Presonus At Juno Download

Advanced 2 x 2 USB 2.0 recording system

Review: The PreSonuc AudioBox 22VSL introduces a new generation of PreSonus USB 2.0 audio/MIDI interfaces that take hardware/software integration to the logical next step. Using your computer CPU and PreSonus Virtual StudioLive (VSL) software, AudioBox 22VSL interface provides reverb and delays effects and the same Fat Channel compression, limiting, semi-parametric EQ and high-pass filter, as the PreSonus StudioLive 16.0.2 digital mixer, all with inaudible latency. Now you can monitor and record with or without real-time effects.

Bus-powered, compact, and rugged, the AudioBox 22VSL offers 2 convenient front-panel mic/instrument combo inputs with global phantom power and provides 2 line-level outputs. It sports the same high-headroom Class A XMAX preamps as the StudioLive mixers and has 24bit/96 kHz converters with 114 dB dynamic range for clear, clean audio. And it also boasts PreSonus' legendary 150 mW headphone output, which is loud enough to explode the oysters in a Po-Boy sandwich.

When PreSonus tell you that they made the AudioBox 22VSL rugged, they're not fooling. It employs the same heavy-duty steel case and drove over with a full-size truck before using it to make a very nice recording. Now that's what PreSonus call roadworthy. This mighty mite fits in just a third of a rackspace and can be screw-mounted to a standard rack tray (not included).

The AudioBox22VSL enables you to easily manage the processing and mixing from your Mac or Windows PC and provides editor/librarian functions, making it simple to create and use a library of presets. To get you started, PreSonus've included the same library of more than 50 Fat Channel presets that comes with StudioLive mixers. These presets were created by professional musicians and engineers and let you instantly set up dynamics processing and EQ for vocals, guitar, and much more.

Seamlessly integrated with the included Studio One Artist DAW and VSL, the AudioBox 22VSL interface works with virtually all Mac and Windows audio-recording software. Unlike most things nowadays, it's very easy on your budget. So get the next-generation USB 2.0 interface that gives you real-time, low-latency effects; rock-solid construction; and high-end audio for low-end prices: AudioBox 22VSL.

2-channel tube/solid-state preamplifier

Review: PreSonus' popular Class A XMAX preamps are widely lauded for their clarity and transparency. The tube preamps are beloved for their warm, smooth sound. With the Blue Tube DP V2 dual-path mic/instrument preamp, you get both types of high-quality sound in one unit.

Now PreSonus have improved on the classic unit with the BlueTube DP V2. The solid-state path now feeds PreSonus' top-of-the-line Class A XMAX mic preamplifier with 80dB of variable gainian upgrade from the original BlueTube DP's solid-state stage.

The tube path features a 12AX7 tube that operates on voltages double that of other preamplifiers in its class, producing lots of headroom and big tone. PreSonus have done an assortment of other tweaks as well. The result: the BlueTube DP V2 offers lower noise, more high-end clarity, and an even smoother tube sound than its predecessor.

You still get all the secondary features you expect in a professional-grade preamp: 48V phantom power, an 80 Hz high-pass filter, -20 dB pad to control hot input signals, and a polarity-reverse switch. Each channel has an illuminated VU meter so you can visually monitor your input levels. A Tube Drive control provides a wide range of sounds: when it's clicked off, you're using the solid-state preamp for quiet, transparent amplification; when it's engaged, your signals flow through the tube preamp, and you can achieve anything from gentle warmth to edgy distortion.

With 2 x combo mic/instrument inputs, the half-rackspace BlueTube DP V2 is a great choice for guitars and basses as well as for vocals. Singer-songwriters can run their vocal through one channel and their guitar through the other, feeding both to the PA ino guitar amp needed. It also serves as a DI box, thanks to balanced XLR and unbalanced 1/4" outputs, and is housed in a new, rugged, 1/2U case.

Try the BlueTube DP V2 as a front end for a DAW, too; sure, your recording interface might already include preamps, but few of them give you both tube and solid-state operation.

PreSonus have also updated the preamp's compact, rugged enclosure; it has more rounded edges and looks modern and sleek. It can be used as a desktop unit or it can be screw-mounted to a standard rack tray. And despite the improvements, PreSonus deliver the BlueTube DP V2 for essentially the same price as the original BlueTube DP.

So get the new and improved version of the most versatile, best-sounding mic/instrument preamplifier in its price range: the BlueTube DP V2.

