PreSonus UC Surface Reference Manual

UC Surface

Software Reference Manual

www.presonus.com

English

Table of Contents

1 Introduction — 1

1.1 About This Manual — 1

2 Mix Controls — 3

2.1 Selecting Your Mix — 3

2.2 Copy Mix — 4

2.3 Input Channel Controls — 5

2.3.1 Channel Strip — 5

2.3.2 Channel Detail — 5

2.3.3 Channel Settings — 7

2.4 Mix Detail — 8

2.4.1 Aux and Matrix Mix Detail — 8

2.4.2 Subgroup Mix Detail — 9

2.5 Filter DCAs — 10

2.5.1 Creating, Editing, and Deleting

Filter DCAs — 11

2.5.2 Group Masters — 12

3 Fat Channel Controls — 13

3.1 Noise Gate — 13

3.1.1 Key Filter Sidechaining — 14

6 Presets — 23

6.1 Fat Channel Presets — 23

6.2 GEQ Presets — 24

6.3 FX Presets — 24

6.4 Preset Management — 25

7 Projects and Scenes — 26

7.1 Project and Scene Management

(StudioLive Series III) — 26

7.1.1 Import /Export — 27

7.2 Mix Scenes (StudioLive AI-series) — 28

7.2.1 Quick Scenes — 28

7.2.2 Scenes Library — 29

7.2.3 Scene Safe Edit — 29

8 Quick Panel Functions — 31

8.1 Talkback — 31

8.1.1 Talkback Destination — 31

8.1.2 Talkback Source

(StudioLive Rack Mixers) — 32

8.2 Mute Groups — 32

3.2 Compressor — 15

3.3 Equalizer — 16

3.4 Limiter — 17

4 Graphic EQ — 18

4.1 Enabling Smaart Analysis

(StudioLive AI-series only) — 19

4.1.1 Time-Frequency Spectrograph — 19

4.1.2 RTA — 20

4.2 Using the Smaart Spectrograph

to Ring Out Monitors — 20

4.3 Using the RTA While Mixing — 21

5 Adding Eﬀects — 22

5.1 Editing Eﬀects — 22

8.3 FX Mutes — 33

8.4 Fader Locate (StudioLive AI-series

Console Mixers only) — 33

9 The Settings Page — 34

9.1 Device Settings — 34

9.1.1 Device Permissions — 34

9.1.2 Conﬁgure Lockout (StudioLive AI

Console Mixers) — 37

9.1.3 Firmware — 37

9.1.4 System Settings — 38

9.2 Networking — 43

9.2.1 Wired Connection — 43

9.2.2 Stagebox Setup

(StudioLive Series III only) — 44

9.2.3 EarMix Setup

(StudioLive Series III only) — 45

9.2.4 Wireless Connection

(StudioLive AI-series only) — 45

9.2.5 Cascading Mixers

(StudioLive RM/RML mixers) — 45

9.3 Backup — 46

9.4 Plug-ins (StudioLive Series III Mixers) — 46

9.5 User Proﬁles (StudioLive Series III Mixers) — 47

9.5.1 Default Administrator — 47

9.5.2 Creating a New Proﬁle — 48

9.5.3 Edit User Permissions — 49

9.6 Digital Patching

(StudioLive Series III only) — 50

9.6.1 Input Source — 50

9.6.2 Input Patch — 51

9.6.3 Analog Sends — 51

9.6.4 AVB Sends — 52

9.6.5 USB Sends — 53

9.6.6 SD Sends — 53

9.6.7 AES — 54

9.7 Aux Routing (StudioLive AI-Series Mixers) — 54

9.8 Smaart System Check Wizards

(StudioLive AI-series only) — 55

9.8.1 Smaart Room Analysis Wizard — 56

9.8.2 Smaart System Delay Wizard — 58

9.8.3 Smaart Output Check Wizard — 61

9.8.4 Mic Position — 61

9.8.5 System Alignment Rules — 64

9.8.6 Using the Trace:

Spotting the Trend — 64

10 StudioLive Series III Rack Mixer

SD Recording — 68

10.1 Recording a New Capture Session — 68

10.2 Capture Screen — 69

10.3 Recording Status Indicators — 69

10.3.1 Status — 69

10.3.2 Recording Errors — 70

1 Introduction

1.1 About This Manual

1 Introduction

UC Surface

Reference Manual

UC Surface is a powerful software application that provides control of channel, subgroup, aux, and bus levels; Fat Channel parameters; aux mixes; eﬀects; and graphic EQs. It also provides a visual overview of your StudioLive settings so that you can see, adjust, and organize them, as well as a librarian, allowing you to easily manage your presets and scenes.

For StudioLive Series III and AI-series console mixers, UC Surface provides bidirectional control that allows you to remote-control mixing functions that are also available from their respective hardware control surfaces. Since control is bidirectional, fader moves and parameter changes made on the StudioLive mixing surface are reﬂected in UC Surface and vice versa.

For StudioLive Series III rackmount mixers and StudioLive AI-series RM and RML mixers, UC Surface provides software-only control.

Power User Tip: The StudioLive CS18AI hardware controller for StudioLive AI-series RM/ RML mixers can be used in conjunction with UC Surface.

