2 to 150 milliseconds.

Compressor Release Sets the Compression Release for the Selected Channel or Bus.

Compression Release sets the length of time the compressor takes to
return the gain reduction back to zero (no gain reduction) after crossing
below the compression threshold. Release can be set from 40 to 1,000
milliseconds.

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Power User Tip: Very short release times can produce a choppy or “jittery” sound,

especially when compressing instruments that have a lot of low-frequency
components, such as bass guitar. Very long release times can result in an
overcompressed, or “squashed,” sound. All ranges of release can be useful, however,
and you should experiment to become familiar with different sonic possibilities.

Compressor Makeup Gain Sets the Amount of Makeup Gain for the Compressor on the Selected

Channel or Bus.

When compressing a signal, gain reduction usually results in an overall
attenuation of level. The gain control allows you to restore this loss in
level and readjust the volume to the precompression level. You can adjust
Makeup Gain from 0 dB (no gain adjustment) to +28 dB.

Limiter On/Off Turns the Limiter for the Selected Channel or Bus On or Off.

When the limiter is engaged, this button will illuminate. The threshold for
the limiter is set to 0 dBFS. The ratio is ∞:1.

The limiter is available for all input and output buses.

Low EQ On/Off Button Activates Control for the Low Band EQ for the Selected Channel or Bus.

This button activates control of the equalizer’s Low band for the selected
channel or bus. The button will illuminate to indicate control is active.

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The Low EQ band is available for all input and output buses.

Owner’s Manual

Low EQ Frequency Control Sets the Center Frequency for the Low EQ Band.

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The center frequency is the middle of the passband (the mean) between

the lower and upper cutoff frequencies that define the limits of the band.

You can adjust the center frequency from 36 to 465 Hz.

Low EQ Gain Control Sets the Gain Attenuation or Boost of the Center Frequency.

This control sets the gain cut or boost at the center frequency for the

Low band. The level of the center frequency can be set between -15 and

+15 dB.

Low Shelf EQ Button Turns On the Low Shelving EQ for the Selected Input or Output Bus.

When the Shelf button is not engaged, the Low band is semi-parametric.

Enabling the Shelf button turns the Low band into a low shelving EQ that

alters, by a fixed amount, a band of low frequencies at and below a

user-selected shelving frequency.

Power User Tip: A low shelving EQ is like a bass-control knob on a consumer audio
device. In this mode, the Center Frequency control selects the shelving frequency.

Mid EQ On/Off Button Activates Controls for the Mid EQ for the Selected Input or Bus.

This button activates the controls for the equalizer’s

Mid band for the selected input or output. The button

will illuminate to indicate control is active.

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The Mid EQ band is available for all input and output buses.

Mid EQ Frequency Control Sets the Center Frequency of the Mid EQ.

The center frequency is the middle of the passband (the mean) between

the lower and upper cutoff frequencies that define the limits of the band.

You can adjust the center frequency from 380 Hz to 5 kHz.

Mid EQ Gain Control Sets the Gain Attenuation or Boost of the Center Frequency of the Mid

Band.

This control sets the Gain cut or boost at the center frequency of the Mid

band. The level of the center frequency can be set between -15 and

+15 dB.

Mid Hi Q Button Enables a Narrow Bandwidth for the Mid Band EQ on the Selected

Input or Bus.

Q is the ratio of the EQ band’s center frequency to its bandwidth.

With a constant center frequency, higher Q values indicate a narrower

bandwidth, so Q is often equated with bandwidth. By default, the Q is

set to a value of 0.55. When the Hi Q button is engaged, the Q setting will

be increased to 2.0, thus narrowing the bandwidth to provide more

precise control.

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Information

High EQ On/Off Button Activates Control for the High EQ for the Selected Input or Bus.

This button activates control of the High EQ band for the selected
channel or bus. The button will illuminate to indicate control is active.

The High EQ band is available for all input and output buses.

High EQ Frequency Control Sets the Center Frequency of the High EQ.

The center frequency is the middle of the passband (the mean) between
the lower and upper cutoff frequencies that define the limits of the band.
You can adjust the center frequency from 1.4 to 18 kHz.

High EQ Gain Control Sets the Gain Attenuation or Boost at the Center Frequency of the

High EQ Band.

This control sets the gain cut or boost at the center frequency of the High
EQ band. The level of the center frequency can be set between -15 and
+15 dB.

High Shelving EQ Button Turns on the High Shelving EQ for the Selected Input or Bus.

When the Shelf button is not engaged, the High EQ band is semi­parametric. Enabling the Shelf button turns the High band into a high
shelving EQ that alters, by a fixed amount, a band of high frequencies at
and above a user-selected shelving frequency.

Power User Tip: A high shelving EQ is like a treble-control knob on a consumer audio
device. In this mode, the Center Frequency control selects the shelving frequency.

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4.1.5 Loading Scenes and Presets from VSL

To load a Scene or preset from the VSL Browser window, you
simply select it and drag it over the mixer or channel on which
you wish to load it. Scenes and presets can be dragged from
either the On Disk or the Device Memory section of the Browser
and dropped onto the Overview or the Fat Channel tab.

Loading a Scene

To load a new Scene, select it from the Browser window and drag it over
the VSL mixer in either the Overview or the Fat Channel tab. The window
will gray out, indicating that a new Scene is about to be loaded.

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Owner’s Manual

Loading an Entire Fat Channel Preset

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Loading an FX Preset

To load every component in a Fat Channel preset (Gate, Compressor, EQ),

select it from the Browser window and drag it over any part of the desired

channel. If you drag it over any of the component Microviews, it will load

only that component; for example, if you drag a preset over the Gate

Microview, only the Gate will be loaded.

To load an FX preset, select it from the Browser window, and drag it over

any part of the desired FX bus in the Master section of the Overview tab.

Once the preset is loaded, you can use the FX Type menu to change the

effect and create new presets.

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4.1.6 Using VSL to Create a Monitor Mix

Virtual StudioLive allows you create a monitor mix with the same sound

quality and flexibility you’d get from a StudioLive 16.0.2 digital mixer.

By adding reverb, delay, and Fat Channel dynamics processing and EQ

to your monitor mix, you can enhance the quality of the performer’s

recording experience and, by extension, the quality of their performance.

A monitor mix is a dedicated mix that is usually routed to a performer’s

headphones. This mix is separate from the mix that is recorded. It

allows you, the engineer, to leave your recording mix intact, while

providing the artist with the mix that they need to achieve their

best performance, saving hours of retakes and frustration.

STEP 1 Creating a Mix for the Main and Headphone Outputs

Using VSL to create a mix for your Main and Headphone outputs is like

using a mixer. Raise the fader for each channel to raise its volume in the

mix and use the pan control to adjust the source signal’s position in the

stereo field. To adjust the overall mix level, raise or lower the Main fader in

VSL or use the Main knob on the front of your AudioBox 1818VSL.

Power User Tip: Raising a channel’s volume is not always the best way to make it louder in the mix.
By adjusting the pan position or adding some EQ, you can raise the perceived loudness of the channel
without touching the fader.

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STEP 2 Creating a Mix for Outputs 3/4, 5/6, and 7/8

The AudioBox 1818VSL also allows you to create a separate mix for

Outputs 3/4, 5/6, and 7/8. This done by using channel sends that enable
you to set the levels for each channel that is routed to a specific output
bus. For any given channel, you can create one mix for your Main and
Line 1 and 2 outputs and create entirely separate mixes for Outputs 3/4,
5/6, and 7/8 and the headphone outputs.

It is important to mention that each of these outputs are stereo­linked, so you will have one send level for each channel but a
given channel’s level will be the same at both outputs in the
pair. The top slider for each pair sets the level for each channel,
while the lower slider is the pan control for each channel.

STEP 3 Adding Fat Channel Dynamics

The AudioBox 1818VSL provides a Fat Channel to process each input and
DAW channel, the two effects buses, and the analog outputs in VSL. Each
Fat Channel consists of a Downward Expander, a Compressor, a 3-band
semi-parametric EQ and a Limiter. For more information on how these
dynamics processors effect audio, please review Sections 5.2 and 5.3.

The Overview tab in VSL provides Microviews of the Gate,
Compressor, and Limiter. To make changes to one of these
processors, double-click on its Microview. This will open the Fat
Channel tab and focus on the chosen dynamics processor.

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From the Fat Channel tab, you will see a zoomed in view of all the Fat
Channel controls.

STEP 4 Creating an Effects Mix

Once you have your levels set and your Fat Channel processing dialed
in for each input, you can add reverb and delay to your monitor mixes.

To begin, you must first assign an effects preset to a bus. Click on the FX
tab and select one of the presets. To use that preset, simply drag-and­drop it onto one of the FX buses (A or B).

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An effects mix is created by using a channel send. The A and B channel
sends control the volume settings for each channel to FX buses A and B,
respectively.

To control the overall amount of the effects you will hear in your mix, use
the FX A and FX B faders.

Above each effects fader, you will see the individual parameter
controls. These allow you to adjust the effect to taste.

• Reverb: Predelay. This is the time between the end of the initial
sound and the moment when the first reflections become audible.

• Reverb: Room size. This allows you to adjust
the size of your virtual “room.”

• Reverb: Width. The width control increases
the stereo width of the reverb bus.

• Delay: Delay Time. This is the time between
the source signal and its echo.

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• Delay: Feedback. Variable feedback, or regeneration,
produces multiple decaying repeats.

• Reverb & Delay: Damping. This control dampens the
higher frequencies in the reverb reflections.

It is important to mention that both FX bus A and FX bus B must be
patched to an output pair in order to hear them in the mix. On each of
the output buses, you will see buttons labeled FXA and FXB. These
buttons route the output of the FX buses to the physical outputs on your
interface. By default, both FX buses are routed to all outputs.

4.2 AB1818VSL Remote

AB1818VSL Remote for iPad® provides an unprecedented level
of remote control over Virtual StudioLive for AudioBox 1818VSL.
With AB1818VSL Remote, you can adjust level, pan, dynamics,
bus routing, FX mixes, and aux mixes from an Apple iPad via
a wireless network. All you need is a computer with Wi-Fi
capabilities and an Apple iPad, and you’re ready to get started.

4.2.1 Networking your iPad and Computer

To use AB1818VSL Remote, you must first install the AudioBox
driver and Virtual StudioLive on, and sync your AudioBox 1818VSL
to, a Windows or Mac computer that has a USB 2.0 connection
and a wireless card. Once you have connected and synced your
AudioBox 1818VSL to your computer, the next step is to create an
ad hoc wireless network between your iPad and your computer.

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An ad hoc, or “peer-to-peer,” network is a very simple network
involving at least two systems—in this case, the computer to
which your StudioLive is connected and an Apple iPad. Unlike
a local area network (LAN), no server or router is needed.

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Creating an ad hoc wireless network between your computer
and your iPad is quick and easy. The network will allow you to
remote-control VSL from an iPad, using AB1818VSL Remote.

STEP 1: Creating an Ad Hoc Network on your Computer

Windows Vista

1. Open Start>Connect to.

2. Click “Set up a connection or network.”

3. Select “Set up a wireless ad hoc network” and click Next.

4. Enter the new network name such as “AudioBox.”

5. Enter a Security key or password. For the best security,

include letters, numbers, and punctuation.

6. Check “Save this Network.”

Windows 7

1. Open Start>Control Panel.

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2. Click “Network and Internet.”

3. Click “Network and Sharing Center.”

4. Under “Change your networking settings,” click

“Set up a new connection or network.”

5. Select “Set up a wireless ad hoc (computer-to-computer) network.”

6. Click on “Next” twice.

7. Enter the network name, such as “AudioBox.”

8. Select the Security WAP (or WEP).

9. Enter the Security key or password. For the best security,

include letters, numbers, and punctuation. Then click OK.

10. Check “Save this network.”

11. Click “Turn on Internet connection sharing.”

Mac OS X 10.6

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1. On the Menu bar click on the Wireless Status icon.

2. From the pull-down menu select “Create Network….”

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3. Give your Network a name, such as “AudioBox.”

4. If you would like set up a password (recommended),
check “Require Password.”

5. Create your password within the guidelines and click “OK.”

6. Once your network has been successfully created,
you will see it in your list of available networks.

STEP 2: Connect your iPad to your Ad Hoc Network

1. Tap on the Settings icon in your iPad.

2. Tap on “Network.”

3. Tap on “Wi-Fi.”

4. Under “Choose a Network,” you should now see your ad
hoc network in the list.

5. Tap on your newly created network to select it.

6. If you secured your network with a password,
you will prompted to enter it.

7. Tap on the menu arrow to the right of the desired
network’s name to open its network settings.

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Troubleshooting your Ad Hoc Network

1. Tap on the Settings icon in your iPad main menu.

2. Click on “Wi-Fi.”

3. Make sure a check mark is visible before your ad hoc network name.

4. Click on the arrow next to your ad hoc network name.

5. The IP address should begin with 169.254.xxx.xxx.

6. If there is no IP (the field is blank), that’s why

8. Turn Auto-Join to “On.” You are now ready to launch
AB1818VSL Remote and remote control VSL!

Every once in a while, your iPad will accept an ad hoc network
even though that network is not usable. When this happens,
you will see the Wi-Fi icon in the top status bar on your iPad
but you will not see your AudioBox 1818VSL in the Devices list
in AB1818VSL Remote. Here’s what to do if this happens:

AB1818VSL Remote can’t connect.