Single 2 way active 5.25" studio monitor

Review: The Eris E5 2-way active 5.25" studio monitor from PreSonus delivers an accurate response with tight bass and a clear upper end. The Kevlar low frequency transducers, low-mass silk-dome tweeters and responsive Class AB amplification combine with acoustic-adjustment controls to create a versatile and adaptable listening system.

The E5 begins with a front-ported enclosure made of vinyl-laminated MDF. It features a 5.25" Kevlar low-frequency driver mated with a 45W, Class AB amplifier. For the highs, the Eris employs a 1" silk-dome tweeter powered by a 35W, Class AB amplifier. The E5 outputs a clean 102 dB peak SPL. Its frequency response is rated at 64Hz to 22kHz.

The Eris E5 provides a balanced XLR, a balanced 14" TRS, and an unbalanced RCA line-level input. Once you're plugged in, set the input gain and you're ready to go.

The Eris provides 3-EQ controls in its acoustic tuning section: high, mid, and low cutoff. These controls enable you to fine-tune the monitors to your space. The low control also is useful when using the E5 with a subwoofer.

The High control is a shelving filter that boosts or cuts all frequencies above 4.5kHz by as much as 6dB. The mid control is a mid-frequency peak filter that boosts or cuts frequencies centered at 1kHz and extending about one octave above and below that frequency. The low cutoff control rolls off frequencies below either 80 or 100Hz at a slope of 12dB/octave. This control is especially useful if you also have a connected subwoofer.

A 3-position acoustic space switch controls a second-order, low shelving filter that cuts frequencies below 800Hz by either 2 or 4dB to compensate for the boundary bass boost that occurs in close proximity to walls or corners.

The RF shielding protects against radio frequencies that could be introduced to the signal and become audible. The Eris monitors also provide overheat protection, current-output limiting and subsonic protection. The Soft startup amplifiers prevent damaging pops from sounding through the speakers when you power them up.

Single 2 way active 8" studio monitor

Review: The Eris E8 2-way active 8" studio monitor from PreSonus delivers an accurate response with tight bass and a clear upper end. The Kevlar low frequency transducers, low-mass silk-dome tweeters and responsive Class AB amplification combine with acoustic-adjustment controls to create a versatile and adaptable listening system.

The E8 begins with a front-ported enclosure made of vinyl-laminated MDF. It features an 8" Kevlar low-frequency woofer driven by a 75W, Class AB amplifier. For the highs, Eris employs a 1.25" silk-dome tweeter powered by a 65W, Class AB amplifier. The E8 outputs a clean 105 dB peak SPL. Its frequency response is rated at 35Hz to 22kHz.

The Eris E8 provides a balanced XLR, a balanced 1/4" TRS, and an unbalanced RCA line-level input. Once you're plugged in, set the input gain and you're ready to go.

The Eris provides 3-EQ controls in its Acoustic Tuning section: high, mid and low cutoff. These controls enable you to fine-tune the monitors to your space. The low control also is useful when using the E8 with a subwoofer.

The high control is a shelving filter that boosts or cuts all frequencies above 4.5 kHz by as much as 6dB. The mid control is a mid-frequency peak filter that boosts or cuts frequencies centered at 1 kHz and extending about one octave above and below that frequency. The low cutoff control rolls off frequencies below either 80 or 100Hz at a slope of 12dB/octave. This control is especially useful if you also have a connected subwoofer.

A 3-position acoustic space switch controls a second-order, low shelving filter that cuts frequencies below 800Hz by either 2 or 4dB to compensate for the boundary bass boost that occurs in close proximity to walls or corners.

RF shielding protects against radio frequencies that could be introduced to the signal and become audible. The Eris monitors also provide overheat protection, current-output limiting and subsonic protection. Soft startup amplifiers prevent damaging pops from sounding through the speakers when you power them up.

USB automation & transport controller for record, play, stop, location, pan, mute, solo, fades & more

Review: The Presonus FaderPort puts the feel, vibe, and efficiency back into music recording and production, no more clicking through menus and drawing automation edits with a mouse.

The easy-to-use presonus FaderPort delivers complete transport control for fast and efficient recording along with motorized fader for writing fades and automation. The high-quality ultra-smooth motorized long throw fader on the FaderPort has the feel needed for recording perfect fades and writing automation in real-time.

Pan, mute, solo, and record enable can also be easily controlled with the FaderPort along with window selection, play, stop, record, and managing markers (locate points) for fast and easy recording. A foot switch jack is also included on the FaderPort for hands free punch-in/out recording. The FaderPort works with all Mac or Windows-based recording software including Pro Tools, Cubase, Nuendo, Sonar and more.

