The flagship in PreSonus' new generation of USB 2.0 audio/MIDI interfaces, the AudioBox 1818VSL takes hardware/software integration to the next level and delivers a combination of features, audio quality, and value that is unprecedented in this product category. Using your computer CPU and PreSonus Virtual StudioLive (VSL) software, AudioBox VSL-series interfaces provide reverb and and delay 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. It's a great choice for project studios, performing bands, school music labs, and a wide variety of corporate installations and other contractor applications.
This is a pro product all the way, with high-end 24-bit, 96 kHz converters; Class A XMAX preamps; ADAT optical I/O; S/PDIF coaxial I/O; word-clock output; and MIDI I/O, housed in a heavy-duty, rack-mount metal chassis.
Furthermore, thanks to the power of VSL, the AudioBox 1818VSL includes a 26x8 software mixer. As a result, with just an AudioBox 1818VSL and your laptop or other computer, you can mix a studio session or live show featuring a full band-all while monitoring and recording with or without real-time effects! And you can do it simply and easily, with no hardware mixer, no outboard effects rack, and minimal wiring, thanks to the tight integration between PreSonus hardware and software.
Tracking without hearing effects and signal processing is like playing a video game with your eyes closed. Musicians rely on aural cues when performing, and their performance can vary depending on what they hear in their monitors. Adding just the right amount of compression, EQ, and reverb can make a huge difference in their ability to hear themselves clearly and to experience their performance as if it occurred in a natural space rather than in the artificial sonic environment of the studio. The result is a better performance and ultimately a better recording.
You have plenty of effects plug-ins for your DAW, but processing audio with a DAW takes more time than you might think. True, we're talking milliseconds, but it's long enough that if you put DAW effects in your studio monitors, you'll hear the original sound slightly before the processed signal, which is very disorienting. That much delay might be acceptable for live gigs, where the band is playing together in an ambient space that has natural delay. But you can't record that way in the studio.
Fortunately, our engineering wizards have dramatically reduced processing delay in the AudioBox VSL series. The result: dynamics processing, EQ, reverb, and effects that feel real, with no audible delay.
And if you like what you hear, you can record with AudioBox VSL-series effects, too! These are the same high-quality StudioLive 16.0.2 Fat Channel dynamics processors and EQs that professional musicians, engineers, and producers record with every day.
Versatile and portable, the AudioBox 1818VSL offers 2 convenient front-panel mic/instrument combo inputs and 6 front-panel mic/instrument combo inputs, true 48V phantom power (switchable in 2 banks), and 8 line-level outputs. ADAT optical I/O provides 8 more channels of input and output (at 44.1 or 48 kHz; 4 channels at 88.1 or 96 kHz). S/PDIF coaxial digital I/O adds 2 more channels, bringing the total to 18 audio input channels and 18 output channels.
Designed, machined, assembled and tested by Audix in the USA, the D6 is a dynamic instrument microphone used for stage, studio and broadcast applications. The D6, which is characterized with a cardioid pickup pattern for isolation and feedback control, is equipped with a VLM™ (Very Low Mass) diaphragm for natural, accurate sound reproduction.
The D6 is lightweight, compact and easy to position. With a wide frequency response of 30 Hz - 15 kHz and the ability to handle sound pressure levels in excess of 144 dB, the D6 is an excellent choice for miking instruments requiring extended low frequency reproduction such as kick drum, large toms, and bass cabinets.
Roadworthy construction includes a precision machined aluminum body, black anodized finish, laser etched model and serial number, steel mesh grill, Switchcraft® XLR connector.
Transformerless design, low impedance, and balanced output allow for interference-free performance even with long cable runs.
- Live stage, recording
- Kick drum
- Floor tom
- Bass cabinets
- Leslie bottom
The D6 is a low impedance microphone and should be plugged into a “mic level” of your console, mixer, or recording device. Please note that your microphone does not require phantom power and will not be effected in any way by phantom power should it be running simultaneously while the microphone is in operation. Avoid plugging or unplugging the microphone from the PA system unless the channel is muted or the volume of the system turned down. Failure to do so may result in a loud “popping” noise which could seriously damage the speakers in the PA system.
The D6 compensates for instruments with extremely high sound pressure levels by having a very low output stage. For kick drums, as a general rule, start with the mic positioned centered inside the middle of the drum pointed towards the beater. For more attack, and less bass boom, move the mic closer to the beater. For less attack and more bass, move the mic further away from the beater. For kick drums without hole in front head, place the D6 a few inches from the head for a large dynamic sound. For toms, position the mic 2 inches from the head and point towards the center of the drum. For bass cabinets, position the mic 90 degrees to the grill cloth and 1-2 inches inside the edge of the speaker.
i5 for snare
Designed, assembled and tested by Audix in the USA, the i5 is a dynamic instrument microphone used for stage, studio and broadcast applications. The i5 is able to handle sound pressure levels in excess of 140 dB without distortion and can be used to mic a wide variety of musical instruments, guitar and bass cabinets, vocals and speech.
The i5 is characterized with a cardioid pickup pattern for isolation and feedback control and is equipped with a VLM™ (Very Low Mass) diaphragm for natural, accurate sound reproduction.
The i5 is sturdy, compact and easy to position. With a wide frequency response of 50 Hz - 16 kHz, the i5 provides clear, accurate, natural sound reproduction without having to rely on EQ. Roadworthy construction includes a precision cast zinc alloy body, steel grill, black e-coat finish, laser etched model and serial number, Switchcraft® XLR connector.