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7. Wait about 60 seconds on that screen, and a new IP (like

169.254.xxx.xxx) will be assigned automatically.

8. If no IP appears, click “choose Static,” then enter:

IP Address 169.254.1.2

Subnet Mask 255.255.255.255

If address 169.254.1.2 is already in use by another device, replace
1 and 2 with numbers of your choice between 0 and 255.

If you are using AB1818VSL Remote in a venue with many wireless
networks, you can create a network on a different channel. Channel
11 is the default but it’s okay to use an alternative in order to ensure
that your iPad’s connection to your computer isn’t interrupted.

POWER USER TIP: Network connections can occasionally require troubleshooting, especially
when a lot of wireless networks are in use. Because of this, it is always a good idea to get your
iPad and computer communicating before the pressure is on and you have a singer trying to
dial in a monitor mix while you’re trying to mic the drum kit. So while the guitarist is flirting with
the bartender, take a quick moment to get your iPad, computer, and StudioLive talking.

4.2.2 Connecting to Virtual StudioLive

Once you have created your ad hoc network and joined it from
your iPad, you are ready to launch AB1818VSL Remote.

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Important: You must connect to your computer’s ad hoc network each time you
plan on remote-controlling Virtual StudioLive with AB1818VSL Remote.

Apple’s iPad offer two viewing options: Landscape and Portrait:

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For the most part, you will hold your iPad in Landscape view. This will allow you
to use the Start, Overview, Aux Mix, and Settings pages. Portrait view provides
you with a zoomed-in look at the currently selected channel and allows you to
scroll quickly through every channel and bus on your AudioBox 1818VSL.

To launch AB1818VSL Remote, tap on the AB1818VSL Remote icon on your iPad.
When you launch AB1818VSL Remote, you will taken to the Start page.

On the Devices Online tab on the Start page, you will
see the AudioBox 1818VSL that is on the same
network as your iPad. The Start Page also includes a
simulation so you can practice your finger control
away from your AudioBox 1818VSL and Virtual
StudioLive. Tap on the Demo tab to view it.

To connect to your mixer, tap on the AudioBox
1818VSL device icon. The text will change
color to alert you that it has been selected.

Tap the Connect button to open AB1818VSL Remote
and control Virtual StudioLive from your iPad.

NOTE: You can only have one AudioBox 1818VSL connected you network at a time.

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4.2.3 AB1818VSL Remote: Overview Page

The Overview page in AB1818VSL Remote corresponds directly with
most of the controls on the Overview page in VSL. The following
parameters can be viewed and controlled from this page:

• Channel and Main Volume

• Channel and Main Select

• Channel Mute

• Channel and Master Metering

• Channel Panning

• Channel Post

• Channel and Main Gate, Compressor, and EQ overview

• Channel and Main Gate, Compression, and EQ zoom

POWER USER TIP: Because AB1818VSL Remote is a wireless controller for Virtual StudioLive, the
fastest way to get comfortable with AB1818VSL Remote is to get well acquainted with VSL.

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Computer

Phase Reverse

Post

Gate Microview

Compressor Microview

EQ Microview

Channel Select

Pan Control

Mute

Channel Meter

Channel Fader

Master Bus Page

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Fat Channel Microviews and
Fat Channel Zooms

Displays a Microview of the Gate, Compressor, and EQ.

Tap to open the zoomed view and make changes.

Each channel and bus features a Microview of the Fat Channel
components. These Microviews allow you to see whether a particular
channel or bus has dynamics processing enabled. If any of the dynamics
processors in the Fat Channel are turned off, its Microview will be grayed
out.

To make changes to the Fat Channel dynamics processing, tap on any
of the Microviews. This will launch the Fat Channel zoomed view, with
that component in focus; for example, if you tap on the EQ Microview,
the Fat Channel Zoom will open with the EQ in focus. The zoomed
Fat Channel view corresponds directly to the Channel tab in VSL.

You can switch between the dynamics components in the
zoomed Fat Channel view by swiping your finger to the left
or right. For example, if you launch the Gate zoom and swipe
your finger to the left, the Fat Channel Zoom will focus on the
compressor; swiping to the left again focuses the EQ.

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Channel Controls: Phase Controls the Phase Reverse for Each Channel.

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To close the Fat Channel Zoom, tap on the “x” in the upper right­hand corner. This will display the normal Overview page.

To reverse the phase on a channel, tap its Phase button. The Phase button
will illuminate, indicating that the channel’s phase has been reversed.

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Channel Controls: Post Controls the Post DSP function for Each Channel.

To record the Dynamics and EQ on a channel, tap its Post button. The Post
button will illuminate, indicating that the channel’s Fat Channel effects
will be recorded.

Channel Controls: Select Selects Channel for Fat Channel Zoom and Portrait View.

When no Microview has been selected for Fat Channel Zoom, the channel
Select buttons merely display the channel number.

Once Fat Channel Zoom is launched, the channel Select buttons
become active, and you can use them to select another channel
so that you can view its zoomed Fat Channel settings.

Channel Controls: Pan Controls the Panning for Each Channel.

To pan a channel, tap and hold anywhere on the Pan control
and then slide your finger right or left, while maintaining
constant contact with the iPad screen. These controls correspond
directly to those in VSL and on the AudioBox 1818VSL.

POWER USER TIP: The Pan control supports off-axis movement. Once you
have pressed a Pan field to select it, you can slide your finger anywhere in the
screen and make a side-to-side movement to control the pan position.

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The pan position is displayed numerically in the Channel Select field
while the pan control is being adjusted in AB1818VSL Remote.

Channel Controls: Mute Controls the Mute for Each Channel.

To mute a channel, tap its Mute button. The Mute button will turn red,
indicating that the channel has been muted.

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Channel Controls:
Fader and Metering

Controls the Level for Each Channel and Displays Each Channel’s Metering.

To control the volume of a channel, tap the fader and move your finger up
or down, while maintaining constant contact with the iPad screen.

POWER USER TIP: The fader supports off-axis movement. Once you have
touched a fader to select it, you can slide your finger anywhere in the
screen and make an up/down movement to control the fader.

The fader position is displayed numerically in the Channel Select field.

To the left of the fader, you will see the meter for the channel. The meter
will follow the meter mode selected on the StudioLive or from VSL. The
meter mode cannot be changed from AB1818VSL Remote.

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Masters Overview
Masters Section Page

Displays the Metering for the Main Bus and Auxes.

Tap to open the Masters Section page.

In the upper right corner of every page in AB1818VSL Remote (Overview,
Aux Mixer, and Settings), you will find the Masters Overview. This displays
the metering for the main bus.

Tapping on the Masters Overview will open the
Masters Section page.

The Masters Section page displays the fader, meter,
and Fat Channel Microviews for the Mains and
Auxes, as well as for the FXA and FXB buses. These
parameters are controlled in the same way they
are controlled for channels in the Overview page.

Tapping on any of the Fat Channel Microviews
will close the Masters Section page. The Fat
Channel Zoom will open with the selected
parameter in focus for the selected bus.

To close the Masters Section page, simply tap
anywhere outside it.

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4.2.4 Aux Mix Page

The Aux Mix page shows the send and pan level for each
channel on each Aux and the send for both FX buses. To
navigate right or left, touch anywhere on the screen and swipe
your finger to the left or right. Swiping left scrolls the screen
to the left. Swiping right scrolls the screen to the right.

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• Channel Send

• Aux and FX Bus Gate, Compressor, and EQ Overview

• Aux and FX Bus Gate, Compression, and EQ Zoom

• Edit Effects

• Recall Effects

Aux Mix Select and Aux Mixing Displays Channel Send Levels to Aux Bus.

To create an aux mix using AB1818VSL Remote, tap anywhere in the Aux
Mix Select tab for that aux. The selected Aux Mix tab will be highlighted
to alert you that its individual channel-send levels are displayed below.

The Gate, Compressor, and EQ Microviews function the
same for auxes as they do for channels and mains.

To adjust the send levels for any channel, tap anywhere
in its send level and move your finger up or down, while
maintaining constant contact with the iPad screen.

POWER USER TIP: The aux sends support off-axis movement. Once you have
touched a send-level control to select it, you can slide your finger anywhere on
the screen and make an up/down movement to control the send level.

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FX Mix Select and FX Bus Mixing Displays Channel Send Levels to FX Bus.

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To create an FX mix using AB1818VSL Remote, tap anywhere in the FX Mix
Select tab for that FX bus. The selected FX Mix tab will be highlighted to
alert you that its individual channel-send levels will be displayed below.

The Gate, Compressor, and EQ Microviews function the
same for auxes as they do for channels and mains.

To adjust the send levels for any channel, tap anywhere
in its send level and move your finger up or down, while
maintaining constant contact with the iPad screen.

POWER USER TIP: The FX sends support off-axis movement. Once you have
touched a send-level control to select it, you can slide your finger anywhere in
the screen and make an up/down movement to control the send level.

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FX Edit Button Opens FX Editor.

From AB1818VSL Remote, you can load new FX types and adjust their
parameters. To edit an effect, tap on the Edit button in the FX Select tab
for FXA or FXB. This will launch the FX Editor.

To load a new effect type, tap
on the Effects Type window,
and then tap on the new effect
type to load it. To adjust a
parameter, simply tap on it and
move your finger up or down

while maintaining constant contact with your iPad.

To close the Effects Editor, tap the “x” in the upper right corner.

4.2.5 Settings Page

The Settings page allows you to set scrolling and metering functions.

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Scroll by Page Scrolls Through Channels by Page.

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AB1818VSL Remote 4.2

When the Scroll by Page option is enabled, the mixer
will scroll to through channels by entire pages, rather
than by individual channels. Turning this option off
will allow you to scroll over by a single channel for
more granular control.

Scroll by Page can be enabled/disabled for both the Mixer and Aux pages.

Peak Hold Metering Displays the Last Signal Peak.

When Peak Hold Metering is enabled, each meter in
AB1818VSL Remote will continue to display the last
signal peak. This allows you to keep an eye on how
loud each channel’s signal is averaging.

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Prev/Next:

Changes View to

Previous or Next Channel

Gate:

Controls

Gate

Functions

EQ:

Controls

EQ Functions

Pan:

Controls /

Displays
Panning

Metering:

Displays

Metering

(Meter Mode

Set in VSL

or on Mixer)

Fader:

Controls

Output

Level

Post:

Engages
Post DSP
recording
(Input Channels
only)

Limiter:

Controls
Limiter
Functions

HPF:

Control
High-Pass
Filter
Frequency

Channel
Scroll Bar

Compressor:

Controls
Compressor
Functions

Mute:

Mutes

Channel

Phase:

Inverts

Channel

Phase

Aux Sends/Pans:

Set send and pan levels
for selected channel
in each Aux mix.

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4.2.6 Channel Zoom Page

The Channel Zoom page opens automatically when you turn your
iPad to the Portrait view. This page provides you with a look at
every controllable parameter for a channel or bus. It also allows
you to quickly scroll through every channel and bus on your mixer
by sliding your finger down the right side of your screen.

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Studio One Artist Quick Start 4.3

4.3 Studio One Artist Quick Start

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Your AudioBox 1818VSL comes with Studio One Artist recording
and production software. Whether you are about to record your
first album or your fiftieth, Studio One Artist provides you with all
of the tools necessary to capture and mix a great performance. As
a valued PreSonus customer, you are also eligible for a discount
upgrade to Studio One Producer or Studio One Professional. For
more details on the Studio One upgrade program for PreSonus
customers, please visit http://studioone.presonus.com/.

4.3.1 Installation and Authorization

Once you have installed the AudioBox 1818VSL drivers and connected
your AudioBox 1818VSL to your computer, you can use the included
PreSonus Studio One Artist music-production software to begin
recording, mixing, and producing your music. To install Studio One
Artist, insert your installation disc into your computer’s DVD drive.
Follow the onscreen instructions to complete the installation process.

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Running the Studio One Installer

To Install Studio One Artist, insert your Studio One Artist installation DVD
into your computer’s DVD drive.

• Windows Users: Launch the Studio One Artist
installer and follow the onscreen instructions.

• Mac Users: Drag the Studio One Artist application into
the Applications folder on your Macintosh hard drive.

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Creating a User Account

1. After installing Studio One Artist, launch the program, and the Activate
Studio One menu will appear. Click on the Activate or Upgrade link to
begin.

2. If you are a new Studio One user, you will need to create a user account.
Click on the “Create New Account” link if your computer is connected to
the Internet.

• If your computer is not connected to the Internet,
skip to “Activating Studio One Artist Offline.”

