image description

Forum Index » Profile for resonate1 » Messages posted by resonate1
16.4.2 » Help Recovering Capture audio files after power outage. » Go to message
roblof wrote:
I've done this a couple of two or three times, but I'm not at that computer at the moment.

As you've already realized the header is missing. Using audacity to read raw files I used an offset of 2 bytes, little endian and 24-bits pcm if my memory serves me.

If this doesn't work for you I'll check my notes...

Good luck!


I'll try this on Monday before 13:00 (GMT -5 here). I would love it if you could double check your notes, but I'll start with those.



FOLLOWUP: These settings in audacity appear to work. Thank you!
16.4.2 » Help Recovering Capture audio files after power outage. » Go to message
I had a power outage at the end of a recording session on a computer that was not hooked up to a UPS. Therefore the session was never saved. Rebooting the computer later shows a number of wave files that I hope/presume contain the raw recorded audio up until the point of the power failure.

I am trying to recover the broadcast wave files from the unsaved session, but they appear empty when I try to open them in any DAW or editor (I've tried a half dozen).

I called tech support and asked questions like the file encoding, endianness, and offset bytes, and the poor fellow clearly had no clue what I am talking about. I also downloaded the BWF standards document in a hope that will provide me the necessary clues. While it is my personal opinion that technical support should know the answers to these questions, I am now hoping the larger Presonus community can help me out.

Has anyone ever had luck recovering files from a Presonus Capture session that was not saved due to a power outage. Your help is greatly appreciated!
16.4.2 » Hard Case for 16.4.2 » Go to message
bvandy wrote:Thanks for sharing. I looked at the one too before I found the mxc-p16. I haven't purchased it yet but for the price it looks like the one for me.

Mark and Liz at EWI are great people. Their stuff is made in Korea and fits a great price/quality point between the Chinese stuff and an R&R class case made here in the States. For a studio/church/weekend sound company it represents an exceptional value in my personal experience.

If you need a heavy duty ATA case, I personally like Olympic case in Tampa Florida.
16.4.2 » [Feature Request] Pre3 Mode? Post EQ and pre dynamics » Go to message
Hi again guys/gals,

Can you A Pre3 mode where the monitor send can be like Pre1, but also post EQ? Sometimes having the insert point post channel strip EQ is a valuable asset when running monitors from FOH.

16.4.2 » [Feature Request] Rudimentary transport controls for Capture from 16.4.2 surface? » Go to message
Dear Presonusers,

I thought of a second feature request

Currently we run our StudioLive 16.4.2 to a "headless" Mac Mini. We address the Mini via a VNC client.

For this configuration it would be fanstastic if there were rudimentary transport controls for Capture that could be setup by buttons on the 16.4.2 or from the SL Remote Application. The ones that come to mind are arm/record/play/set marker/skip ahead marker/skip back marker.

I have no idea if this is possible, but I would make using the desk with a headless computer better.

16.4.2 » [Feature Request] User adjustable Low/High Q value points in VSL for 16.4.2 » Go to message
Hello Presonusers,

First time reader/poster. I like that you've unified the site logins.

Our church is the proud owner of a new 16.4.2, and after using it for one event, I can tell I am going to really enjoy this little console. Since my background is mixing primarily on consoles with fully parametric eq, the one thing I am missing already is fully adjustable Q. That said, I think I have a workable compromise that I enumerate below:

[Tech - Speak] Dear Presonus code engineer, I realize that you probably have limited memory address space for storing biquad filter coefficients. I also realize that you can probably only flip-flop between two coefficient filter tables (i.e. normal and high q and/or normal and shelf).

Therefore I suggest the following compromise: allow the user to define the "normal" and "high" Q values in VSL, then recalculate the biquad coefficients and store them to the desk, addressable in two tables as before. For further tweakage, allow users to pick a 1st or 2nd order shelving filter, and re-calculate those coefficients in the same manner.

I assume you use bilinear Z transform, so this shouldn't be too hard to implement. Heck you could even consider re-defining them on a per channel basis so that Q would appropriate to the input.

And while on this topic, could you add a pole to the HPF filter on the console, the rolloff rate is awfully slow for live sound work, and almost necessitates aux fed subwoofers. Thanks!

[/Tech - Speak]

As an engineer mixing music I would be pretty happy with a "normal" Q of 1-1.6 and a "high" q of 3-4. For working a corporate event with lavalier microphones I would prefer a "normal" Q in the 2-3 range, and a "high" Q in the 6-8 range. As long as I could set these as locked values before the event, I wouldn't mind not being able to change them mid show.

Just a thought for Universal Control. Thanks for listening!
Forum Index » Profile for resonate1 » Messages posted by resonate1