Feel is crucial when you're spending countless hours recording and mixing. So the ultra-affordable FaderPort features the same high-quality, touch-sensitive, long-throw, motorized Alps fader that is found in expensive control surfaces and digital mixing consoles. With its 1024-step resolution and dual-servo drive-belt motor, the response will be smooth and seamless.

Compatible with virtually all major DAW programs, the FaderPort enables you to record perfect fades and write single-channel or grouped-channel volume, mute, and pan automation in real-time.

Control your DAW's solo, record-enable, window selection, play, stop, and record functions. Manage markers and punch in and out with a footswitch (not included). The FaderPort makes it fast and easy.

You can even create your own custom key mappings. And if you use PreSonus Studio One DAW software, your FaderPort will be automatically recognized and can be used to tweak virtually any plug-in parameter.

So put down that mouse and get back in touch with your music. Get the PreSonus FaderPort.

http://www.youtube.com/watch?v=Wev3t5Cgxj8

High-output 4-channel headphone distribution amplifier

Review: Are you and your session players and bandmates tired of straining to hear underpowered headphones? That's why Jim Odom and his jambalaya-fueled team of engineers designed 150 mW headphone amps for the HP4 headphone-distribution system.

These headphone amps are not just loud enough for session and stage use, they're loud enough to explode the oysters in a Po' Boy sandwich. Yet the sound is clear and clean, with a wide dynamic range. At last, everybody will be able to heariassuming they are capable of hearing. Be careful with that level control.

Simplicity is the HP4's hallmark. You get left and right line inputs, left and right line outputs with level control, and the 4 x headphone outs. You can globally mute the headphone outs, adjust the overall headphone level, sum the stereo signals to mono, and mute the rear-panel Monitor outputs.

The HP4 can sit on a tabletop or can be screw-mounted to a standard rack tray (not included), where it requires just 1/3 rackspace. And if your needs grow, you can use the line outputs to feed the inputs of a second HP4 or an HP60. Chain as many headphone systems as you need.

So listen up. Quit struggling with mediocre headphone amps. Get the HP4 and hear everything loud and clear. You owe it to your music.

www.youtube.com/watch?v=GOt3LDMtsFM

2 way CoActual studio monitor with DSP temporal equalization

Review: The Sceptre S6 CoActual Studio Monitor's coaxial speaker integrates a 6.5" low/mid-frequency driver and a 1" (25 mm), horn-loaded, high-frequency transducer.

The Sceptre S6 features a panoramic soundstage and a wide dynamic range. The advanced coaxial design works integrally with a 32bit/96 kHz, dual-core processor running Fulcrum Acoustic's TQ Temporal Equalization Technology.

The Sceptre S6 features a 6.5" low/mid-frequency driver, a 1" horn-loaded tweeter and front-firing acoustic ports. The systems are biamplified, with each transducer powered by an independent 100W RMS, Class D power amplifier with an internal heat sink. Sceptre has an internal power supply and a blue power-indicator LED. The S6 studio monitor has a balanced XLR and a 1/4" TRS line-level input with an A-taper level control.

Coaxial systems, such as the S6, have both drivers on the same axis, providing a single point source for a consistent acoustic center. This results in symmetry of response on both the horizontal and vertical axes, at any given angle. The crossover transition is, therefore, seamless at all angles..

Each Sceptre monitor contains a 32-bit/96kHz, dual-core, active floating-point DSP chip that powers Fulcrum Acoustic's TQ algorithms. The TQ algorithms use fully addressable Finite Impulse Response (FIR) filters to eliminate horn reflections and to correct linear time and amplitude anomalies. Loudspeakers tuned with TQ provide a crisper stereo image, greater soundstage depth, more separation between the elements of a complex mix, increased resistance to feedback, more seamless transitions between distributed loudspeakers, and a less fatiguing listening experience.

The acoustic space control is a second-order shelving filter centered at 100Hz. It can remain flat or attenuate by 1.5dB, 3dB, or 6dB, reducing the boundary bass boost that occurs when the monitor is placed near a wall or corner.

The high-frequency driver adjust switch can boost the tweeter by 1dB, or cut by 1.5dB or 4dB. The High-Pass switch rolls off the lows below a specified frequency, 60, 80, or 100Hz, at a slope of 12dB/octave. This control is important if you are using a subwoofer in conjunction with the Sceptre.

A sensitivity control ranging from +4dBu to -10dBV helps you match the Sceptre to your mixer's outputs.

RF shielding protects against radio frequencies that could be introduced to the signal and become audible. Sceptre monitors also provide overheat protection, current-output limiting and subsonic protection. Soft startup amplifiers prevent damaging pops from sounding through the speakers when you power them up.