• If you already have a PreSonus user account, you can
skip to “Activating Studio One Artist On Line.”

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3. Fill out the user registration form. You will be asked to create a
username and password. This information will be used to access your
PreSonus user account on the PreSonus Web site. With this account,
you can manage registration for all of your PreSonus hardware and
software products. You will be notified of, and will have access to,
important information and updates related to your PreSonus products,
ensuring you get the best performance possible from them.

Your username and password will also provide you with
access to the PreSonus user forums to chat with other
PreSonus users as well as PreSonus employees.

4. Once your user account has been successfully created, you will be
alerted that the activation email has been sent to the email address
that you provided.

Don’t forget to activate your PreSonus user account
the next time you check your email!

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Activating Studio One Artist Online

Software: Virtual StudioLive, AB1818VSL Remote, & Studio One Artist 4

Studio One Artist Quick Start 4.3

Activating Studio One Artist Offline

Now that you have created a user account, you can activate your copy
of Studio One Artist. Click on the Activate Online link and enter your
previously created account username, password, and the product key
you received with the Studio One Artist installation disc.

Your Studio One Product Key is located on
the Studio One Artist disc wallet.

Click on the Activate button to finish the activation process.

1. If your computer is not connected to the Internet, visit
http://www.presonus.com/registration/ on an Internet­connected computer to create your account.

2. Once you have created your user account, log in and click on the
Software Registration link.

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3. Enter the Product Key located on the Studio One Artist disc wallet.

Click “Submit.”

4. When the product key is registered, you will be returned to the main
user account page.

Click on the “My Software” link.

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Information

5. Click on the “Download License” link.

A file called “Studio One 2 Artist.license” will be saved onto
your computer. You will need to copy this onto a piece
of removable media and transfer it onto the computer
on which you want to run Studio One Artist.

6. Launch Studio One Artist.

From the Activate Studio One Menu, click on the “Activate Offline”
link.

7. Drag the “Studio One 2 Artist.license” file onto the Offline Activation
window.

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Installing Bundled Content for Studio One Artist

Studio One Artist comes bundled with an array of
demo and tutorial material, instruments, loops,
samples, and other third-party content. The Studio
One Artist bundle includes all that you need to begin
producing music.

Upon completing the Studio One Artist
installation and activation process, the
Studio One Content Installer will appear.

1. Click on “Install content from DVD or local folder.”

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Power User Tip: Studio One Artist content can be installed at any time by
accessing the Studio One 2>Studio One Installation... menu. If you choose not
to install any portion of the content, you can install it at a later time.

Installing Third-Party Content

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Studio One Artist Quick Start 4.3

2. At the top of the installation menu, select the source
from which the content will be installed, as well as the
location where you wish to install the content. The
source of the content will be the same DVD from which
you installed Studio One Artist. By default, Studio One
Artist will point to your DVD drive as the content source.
Listed in the installation menu are separate entries for
each available item. Click the check box next to each
item you wish to install, then click on the Install Packets
button at the bottom left of the menu to install the
selected content.

When finished installing content, click on
the Done button to exit the menu.

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To Install any of the third-party content, click on the arrow button next to
its name in the content list (Celemony Melodyne Trial, Native Instruments
Komplete Player).

Notice that next to Native Instruments Komplete there
is serial number listed. You will need this number to
authorize this plug-in the first time you open it.

When you have finished installing content, click the “Done” button.

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4.3.2 Enabling the Audio Driver

Studio One Artist was designed with PreSonus interfaces in mind,
so AudioBox 1818VSL setup is quick and easy. When Studio One
Artist is launched, by default you will be taken to the Start page.
On this page, you will find document-management and device­configuration controls, as well as a customizable artist profile, a news
feed, and links to demos and tutorials from PreSonus. If you have an
Internet connection on your computer, these links will be updated
as new tutorials become available on the PreSonus Web site.

Complete information on all aspects of Studio One Artist is
available in the Reference Manual PDF located on the Studio
One Artist installation disc. The information in this tutorial covers
only the basic aspects of Studio One Artist and is intended
to get you set up and recording as quickly as possible.

Start Page: Setup Area Shows Active Audio Driver and Sample Rate and Provides

Quick Links to Configure Audio and MIDI.

In the middle of the Start page, you will see the Setup
area. Studio One Artist automatically scans your
system for all available drivers and selects a driver. By
default, it will choose a PreSonus driver if one is
available.

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Selecting a Different Audio Driver
from the Start Page.

If you do not see “PreSonus AudioBox 1818VSL” on
the Start page when you launch Studio One, click
on the Configure Audio Devices link in the Setup
area to open the Audio Setup Options window.

In the Audio Device menu, select “PreSonus AudioBox.”
Click the Apply button and then OK.

After you have verified that the PreSonus AudioBox driver
has been detected, please continue to the next section to set
up your external MIDI devices. If you do not have any MIDI
devices to connect at this time, please skip to Section 4.4.

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4.3.3 Configuring MIDI Devices

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Studio One Artist Quick Start 4.3

From the External Devices window in Studio One Artist, you can
configure your MIDI keyboard controller, sound modules, and
control surfaces. This section will guide you through setting up
your MIDI keyboard controller and sound module. Please consult
the Reference Manual located on your Studio One Artist installation
DVD for complete setup instructions for other MIDI devices.

If you are using a third-party MIDI interface or USB MIDI-controller
keyboard, you must install the drivers for these devices before
beginning this section. Please consult the documentation that came
with your MIDI hardware for complete installation instructions.

Setting Up an External MIDI Keyboard Controller from the Start Page

A MIDI keyboard controller is a hardware device that is generally used
for playing and controlling other MIDI devices, virtual instruments, and
software parameters. In Studio One Artist, these devices are referred to
as Keyboards, and they must be configured before they are available for
use. In some cases, your MIDI keyboard controller is also used as a tone
generator. Studio One Artist views the controller and tone-generation
functions as two different devices: a MIDI keyboard controller and a
sound module. The MIDI controls (keyboard, knobs, faders, etc.) will be
set up as a Keyboard. The sound module will be set up as an Instrument.

You can set up your external MIDI devices from the Setup
area in the Start page. Before setting up a new Song for
recording, take a moment to configure external devices.

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1. Connect the MIDI Out of your external MIDI
controller to a MIDI In on your AudioBox
1818VSL or other MIDI interface. If you
are using a USB MIDI controller, connect
it to your computer and power it on.

2. Click on the Configure External Devices link in the
Setup area on the Start page to launch the External
Devices window.

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Click the Add button.

3. The Add Device window will launch.

4. From the menu on the left, select New
Keyboard. At this point, you can customize
the name of your keyboard by entering
the manufacturer and device names.

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5. You must specify which MIDI channels will be used
to communicate with this keyboard. For most
purposes, you should select all MIDI channels. If you
are unsure of which MIDI channels to choose, select
all 16.

6. In the Receive From drop-down menu, select the
MIDI-interface input from which Studio One Artist
will receive MIDI data. In this case, the AudioBox
1818VSL.

In the Send To drop-down menu, select the MIDI interface output
(AudioBox 1818VSL) from which Studio One Artist will send MIDI data to
your keyboard. If your keyboard controller does not need to receive MIDI
data from Studio One, you can leave this unselected. If your keyboard
does need to receive MIDI data, you must connect a MIDI cable from
the MIDI Out of the MIDI interface to the MIDI In of the keyboard.

7. If this is the only keyboard that you will use to control your external
synthesizers and virtual instruments, you should check the box next to
Default Instrument Input. This will automatically assign your keyboard
to control all MIDI devices in Studio One Artist.

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Click OK.

If you have a sound module that you’d like to connect, leave the

External Devices window open and proceed to the next part of this
section. If not, you can close this window and skip to Section 4.3.4.

Owner’s Manual

Setting up an External MIDI Sound Module from the Start Page

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Studio One Artist Quick Start 4.3

MIDI instrument controllers (keyboards, MIDI guitars, etc.) send musical
information in the form of MIDI data to tone modules and virtual
instruments, which respond by generating sound, as instructed. Tone
modules can be standalone sound devices or can be integrated into a
MIDI instrument, such as a keyboard synthesizer. Studio One Artist refers
to all tone generators as Instruments. Once you have set up your MIDI
keyboard controller, take a moment to configure your sound module.

1. Connect the MIDI In of your external sound
module to the MIDI Out of your AudioBox
1818VSL or other MIDI interface.

2. In the External Devices window, click the Add
button.

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3. The Add Device window will launch.

4. From the menu on the left, select “New
Instrument.” At this point, you can customize
the name of your sound module by entering
the manufacturer and device names.

5. Specify which MIDI channels will be used to
communicate with this keyboard. For most
purposes, you should select all MIDI channels. If
you are unsure of which MIDI channels to select, we
suggest you select all 16.

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6. In the Send To drop-down menu, select the
MIDI-interface output from which Studio One Artist
will send MIDI data to your sound module—in this
case, via the AudioBox 1818VSL.

In the Receive From drop-down menu, select the MIDI-interface
output (AudioBox 1818VSL) from which Studio One Artist will receive
sound-module MIDI data. If your sound module will not need to
send information to Studio One, you can leave this unspecified.

Click OK and close the External Devices window. You are now ready to
start recording in Studio One Artist. The rest of this Quick Start Guide will
go over how to set up a Song and will discuss some general workflow
tips for navigating through the Studio One Artist environment.

4.3.4 Creating a New Song

Now that you’ve configured your MIDI devices, let’s create a
new Song. We‘ll start by setting up your default audio I/O.

1. From the Start page, select “Create a new Song.”

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2. In the browser window, name your Song and
choose the directory in which you’d like it saved.
You’ll notice a list of templates on the left. The
AudioBox 1818VSL template will create a Song with
a track for each of the AudioBox inputs. Every track
is armed for recording, and no further setup is
required. Select this template and click “OK.”

3. The rest of this section will guide you through
creating a Song from an empty session.

4. To begin a new Song, select Empty Song from the
Templates list. At this point, you should give your
Song a name and select your preferred sample rate
and bit depth. You can also determine the length of
your Song and the type of time format you would
like to use (Notation Bars, Seconds, Samples, or
Frames). Click the OK button when you are finished.

5. If you plan on importing loops into your
Song, you may want to select Stretch Audio
Loops to Song Tempo so that any loop of a
known BPM (like those in the included content
library) will import at the correct tempo.

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Studio One Artist Quick Start 4.3

6. When the Song window launches, launch the Audio
Setup window by going to Studio One | Options…
(Windows) or Studio One | Preferences (Mac) and
click on the Audio Setup button.

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7. Click on the Song Setup button to open the
Song Setup window, then click on the Audio
I/O Setup icon.

8. Go to Song>Song Setup menu and click on “Audio
I/O Setup.”

9. We recommend that you create a mono input for
each of the inputs on your AudioBox 1818VSL.
If you plan on recording in stereo, you should
also create a stereo bus and assign it to the
appropriate set of inputs. You can remove any bus
by simply selecting it and clicking the Remove
button. To customize the names of your buses,
double-click on the default name to open a text
box. When you have finished typing, hit Enter.

10. If you would like the same inputs to be
available every time you launch Studio One
Artist, click the “Make Default” button.

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11. Click on the Outputs tab, and you will see all of the
available outputs on your AudioBox 1818VSL. We
recommend that you create stereo outputs for the
Main outputs on your AudioBox 1818VSL.

12. In the lower right corner, you will see the Audition
select menu. This allows you to choose the output
from which you will audition audio files prior to
importing them into Studio One Artist. In general,
you will want this to be the main output bus.

13. If you would like this output configuration
available every time you launch Studio One
Artist, click the Make Default button.

14. Now that you’ve configured your MIDI and
audio I/O and created a new Song, let’s
go through some of the basics of Studio
One Artist so you can start recording!

4.3.5 Creating Audio Tracks

1. In the upper left corner of the Arrange window, you will
notice several buttons. The third button from the left is
the Add Tracks button. Click this button to bring up the
Add Tracks window.

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2. In the Add Tracks window, you can select the number
and type of tracks you’d like to create (Mono Audio,
Stereo Audio, Folder, Instrument, or Automation)
and can customize the track name and color as
well as add a preset rack of effects to the track.

3. Once you have added your tracks, you can assign the
input by simply clicking on the input to which a track is
currently assigned. This will bring up the inputs list. You
can also access the audio I/O setup from here.

4. If you would like to add a track for each of the available
inputs and have the routing automatically assigned,
simply go to Track | Add Tracks for All Inputs.

5. To begin recording, create an audio track, assign it to
Input 1, and connect a microphone to the first channel
on the AudioBox 1818VSL. Select Record Enable on
your track in Studio One Artist. Turn up the Channel
1 level while speaking/singing into the microphone.
You should see the input meter in Studio One Artist
react to the input. Adjust the gain so the input level
is near its maximum without clipping (distorting).

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Solo Level

Mute

Meter

Audio
Input

Rec Arm

ST/Mono

Mon (In S1)

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Studio One Artist Quick Start 4.3

6. Connect a set of headphones to the AudioBox
headphone output. If you wish to listen to your
AudioBox 1818VSL with studio monitors, make sure
to connect them to the AudioBox‘s Main outputs.

