Presonus AudioBox 22VSL
Advanced 2 x 2 USB 2.0 Recording System
The 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, the AudioBox 22VSL interface provides a 4x2 mixer, reverb 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.
Now you can monitor and record with or without real-time effects!
Virtual StudioLive software provides you with a complete graphical representation of your mix environment. Each input channel and DAW return features a fader for accurate level adjustment. Unity gain (0 dB) is denoted by a “U.”
From Virtual StudioLive, you can:
Adjust levels for both analog inputs, both playback streams, both effects buses, and the main output level of the entire mixAdjust the panning for both analog inputs and playback streamsAdjust the send level for both analog inputs and playback streams to each FX busAdjust the parameters for the FX preset on each FX busSolo and mute each analog input and playback streamPrint the Fat Channel dynamics processing, for any of the analog inputs, to your recording
Above each channel and output bus, you’ll see the Fat Channel processors presented in compact versions called “microviews.” The Fat Channel Zoom feature opens a detailed overview of the Fat Channel parameters for the selected channel. To open the Fat Channel Zoom, simply double click on any of the microviews. This will open a zoomed view of that processor for that channel (e.g., if you double click on the Gate on Channel 2, the Fat Channel Zoom will open focused on Channel 2’s Gate).
To top it off, while the classic PreSonus AudioBox USB is a fine-sounding unit, the new AudioBox VSL series sounds even better, with 24-bit, 96 kHz recording and top-of-the-line PreSonus XMAX™ preamps. We’ll have more to say about the preamps shortly.
What’s so great about effects and processing on monitors?
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.
Each channel and DAW return, both FX buses, and the Main Mix output bus in AudioBox VSL software can be processed with the Fat Channel section, which includes a separate compressor, limiter, and downward expander that were modeled after the classic, analog PreSonus ACP88. They deliver the advantages of programmable digital processors but they sound very much like analog. You also get a high-pass filter with -6 dB/octave slope and a variable cutoff frequency (18 Hz to 1.3 kHz) and phase reverse.
The Fat Channel’s 3-band quasi-parametric EQ has a high/low Q switch on the mid band and switchable shelving on the low and high bands. Each EQ band can be individually switched on/off.
You can monitor and record with or without Fat Channel processing.
Time-based effects such as delay and reverb are delivered by two stereo effects processors, which are assigned to dedicated effects buses and come with 30 user-editable factory presets. The reverbs are so rich and detailed that you feel like you’re there. Delays are precise. Slap echo sounds like old-skool tape effects.
Overcoming the Latency Problem
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 monitors, you’ll either hear the original sound slightly before the processed signal, or play a note on your instrument and have to wait a moment to hear the result of your action. Both of which are very disorienting.
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.
In the audio world, “latency” is another word for “delay.” It’s the time it takes for the sound from the front-of-house speakers at an outdoor festival to reach you on your picnic blanket. Or the time it takes for your finger to strike a piano key, for the key to move the hammer, for the hammer to strike the string, and for the sound to reach your ear. An extreme example is the time between a lightning strike and the time you hear the thunder.
Any significant amount of latency in a digital recording system can negatively impact a performer’s ability to play along to a click track or beat — making it sound like you’re performing in an echoing tunnel.
In practical terms, the amount of roundtrip latency you experience is determined by your audio interface’s A/D and D/A converters, its internal device buffer, its driver buffer, and the buffer setting you have selected in your DAW software (Mac) or Control Panel (Windows).
This is where AudioBox VSL-series interfaces enter the picture. This new series of interfaces takes advantage of recent technological discoveries and provides users with the ultimate monitor-mixing experience, without including expensive onboard DSP and the proportional cost increase to customers.
For a more detailed explanation of what latency is and how AudioBox VSL interfaces achieve ultra-low latency, enabling real-time monitoring with effects, read The Truth About Digital Audio Latency.
Record With or Without Processing
If you like what you hear, you can record with AudioBox VSL-series Fat Channel processing, 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.
The time-based effects are for monitoring only and can’t be recorded. Of course, most people add reverb and delay effects during editing and mixdown, rather than while tracking, in order to ensure that the effects on all tracks work together.
Great processors are a PreSonus tradition
We didn’t invent the first audio interface with effects. We simply did it better and for less money. Sure, some interface manufacturers that don’t normally make signal processors have added a compressor, EQ and a few effects to their interfaces.
But the AudioBox VSL series provides all that, plus a separate limiter, expander, and high-pass filter—and we’ve been making high-quality signal processors since 1995. The AudioBox VSL-series’ Virtual StudioLive (VSL)-based effects and Fat Channel processing have been extensively field-tested and proven popular by tens of thousands of StudioLive™-series mixer users, including many top professionals.
Of great importance, thanks to VSL’s browser, with its drag-and-drop convenience, adding processing and creating and loading presets is easy. Pro-level processing and superior ease of use mean you’ll get better results and have more fun!