UC Surface will run on macOS, Windows, and Windows Touch computers, as well as Android devices and iPads aﬀording ﬂexible control options for any mix situation.

To use UC Surface, you must do one of two things:

• Connect your StudioLive, computer, Android device, or iPad to the same wireless network. This option will allow you to use any or all of these devices to remote control your StudioLive mixer anywhere in the venue

• Connect and sync your StudioLive to your computer using your computer’s host transport (USB, FireWire s800, or Thunderbolt). This option allows you to use UC Surface while recording and playing back audio through Capture™, Studio One®, or a third-party DAW of your choice.

Note: StudioLive AI-series mixers support the use of the Apple Thunderbolt to FireWire adapter.

1.1 About This Manual

We suggest that you use this manual to familiarize yourself with UC Surface before trying to use it to control your mixer. This guide assumes that you have followed the networking procedures outlined in the Networking for StudioLive Remote Control Guide. If you are using UC Surface on a Mac or Windows computer, you must ﬁrst install Universal Control. Please refer to the Using Your StudioLive as an Audio Interface with Universal Control Reference Guide for installation instructions.

Throughout this manual, you will ﬁnd Power User Tips. These tips provide useful hints on how to best use UC Surface and take advantage of unique workﬂow functions and features.

For the most part, StudioLive Series III and AI-series console and rack mixers behave identically. Because of fundamental architectural diﬀerences, some functionality is not available in every series and style of mixer. When these diﬀerences occur, it will be noted as follows:

• StudioLive Series III mixers: All StudioLive Series III console and rack mixers.

• StudioLive AI-Series mixers: All StudioLive AI-series console and rack mixers.

• StudioLive Series III console mixers: StudioLive 64S, StudioLive 32S, StudioLive 32SX, StudioLive 32SC, StudioLive 32, StudioLive 24, and StudioLive 16

• StudioLive Series III rack mixers: StudioLive 16R, StudioLive 24R, and StudioLive 32R

• StudioLive AI-Series console mixers: 16.4.2AI, 24.4.2AI, and 32.4.2AI

• StudioLive AI-Series RM/RML mixers: RM16AI, RM32AI, RML16AI, and RML32AI

1 Introduction

1.1 About This Manual

Hardware Guides:

Software Guides:

UC Surface

Reference Manual

This guide explains the functions and basic routing features of the audio interface onboard your StudioLive mixer. The following companion guides are also available:

• StudioLive Series III Console Mixer Owner’s Manual. Use this reference guide to understand all the hardware functions on your StudioLive Series III console mixer (StudioLive 64S, StudioLive 32S, StudioLive 32SX, StudioLive 32SC, StudioLive 32, StudioLive 24, and StudioLive 16).

• StudioLive Series III Rackmount Mixer Owner’s Manual. Use this reference guide to understand all the hardware functions on your StudioLive Series III rackmount mixer (StudioLive 32R, StudioLive 24R, StudioLive 16R).

• StudioLive AI-Series Console Mixer Owner’s Manual. Use this reference guide to understand all the hardware functions on your StudioLive AI-Series console mixer (StudioLive 32.4.2AI, StudioLive 24.4.2AI, StudioLive 16.4.2AI).

• StudioLive AI-Series Rackmount Mixer Owner’s Manual. Use this reference guide to understand all the hardware functions on your StudioLive AISeries rackmount mixer (StudioLive RM/RML32, StudioLive RM/RML16).

• Capture 3 Reference Manual. Included with StudioLive mixers is Capture, a digital-audio multitrack-recording application designed to make recording quick and easy.

• Networking for StudioLive Remote Control. This guide will assist you in creating a LAN network to remote control your StudioLive from a computer, tablet, or mobile device.

• QMix-UC Reference Manual. This guide describes the features and functions of QMix-UC with every StudioLive mixer model. QMix-UC lets up to 16 users remotely control the Aux Mixes on your StudioLive using their smartphone.

• Studio One Integration Reference Manual. Studio One Artist is included with every StudioLive mixer. In addition to being a powerful DAW, Studio One provides unique routing and integration features. This manual will help you get the most from your StudioLive mixer when used with Studio One or Studio One Artist.

• Using Your StudioLive as an Audio Interface with Universal Control Reference Guide. This guide describes the features and functions Universal Control as well as how to use your StudioLive mixer as an audio interface with your favorite DAW application.

Additional Resources:

• StudioLive Series III AVB Networking Guide. This manual covers advanced AVB audio networking conﬁguration for the StudioLive Series III mixers.

• StudioLive Series III HUI for ProTools DAW Control Addendum. StudioLive Series III console mixers can control Avid ProTools® using HUI emulation.

• StudioLive Series III MCU for Logic DAW Control Addendum. StudioLive Series III console mixers can control Apple Logic® using Mackie Control Universal

• StudioLive Series III Stage box Mode Addendum. The StudioLive Series III rackmount mixers can be used as advanced stageboxes for StudioLive Series III console mixers.

• StudioLive Series III Studio One DAW Control Addendum. StudioLive Series III console mixers can be used to control Studio One and Studio One Artist.

2 Mix Controls

2.1 Selecting Your Mix

2 Mix Controls

2.1 Selecting Your Mix

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UC Surface provides a single window interface that allows you to quickly view every mix.