You are now ready to record. For complete
instructions, please consult the Studio One
Reference Manual, which is located on your
Studio One Artist installation DVD.

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4.3.6 Creating MIDI Tracks

1. Click on the Add Tracks button. When the Add Tracks window launches,
select Instrument as the track format and click the OK button.

2. To assign your MIDI input, click on the MIDI Inputs list and select your
external sound module.

3. If you have added virtual inputs to your session,
you will also see them as available inputs.

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4. If you selected your MIDI keyboard controller as the default
keyboard, it will already be selected. If not, choose your
MIDI controller from the Output menu directly below.

5. To the left of the Add Track button, you will find the Inspector button.
Click it to display more parameters for the selected track.

6. At the bottom of the Inspector menu, you will see your Bank and
Program selections. From here, you can remotely change the patch on
your sound module.

MIDI data does not contain audio signals. To hear your sound
module, you must connect the audio output of the sound
module to an AudioBox input, then connect the AudioBox’s
audio outputs to a sound system. (You also can listen on
headphones, using the headphone output.) When you are
ready to mix your Song, you must convert the recorded MIDI
data to an audio waveform by recording a new audio track.

4.3.7 Adding Virtual Instruments and Plug-in Effects to Your Song

You can add plug-ins and instruments to your Song by dragging­and-dropping from the browser. You can also drag an effect
or group of effects from one channel to another, drag in
customized effects chains, and instantly load your favorite virtual­instrument patch without ever scrolling through a menu.

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Opening the Browser

In the lower right corner of the Arrange window are three buttons. The
Edit button opens or closes the audio editor or the MIDI piano-roll editor,
depending on which type of track is selected. The Mix button opens and
closes the mixer window.

The Browse button opens the Browser window, which displays all of
the available virtual instruments, plug-in effects, audio files, and MIDI
files, as well as the pool of audio files loaded into the current session.

Drag-and-Drop Virtual Instruments

To add a virtual instrument to your session, click the

Browse and Instrument buttons to open the
instrument browser. Select the instrument or one of
its patches from the instrument browser and drag it
into the Arrange view. Studio One Artist will
automatically create a new track and load the
instrument as the input.

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Drag-and-Drop Effects

Software: Virtual StudioLive, AB1818VSL Remote, & Studio One Artist 4

Studio One Artist Quick Start 4.3

Drag-and-Drop Audio and MIDI Files

To add a plug-in effect to a track, click the Effects
button and select the plug-in or one of its presets in
the effects browser, then drag the selection over the
track to which you would like to add the effect.

Audio and MIDI files can be quickly located,
auditioned, and imported into your Song by dragging
them from the file browser into the Arrange view. If
you drag the file to an empty space, a new track will
be created with that file placed at the position to
which you dragged it. If you drag the file to an existing
track, the file will be placed as a new part on the track..

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5.1 Microphone Types

The AudioBox 1818VSL works with most types of microphones,
including dynamic, ribbon, and condenser microphones.

5.1.1 Condenser

Condenser microphones generally capture sound with excellent fidelity and are
among the most popular microphone choices for studio recording and, increasingly,
for live performance as well. Condenser microphones require a power source, which
can be provided by a small battery, an external power supply, or phantom power,
which is usually provided by a mixer, preamplifier, or direct (DI) box. Phantom power
is sent over the same mic cable that carries the audio signal; the term derives from the
fact that there is no visible power cord, and the voltage is not perceptible in the audio
path. The AudioBox 1818VSL sends 48 VDC phantom power from the XLR inputs only.

5.1.2 Dynamic

Dynamic microphones are possibly the most widely used microphone type,
especially in live shows. They are relatively inexpensive, resistant to physical damage,
and typically handle high sound-pressure levels (SPL) very well. Unlike condenser
microphones, most dynamic microphones do not require a power source.

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Dynamic microphones, especially ribbon microphones, tend to generate low output
voltages, so they typically need more preamp gain than condenser microphones.

Ribbon

Ribbon microphones are a special type of dynamic microphone and
get their name from the thin metal ribbon used in their design. Ribbon
microphones capture sound with very high fidelity—especially higher
frequencies. However, they often are very fragile (many newer models
are less so) and typically cannot handle high sound-pressure levels.

Most ribbon microphones do not require phantom power. In fact, unless a
ribbon microphone specifically calls for phantom power, sending phantom
power to a ribbon microphone can severely damage it—usually beyond repair.

5.1.3 USB Microphones and Other Types

Many microphone types are available, and as technology evolves, it is likely
that more will be developed. One type of microphone to emerge recently is the
USB microphone. These may be dynamic or condenser mics but many of them
have built-in preamps and need drivers to work with computers. Because a USB
microphone is, in effect, an audio interface, we recommended that you not use
them with the AudioBox 1818VSL, as the likelihood of conflicting drivers is great.

If you are using a new or nonstandard type of microphone (e.g.,
USB, headset, laser, MEMS), please consult your microphone’s user’s
manual for power requirement and compatibility information.

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Owner’s Manual

Regardless of the microphone type you are using, we recommend
reading your microphone’s user’s manual thoroughly before engaging
phantom power and in case other usage questions arise.

5.1.4 Microphone Placement

The following are a few recording applications to help you get started with
your AudioBox 1818VSL. These are by no means the only ways to record these
instruments. Microphone selection and placement is an art. For more information,
visit your library or local bookstore, as there are many books and magazines
about recording techniques. The Internet is also a great source of recording
information, as are instructional videos. Some of these microphone-placement
suggestions can be used in live applications, as well as for studio recording.

Grand Piano

Tutorials 5

Microphone Types 5.1

Place one microphone above the high strings and one
microphone above the low strings. Experiment with
distance (the farther back the more room you will
capture). This technique can be used for live and
studio applications.

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Electric Guitar

Place a dynamic microphone an inch or two away
from the speaker of the guitar amplifier. Experiment
with exact location. If you are recording an amp with
multiple speakers, experiment with each one to see if
one sounds better than the others. Place a condenser
microphone approximately six feet away, pointed at
the amp. Experiment with distance. Also experiment
with inverting the phase of the room microphone to
check for phase cancellation and reinforcement.
(Select the “fuller”-sounding position.) To use this
technique in a live application, omit the condenser
microphone.

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Acoustic Guitar

Point a small-diaphragm condenser microphone at
the 12th fret, approximately 8 inches away. Point a
large-diaphragm condenser microphone at the bridge
of the guitar, approximately 12 inches from the guitar.
Experiment with distances and microphone
placement. Another popular method is using an XY
microphone placement with two small-diaphragm
condenser microphones. (See drum-overheads photo
on the next page.)

Bass Guitar (Direct and Speaker)

Plug the electric bass guitar into a passive direct box.
Connect the instrument output from the passive
direct box to a bass amplifier. Place a dynamic
microphone an inch or two away from the speaker
and connect it to a AudioBox 1818VSL microphone
input. Connect the line output from the passive direct
box to the other microphone input on your AudioBox.
Be sure to keep the trim level for this input very low so
as not to clip the converters. For recording, place these
signals on separate tracks. During mixing, you can
blend the direct and amplifier signal to taste. This
technique can also be used in live applications.

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Owner’s Manual

Drum Overheads (XY example)

Tutorials 5

Microphone Types 5.1

Place two small-diaphragm condenser microphones
on an XY stereo-microphone holder (bar). Position the
microphones so that each one is at a 45-degree angle,
pointed down at the drum kit, approximately 7 or 8
feet above the floor or drum riser. Experiment with
height. This technique can be used in live applications
as well.

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Snare Drum (top and bottom)

Point a dynamic microphone at the center of the
snare, making sure it is placed so that the drummer
will not hit it. Place a small-diaphragm condenser
microphone under the drum, pointed at the snares.
Experiment with the placement of both microphones.
Also experiment with inverting the phase of the
bottom microphone. This technique can be used in
live applications.

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5.2 A Brief Tutorial on Dynamics Processing

Each channel in Virtual StudioLive (VSL) for AudioBox 1818VSL includes a
Fat Channel dynamics-processing section. What follows is an excerpt from
a brief tutorial on dynamics processing written by PreSonus president and
founder Jim Odom. It is included to help you get the most out of VSL and
the Fat Channel. This tutorial will take you through the basics of dynamics
processing and will explain the various types of dynamics processors.

5.2.1 Common Questions Regarding Dynamics Processing

What is dynamic range?

Dynamic range can be defined as the ratio between the loudest possible audio
level and the noise floor. For example, if a processor states that the maximum
input level before distortion is +24 dBu, and the output noise floor is -92
dBu, then the processor has a total dynamic range of 24 + 92 = 116 dB.

The average dynamic range of an orchestral performance can range from

-50 dBu to +10 dBu, on average. This equates to a 60 dB dynamic range.
Although 60 dB may not appear to be a large dynamic range, do the math,
and you’ll discover that +10 dBu is 1,000 times louder than -50 dBu!

Rock music, on the other hand, has a much smaller dynamic range:
typically -10 dBu to +10 dBu, or 20 dB. This makes mixing the various
signals of a rock performance together a much more tedious task.

Why do we need compression?

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Consider the previous discussion: You are mixing a rock performance with an
average dynamic range of 20 dB. You wish to add an uncompressed vocal to the
mix. The average dynamic range of an uncompressed vocal is around 40 dB. In
other words, a vocal performance can go from -30 dBu to +10 dBu. The passages
that are +10 dBu and higher will be heard over the mix. However, the passages
that are at -30 dBu and below will never be heard over the roar of the rest of the
mix. A compressor can be used in this situation to reduce (compress) the dynamic
range of the vocal to around 10 dB. The vocal can now be placed at around +5
dBu. At this level, the dynamic range of the vocal is from 0 dBu to +10 dBu. The
lower level phrases will now be well above the lower level of the mix, and louder
phrases will not overpower the mix, allowing the vocal to “sit in the track.”

The same points can be made about any instrument in the mix. Each instrument
has its place, and a good compressor can assist the engineer in the overall blend.

Does every instrument need compression?

This question may lead many folks to say “absolutely not, overcompression is
horrible.” That statement can be qualified by defining overcompression. The term
itself must have been derived from the fact that you can hear the compressor
working. A well-designed and properly adjusted compressor should not be audible!
Therefore, the overcompressed sound is likely to be an improper adjustment on
a particular instrument—unless, of course, it is done intentionally for effect.

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Why do the best consoles in the world put compressors on every channel?

Tutorials 5

A Brief Tutorial on Dynamics Processing 5.2

The answer is simply that most instruments need some form of
compression, often very subtle, to be properly heard in a mix.

Why do we need noise gates?

Consider the compressed-vocal example discussed earlier; you now have a
20 dB dynamic range for the vocal channel. Problems arise when noise or
instruments (air conditioner, loud drummer, etc.) in the background of the
vocal mic become more audible after the lower end of the dynamic range is
raised. You might attempt to mute the vocal between phrases in an attempt to
remove the unwanted sounds; however, this would probably end disastrously.
A better method is to use a noise gate. The noise-gate threshold could be
set at the bottom of the dynamic range of the vocal, say -10 dBu, such that
the gate would shut out the unwanted signals between the phrases.

If you have ever mixed live sound, you know the problems cymbals can create
by bleeding through the tom mics. As soon as you add some highs to get some
snap out of the tom, the cymbals come crashing through, placing the horn drivers
into a small orbit. Gating those tom mics so that the cymbals no longer ring
through them will give you an enormous boost in cleaning up the overall mix.

Dynamics processing is the process of altering the dynamic range of a signal, thereby
enhancing the ability of a live sound system or recording device to handle the signal
without distortion or noise and aiding in placing the signal in the overall mix.

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5.2.2 Types of Dynamic Processing

Compression/Limiting

Punch, apparent loudness, presence—these are just three of the many
terms used to describe the effects of compression/limiting.

Compression and limiting are forms of dynamic-range (gain) control. Audio
signals have very wide peak-to-average signal-level ratios (sometimes
referred to as dynamic range, which is the difference between the loudest
level and the softest level). The peak signal can cause overload in the audio­recording or sound-reinforcement chain, resulting in signal distortion.

A compressor/limiter is a type of amplifier in which gain is dependent on the
signal level passing through it. You can set the maximum level a compressor/
limiter allows to pass through, thereby causing automatic gain reduction
above some predetermined signal level, or threshold. Compression refers,
basically, to the ability to reduce, by a fixed ratio, the amount by which a
signal’s output level can increase relative to the input level. It is useful for
lowering the dynamic range of an instrument or vocal, making it easier to
record without distorting the recorder. It also assists in the mixing process by
reducing the amount of level changes needed for a particular instrument.

Take, for example, a vocalist who moves around in front of the microphone while
performing, making the output level vary up and down unnaturally. A compressor
can be applied to the signal to help correct this recording problem by reducing
the louder passages enough to be compatible with the overall performance.

