Tag: Behringer

Why You Need a DI Box?

What is a DI box and what does it DO?

Typically, depending on your pick-ups, guitars and similar instruments generate a “Hi-Z” signal.    Z refers to impedance, which is a term used in low voltage DC electronics to describe the resistance to signal flow throw a cable or circuit.  Think of it this way; If you are electricity traveling through a cable you would be like a track star running a 100 yard dash.    If you were a signal traveling through a Hi-Z cable,  you would be like a track star running a 100 yard dash but your lane is knee deep with maple syrup.   A lot of resistance right?   That’s what  impedance is, and we measure it in Ohms Ω.     Typically a “Line Level” signal from a your home theater receiver to your amplifier or similar devises will be around 270Ω to 600Ω, and you will find from 16Ω – 100Ω for headphone jacks.    Your guitar  or bass however will be about 7000Ω to 15000Ω.   So that is a quite a bit impedance comparably.   You may notice that your guitar or bass doesn’t sound very good when plugged directly into mixer channel without proper pre-amplification and it is for this very reason you need to implement DI Boxes into your signal chain.

Active Vs. Passive

There are two main types of DI boxes active and passive.   Active DI Boxes use a power supply to process the audio signal what passive DI boxes operate off of attenuation of the circut to change the impedance of the hi-z instrument signal to a usable line level signal.  The main functional difference between the two is that active DI boxes switch hit!   Active DI boxes can convert Hi-Z  Hi impedance signals to line level signals as well as convert line level signals into Hi-Z signals.


DI boxes are very popular for bass and guitar signals to record and or amplify a clean signal.   This can be used on various other pickup equipped instruments as well as violins, standup basses, ect…

Another really handy application for an active DI box is “Re-amping”.    When you record an instrument such as guitar, a very popular technique is to split the signal to both an amplifier that is mic’d up and a DI box clean to an open channel on your console/interface.

This results in both a keeper amplified guitar track to ensure you capture a genuine performance while you also have a clean guitar track that can be Re-amped  giving you incredible flexibility in the studio.    Re-amping is the process of routing the recorded clean instrument signal back to an amp using an Active DI box.

DI Boxes are crucial for the best possible sound in the studio and on stage so be sure you include a few in your audio arsenal.



Presonus Debuts a new line of Intelligent Speakers at the 2013 NAMM Show

Presonus has released an exciting new line of Live Sound Reinforcement Speakers that they are branding under their StudioLive flag.    These speakers all feature “Active Integration”   which is a proprietary networking system that allows all the components of your StudioLive Mixer and Speakers to communicate with each other.


Active Integration is a Wi-Fi based networking system for  communications, wireless networking, and control of the vast amounts of DSP found in a specialized custom chipset built into each speaker, resulting in a system that can easily detect, manipulate, and control each component of the system in the network enabling the room to be tuned and manipulated from one position.

The StudioLive Active Integration system includes more DSP power physically built into each speaker than a standalone rack mount speaker management system.  The included USB Wi-Fi LAN adapter enables wireless networking via a small USB dongle on each speaker.   This gives you an unprecedented amount of control over individual speakers through the network, which can be manipulated from anywhere in the room via a laptop, iPad, or iPhone and iPod touch for monitor controls.

StudioLive Room Control

SL Room Control  is speaker management software that allows you to interface directly with your entire system via a laptop or iOS device.    All you need to do is create a local area network using a wireless router and connect your StudioLive AI speakers with the included USB 2.0 Wi-Fi LAN adapter or onboard Ethercon connection.    You also connect your laptop or iPad  to the same Wi-Fi network and launch SL Room Control and your free to use a plethora of EQ and dynamic presets, RTA and SMAART applications as well as monitor temperature, set delay time and phase for your entire StudioLive AI speaker system.

The Speakers

Designed by David Gunness, formerly of EAW and Electro Voice, the SL series speakers sport a coaxial design.   This means the tweeters are set in the same axis occupying the same space.   In actuality the tweeters fire directly through the dust cap of the midrange drivers with the aid of an external wave guide.  Without getting too technical, the coaxial design of these speakers results in a homogenous wave pattern from the same source throughout the speakers frequency response.  Non coaxial, component based speakers have asymmetrical dispersion patterns that can result in varying phase anomalies dependent on the position of the observer.

StudioLive  18sAI

StudioLive 18sAI offers the benefits of Active Integration, including remote control—including wireless control—over output level, user-adjustable contours, and more and uses 32-bit floating point DSP for the variable crossover, dynamic limiting, and excursion limiting.

 StudioLive 312AI

A compact, powered, full-range, 3-way loudspeaker, StudioLive 312AI relies on a 12-inch ferrite woofer for low frequencies and a custom-designed, 8-inch coaxial speaker with a 1.75-inch titanium compression driver to reproduce the mid and high frequencies. These transducers are driven by a hefty 2,000W RMS of triamplified, Class D power.