The Mix Select buttons allow you to choose the mix you’d like to control (Auxes, Mains, Subgroups). In addition, UC Surface provides a mix for each of the eﬀects buses. The returns for these eﬀects are available in each mix to customize the amount of reverb and delay.

Flex Fader

The fader immediately to the left of the Mix Select buttons controls the output level of the currently selected mix.

2 Mix Controls

2.2 Copy Mix

Main Fader

2.2 Copy Mix

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The fader(s) to the right of the Mix Select buttons always control(s) the Main mix level.

• StudioLive 64S. When connected to a StudioLive 64S, three faders will be visible. The Mono and Main faders control the output level of their respective buses, while the Master fader is a grouped level control for both.

• StudioLive AI-series RM/RML. When connected to StudioLive AI-series RM and RML mixers, a mono bus fader will also be visible.

Copying the current mix allows you to quickly set up multiple mixes based on the settings you’ve already completed.

1. To copy a mix to any other mix, press the Copy Mix button.

2. Click on the desired destination mix(es).

3. Click Paste to paste the mix or click Cancel to stop the operation.

2 Mix Controls

2.3 Input Channel Controls

2.3.1 Channel Strip

1. Fat Channel Select. Opens the Fat Channel controls for the channel/mix. This

microview displays an overview of the EQ curve you set in the Fat Channel. See Section 3 for more information about the Fat Channel section and its functions.

2. Solo Button. Turns soloing on and oﬀ.

3. Mute Button. Turns muting on and oﬀ.

4. Pan Controls. 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.

5. Compressor Gain Reduction Meter. This meter displays the amount

of gain reduction being applied by the current compressor setting.

Note: This meter is not available for StudioLive AI-series console mixers.

6. Channel Fader. Controls the Overall Level of the

Channel. Unity gain (0 dB) is denoted by a “U.”

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7. Gate Gain Reduction Meter. This meter displays the amount of

gain reduction being applied by the current gate setting.

Note: This meter is not available for StudioLive AI-series console mixers.

8. Level Meter. Displays the prefader level of each channel.

9. Channel Icon. Icons can be added to each channel to provide a quick

visual cue of which instrument is associated with which channel. This is set from the Channel Settings window. See Section 2.3.3.

10. Channel Name and Color. Each channel can be given a custom name and

custom color for its Select button. This is set from the Channel Settings window.

See Section 2.3.3.

2.3.2 Channel Detail

When an input channel is selected, the following controls will be available at the far left of the Fat Channel:

2 3

4 5

6 7

8 9

1. Channel Settings. Opens Channel Settings view. See Section 2.3.3 for details.

2. Channel Name. To give each channel a custom name, simply

click on the default name to open a text ﬁeld.

3. Phantom Power Enables/disables phantom power

for the currently selected channel.

2 Mix Controls

2.3 Input Channel Controls

4. Polarity. This button will illuminate when polarity

5. Link. Enables/disables stereo link.

6. High-Pass Filter. Sets the High-Pass Filter Frequency Threshold for the Selected

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is inverted on the current channel.

Power User Tip: The Polarity control inverts the polarity of the selected channel’s preamp signal by 180°. The Polarity button can be used to correct audio signals that are out of phase relative to each other, which causes frequency cancellation and reinforcement. When recording with more than one open microphone, you may need to invert the polarity to combat phase cancellation between microphones.

When a pair of channels is stereo linked, a toggle control is provided to the left of the Channel Settings button so that you can toggle between the left and right channel to access preamp controls for each.

Channel or Output Bus. The ﬁlter’s threshold can be set from 24 Hz to 1 kHz. When the meter is set to its lowest point, the ﬁlter is oﬀ. The high-pass ﬁlter is available on all input channels and on auxiliary and FX output buses only.

Power User Tip: A high-pass ﬁlter attenuates all frequencies below the set threshold. Use the Fat Channel high-pass ﬁlter to remove unwanted low frequencies from your source signal, rather than trying to EQ them out.

7. Mic Preamp Trim. A trim control is provided for all input channels

to adjust the gain of your digitally controlled XMAX preamps.

Note: This control is not available for StudioLive AI-series console mixers as these mixers are not equipped with digitally recallable mic preamps.

8. Input Delay (StudioLive Series III mixers only). Sets the alignment

delay for the currently selected channel. For more information on using an Input Delay, please review the StudioLive Series III Owners Manual.

9. Main Bus Assign. Use this button to assign the current channel

to the main bus. Additional bus controls are as follows:

• StudioLive 64S: Main Mono/Center

• StudioLive Series III mixers (32-channel models): Main Mix, Subgroups A-D

• StudioLive AI-series consoles: Main Mix, Subgroups 1-4

• StudioLive AI-series RM/RML mixers: Main Mix, Mono

Note: StudioLive RM-series and Series III mixers oﬀer ﬂexible mix functionality that allows you to make any FlexMix function as an aux bus or subgroup. Please see Section 2.4.2 for channel routing to a FlexMix subgroup.

2 Mix Controls

2.3 Input Channel Controls

2.3.3 Channel Settings

When a channel is selected, the Settings icon for that channel is visible in the left side of the Fat Channel.