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How severely the compressor reduces the signal is determined by the compression
ratio and compression threshold. A ratio of 2:1 or less is considered mild
compression, reducing the output by a factor of two for signals that exceed
the compression threshold. Ratios above 10:1 are considered hard limiting.

As the compression threshold is lowered, more of the input signal is
compressed (assuming a nominal input-signal level). Care must be taken
not to overcompress a signal, as too much compression destroys the
acoustic dynamic response of a performance. (That said, overcompression
is used by some engineers as an effect, with killer results!)

Limiting refers to the processing that prevents the signal from getting any louder
(that is, it prevents any increase in the signal’s amplitude) at the output.

Compressor/limiters are commonly used for many audio applications. For example:

A kick drum can get lost in a wall of electric guitars. No matter how
much the level is increased, the kick drum stays lost in the “mud.” A
touch of compression can tighten up that kick-drum sound, allowing
it to punch through without having to crank the level way up.

A vocal performance usually has a wide dynamic range. Transients (normally
the loudest portions of the signal) can be far outside the average level of the
vocal signal. Because the level can change continuously and dramatically, it is
extremely difficult to ride the level with a console fader. A compressor/limiter
automatically controls gain without altering the subtleties of the performance.

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A solo guitar can seem to be masked by the rhythm guitars. Compression can
make your lead soar above the track without shoving the fader through the roof.

Bass guitar can be difficult to record. A consistent level with good attack
can be achieved with proper compression. Your bass doesn’t have to
be washed out in the low end of the mix. Let the compressor/limiter
give your bass the punch it needs to drive the bottom of the mix.

Compressors — Terminology

Threshold. The compressor threshold sets the level at which compression begins.

When the signal is above the threshold setting, it becomes eligible for compression.
Basically, as you turn the threshold knob counterclockwise, more of the input
signal becomes compressed (assuming you have a ratio setting greater than 1:1).

Ratio. The ratio is the relationship between the output level and the input level.
In other words, the ratio sets the compression slope. For example, if you have the
ratio set to 2:1, any signal levels above the threshold setting will be compressed
such that for every 1 dB of level increase into the compressor, the output will
only increase 0.5 dB. This produces a compression gain reduction of 0.5 dB/
dB. As you increase the ratio, the compressor gradually becomes a limiter.

Limiter. A limiter is a compressor that is set to prevent any increase in the level of a
signal above the threshold. For example, if you have the threshold knob set at 0 dB,
and the ratio turned fully clockwise, the compressor becomes a limiter at 0 dB, so
that the output signal cannot exceed 0 dB regardless of the level of the input signal.

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Attack. Attack sets the speed at which the compressor acts on the
input signal. A slow attack time allows the beginning envelope of a
signal (commonly referred to as the initial transient) to pass through the

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A Brief Tutorial on Dynamics Processing 5.2

compressor unprocessed, whereas a fast attack time immediately subjects
the signal to the ratio and threshold settings of the compressor.

Release. Release sets the length of time the compressor takes to return the gain
reduction back to zero (no gain reduction) after the signal level drops below the
compression threshold. Very short release times can produce a very choppy or
“jittery” sound, especially in low-frequency instruments such as bass guitar. Very long
release times can result in an overcompressed sound; this is sometimes referred to as
“squashing” the sound. All ranges of release can be useful at different times, however,
and you should experiment to become familiar with the different sonic possibilities.

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Expansion

Hard/Soft Knee. With hard-knee compression, the gain reduction applied to the

signal occurs as soon as the signal exceeds the level set by the threshold. With
soft-knee compression, the onset of gain reduction occurs gradually after the signal
has exceeded the threshold, producing a more musical response (to some folks).

Auto. Places a compressor in automatic attack and release
mode. The attack and release knobs become inoperative and
a preprogrammed attack and release curve is used.

Makeup Gain. When compressing a signal, gain reduction usually results
in an overall reduction of level. The gain control allows you to restore
the loss in level due to compression (like readjusting the volume).

Compressor Sidechain. The sidechain jack interrupts the signal that the compressor
is using to determine the amount of gain reduction it should apply. When no
connector is inserted into this jack, the input signal goes directly to the compressor’s
control circuitry. When a connector is inserted into this jack, the signal path is broken.
The control signal can then be processed by an equalizer, for example, to reduce
sibilance (de-essing) in a vocal track. The control signal is then returned to the unit via
the connector. One common application for a sidechain is when using a compressor
to reduce the level of music or other background sound whenever a narrator speaks
or vocalist sings, allowing the voice to be clearly heard. In this application, the
vocal signal is routed to the sidechain input, while the music is routed through the
main compression circuitry. Now the compressor will automatically duck—that is,
reduce the level of—the music whenever the narrator speaks or the vocalist sings.

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There are two basic types of expansion: dynamic and downward. Expansion increases
the dynamic range of a signal after the signal crosses the expansion threshold.
Dynamic expansion is basically the opposite of compression. In fact, broadcasters use
dynamic expansion to “undo” compression before transmitting the audio signal. This
is commonly referred to as companding, or COMPression followed by expANDING.

By far the most common use of expansion is downward expansion. In contrast
to compression, which decreases the level of a signal after it rises above the
compression threshold, expansion decreases the level of a signal after the
signal goes below the expansion threshold. The amount of level reduction is
determined by the expansion ratio. For example, a 2:1 expansion ratio reduces
the level of a signal by a factor of two. (e.g., if a level drops 5 dB below the
expansion threshold, the expander will reduce it to 10 dB below the threshold.)

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Commonly used for noise reduction, expansion is very effective as a simple noise
gate. The major difference between expansion and noise gating is that expansion
is dependent on the signal level after the level crosses the threshold, whereas
a noise gate works independent of a signal’s level beyond the threshold.

Expansion— Terminology

Downward Expansion. Downward expansion is the most common

expansion used in live sound and recording. This type of expansion
reduces the level of a signal when the signal falls below a set
threshold level. This is most common used for noise reduction.

Ratio. The expansion ratio sets the amount of reduction applied to a
signal once the signal has dropped below the expansion threshold. For
example, a 2:1 expansion ratio attenuates a signal 2 dB for every 1 dB it
drops below the threshold. Ratios of 4:1 and higher act much like a noise
gate but without the ability to tailor the attack, hold, and release times.

Noise Gates

Threshold. The gate threshold sets the level at which the gate opens. Essentially,

all signals above the threshold setting are passed through unaffected, whereas
signals below the threshold setting are reduced in level by the amount set
by the range control. If the threshold is set fully counterclockwise, the gate is
turned off (always open), allowing all signals to pass through unaffected.

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Attack. The gate attack time sets the rate at which the gate opens. A fast attack
rate is crucial for percussive instruments, whereas signals such as vocals and
bass guitar require a slower attack. Too fast of an attack can, on these slow-rising
signals, cause an artifact in the signal, which is heard as a click. All gates have
the ability to click when opening but a properly set gate will never click.

Hold. Hold time is used to keep the gate open for a fixed period after
the signal drops below the gate threshold. This can be very useful for
effects such as gated snare, where the gate remains open after the
snare hit for the duration of the hold time, then abruptly closes.

Release. The gate-release time determines the rate at which the gate
closes. Release times should typically be set so that the natural decay of the
instrument or vocal being gated is not affected. Shorter release times help
to clean up the noise in a signal but may cause “chattering” in percussive
instruments. Longer release times usually eliminate “chattering” and should
be set by listening carefully for the most natural release of the signal.

Range. The gate range is the amount of gain reduction that the
gate produces. Therefore, if the range is set at 0 dB, there will be no
change in the signal as it crosses the threshold. If the range is set
to -60 dB, the signal will be gated (reduced) by 60 dB, etc.

Key Listen. The key listen allows the user to listen to
the signal that is being filtered by the gate.

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Frequency Key Filter. Some gates offer a variable frequency control allowing the
user to set a specific frequency band that the will cause the gate to open or close.

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Noise Gating. Noise gating is the process of removing unwanted sounds
from a signal by attenuating all signals below a set threshold. As described,
the gate works independently of the audio signal after being “triggered” by
the signal crossing the gate threshold. The gate will remain open as long as
the signal is above the threshold. How fast the gate opens to let the “good”
signal through is determined by the attack time. How long the gate stays open
after the signal has gone below the threshold is determined by the hold time.
How fast the gate closes is determined by the release. How much the gate
attenuates the unwanted signal while closed is determined by the range.

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Noise gates were originally designed to help eliminate extraneous noise and
unwanted artifacts from a recording, such as hiss, rumble, or transients from other
instruments in the room. Since hiss and noise are not as loud as the instrument being
recorded, a properly set gate will only allow the intended sound to pass through;
the volume of everything else is lowered. Not only will this strip away unwanted
artifacts like hiss, it will add definition and clarity to the desired sound. This is a very
popular application for noise gates, especially with percussion instruments, as it
will add punch or “tighten” the percussive sound and make it more pronounced.

The following are the compression presets that were used in the PreSonus BlueMax.
We have included them as a jumping-off point for setting up compression in VSL.

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5.2.3 Compression Settings: Some Starting Points

Vocals

Soft. This is an easy compression with a low ratio setting for ballads, allowing a wider

dynamic range. It’s good for live use. This setting helps the vocal “sit in the track.”

Thresholdhold RatRatioio AttAttackack ReleaRelease

-8.2 dB 1.8:1 0.002 ms 38 ms

Medium. This setting has more limiting than the Soft compression setting,
producing a narrower dynamic range. It moves the vocal more up front in the mix.

Thresholdhold RatRatioio AttAttackack Release

-3.3 dB 2.8:1 0.002 ms 38 ms

Screamer. This setting is for loud vocals. It is a fairly hard compression setting for
a vocalist who is on and off the microphone a lot. It puts the voice “in your face.”

Thresholdhold RatRatioio AttAttackack Release

-1.1 dB 3.8:1 0.002 ms 38 ms

Percussion

Snare/Kick. This setting allows the first transient through and compresses

the rest of the signal, giving a hard “snap” up front and a longer release.

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Thresholdhold RatRatioio AttAttackack Release

-2.1 dB 3.5:1 78 ms 300 ms

Left/Right (Stereo) Overheads. The low ratio and threshold in this
setting gives a “fat” contour to even out the sound from overhead
drum mics. Low end is increased, and the overall sound is more
present and less ambient. You get more “boom” and less “room.”

Thresholdhold RatRatioio AttAttackack Release

-13.7 dB 1.3:1 27 ms 128 ms

Fretted Instruments

Electric Bass. The fast attack and slow release in this setting will tighten

up the electric bass and give you control for a more consistent level.

Thresholdhold RatRatioio AttAttackack Release

-4.4 dB 2.6:1 45.7 ms 189 ms

Acoustic Guitar. This setting accentuates the attack of the
acoustic guitar and helps maintain an even signal level, keeping
the acoustic guitar from disappearing in the track.

Thresholdhold RatRatioio AttAttackack Release

-6.3 dB 3.4:1 188 ms 400 ms

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Keyboards

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A Brief Tutorial on Dynamics Processing 5.2

Electric Guitar. This is a setting for “crunch” electric rhythm
guitar. A slow attack helps to get the electric rhythm guitar “up
close and personal” and gives punch to your crunch.

Thresholdhold RatRatioio AttAttackack Release

-0.1 dB 2.4:1 26 ms 193 ms

Piano. This is a special setting for an even level across the keyboard. It is
designed to help even up the top and bottom of an acoustic piano. In other
words, it helps the left hand to be heard along with the right hand.

Thresholdhold RatRatioio AttAttackack Release

-10.8 dB 1.9:1 108 ms 112 ms

Synth. The fast attack and release on this setting can be used for
synthesizer horn stabs or for bass lines played on a synthesizer.

Thresholdhold RatRatioio AttAttackack Release

-11.9 dB 1.8:1 0.002 ms 85 ms

Orchestral. Use this setting for string pads and other types of synthesized orchestra
parts. It will decrease the overall dynamic range for easier placement in the mix.

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Thresholdhold RatRatioio AttAttackack Release

3.3 dB 2.5:1 1.8 ms 50 ms

Stereo Limiter. Just as the name implies, this is a hard limiter, or “brickwall,” setting—
ideal for controlling the level to a two-track mixdown deck or stereo output.

Thresholdhold RatRatioio AttAttackack Release

5.5 dB 7.1:1 0.001 ms 98 ms

Contour. This setting fattens up the main mix.

Thresholdhold RatRatioio AttAttackack Release

-13.4 dB 1.2:1 0.002 ms 182 ms

Squeeze. This is dynamic compression for solo work, especially electric
guitar. It gives you that glassy “Tele/Strat” sound. It is a true classic.

Thresholdhold RatRatioio AttAttackack Release

-4.6 dB 2.4:1 7.2 ms 93 ms

Pump. This is a setting for making the compressor “pump” in a desirable
way. This effect is good for snare drums to increase the length of
the transient by bringing the signal up after the initial spike.