- Live stage, recording
- Snare, toms, percussion
- Guitar cabinets, electric instruments
- Brass, flute, woodwinds
- Acoustic instruments
- Vocals, speech
The i5 is a low impedance microphone and should be plugged into a “mic level” input on your console, mixer, or recording device. Please note that your microphone does not require phantom power and will not be effected in any way by phantom power should it be running simultaneously when the microphone is in operation. Avoid plugging or unplugging the microphone from the PA system unless the channel is muted or the volume of the system turned down. Failure to do so may result in a loud “popping” noise which could seriously damage the speakers in the PA system.
The i5 has a tight (cardioid) pick-up pattern in order to help eliminate sound from other instruments on stage from “bleeding” into the microphone. For this reason, it the i5 is exceptionally effective for drums and percussion in be able to capture the sound of each component of the kit.
Snare: Start with the i5 about 2 inches above the head and aimed towards the center of the drum. For more “rim” effect, the i5 can be aimed less towards the center and more towards the rim. It is not uncommon for engineers to place the mic practically right on the drum head to achieve a very tight, cracking sensation.
Toms, congas: Similar to snare. For tighter sound and more attack place, the mic closer to the head. For more decay and overtones pull the mic further away from the head.
Guitar cabs: The i5 can be placed within 1-2 inches of the grill cover at a 90 degree angle pointing directly into the speaker. If the mic is placed closer to the edge of the speaker, you will minimize the higher frequencies and get a warmer, fatter tone. To capture more highs, move the mic closer towards the center of the speaker, but avoid the middle of the speaker.
Horns: Place the mic within 1-3 inches of the bell, especially when on a stage with drums, bass, guitar, etc. For jazz, classical, and music where the stage volume is lower, the mic can be placed further away for a richer, fuller, sound.
Allow a distance of 2-3 feet between microphones to avoid phase cancellation issues.
(2) Two x D2s for toms
For bringing out the real, dynamic sound of your drum toms and congas, nothing beats the D2! The D2 accurately reproduces the warmth and punch you listen for from percussion, leaving out the muddy, indistinct "boom" that can mar recording. The D2's natural warmth also makes it a great mic for saxophones and other woodwinds requiring a true, sensitive, yet big, reproduction.
D4 for floor tom
Make sure your sound's low-end has that propulsive kick! The D4 really puts that extra "oomph" in your kick drum, bass amp, and other low instruments thanks to its flat, linear response. Since this kit comes with the D6, Audix's premier kick drum mic, a good application for the D4 with this kit would be the floor tom.
ADX51 (two) - Overheads
The ADX51 is a pre-polarized condenser microphone designed to handle nuances of recording as well as the rigors of live sound. Characterized with extended highs, excellent imaging, and high SPL capabilities, the ADX51 can be used for cymbals, high-hat, and acoustic instruments. The ADX51 also features a -10dB pad and bass roll-off filter, making it extremely useful for a wide variety of applications. [Requires 48v Phatom Power]
(1) PreSonus AudioBox 1818VSL
(1) USB Cable
(1) USA Power Plug
(1) Studio One Artist Installation Disc
(1) Virtual Studio Live Software Installation Disc
(1) User Guide
(1) D6 for kick drum
(1) i5 for snare
(2) D2s for toms
(1) D4 for floor tom
(4) DVICE gooseneck clips
(1) Hard Carry Case
(7) 20' XLR Cables
Recording bands and project-studio owners will love the revolutionary 18- channel, rack-mount AudioBox™ 1818VSL! It has the power of an 18x18 StudioLive digital mixer, including signal processing with near-zero latency and the same high-end pro audio quality, including high-headroom XMAX™ Class A preamps. Plus delay, reverb, and a complete StudioLive™ 16.0.2 Fat Channel for compression, limiting, downward expansion, parametric EQ, and high-pass filter on all inputs and playback streams. These effects are so good that you can print them to disk or route them through your P.A. onstage! The 1818VSL sports 2 mic/instrument inputs and 6 mic/line inputs with high- headroom XMAX™ preamps, 8-channel ADAT I/O, 2 effects buses, and more. It comes with PreSonus’ Studio One® Artist DAW (Mac/Windows) and is compatible with virtually any recording software. And with free AB1818VSL Remote, it can be controlled from an iPad®!
PreSonus has raised the bar high for audio interfaces with the introduction of the AudioBox 22VSL, AudioBox 44VSL, and AudioBox 1818VSL. For the first time, you can get a compact, rack-mountable USB 2.0 interface with tightly integrated software that provides the dynamics processing and EQ of a StudioLive-series mixer with latency so low that you can record and monitor with effects in real time.
PreSonus AudioBox 1818VSL Features:
The DP7 represents an outstanding combination of seven microphones designed to meet the demands of today's professional drummer, both on the stage and in the studio.
Included in the DP7 drum mic package is the D6, Audix's flagship kick drum mic, two- D2's for rack toms, one D4 for floor tom, the i5 for snare, and a pair of ADX51s for overhead miking. Also included are four D-Vice rim mount clips for the snare and tom mics, and three heavy duty tension fit mic clips for the other three mics. Everything is conveniently packaged in a foam-lined aluminum carrying case road case for safe keeping when the mics are not in use.
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