After pressing the Settings icon, the following controls will be available at the far left of the Fat Channel:

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1. Channel Name. Click or touch to edit the channel name.

2. Exit. Click or touch to exit the Channel Settings view.

3. Color. Click or touch to set a custom color for the current channel.

Power User Tip: Creating colors for diﬀerent channel types is a great way to visually group channels, allowing you to quickly identify a channel by type (drums, guitars, vocals, etc.). You can choose to color the entire channel strip or just the channel name. See Section 9.1.4 for details.

4. Input Source. This drop-down menu allows you to select the source

for the current channel. The following options are available:

• StudioLive Series III: Analog, Network, USB, or SD Card

• StudioLive AI consoles: Analog or FireWire

• StudioLive RM-series: Analog, FireWire, or Network

5. Set Pre- / Post-Processing Send. Select Pre- or Post-Fat

Channel processing for digital sends for each channel.

6. Digital Send Source (StudioLive Series III only). This allows you

to select source input of the digital send for each channel.

7. Apply a Channel Type and Icon. Clicking on the Channel Type

button lets you apply a category and icon for your channel. Channels in the same category will automatically be placed into the same Filter DCA Group (See Section 2.6 for details).

2 Mix Controls

2.4 Mix Detail

2.4.1 Aux and Matrix Mix Detail

When a mix is selected, the following controls will be available at the far left of the Fat Channel:

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4 5 6

1. Mix Settings. Opens Mix Settings View. See Section 2.5 for details.

2. Mix Name. To give each mix a custom name, simply

click on the default name to open a text ﬁeld.

3. Stereo Link. Creates a stereo bus with the adjacent FlexMix.

4. Aux Send Position. By default, all aux buses are set to Pre 1. This places the

send of every input channel to each aux bus before the fader, limiter, EQ, and compressor, but after the Polarity switch, high-pass ﬁlter, and gate.

The four internal eﬀects buses are set to Pre 2 by default, which routes each of the input channels after all Fat Channel dynamics and EQ but prefader.

From this menu, you can choose between three send positions for each Aux and FX mix:

• Pre 1: Sends each channel to the aux bus after the

polarity invert, high-pass ﬁlter, and gate.

• Pre 2: Sends each channel to the aux bus after all Fat

Channel processing (polarity invert, high-pass ﬁlter, gate, compressor, EQ, and limiter) but before the fader.

• Post: Sends each channel to the aux bus after all Fat

Channel processing (polarity invert, high-pass ﬁlter, gate, compressor, EQ, and limiter) and after the fader.

Power User Tip: Use the Pre 2 position for headphone and in-ear mixes to give your performers a polished “studio” sound. This setting should be avoided for ﬂoor wedges, as compression can cause feedback problems.

5. Bus Type (Series III and RM-series mixers only). StudioLive Series III and

AI-series RM/RML mixers’ feature FlexMixes that can be conﬁgured as aux mixes, subgroups, or matrix mixes (Series III only). Use these buttons to select the bus type. See Section 2.4.2 for information on routing channels to FlexMix subgroups.

6. Output Delay (StudioLive Series III only). Sets the alignment

delay for the current FlexMix. For more information on using output delays, please review the StudioLive Series III Owners Manual.

2 Mix Controls

2.4 Mix Detail

7. High-Pass Filter. Sets the High-Pass Filter Frequency Threshold for the Selected

2.4.2 Subgroup Mix Detail

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4 5 6

1. Mix Settings. Opens Mix Settings view. See Section 2.5 for details.

2. Mix Name. Click or tap on the default name to open

a text ﬁeld to customize the mix name.

3. Stereo Link. Click or tap to create a stereo subgroup with the adjacent FlexMix.

4. Subgroup Edit. Click or tap to add or remove channels from the subgroup.

5. Bus Type (Series III and RM-series mixers only). StudioLive

Series III and AI-series RM/RML mixers’ feature FlexMixes that can be conﬁgured as aux mixes, subgroups, or matrix mixes (Series III only). Use these buttons to select the bus type.

6. Output Delay (StudioLive Series III only). Sets the alignment

delay for the current FlexMix. For more information on using output delays, please review the StudioLive Series III Owners Manual.

7. Route to Main. Click or tap to route the subgroup to the Main bus.

StudioLive 64S users will also ﬁnd a Mono assign for the Mono/Center bus.

8. High-Pass Filter. Sets the High-Pass Filter Frequency Threshold for the Selected

2 Mix Controls

2.5 Filter DCAs

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When a FlexMix subgroup is selected, you will ﬁnd the Edit button in the Mix Detail area of the Fat Channel. Clicking this button will allow you to route input channels to this subgroup.

Click on the channels you would like assigned to the subgroup. The channel will highlight as it is selected, indicating that it has been routed to the subgroup.

2.5 Filter DCAs

Click the Done button when you’ve assigned the desired channels

Professional mixing consoles have addressed the problem of managing complex mixes with population groups that reduce the channels you’re viewing at one time and DCAs that control the overall level of a group of channels.