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Thresholdhold RatRatioio AttAttackack Release

0 dB 1.9:1 1 ms 0.001 ms

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5.3 Equalizers

The Fat Channels in VSL are equipped with a 3-band semi-parametric
equalizer for every analog input and playback stream. Here’s a brief
explanation of how an EQ functions, as well as some charts to help you
navigate the frequency ranges of various instruments so you can quickly
choose the best EQ settings for your recordings and live mixes.

5.3.1 What is an EQ?

An equalizer is a filter that allows you to adjust the level of a frequency,
or range of frequencies, of an audio signal. In its simplest form, an EQ will
let you turn the treble and bass up or down, allowing you to adjust the
coloration of, let’s say, your car stereo or iPod®. In recording, equalization
is a sophisticated art. Good equalization is critical to a good mix.

When used correctly, an equalizer can provide the impression of nearness
or distance, “fatten” or “thin” a sound, and help blend or provide separation
between similar sounds in a mix allowing them to both shine through the mix.

Parametric EQ

The parametric EQ and semi-parametric EQ are the most common equalizers
found in recording and live situations because they offer continuous control over
all parameters. A parametric EQ offers continuous control over the audio signal’s
frequency content, which is divided into several bands of frequencies (most
commonly three to seven bands). A fully parametric EQ like those in the StudioLive

24.4.2 offers control over the bandwidth (basically, the range of frequencies affected),
the center frequency of the band, and the level (boost/cut) of the designated
frequency band. It also offers separate control over the Q, which is the ratio of the
center frequency to the bandwidth. A semi-parametric EQ provides control over
most of these parameters but the Q is fixed. Some devices, such as the StudioLive

16.4.2 and 16.0.2 and the AudioBox 1818VSL, have quasi-parametric EQ, which is
semi-parametric EQ with a simple, switchable Q setting (typically, High and Low Q).

Q

74

Q is the ratio of center frequency to bandwidth, and if the center frequency
is fixed, then bandwidth is inversely proportional to Q—meaning that as
you raise the Q, you narrow the bandwidth. In fully parametric EQs, you have
continuous bandwidth control and/or continuous Q control, which allows
you to attenuate or boost a very narrow or wide range of frequencies.

A narrow bandwidth (higher Q) has obvious benefits for removing unpleasant
tones. Let’s say the snare drum in your mix has an annoying ring to it. With a
very narrow bandwidth, you can isolate this one frequency (usually around
1 kHz) and remove, or reject, it. This type of narrow band-reject filter is also
known as a notch filter. By notching out the offending frequency, you can
remove the problem without removing the instrument from the mix. A narrow
bandwidth is also useful in boosting pleasant tones of an instrument such as
the attack. Take for instance, a kick drum. A kick drum resonates somewhere
between 60 to 125 Hz, but the attack of the kick drum is much higher at 2 to
5 kHz. By setting a narrow bandwidth and boosting the attack a bit, you can
achieve a punchier kick drum without overpowering the rest of the mix.

Owner’s Manual

Tutorials 5

Equalizers 5.3

A broad bandwidth accentuates or attenuates a larger band of frequencies. The
broad and narrow bandwidths (high and low Q) are usually used in conjunction
with one another to achieve the desired effect. Let’s look at our kick drum again.
We have a kick drum that has a great, big, low-end sound centered around 100
Hz and an attack hitting almost dead-on at 4 kHz. In this example, you would
use a broad bandwidth in the low frequency band, centered at 100 Hz, and a
narrow bandwidth boosted at 4 kHz. In this way you are accentuating the best
and downplaying everything else this particular kick drum has to offer.

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Shelving EQ

Graphic EQ

A shelving EQ attenuates or boost frequencies above or below a specified cutoff
point. Shelving equalizers come in two different varieties: high-pass and low-pass.

Low-pass shelving filters pass all frequencies below the specified
cutoff frequency while attenuating all the frequencies above it. A
high-pass filter does the opposite: passing all frequencies above the
specified cut-off frequency while attenuating everything below.

A graphic EQ is a multiband equalizer that uses sliders to adjust the
amplitude for each frequency band. It gets its name from the positions
of the sliders, which graphically display the resulting frequency­response curve. The center frequency and bandwidth are fixed; the
level (amplitude) for each band is the only adjustable parameter.

Graphic EQs are generally used to fine-tune the overall mix for a particular
room. For instance, if you are mixing in a “dead” room, you may want to boost
high frequencies and roll off some of the lows. If you are mixing in a “live”
room, you might need to lower the high-midrange and highest frequencies. In
general, you should not make drastic amplitude adjustments to any particular
frequency bands. Instead, make smaller, incremental adjustments over a wider
spectrum to round out your final mix. To assist you with these adjustments, here
is an overview of which frequencies affect different sound characteristics:

Sub-Bass (16 Hz to 60 Hz). The lowest of these bass frequencies are felt, rather
than heard, as with freeway rumbling or an earthquake. These frequencies give
your mix a sense of power even when they only occur occasionally. However,
overemphasizing frequencies in this range will result in a muddy mix.

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Bass (60 Hz to 250 Hz). Because this range contains the fundamental notes
of the rhythm section, any EQ changes will affect the balance of your mix,
making it fat or thin. Too much emphasis will make for a boomy mix.

Low Mids (250 Hz to 2 kHz). In general, you will want to emphasize the lower
portion of this range and deemphasize the upper portion. Boosting the range
from 250 Hz to 500 Hz will accent ambience in the studio and will add clarity to
bass and lower frequency instruments. The range between 500 Hz and 2 kHz
can make midrange instruments (guitar, snare, saxophone, etc.) “honky,” and too
much boost between 1 kHz and 2 kHz can make your mix sound thin or “tinny.”

High Mids (2 kHz to 4 kHz). The attack portion of percussive
and rhythm instruments occurs in this range. High mids are also
responsible for the projection of midrange instruments.

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Presence (4 kHz to 6 kHz). This frequency range is partly responsible
for the clarity of a mix and provides a measure of control over the
perception of distance. If you boost this frequency range, the mix will
be perceived as closer to the listener. Attenuating around 5 kHz will
make the mix sound further away but also more transparent.

Brilliance (6 kHz to 16 kHz). While this range controls the
brilliance and clarity of your mix, boosting it too much can cause
some clipping so keep an eye on your main meter.

5.3.2 Equalization Settings: How to Find the Best and Leave the Rest

How do you find the best and worst each instrument has to offer and
adjust their frequency content accordingly? Here’s a quick guide:

• First, solo just the instrument with which you are working. Most engineers start
building their mix with the drums and work from the bottom up (kick, snare,
toms, hi-hat, overheads). Each instrument resonates primarily in a specific
frequency band, so if you are working on your kick-drum mic, start with the
lowest band of the EQ. Tune in the best-sounding low end and move on to the
attack. It is not uncommon to hear an annoying ringing or a “twang” mixed
in with your amazing-sounding low end and perfect attack, so your next
task will be to find that offending frequency and notch it out. Once you are
satisfied with your kick drum, mute it, and move on to the next instrument.

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• Taking your time with equalization is well worth the effort.
Your mix will have better separation and more clarity.

Additional advice:

• You can only do so much. Not every instrument can or should
have a full, rich low end and a sharp attack. If every instrument is
EQ’d to have the same effect, it will lose its identity in the mix. Your
goal is not individual perfection, it is perfection in unity.

• Step away from the mix. Your ears get fatigued, just like the rest
of you. If you are working particularly hard on one instrument, your
ears will be quite literally numbed to that frequency range.

• Your memory is not what you think it is. Comparing a flat EQ and the
curve that you’ve created allows you to see and hear exactly what you’ve
done. So be honest with yourself. Sometimes that EQ setting you’ve
been working on for 15 minutes is not the right choice, so move on.

• Never be afraid of taking a risk. The best EQ tricks were found by mad scientists
of sound. With every instrument, there are frequencies that can be attenuated or
boosted to add clarity or fullness. Altering the wrong frequencies can make an
instrument shrill, muddy, or just downright annoying. The following two charts
suggest frequency ranges that should be accentuated or downplayed for the
most common instruments. These are just suggestions; the frequencies may need
to be adjusted up or down depending on the instrument, room, and microphone.

Table 1

76

Owner’s Manual

Instrument What to Cut Why to Cut What to Boost Why to Boost

Tutorials 5

Equalizers 5.3

Human Voice 7 kHz Sibilance 8 kHz Big sound

2 kHz Shrill 3 kHz and above Clarity

1 kHz Nasal 200-400 Hz Body

80 Hz and below Popping P’s

Piano 1-2 kHz Tinny 5 kHz More presence

300 Hz Boomy 100 Hz Bottom end

Electric Guitar 1-2 kHz Shrill 3 kHz Clarity

80 Hz and below Muddy 125 Hz Bottom end

Acoustic Guitar 2-3 kHz Tinny 5 kHz and above Sparkle

200 Hz Boomy 125 Hz Full

Electric Bass 1 kHz Thin 600 Hz Growl

125 Hz Boomy 80 Hz and below Bottom end

String Bass 600 Hz Hollow 2-5 kHz Sharp attack

200 Hz Boomy 125 Hz and below Bottom end

Snare Drum 1 kHz Annoying 2 kHz Crisp

150-200 Hz Full

80 Hz Deep

Kick Drum 400 Hz Muddy 2-5 kHz Sharp attack

80 Hz and below Boomy 60-125 Hz Bottom end

Toms 300 Hz Boomy 2-5 kHz Sharp attack

80-200 Hz Bottom end

Cymbals 1 kHz Annoying 7-8 kHz Sizzle

8-12 kHz Brilliance

15 kHz Air

Horns 1 kHz Honky 8-12 kHz Big sound

120 Hz and below Muddy 2 kHz Clarity

String section 3 kHz Shrill 2 kHz Clarity

120 Hz and below Muddy 400-600 Hz Lush and full

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Table 2

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5.3.3 General EQ Suggestions

Tutorials 5

Equalizers 5.3

Included with VSL is a library of Channel Strip presets. Section 4.1.5 discusses
how to load these presets onto a channel or bus and how to create your
own presets. For an idea of where to start, check out the following generic
EQ settings for several different instruments. As with the compression
settings in Section 5.2.3, the right EQ setting for any given instrument
will depend upon the room and the tonality of the instrument.

Vocals

Pop Female Vocals

LOW

ON/OFF

ON PEAK 130 -2 ON LOW 465 -2

HI MID

ON/OFF

ON LO 2.4 +2 ON PEAK 6.0 +8

LOW

PEAK/SHELF

HI MID

LO/HI

LOW

FREQ (Hz)

HI MID

FREQ (kHz)

LOW

GAIN

HI MID

GAIN

LOW MID

ON/OFF

HI

ON/OFF

LOW MID

HI/LOW Q

HI

PEAK/SHELF

LOW MID

FREQ (Hz)

HI

FREQ (kHz)

Rock Female Vocals

LOW

ON/OFF

ON SHELF 155 +4 ON LOW 465 +6

LOW

PEAK/SHELF

LOW

FREQ (Hz)

LOW

GAIN

LOW MID

ON/OFF

LOW MID

HI/LOW Q

LOW MID

FREQ (Hz)

LOW MID

GAIN

HI

GAIN

LOW MID

GAIN

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HI MID

ON/OFF

ON LO 1.4 +6 ON PEAK 4.2 +2

HI MID

LO/HI

HI MID

FREQ (kHz)

HI MID

GAIN

HI

ON/OFF

HI

PEAK/SHELF

HI

FREQ (kHz)

Pop Male Vocals

LOW

ON/OFF

ON PEAK 225 -2 ON HI 960 0

HI MID

ON/OFF

ON LO 2.0 +2 ON PEAK 7.2 +4

LOW

PEAK/SHELF

HI MID

LO/HI

LOW

FREQ (Hz)

HI MID

FREQ (kHz)

LOW

GAIN

HI MID

GAIN

LOW MID

ON/OFF

HI

ON/OFF

LOW MID

HI/LOW Q

HI

PEAK/SHELF

LOW MID

FREQ (Hz)

HI

FREQ (kHz)

Rock Male Vocals

LOW

ON/OFF

ON PEAK 155 +2 ON HI 265 -6

HI MID

ON/OFF

ON HI 2.4 -2 ON SHELF 7.2 +4

LOW

PEAK/SHELF

HI MID

LO/HI

LOW

FREQ (Hz)

HI MID

FREQ (kHz)

LOW

GAIN

HI MID

GAIN

LOW MID

ON/OFF

HI

ON/OFF

LOW MID

HI/LOW Q

HI

PEAK/SHELF

LOW MID

FREQ (Hz)

HI

FREQ (kHz)

HI

GAIN

LOW MID

GAIN

HI

GAIN

LOW MID

GAIN

HI

GAIN

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Percussion

Snare

LOW

ON/OFF

ON PEAK 130 -4 ON LOW 665 +4

HI MID

ON/OFF

ON LO 1.6 +4 ON SHELF 4.2 +4

LOW

PEAK/SHELF

HI MID

LO/HI

LOW

FREQ (Hz)

HI MID

FREQ (kHz)