StudioLive 315AI

The StudioLive 315AI is perfect for large venues and bands that need full-range speakers with plenty of low end. The StudioLive 315AI provides 3-way coverage, with a 15-inch speaker for low frequencies and a custom-designed, 8-inch coaxial speaker with a 1.75-inch titanium compression driver to reproduce the mid and high frequencies. These transducers are driven by a hefty 2,000W RMS of triamplified, Class D power.


StudioLive 328AI

A 3-way system that features dual 8-inch ferrite woofers and a coaxial 8-inch ferrite midrange speaker and 1.75-inch compression driver, the StudioLive 328AI delivers full-range, high-powered performance, yet is streamlined and compact. These transducers are driven by a hefty 2,000W RMS of quad-amplified, Class D power.


To get the most out of your Presonus AI System you need to use an accurate reference microphone to measure the tonality of the room your tuning your system to.  The PRM1 can handle up to 132 dj SPL and has a linear frequency response 20Hz-20kHz, enabling you to take advantage of the RTA (real-time analyser) units and software like SMAART and Virtual StudioLive.


Mixer Anatomy: 101

Behringer SX3242FX

If you have never laid eyes on a large format mixing console before you may think that you are looking at a very complicated at sophisticated machine. For the most part you are exactly right, however that’s not to say that the layout of most large format mixing consoles are not user friendly. Once you grasp these few simple concepts you will be able to confidently control any large format mixer.

The Channel Strip

Pictured above is the Behringer SX3242FX. like most mixer manufactures, Behringer uses a nomenclature reflecting the features of their product. SX3242FX can be broken down as 32 channels 4 busses, 2 main outs, and an onboard digital signal processor for effects. This also goes for the SX2442FX from Behringer which has 24 channels, 4 busses and 2 main outputs. A Channel is a path that an audio signal will follow where it can be routed to various destinations, manipulated, and mixed with other channels in the mixer. The channel strip is laid out vertically with a series of components including: an input section at the top, followed by the mic preamp/line level, EQ section, auxiliary section, pan potentiometer, and finally a bussing section including a “Long Throw Fader.” The number of channels a mixer is comprised of determines the number of instruments or microphones that can be mixed using that particular mixer. The vertical channel strips are arranged side by side and numbered one through 32 in the case of the SX3224FX.

The Input Section

In this section you will see an XLR mic input as well as a 1/4” TS input for line level signals. You will also notice a 1/4” TRS jack labeled insert. This is a very handy feature on mixers as it is used to introduce serial based signal processing such as outboard compressors and external EQ devices to the channel strip.

The EQ Section

Eq Section

This section directly follows the preamplifier and is used to trim and boost specific frequencies of the audio signal. In most cases a these are typically comprised of a fixed Hi and Low band in conjunction with a sweepable semi-parametric EQ for the Mid frequencies, meaning you can select the specific frequency to boost or trim. In this section you will often find High and Low cut filters.

The Aux Section

Eq Section
In this section you will find the numbered auxiliary sends which are used to route copies of the channel strips signal. The auxiliaries are used to perform two main functions. The first is to create parallel effects using time based processing i.e. reverbs and delay effects. This is done by sending a copy of a signal to a device that processes an echo like effect. This effect can then be mixed back in the main outs of the mixer or can be brought into another channel strip for further manipulation. This results in the original signal mixed with the effect. The second function of the aux section is to create individual headphone or monitor cue mixes for the artists during performance. Each channel strip has the same auxiliary sends so each instrument can have a specific level copied to them auxiliary resulting in as many different headphone mixes as you have auxiliary sends. This is great for the drummer who needs to hear more bass player and the singer who needs to hear more of his or herself. Both mixes can be accomplished simultaneously using only two aux sends.


At the bottom of the Channel strip you will find the bussing section. Here you can select what if any busses the signal will be routed with. You can think of busses as extra ways of routing signal out of the mixer either to a channel of a recording device or DAW based recording system.  Busses are also used to create submixes which are like mixes within the main mix. For example: your first four channels are comprised of a drum set with mics on a kick drum, snare, and two overheads. In the bussing section all four of those channels can be assigned to bus 1 for a mono mix or bus 1 and 2 for a stereo mix of your drums. Now you will have control over all the drums using only 1 or 2 bus faders in the master section.

Master Section

In the Master Section you will find all of the Global settings for the mixer as well as the external auxiliary sends/returns and bussing faders. In the case of mixers with onboard digital processing you will also find these controls in the master section as well as the monitor levels and a the faders for the main mix. Here you will also find the talk back microphone as well as talk back level which is used to communicate with the artist as well as slate takes to tape meaning to print audible cues right to your recording media so that they may be kept track of in the mixdown phase of production.