We’ve combined the best aspects of these solutions with Filter DCAs. A Filter DCA can contain any combination of the available input channels and eﬀects returns, and you can create up to 24 Filter DCA groups as you need. You can even include the same channel in multiple Filter DCAs so you can manage mixes in multiple ways. Each group is given a master level control so you can control the overall level of the group while maintaining each channel’s relative balance in the mix. In this way, for example, you can create a single fader to control every drum in a monitor mix and maintain the relative level of the drum mix that you created.

Once selected, a Filter DCA group stays active until exited regardless of which mix is selected. This allows you to adjust the group independently across diﬀerent mixes. You can also ﬂip between groups on the ﬂy to change the view of a selected mix.

Note: Filter DCAs are not available for StudioLive AI-series console mixers.

2 Mix Controls

2.5 Filter DCAs

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1. Groups Tab. Opens Filter DCA list.

2. Group Masters. Displays only the Master fader for every Filter DCA.

3. Exit Filter. The Exit Filter button will be visible as soon as a Filter DCA is selected.

In this way, you can exit the Filter DCA and view all the channels in your mix.

4. Traditional DCA. When controlling the master level a DCA Group, the

faders for the channels assigned to that group will move to more accurately provide a visual indication of the actual level of each channel in the group. This feature can be defeated by enabling “Traditional DCA” mode.

5. Reorder. Moves Filter DCA up or down in the list.

6. Edit Filter DCA. Opens Edit mode options (Rename,

Add/Remove Channels, Delete).

2.5.1 Creating, Editing, and Deleting Filter DCAs

There are two ways a Filter DCA group can be created.

• Auto-created Filter DCA Groups. When a channel is assigned a Channel

Type, UC Surface automatically creates a Filter DCA group based on that information. For example, when you deﬁne a channel type within in the Drums category for any channel in your mix, a Drums group will be added to the Filter DCAs. Auto Filter DCA groups are displayed in the bottom part the Filter DCA group list with a “~” in front of their names. These Filter DCAs can be hidden from the System Preferences page. See Section 8.1.4.

• User-created Filter DCA Groups. You can create new Filter DCA groups

from scratch or by editing an existing Auto Filter DCA group. Any number of channels can be added to a group, and you can create as many groups as you wish. User-created groups are always shown at the top of the Filter DCA group list above the automatically generated groups.

To create a new Filter DCA group:

1. Click/tap the Group tab in the Mixer Selection area.

2. Select the Filter DCA you would like use and then click/tap the Edit button to

enter Edit mode. From here you can add and remove channels as necessary.

2 Mix Controls

2.5 Filter DCAs

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3. You’ll notice all the channel strips in the mixer are darkened. Click

or tap on the channels you’d like to add to your Filter DCA.

4. You can customize the name of your new Filter DCA by clicking or tapping on

the default name (New Filter DCA).

5. Click or tap on the Done button when you are ﬁnished editing.

Editing and Deleting Filter DCAs

Filter DCAs can be edited or deleted at any time by clicking or tapping the Edit (#6) button in the list view.

Managing Filter DCAs

You can reorder the Filter DCA list by clicking or tapping on the Reorder (#5) button to the left of it and then clicking or tapping the Reorder button next to the position to which you would like it to move.

2.5.2 Group Masters

The Group Masters button allows you to view only the Master fader for every Filter DCA. Soloing or muting a group master will solo or mute all the channels in its group.

Power User Tip: The Group Masters view can be a great way for musicians to manage their own mix. For example, they can manage the drums as an entire group, their vocal mix, the overall band mix, etc., rather than managing individual channels.

Spill Group

While the Group Masters are active, you will see the Spill Group button on top of each master fader. Clicking or tapping this button will spill the group, allowing you to see all the channels in the group and adjust their level, pan, or Fat Channel settings. While in Spill Group, the Flex fader will control the master level of the group regardless of which mix you select.

To close this view, click or tap on the Exit Filter button.

3 Fat Channel Controls

1 2 3

5 6

7 8

12 13

3.1 Noise Gate

3 Fat Channel Controls

Every input and bus on your StudioLive mixer is equipped with Fat Channel dynamics processing and ﬁltering. The revolutionary Fat Channel is the heart of the StudioLive. The Fat Channel makes dynamics, routing, and panning for every input and output on the StudioLive available at the touch of a Select button.

The Fat Channel’s processing section consists of ﬁve parts: High-Pass Filter, Noise Gate, Compressor, Limiter, and parametric EQ. Each can be turned on or oﬀ and controlled separately. This processing is global across all mixes.

The signal ﬂows as follows:

Hi-Pass LimiterEQØ Noise Gate Compressor

Note: For StudioLive AI-series mixers, when HD mode (88.2 or 96 kHz sample rate) is active, Fat Channel processing is disabled on all output buses.

StudioLive Series III mixers allow you to swap the positions of the Compressor and EQ stages of the Fat Channel.

Power User Tip: Placing the compressor before the EQ allows you to make dramatic changes to the EQ settings without needing to alter the compressor setting. However, if you place the EQ before the compressor, you can better control diﬀerent frequencies, achieving a more natural response.

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3.1 Noise Gate

To view the controls for the Noise Gate, click on the Gate tab.

Note: The Noise Gate is available on the input channels only.