LOW

GAIN

HI MID

GAIN

LOW MID

ON/OFF

HI

ON/OFF

LOW MID

HI/LOW Q

HI

PEAK/SHELF

LOW MID

FREQ (Hz)

HI

FREQ (kHz)

Left/Right (Stereo) Overheads

LOW

ON/OFF

ON SHELF 108 -2 ON LOW 385 -2

HI MID

ON/OFF

ON LO 2.9 +2 ON SHELF 8 4

LOW

PEAK/SHELF

HI MID

LO/HI

LOW

FREQ (Hz)

HI MID

FREQ (kHz)

LOW

GAIN

HI MID

GAIN

LOW MID

ON/OFF

HI

ON/OFF

LOW MID

HI/LOW Q

HI

PEAK/SHELF

LOW MID

FREQ (Hz)

HI

FREQ (kHz)

Kick Drum

LOW

ON/OFF

ON PEAK 108 +4 ON HI 265 -4

HI MID

ON/OFF

ON LO 1.6 0 ON SHELF 6.0 +4

LOW

PEAK/SHELF

HI MID

LO/HI

LOW

FREQ (Hz)

HI MID

FREQ (kHz)

LOW

GAIN

HI MID

GAIN

LOW MID

ON/OFF

HI

ON/OFF

LOW MID

HI/LOW Q

HI

PEAK/SHELF

LOW MID

FREQ (Hz)

HI

FREQ (kHz)

Fretted Instruments

LOW MID

GAIN

HI

GAIN

LOW MID

GAIN

HI

GAIN

LOW MID

GAIN

HI

GAIN

Electric Bass

LOW

ON/OFF

ON SHELF 36 -8 ON HI 130 +4

HI MID

ON/OFF

ON LO 2.0 +4 ON SHELF 4.2 0

LOW

PEAK/SHELF

HI MID

LO/HI

LOW

FREQ (Hz)

HI MID

FREQ (kHz)

LOW

GAIN

HI MID

GAIN

LOW MID

ON/OFF

HI

ON/OFF

LOW MID

HI/LOW Q

HI

PEAK/SHELF

LOW MID

FREQ (Hz)

HI

FREQ (kHz)

Acoustic Guitar

LOW

ON/OFF

ON PEAK 155 +4 ON LOW 665 +2

HI MID

ON/OFF

ON LO 2.0 0 ON SHELF 6.0 +4

LOW

PEAK/SHELF

HI MID

LO/HI

LOW

FREQ (Hz)

HI MID

FREQ (kHz)

LOW

GAIN

HI MID

GAIN

LOW MID

ON/OFF

HI

ON/OFF

LOW MID

HI/LOW Q

HI

PEAK/SHELF

LOW MID

FREQ (Hz)

HI

FREQ (kHz)

80

LOW MID

GAIN

HI

GAIN

LOW MID

GAIN

HI

GAIN

Owner’s Manual

Tutorials 5

Equalizer 5.3

Distorted Electric Guitar

LOW

ON/OFF

ON PEAK 320 +6 ON LOW 960 0

HI MID

ON/OFF

ON HI 3.5 +4 ON SHELF 12 0

LOW

PEAK/SHELF

HI MID

LO/HI

LOW

FREQ (Hz)

HI MID

FREQ (kHz)

LOW

GAIN

HI MID

GAIN

LOW MID

ON/OFF

HI

ON/OFF

LOW MID

HI/LOW Q

HI

PEAK/SHELF

LOW MID

FREQ (Hz)

HI

FREQ (kHz)

Keyboards

Piano

LOW

ON/OFF

ON SHELF 108 -2 ON LO 665 +2

HI MID

ON/OFF

ON LO 2.9 +2 ON PEAK 7.2 +4

LOW

PEAK/SHELF

HI MID

LO/HI

LOW

FREQ (Hz)

HI MID

FREQ (kHz)

LOW

GAIN

HI MID

GAIN

LOW MID

ON/OFF

HI

ON/OFF

LOW MID

HI/LOW Q

HI

PEAK/SHELF

LOW MID

FREQ (Hz)

HI

FREQ (kHz)

LOW MID

GAIN

HI

GAIN

LOW MID

GAIN

HI

GAIN

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5.4 Aux Bus Mixing

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5.4 Aux Bus Mixing

The Aux bus provides outputs to create auxiliary mixes that are separate
from the main mixes. VSL for AudioBox 1818VSL is equipped with 4 stereo
aux buses to create a separate mix for Outputs 3/4, 5/6, and 7/8, as well
as two more buses for internal effects buses FX A and B. Aux buses can be
used for many applications, the two most common of which are creating
monitor mixes and inserting external effects processors into the mix.

5.4.1 Monitor Mixing

Creating custom monitor mixes for your musicians is critical. If musicians
can’t hear themselves or their bandmates, their performance will suffer. A
monitor mix can be mono or stereo. Most often, an individual live monitor
mix is mono and is sent to a floor-wedge or sidefill monitor. (The obvious
exception is in-ear monitor systems.) A studio monitor mix is usually stereo
and is sent to a headphone amplifier, so it requires both a left- and a right­channel input. In both cases, the function of the aux bus is the same.

As an example, let’s create a mono monitor mix on Aux 1. To begin, click on the
Overview tab in VSL. Below the Fat Channel Microviews, you will see the send
level for this aux bus from each of the 16 channels. Keep in mind that the aux
mix is completely independent of the Main output. The sliders on each channel
control the channel send level to Aux 1. Use these sliders the same way that you
use the faders to set the output level to your main mix. Ask your musicians what
they would like in their monitor mix and use their requests as a starting point.

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5.4.2 Effects Processing

VSL features two internal effects buses. These are used much in the same way the
aux buses are used to create monitor mixes, as described in the previous section.

There are several advantages to using an aux bus for an effects processor. By
using an aux bus to create an effects mix, several channels can be sent to a
single processor. This allows you to use exactly the same reverb on every drum
in a kit or for the entire band. A reverb is designed to emulate the psycho­acoustic properties of a space, and by using the same reverb for a band, you are
putting the band “in the same room.” This makes for a more cohesive sound.

In addition, by using an aux mix, you can vary the level sent from each channel to the
processor, allowing you to create an effects mix. Let’s say that you are using a reverb
to liven up a relatively dead room. You might send a little bit of each input to the
reverb, but you probably will not want much of the drums and bass to be processed,
as too much reverb could reduce their impact and leave your mix without a sturdy
foundation. So rather than turning the aux-send level for the kick drum channel all
the way up, turn it so that the meter reads between 20% and 30% saturation. This
way only a small portion of the kick drum input will be affected by the reverb.

The faders for FXA and FXB control the level of the aux
mix relative to the level of your main mix.

82

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5.5 Digital Effects

Tutorials 5

Digital Effects 5.5

5.5.1 Reverb

VSL includes two stereo effects processors that feature the two most
common type of effects in use for live sound: reverb and delay.

Studio One Artist also includes an assortment of time-based and modulation
effects plug-ins. What follows is a brief description of how each type works.

Reverberation —or reverb, as it is more commonly known—is perhaps the most
widely used effect. Natural reverb is created by sound waves reflecting off of a surface
or many surfaces. For example, when you walk across the wooden stage in a large
hall, thousands of reflections are generated almost instantaneously as the sound
waves bounce off the floor, walls, and ceilings. These are known as early reflections,
and their pattern provides psycho-acoustic indications as to the nature of the space
that you are in, even if you can’t see it. As each reflection is then reflected off of more
surfaces, the complexity of the sound increases, while the reverb slowly decays.

The reason for the widespread use of reverb in audio recording is fairly self-evident:
human beings don’t live in a vacuum. Because our brains receive cues about the
nature of the space around us based partially on audio reflections, a sense of space
makes an audio recording sound more natural and, therefore, more pleasing.

The following parameters can usually be adjusted in a reverb effect:

• Decay. Decay is the time required for the reflections (reverberation) to die away.
In most modern music production, reverb decay times of between one and
three seconds are prevalent. A reverb setting with strong early reflections and
a quick decay are a great way to create a stereo effect from a mono source.

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• Predelay. Predelay is the time between the end of the initial sound and the
moment when the first reflections become audible. Imagine you’re back on that
stage in a large music hall. This time you stand on the very edge of the stage
and shout “Hello world!” toward the center of the hall. There will be a brief pause
before you hear the first noticeable reflections of your voice because the sound
waves can travel much further before encountering a surface and bouncing
back. (There are closer surfaces, of course—notably the floor and the ceiling just
in front of the stage—but only a small part of the direct sound will go there, so
those reflections will be much less noticeable.) Adjusting the predelay parameter
on a reverb allows you to change the apparent size of the room without
having to change the overall decay time. This will give your mix a little more
transparency by leaving some space between the original sound and its reverb.

• HF and LF decay. The types of surfaces in a space also affect the sound.
Carpet and soft furnishings will absorb more high-frequency waves,
thereby reducing the high-frequency decay time, while hard surfaces
such as tile or stone reflect sound extremely well, resulting in a “brighter”
ambience. Similarly, the high-frequency (HF) and low-frequency (LF)
decay time allow you to adjust the “brightness” or “darkness” of the
reverb, enabling you to better emulate these environmental factors.

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5.5.2 Delay

A delay essentially creates an echo, although you can often use
delays to create more complex time-based effects. The source signal
is delayed so that it is heard later than it actually occurred.

Delay Time. Delay time is the time between the source signal and its
echo. The simplest delay effect is a single repeat. A short delay between
30 and 100 ms can be used to create slap-back echo, while longer delay
times produce a more distant echo. Delay times that are too short to
hear as distinct echoes can be used to create thickening effects. Whether
these echoes are timed with the tempo is a matter of stylistic choice.

Variable Feedback. Variable feedback, or regeneration, produces multiple
decaying repeats. Increasing the feedback value increases the number of echoes
as well as the resonance that is created as one echo disappears into another.

5.4.3 Modulation Effects

Chorus

As its name indicates, a Chorus effect creates copies of a single source signal to
artificially create the impression that there is more than one instrument playing,
voice singing, etc. This ensemble effect is created using a series of short, continuously
varying delays that produce slight pitch-shifts and add fullness to a sound.

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LFO Speed and Width: The copies are delayed using a low-frequency
oscillator. Some chorus effects allow you to adjust the speed and width
of the waveform being applied to modulate the source signal.

Depth: The depth control affects how much the total delay time changes over
time. As the delay time changes, slight frequency modulations can be heard.

Phase

Phase shifting creates a copy of the source signal and shifts the copy
in time relative to the original signal, creating from 0 to 360 degrees of
phase difference throughout the frequency spectrum. The shifted signal
is blended with the source signal so that you can hear the copy moving in
and out of phase with the original. This creates a characteristic “swoosh.”

Flange

Flanging is a type of phase shifting. It is created by splitting an audio signal into
two identical signals; applying a constantly varying, short delay to one signal; and
mixing it with the unaltered signal. This results in a swept, “swooshy” effect. The
effect was originally created by mixing the outputs of two synchronized tape decks
playing the same material. By pressing a finger against the flange (top) of one
tape reel, the speed of one machine was slowed slightly, creating phase shifts.