2 way 8" CoActual studio monitor with DSP temporal equalization

Review: The Sceptre S8 2-way 8" CoActual studio monitor with DSP temporal equalization by PreSonus articulates nuances of your music that can't be reproduced by conventional designs. The Sceptre S8 features a panoramic soundstage and a wide dynamic range. The advanced coaxial design works integrally with a 32bit/96 kHz, dual-core processor running Fulcrum Acoustic's TQ Temporal Equalization Technology.

The Sceptre S8 features a 8" low/mid-frequency driver, a 1" horn-loaded tweeter and front-firing acoustic ports. The systems are biamplified, with each transducer powered by an independent 100W RMS, Class D power amplifier with an internal heat sink. The Sceptre has an internal power supply and a blue power-indicator LED. The S8 studio monitor has a balanced XLR and a 1/4" TRS line-level input with an A-taper level control.

The Coaxial systems, such as the S8, have both drivers on the same axis, providing a single point source for a consistent acoustic center. This results in symmetry of response on both the horizontal and vertical axes, at any given angle. The crossover transition is, therefore, seamless at all angles.

Each Sceptre monitor contains a 32bit/96 kHz, dual-core, active floating-point DSP chip that powers Fulcrum Acoustic's TQ algorithms. The TQ algorithms use fully addressable Finite Impulse Response (FIR) filters to eliminate horn reflections and to correct linear time and amplitude anomalies. Loudspeakers tuned with TQ provide a crisper stereo image, greater soundstage depth, more separation between the elements of a complex mix, increased resistance to feedback, more seamless transitions between distributed loudspeakers, and a less fatiguing listening experience.

The Acoustic Space Control is a second-order shelving filter centered at 100Hz. It can remain flat or attenuate by 1.5dB, 3dB, or 6dB, reducing the boundary bass boost that occurs when the monitor is placed near a wall or corner.

The High-Frequency Driver Adjust switch can boost the tweeter by 1dB, or cut by 1.5dB or 4dB. The High-Pass switch rolls off the lows below a specified frequency, 60, 80, or 100Hz, at a slope of 12dB/octave. This control is important if you are using a subwoofer in conjunction with the Sceptre.

A sensitivity control ranging from +4dBu to -10dBV helps you match the Sceptre to your mixer's outputs.

RF shielding protects against radio frequencies that could be introduced to the signal and become audible. Sceptre monitors also provide overheat protection, current-output limiting and subsonic protection. The soft startup amplifiers prevent damaging pops from sounding through the speakers when you power them up.

http://www.youtube.com/watch?feature=player_embedded&v=wFHzYn1Sr3U

Single-channel 12AX7 tube preamplifier/DI box

Review: PreSonus have been designing preamps for a long time, and they always focus on audio quality first. So when PreSonus decided to upgrade their popular TubePre V2, PreSonus focused on improving an already high-quality soundiwithout jacking up the price. Like the original TubePre, the new version is a fully professional tube preamp, with a dual-servo (no capacitors) gain stage that lets you boost the program signal to smoking hot levels without significantly increasing the background noise. Discrete components and high-voltage operation offer dynamic range and detail not found in other single-channel tube preamps in its class.

But the TubePre V2 provides an even wider palette of sound options, and a much more focused tube saturation, than the original TubePre. It has been upgraded to employ PreSonus' popular XMAX Class A solid-state preamp, which is followed in the signal path by a 12AX7 vacuum-tube stage. Twist the TubePre V2 Drive saturation control to add the "color" that only a hand-selected 12AX7 vacuum tube can deliver i from gentle warmth to total fuzz.

Housed in a rugged case, the TubePre V2 rear panel sports separate unbalanced, 1/4" instrument and balanced, XLR mic inputs and unbalanced 1/4" and balanced XLR line outputs. PreSonus have included all of the extras you need for professional operation including a high-pass filter, phantom power for condenser mics, polarity reverse switch, and a backlit VU meter.

The TubePre V2 is more than a mic preamp, though. Thanks to its separate instrument and mic inputs, it also serves as a dynamite direct box (DI) for guitars and basses. And it's small enough to carry almost anywhere, although you also can screw-mount it to a standard rack tray.

So if you are a fan of PreSonus' original TubePre, you're going to love the improved TubePre V2. And if you are checking out the TubePre for the first time, your ears are in for a real treat. Then check out the amazing low priceibut sit down first because you're in for a shock. Because with PreSonus, big sound does not have to cost big bucks.