1. Gate On/Oﬀ Button. Engages/disengages the gate for the selected channel.

2. Output Meter (Series III only). Displays the post-Gate output signal.

3. Gain Reduction Meter (Series III only). Displays the amount

of gain reduction being applied to the signal by the gate.

4. Gate Graph. This graph shows the point at which the gate

threshold aﬀects the signal. You can either use this graph to adjust the threshold or the dedicated threshold control (#3).

5. Input Meter (Series III only). Displays the input signal to the Gate.

6. Key Source (Series III only). Sets the trigger source for the gate’s Key Filter. See

the StudioLive Series III Owner’s Manual for more information on sidechaining.

7. Gate Threshold. Sets the level at which the gate opens. Essentially, all

signals above the threshold setting are passed through unaﬀected, whereas

3 Fat Channel Controls

3.1 Noise Gate

8. Gate Attack. Sets the rate at which the gate opens on the selected

9. Gate Range. Sets the amount of gain reduction that the gate

10. Gate Release. Sets the rate at which the gate for the selected channel

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signals below the threshold setting are reduced in level by the amount set by the range control. You can set the threshold from 0 to -56 dB.

channel or output. A fast attack rate is crucial for percussive instruments. Slow-rising signals such as vocals and bass guitar require a slower attack; with these signals, a faster attack can cause an audible click. All gates have the ability to click when opening but a properly set gate will never click. You can set the attack time from 0.2 to 150 ms.

will produce. The range can be set from 0 to -86 dB.

Note: Range control is not available when using the Expander.

closes. Gate-release times should typically be set so that the natural decay of the instrument or vocal being gated is not aﬀected. Shorter release times help to clean up the noise in a signal but may cause “chattering“ with percussive instruments. Longer release times usually eliminate chattering and should be set by listening carefully for the most natural release of the signal. The release time can be set from 0.05 to 2 seconds.

11. Gate Key Filter. Sets the frequency at which the gate will open. Setting a

speciﬁc frequency, in addition to a speciﬁc decibel level, provides more sonic shaping. The Key Filter can be triggered by the selected channel or bus’s signal or by side-chaining a channel and using its signal as the source.

Power User Tip: A properly set key ﬁlter on a gate can greatly improve the overall sound quality of a mix. For example, if you are inserting a gate on a snare-drum mic, you may get enough bleed from the kick drum to open the gate. This is where a key ﬁlter can come in handy. By setting the key ﬁlter to remove some of those low frequencies, the gate won’t be as apt to open for the kick drum.

12. Gate Expander Button. StudioLive mixers allow you to choose

between an expander and a noise gate for each channel or output. By default, the Expander button will be enabled.

Power User Tip: In practice, expanders and noise gates are used almost identically. The main diﬀerence is that an expander is smoother and more gradual, so that it is easier to set the attack and release times correctly.

13. Key Listen. Enable to listen to the signal being used to trigger the gate.

3.1.1 Key Filter Sidechaining

As previously mentioned, the key ﬁlter can be sidechained to another channel. Sidechaining has many uses. You can use a sidechained key ﬁlter to tighten up a rhythm section by sidechaining the kick drum channel to the bass channel and setting the gate to open at the frequency of the kick drum. This, combined with a fast attack and release, will make your rhythm section more cohesive. Increase the release time to loosen the feel. Please note that while sidechaining the kick drum to the bass channel can tighten up a good rhythm section and make them sound even better, it will not correct timing issues and will actually exaggerate them if your bass player and drummer aren’t in the pocket.

Another great use for a sidechain is as an eﬀect in electronic music production. Try sidechaining a drum loop to a sustained source, like pads or strings. By doing this, every time a drum hit triggers the key ﬁlter, your sustained source will be heard. Between hits, this source will be silenced. Playing with the attack and release will transform this eﬀect from a rhythmic pulse all the way to a chopped-up stutter.

3 Fat Channel Controls

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3.2 Compressor

To view the controls for the Compressor, click on the Compressor tab.

1. Compressor On/Oﬀ. Turns the Compressor On and Oﬀ for the selected channel.

2. Output Meter (Series III only). Displays the post-Compressor output signal.

3. Gain Reduction Meter (Series III only). Displays the amount of

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gain reduction being applied to the signal by the compressor.

4. Auto Mode Button. 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.

5. Soft Knee Toggle Button. Engages Soft-Knee Compression. In normal

operating mode, the compressor is set for hard-knee compression, meaning that the gain reduction applied to the signal occurs as soon as the signal exceeds the threshold. When the Soft Knee button is engaged, the onset of gain reduction occurs gradually after the signal has exceeded the threshold.

6. Compressor Threshold. Sets the compressor threshold for the selected channel

or output bus. When the signal’s amplitude (level) exceeds the threshold setting, the compressor engages. The threshold can be set from -56 to 0 dB.

7. Compressor Attack. Sets the compressor attack for the selected channel. 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.

8. Ratio. Sets the compression ratio (or slope) for the selected channel or output

bus. The 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, any signal levels above the threshold setting will be compressed at a ratio of 2:1. This means that 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.

9. Compressor Release. Sets the compressor release for the selected channel

or output bus. 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.

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.