84

Owner’s Manual

Technical Information 6

Specifications 6.1

6.0 Technical Information

6.1 Specifications

Microphone Preamp

Connector Type Combo, XLR, female, balanced

Mic Preamp EIN -133 dB, 20 kHz BW, max gain, Rs=40Ω, A-wtd

Frequency Response 20 Hz - 22 kHz, +±0.25 dB, unity gain

THD+N 0.002%, +4 dBu, 1 kHz, unity gain, 22 kHz BW, A-wtd

S/N Ratio 97 dB, +4 dBu, 1 kHz, unity gain, 22 kHz BW, A-wtd

Gain Control Range -15 dB to +65 dB

Input Max Headroom +16 dBu, < 0.5% THD

OverviewHookupConnecting

to a

Computer

Input Impedance 1.7 kΩ

Phantom Power +48 VDC, 64 mA total unit

Instrument Input (channels 1 and 2 only)

Connector Type Combo, ¼” TS, female, unbalanced

Frequency Response 20 Hz - 22 kHz, ±0.25 dB, unity gain

THD+N 0.003%, +4 dBu, 1 kHz, unity gain, 22 kHz BW, A-wtd

S/N Ratio 89 dB, +4 dBu, 1 kHz, unity gain, 22 kHz BW, A-wtd

Gain Control Range -30 dB to +50 dB

Input Max Headroom +21 dBu, < 0.5% THD

Input Impedance 1 MΩ

Line Inputs

Connector Type Combo, ¼” TRS, female, balanced

Frequency Response 20 Hz - 22 kHz, ±0.25 dB, unity gain

AB1818VSL Remote,

and Studio One Artist

Software: Virtual StudioLive

TutorialsTechnical

Technical

Information

Information

and Warranty

Troubleshooting

THD+N 0.002%, +4 dBu, 1 kHz, unity gain, 22 kHz BW, A-wtd

S/N Ratio 98 dB, +4 dBu, 1 kHz, unity gain, 22 kHz BW, A-wtd

Gain Control Range -20 dB to +20 dB

Input Max Headroom +21 dBu, < 0.5% THD

Input Impedance 10 kΩ

85

6 Technical Information

6.1 Specifications

PreSonus AudioBox™ 1818VSL

Computer

and Studio One Artist

Overview Hookup Connecting

to a

Software: Virtual StudioLive

AB1818VSL Remote,

Tutorials Technical

Headphone Output

Connector Type ¼” TRS, female, stereo

Maximum Power 120 mW/ch @ 60Ω load

Frequency Response 20 Hz - 20 kHz, ±0.5 dB, max gain

THD+N 0.01%, 1 kHz, max gain, 20 kHz BW, A-wtd

S/N Ratio 96 dB, 1 kHz, max gain, 20 kHz BW, A-wtd

Analog Outputs

Connector Type ¼” TRS, female, impedance balanced

Frequency Response 20 Hz - 22 kHz, ±0.25 dB

THD+N 0.003%, 1 kHz, 22 kHz BW, A-wtd

S/N Ratio 109 dB, 1 kHz, 22 kHz BW, A-wtd

Output Level +10 dBu, < 0.5% THD

Output Impedance 51Ω

Power

Information

Information

Technical

Troubleshooting

and Warranty

External Power Adapter +18 VDC, 2.6A, center-positive

Connector Type Barrel: 5.5 mm OD, 2.1 mm ID, 9.5 mm length

Digital

ADC Dynamic Range 114 dB, 48 kHz, A-wtd

DAC Dynamic Range 114 dB, 48 kHz, A-wtd

Host Interface USB 2.0 high-speed

Bit Depth 24-bit

Sample Rates 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz

Maximum Latency 6 mS, analog input to analog output

ADAT Optical I/O Toslink™ connectors, ADAT/SMUX formats

S/PDIF I/O RCA female connectors

Word Clock Output BNC connector, 4.5 Vpp @ 75Ω load

MIDI I/O 5-pin DIN connectors

86

Owner’s Manual

Troubleshooting and Warranty 7

Troubleshooting 7.1

7.0 Troubleshooting and Warranty

7.1 Troubleshooting

Many technical issues can arise when using a standard computer as a digital
audio workstation (DAW). PreSonus can only provide support for issues that
directly relate to the AudioBox interface, Studio One™ digital audio workstation
software, and AudioBox VSL mixer-control software. PreSonus does not provide
support for computer hardware, operating systems, and non-PreSonus hardware
and software, and it may be necessary to contact the manufacturer of these
products for technical support. Please check our Web site (www.presonus.
com) regularly for software information and updates, firmware updates, and
support documentation for frequently asked questions. You can get individual
technical assistance by calling PreSonus at 225-216-7887, Monday through
Friday, between the hours of 9 a.m. and 5 p.m. Central Time. PreSonus technical
support is available via email during the same hours at [e-mail].

OverviewHookupConnecting

to a

Computer

AudioBox Will Not Connect to Computer

Verify that the USB cable is properly connected both to the AudioBox
and to your computer. Disconnect unnecessary peripheral USB devices.
Verify that your AudioBox is connected to a USB 2.0 connection.

AudioBox VSL Will Not Launch

AudioBox VSL will not launch if the AudioBox is not connected and synced to your
computer. Verify that the sync light on the front of your AudioBox is solid blue
and your USB cable is connected both to your computer and to your AudioBox.

VSL Has No Effect On Audio

Make sure that the VSL enable button is illuminated in AudioBox VSL.

No Effects in the Outputs

Verify that the FXA and FXB routing buttons on the desired bus are
enabled. These buttons patch each of the effects bus to that output.

No Audio in Headphones

AB1818VSL Remote,

and Studio One Artist

Software: Virtual StudioLive

TutorialsTechnical

Information

and Warranty

and Warranty

Troubleshooting

Troubleshooting

Verify that the Output 7/8 channels sends have been raised for each
channels and that the fader for Output 7/8 in VSL is raised.

Distortion or Noise when using ADAT I/O

Verify that you have the correct ADAT mode set for the sample rate being
used. If you are clocking the AudioBox 1818VSL externally, verify that
the AudioBox is set to the same sample rate as your external clock.

87

7 Troubleshooting and Warranty

7.2 PreSonus Limited Warranty

PreSonus AudioBox™ 1818VSL

Overview Hookup Connecting

Computer

to a

Software: Virtual StudioLive

and Studio One Artist

AB1818VSL Remote,

Tutorials Technical

Information

Troubleshooting

and Warranty

Troubleshooting

and Warranty

7.2 PreSonus Limited Warranty

PreSonus Audio Electronics, Inc., warrants this product to be free of defects in
materials and workmanship for a period of one year from the date of original retail
purchase. This warranty is enforceable only by the original retail purchaser. To be
protected by this warranty, the purchaser must complete and return the enclosed
warranty card within 14 days of purchase. During the warranty period PreSonus
shall, at its sole and absolute option, either repair or replace, free of charge, any
product that proves to be defective on inspection by PreSonus or its authorized
service representative. To obtain warranty service, the purchaser must first call or
write PreSonus at the address and telephone number printed below to obtain a
Return Authorization Number and instructions of where to return the unit for service.
All inquiries must be accompanied by a description of the problem. All authorized
returns must be sent to the PreSonus repair facility postage prepaid, insured, and
properly packaged. PreSonus reserves the right to update any unit returned for
repair. PreSonus reserves the right to change or improve the design of the product at
any time without prior notice. This warranty does not cover claims for damage due
to abuse, neglect, alteration, or attempted repair by unauthorized personnel and
is limited to failures arising during normal use that are due to defects in material or
workmanship in the product. Any implied warranties, including implied warranties
of merchantability and fitness for a particular purpose, are limited in duration to the
length of this limited warranty. Some states do not allow limitations on how long an
implied warranty lasts, so the above limitation may not apply to you. In no event will
PreSonus be liable for incidental, consequential, or other damages resulting from the
breach of any express or implied warranty, including, among other things, damage
to property, damage based on inconvenience or on loss of use of the product, and,
to the extent permitted by law, damages for personal injury. Some states do not
allow the exclusion of limitation of incidental or consequential damages, so the
above limitation or exclusion may not apply to you. This warranty gives you specific
legal rights, and you may also have other rights, which vary from state to state. This
warranty only applies to products sold and used in the United States of America.
For warranty information in all other countries please refer to your local distributor.

88

PreSonus Audio Electronics, Inc.
7257 Florida Blvd.
Baton Rouge, LA 70806

Index

A

Ableton Live 16
ADAT Mode

OS X 19
Windows 19

Ad Hoc Network

Connecting iPad 35
Mac OS X 34
Setup

Mac OS X 34
Windows 7 34
Windows Vista 34

Troubleshooting

iPad 35
Vista 34
Windows 7 34

Attack 68, 70
Audio Device

Studio One Artist 52

Audio I/O Set-up

Studio One Artist 57–58

Auto Mode 27

B

Buer Size (see also, Latency) 18

C

Clearing Peak Holds 17
Clocksource

OS X Setup 20
Windows Setup 20

Compressor 27

Denition 67–68
Suggested Settings 72
Terminology Associated With 68

Connecting to StudioLive

SL Remote 37

Creating a Monitor Mix 31, 42, 82
Creating an FX Mix 32, 43, 82
Cubase 15

D

Decay 83
Delay 84
Delay Time 84
Downward Expansion 70
Dynamic Range 66

E

Editing FX 44
Equalizer

Denition 74
Parametric 74
Shelving 75
VSL 28

Expansion

Denition 69

F

Fader 25
Fader Locate. SeeRecalling Faders
Fat Channel 23
Feedback Loop 21
Frequency Tables 77–78
FX Sends 25

G

Gate 27, 67

H

Hard knee 69
High Pass Filter 27

I

Import Audio

Studio One 61

K

Key Filter 70
Key Listen 70

L

Limiter 28, 68
Loading Presets

Fat Channel 31
FX 31

Logic 15

M

Main to S/PDIF 21
Main to S/PDIF Out 21
Makeup Gain 69
Masters 41
Meter Decay 17
Metering 26

Peak Hold 45
Meter Peak Hold 17
MIDI Controller 53
MIDI Sound Module 55
Monitor Sends 25
Mute 25
Muting 39

FX in Mains 41

N

Noise Gate

Denition 71

O

Overview Tab 23

P

Performance Modes 18
Phantom Power 5, 62
Phase Reverse 26, 39
Plugins 61
Post Button 26
Post-Fader Metering 17
Predelay 83
Presets

Adding New 22
Deleting 22
Fat Channel 22
FX 22

ProTools 16

Q

Q, Denition 74

R

Range 70
Ratio 68, 70
Release 69, 70
Reverb 83
Run at Startup 18

S

Sample Rate 18
Scenes 22

Creating in VSL 22
Recalling 30

Scribble Strip Labels

SL Remote 39
Scroll by Page 45
Select Buttons 24
Show/Hide Buttons

ADAT 23, 24

DAW 23
Sidechain 69
SL Remote

Connecting to StudioLive 37

Landscape 37

Portrait 37, 46
So knee 69
Solo 25
Sonar 16
Stereo Link 26

T

reshold 68, 70

V

Variable Feedback 84

90

Declaration of
Conformity

Responsible Party: PreSonus Audio Electronics

Address: 7257 Florida Blvd., Baton Rouge, LA

70806 USA

Phone: [phone]

declares that AudioBox™ 1818VSL complies with

Part 15 of the FCC rules.

Operation is subject to the following two conditions:

1. This device may not cause harmful interference, and;

2. This device must accept any interference
received, including interference that may cause
undesired operation

Note: No product support is available when you call the number above. Refer
to your Certificate of Warranty in your Owner’s Manual for PreSonus’ Product
Support telephone number.

Baton Rouge • USA • www.presonus.com

®

Computer

and Studio One Artist

0 Current Section PreSonus AudioBox

™

1818VSL

0.0 Current Sub Section

Overview Hookup Connecting

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92

Added bonus: PreSonus’ previously Top Secret recipe for…

Jambalaya

Ingredients:

• 5 lbs link andouille sausage

• 3 lbs boneless chicken

• 2 lbs ground beef

• 3 lbs onions (yellow or purple)

• 2 stalks of celery

• 1 lb bell peppers (green or red)

• 1 batch green onions

• 3 lbs rice

• Tony Chachere’s Cajun Seasoning

• 1 bottle chicken stock concentrate (or 3 cubes chicken bullion)

• 1 can Rotel tomatoes with chilies, diced (regular hot)

• Tabasco sauce

Cooking Instructions:

1. In a 16 qt. pot or larger, slice link sausage and pan-fry until brown.

2. Add ground beef and brown.

3. Do not remove from pot Add diced onions, celery, and bell peppers,

1 can Rotel Original diced tomatoes w/chilies, 3 oz concentrate chicken stock,
½ teaspoon of Cajun seasoning, 1 teaspoon of Tabasco hot sauce
(or more…maybe lots more).

4. Cook until onions are translucent.

5. Add chicken and cook until it turns white.

6. Add diced green onions, 1 tsp. salt, ½ gallon water and bring to a boil.

7. Add rice and bring to a boil. Cook on high for 8 minutes, covered, stirring every 2 minutes

8. Cook covered on low for 10 minutes, stirring only once.

9. Turn off and let sit for 30 minutes.

10. Serve and enjoy!

Serves 20

© 2012 PreSonus Audio Electronics, Inc. All Rights Reserved. PreSonus, StudioLive, XMAX, QMix, and AudioBox are trademarks of PreSonus Audio Electronics, Inc. Studio One and
Capture are trademarks of PreSonus Software, Ltd. Mac is a trademark of Apple, Inc., in the U.S. and other countries. Windows is a registered trademark of Microsoft, Inc., in the U.S.
and other countries. Other product names mentioned herein may be trademarks of their respective companies All specifications subject to change without notice…except the
jambalaya recipe, which is a classic.

AudioBox™ 1818VSL

Owner’s Manual

EMC Statement:

NOTE: This equipment has been tested and found to comply with the limits for a
Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed
to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency
energy and, if not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined
by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and the receiver.

• Connect the equipment into an outlet on a circuit different from that to which the
receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Changes or modifications to this device not expressly
approved by PreSonus Audio Electronics could void the user’s authority to operate the
equipment under FCC rules.

This apparatus does not exceed the Class A/Class B (whichever is applicable) limits
for radio noise emissions from digital apparatus as set out in the radio interference
regulations of the Canadian Department of Communications.

ATTENTION — Le présent appareil numérique n’émet pas de bruits radioélectriques
dépassant les limites applicables aux appareils numériques de classe A/de classe B
(selon le cas) prescrites dans le règlement sur le brouillage radioélectrique édicté par
le ministère des communications du Canada.

7257 Florida Boulevard • Baton Rouge,

®

Louisiana 70806 USA • 1-225-216-7887

www.presonus.com

Part# 820-AB0003-C