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News: PreSonus

January 27, 2012
Baton Rouge, Louisiana, January 2012...  
PreSonus is now shipping new and improved versions of two of its classic tube preamplifiers: the BlueTube DP V2 and TubePre V2.

Enjoysolid-state clarity or tube warmth with the BlueTube DP V2 dual-path  mic/instrument preamp. The solid-state path feeds PreSonus' Class A XMAX™ mic preamplifier with 80 dB of  variable gain-an upgrade from the original BlueTube DP.
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. The Tube Drive enables you to achieve anything from gentle  warmth to edgy distortion. You also get 48V phantom power, an 80 Hz  high-pass filter, -20 dB pad, and polarity reverse.

With two combo mic/instrument inputs, the half-rackspace BlueTube DP V2 is a great choice for guitars as well as vocals. Singer-songwriters can run their vocal through one  channel and their guitar through the other, feeding both to the P.A.-no  guitar amp needed. It also serves as a DI box, thanks to balanced XLR  and unbalanced ¼" outputs, and is housed in a new, rugged, 1/2U case. Try the BlueTube DP V2 as a front end for a DAW, too.  The BlueTube DP V2 is available immediately; MAP/street price is  expected to be $229.95.



The  single-channel TubePre V2 tube preamp is an affordable way to add high  quality tube warmth and character to your sound. This new version 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 with Tube Drive tube-saturation  control.

Housed  in a rugged, 1/3-rackspace case, the TubePre V2 rear panel sports  separate unbalanced, ¼" instrument and balanced, XLR mic inputs and unbalanced ¼" and balanced XLR line  outputs. The front panel offers controls for gain, 48V phantom power, 80  Hz high-pass filter, and polarity-reverse, as well as a mic/instrument  input switch. A lighted VU meter and a clip LED help you keep an eye on your levels. The TubePre V2 is available  immediately; MAP/street price is expected to be $129.95.
 
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Anaheim, CA, January 2012... At this  year's Winter NAMM Convention the PreSonus booth was a non-stop nexus  of activity, with live performances, technology demonstrations,  showcases, and more. But perhaps the biggest buzz was one most attendees  were barely aware of. In a tiny 12 x 6 foot room behind the stage, PreSonus staffers were busy streaming the entire show  out to the world.

Winter  NAMM is one of the world's largest and most exciting events for musical  instruments and music technology. But while tens of thousands of industry visitors from all corners of the  globe converge on the Anaheim Convention Center every year, members of  the general public have rarely had an opportunity to get inside the show  - until now.

presonus.jpg
Multiple  video feeds, including PTZ camera on the performers and an oversize  screen behind the stage, were fed to a Black Magic switcher in the editing suite, where Video Designer  / Producer Paul Charbonnet cranked some serious performance out of  three computers at once. "The Black Magic system is mixing directly to a  Mac Pro, which gives us our primary program," Charbonnet explains. "Then we've got an iMac and MacBook Pro doing  multiple duties including rendering, encoding for the Web, capturing for  our YouTube and Vimeo channels, monitoring live chat, and more."

"We've  got a multitrack audio split feed coming from the stage into our  StudioLive 24.4.2 console," explains Audio Engineer Mat Criddle. "That  enables us to deliver separate, simultaneous mixes for FOH and Webcasting."  Criddle also provided monitor mixes back to the performers, who were  able to manipulate their mixes using their iPhones via PreSonus' new  QMix™ wireless technology.

 

"At  the same time, we're also recording a multitrack feed of the live  performances directly into StudioOne," says Criddle. "So any of our performing artists can take their tracks  and do a full mix later on, and create a live recording or music video  from their performance here at NAMM."

NAMM video room 1
Presonus Broadcast Central at NAMM.

In  addition to the performance camera feeds, Associated Creative Director  Cave Daughdrill and Social Media Manager Ryan Roullard were regularly roaming the show floor, camera and  wireless mic in hand, conducting interviews with other exhibitors,  attendees, and anyone else who might have something interesting to show,  say, or play. "In between performances, we're mixing in a bit of Cave and Ryan's feed, along with a range of product  demos and other content," says Charbonnet.
Besides roaming the show, Roullard was a full-time presence on the web, blasting out photos and posts to Facebook and Twitter, fielding questions and comments from viewers, and monitoring the Web for relevant info.

And  the action didn't stop after the show closed. At 6PM, the day's content  was uploaded to PreSonus' LiveStream channel, where viewers from time zones in Europe, Asia, and elsewhere  could get a peek. "Over the first two days of the show alone, we edited  and uploaded more than 32 videos," says Charbonnet.

Despite  the daunting demands of bringing NAMM to the world, Charbonnet reports  that both men and machinery held up to the job. "It was a non-stop gig, but we were pleased to see  that everything went off without a hitch," he says. "It was a real team  effort, and we had tons of support from everyone. In the end, it was a  great feeling to know we were doing something great for music fans everywhere, and making history at the same time."
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