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8 9 10

3.3 Equalizer

10. Key Filter. Sets the frequency at which the compressor will engage.

11. Compressor Makeup Gain. Sets the amount of makeup gain for the selected

12. Input Meter (Series III only). Displays the input signal to the compressor.

13. Compressor Graph. This graph shows the point at which the

14. Key Source (Series III only) and Key Listen. Sets the Key

15. Compressor Type (Series III only). This drop-down menu allows

3.3 Equalizer

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The compressor will still process the entire frequency range, but it is only engaged when the speciﬁed frequency is present.

channel or output 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 pre-compression level (if desired). You can adjust Makeup Gain from 0 dB (no gain adjustment) to +28 dB.

compressor threshold aﬀects the signal. You can use this graph to adjust the threshold or use the dedicated Threshold control (#4).

Source for the Compressor and allows you to monitor it.

you to select the compressor type for the current channel.

To view the controls for the parametric EQ, click on the Equalizer tab.

1. EQ > Compressor. This button moves the EQ before the Compressor.

2. Equalizer On/Oﬀ. Turns the EQ on or oﬀ for the selected channel.

3. EQ Graph. This graph shows overall EQ curve.

4. EQ Frequency. Adjusts the center frequency of each band.

5. EQ Gain. Sets level of the center frequency from -15 to +15 dB.

6. Q. Sets the Q for each band. The Q is the ratio of the center frequency to the

bandwidth. When the center frequency is constant, the bandwidth is inversely proportional to the Q, so as you raise the Q, you narrow the bandwidth.

7. Input Meter (Series III only). Displays the pre-Fat Channel input signal.

8. Low Shelf EQ On/Oﬀ. Enabling the Low Shelf button turns the Low band

into a shelving EQ. A low shelving EQ is like a bass-control knob on a stereo. In this mode, the Center Frequency control selects the shelving frequency.

9. EQ Band Select. Opens the controls for the selected EQ band.

3 Fat Channel Controls

3.4 Limiter

10. High Shelf EQ On/Oﬀ. Enabling the High Shelf button turns the High band

11. Output Meter (Series III only). Displays the post-EQ output signal.

12. Post (Series III only). Enables the RTA to displays the post-Fat Channel signal.

13. Pre (Series III only). Enables the RTA to display the pre-Fat Channel signal.

14. RTA (Series III only). Turns on the RTA in the EQ graph.

15. EQ Type (Series III only). This drop down menu allows

3.4 Limiter

To view the controls for the limiter, click on the Limiter tab.

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into a shelving EQ. A high shelving EQ is like a treble-control knob on a stereo. In this mode, the Center Frequency control selects the shelving frequency.

Note: StudioLive AI-series mixers feature the SMAART RTA and Spectrograph tools. Please see Section 4.1 for more information.

you to select the EQ type for the current channel.

3 4

1. Limiter On/Oﬀ. Turns on the limiter for the

selected input channel. The ratio is ∞:1.

2. Limiter Threshold. Sets the threshold of the limiter for the selected

channel. When the signal’s amplitude (level) exceeds the threshold setting, the limiter is engaged. The threshold can be set from -56 to 0 dB.

3. Input Meter (Series III only). Displays the input signal to the limiter.

4. Output Meter (Series III only). Displays the outputs signal to the limiter.

4 Graphic EQ

1 2 3 4 5 6 7

3.4 Limiter

4 Graphic EQ

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To the left of the Fat Channel, you will ﬁnd the GEQ button. This opens up the graphic EQ for that bus.

• StudioLive Series III mixers provide eight graphic EQs that can be assigned to any output bus.

• StudioLive AI-series RM/RML mixers provide a graphic EQ for the Main bus and the ﬁrst 14 aux buses.

• StudioLive AI-series console mixers provide a graphic EQ for every aux bus plus the mains.

In general, graphic EQ settings are created prior to a live show and are not adjusted after that. However, minor adjustments sometimes must be made later. UC Surface makes this quick and easy.

1. GEQ On/Oﬀ. By default, all graphic EQs are disabled. To

enable any GEQ, simply click on this button.

2. RTA. Enables RTA view from within the Graphic EQ graph.

3. Pre (Series III only). Displays the Pre-GEQ signal in the RTA.

4. Post (Series III only). Displays the Post-GEQ signal in the RTA.

Note: Smaart Spectra Tools are available for StudioLive AI-series mixers from with the Graphic EQ. See Section 4.1 for details.

5. Draw GEQ. Enabling the Draw function will allow you to draw a GEQ curve

with your ﬁnger or mouse rather than adjusting each band individually.

6. Reset GEQ. To zero out all curve settings on any graphic EQ, click on

the Reset GEQ button. This will return all band gains to 0 dB.

7. Assign (Series III only). Opens the Graphic EQ assign view:

When the Assign view is open, you can reassign Graphic EQs to diﬀerent FlexMixes and buses.

4 Graphic EQ

4.1 Enabling Smaart Analysis (StudioLive AI-series only)

Both the GEQ and Fat Channel EQ provide Smaart Spectra™ analysis when connected to a StudioLive AI-series mixer. Smaart Spectra was developed by Rational Acoustics to power Smaart’s Spectrum Measurement Engines and includes an RTA and a spectrograph.

By default, Smaart® analysis is disabled. While Smaart is disabled, you have control over which bus is routed to the second to last pair of auxiliary FireWire inputs.

Clicking on the Spectrograph or RTA buttons will start Smaart, and UC Surface will take control over these FireWire auxiliary inputs.

For more information on the Auxiliary Inputs Router, please see Section 8.3.

Note: Smaart analysis requires use of the StudioLive AI-series’ onboard audio interface. It is not available without a FireWire or FireWire-to-Thunderbolt connection between your mixer and your computer. UC Surface’s integrated Smaart modules do not support StudioLive Series III consoles.

4.1.1 Time-Frequency Spectrograph

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Dynamic Range

Clicking on the Spectrograph button (from the Fat Channel EQ or GEQ tab) will launch the Time-Frequency Spectrograph. This spectrograph provides a three-dimensional view of your audio in which x = frequency, y = time, and color = decibel level.

Any signal below the lower dynamic-range threshold is black. Any signal above the top dynamic-range threshold is white. Within the dynamic range, colors go from blue to green to red, with blue indicating the quietest and red the loudest.

Many audio signals that are encountered in the ﬁeld are highly dynamic. Musical signals, speech, and even environmental noise contain signiﬁcant changes in spectral content as a function of time. The spectrograph can be thought of as a record of multiple RTA measurements taken over time, with color representing amplitude.

Using this function, the spectral content of the input signal is recorded as it changes in time. This allows you to view and analyze time-varying trends in the input signal.

As a troubleshooting tool, the spectrograph is useful for ﬁnding spectral “defects” in a system or acoustical environment. Certain audio signals or acoustical events contain speciﬁc traits that can be easily detected due to their distinct time/ frequency signature—speciﬁcally, highly tonal sounds such as AC line noise in an electrical signal chain or the presence of electro-acoustical feedback.

UC Surface provides dynamic-range sliders that set the maximum and minimum volume thresholds for the spectrograph.

4 Graphic EQ

4.2 Using the Smaart Spectrograph to Ring Out Monitors

4.1.2 RTA

Clicking on the RTA button (from the Fat Channel EQ or GEQ tab) will launch a real-time analyzer in which x = frequency and y = amplitude. An RTA provides a close visual representation of what you are hearing. It provides a view of the long-term spectrum of the signal, such as the onethird-octave spectrum long-term average of a musical performance.

4.2 Using the Smaart Spectrograph to Ring Out Monitors

The spectrograph shows frequency data over time, so a constant frequency, such as feedback, results in a straight line in the spectrograph. In a feedback loop, a portion of the signal from the speaker returns to the microphone, resulting in a buildup of energy that creates squealing, screeching feedback. “Ringing out” is a process of attenuating the frequencies that are feeding back to maximize gain before feedback in your ﬂoor monitors.

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1. With the mic input gain at an appropriate level, bring the auxsend level up on the mic channel you wish to ring out.

Power User Tip: If you are using one console for stage monitors and another console for front-of-house, set the mic input gain on the front-of-house console. Do not “gain up” the mic signal on the monitor mixer for the sake of getting more volume out of a stage monitor, as you can do that in other places (Mix level for individual channels, Aux Out level for global control, etc.). Gain staging is very important in order to have a feedback-free show.

2. Select the graphic EQ for the aux output of the stage monitor you are ringing out

3. Enable the spectrograph.

4. Slowly bring the aux output level up until you hear (and see) feedback.

Note: Ringing out stage monitors will produce feedback. If you are not careful, you can produce a lot of feedback. Do not make sudden gain boosts; go slowly and carefully to avoid causing any damage to speakers and ears.

5. Feedback will show up as a solid line on the spectrograph and as a line peak on the RTA. Use the dynamic threshold to adjust how bright, and at what input level, the frequency information plots.

6. Lower the GEQ fader for the oﬀending frequency in 3 dB increments to attenuate it out of your stage monitor.

Power User Tip: Bring back the level on the GEQ slider to the point just before feedback so you don’t take out too much frequency content and sacriﬁce overall timbre. Because the speaker is pointed at the mic, stage-monitor feedback typically occurs in the higher frequencies, which also is where intelligibility comes from. Maximizing your intelligibility and gain structure results in clearer-sounding monitors.

+ 52 hidden pages

PreSonus UC Surface Reference Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

1 Introduction

1.1 About This Manual

2 Mix Controls

2.1 Selecting Your Mix

2.2 Copy Mix

2.3 Input Channel Controls

2.3.1 Channel Strip

2.3.2 Channel Detail

2.3.3 Channel Settings

2.4 Mix Detail

2.4.1 Aux and Matrix Mix Detail

2.4.2 Subgroup Mix Detail

2.5 Filter DCAs

2.5.1 Creating, Editing, and Deleting Filter DCAs

2.5.2 Group Masters

3 Fat Channel Controls

3.1 Noise Gate

3.1.1 Key Filter Sidechaining

3.2 Compressor

3.3 Equalizer

3.4 Limiter

4 Graphic EQ

4.1 Enabling Smaart Analysis (StudioLive AI-series only)

4.1.1 Time-Frequency Spectrograph

4.2 Using the Smaart Spectrograph to Ring Out Monitors

4.1.2 RTA