AudioBox VSL software features a browser window along the right side of the screen that functions similarly to the browser in PreSonus Studio One. From the VSL browser, you can see all of the scenes, Fat Channel presets, and FX presets that are saved on your computer. Create new settings from this window, and simply drag-and-drop a scene or preset to load it into the AudioBox 22VSL.
A Scene is like a snapshot of your mix. It stores each Fat Channel parameter for every input and bus, as well as fader positions, the aux and effects mixes, FX bus settings, and channel mutes and solos. Creating a Scene requires simply dialing in a mix that you would like to use at a later date and saving it.
VSL also comes equipped with 50 Fat Channel presets that have been custom-designed by professional audio engineers. These presets can be altered, renamed, and overwritten; you can build your own nearly limitless custom library of channel-strip settings.
With 30 custom reverb and delay presets to get you started, dialing in just the right effect is easy. In addition to these presets, you can build your own, nearly limitless, custom effects library. The factory presets can be altered, renamed, and overwritten.
High-end sound in a portable, roadworthy interface
Bus-powered, compact, and rugged, the AudioBox 22VSL offers two convenient front-panel mic/instrument combo inputs with global phantom power and provides two line-level outputs. It sports the same high-headroom Class A XMAX™ preamps as the StudioLive mixers and has 24-bit, 96 kHz converters with 114 dB dynamic range for clear, clean audio.
At PreSonus, we know that the mic preamplifier is a key component in the sonic quality of a recording. Many other companies that offer mobile recording interfaces add the cheapest possible microphone preamplifier as an afterthought. In contrast, the AudioBox 22VSL includes custom-designed, high-voltage, discrete, XMAX Class A microphone preamplifiers that are suitable for use with all types of microphones.
The job of a microphone preamplifier in an audio interface is to boost a microphone-level signal to line level before conversion to the digital domain. A good preamp boosts the level to almost 400 times that of the original signal, making the preamp one of the most important stages in an interface. A cheap, off-the-shelf, op-amp-type mic preamp delivers thin, noisy, harsh results. But with XMAX preamps, the sonic quality is limited only by what microphone you plug into it.
XMAX preamplifiers are built with three key elements:
High Voltage. The XMAX preamplifier runs on power rails of 30V. Most off-the-shelf, op-amp-based designs run on power rails of 10V to 18V. Higher-voltage power rails deliver more headroom, deeper lows, smoother highs, and a richer overall sound.Discrete components—not op-amps. We only use genuine transistors, resistors, and capacitors. Op-amps add noise, coloration, and harshness to a signal. Our discrete design delivers ultra-low noise and transparency.Class A. Class A circuits have no crossover distortion and deliver purer, clearer, and more musical results than the Class AB designs that are found in many preamps.
The net result of the XMAX preamp design is high headroom, low noise, wide dynamic range, extended frequency response, and—most important—musicality and transparency, with smooth highs, solid deep lows, and everything in between.
When we tell you we made the AudioBox 22VSL “rugged,” we’re not fooling! It employs a heavy-duty steel case that is just as robust as that of the original AudioBox USB.
Like its immediate predecessor, the AudioBox USB, we designed the AudioBox 22VSL to excel as a mobile interface. We built it like a small tank, with an all-metal chassis and metal knobs, so it can take a serious pounding and remain completely reliable.
To prove the reliability of our AudioBox line, we famously stomped, kicked, and drove over an AudioBox USB with a full-size truck before using it to make a very nice recording of PreSonus Cajun All Stars lead singer and guitarist Chris LeBlanc performing “When the Levee Breaks.” We videotaped the proceedings so you could witness the tests and judge the results for yourself. The result is AudioBox USB: Built for the Road.
Now that’s what we call “roadworthy.” And the AudioBox 22VSL is every bit as tough.
This mighty mite fits in just a third of a rackspace and can be screw-mounted to a standard rack tray (not included).
The flexibility and power of software
VSL 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, we’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. And 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 dual-purpose front-panel input channels, each with:
Combo XLR mic and balanced ¼" instrument input
Class A XMAX™ mic / instrument preamp
Individual channel-trim controls with 0 to +35 dBu mic gain range
2 balanced ¼” main (L/R) line outputs
1 stereo ¼” headphone output with level control
1 USB 2.0 port
Meters, Controls, and Features
48V phantom power for condenser microphones (global)
Mixer control (blends the input signal with the computer playback stream for zero-latency monitoring)
Main-output level control
Power/USB sync LED
LED clip indicator for each channel
Mix, adjust input and playback-returns levels, and add effects and signal processing from your laptop or other computer
24-bit resolution and 44.1, 48, 88.2, and 96 kHz sampling rate
Professional-grade A/D/A converters (+114 dBu dynamic range)
Zero-latency analog monitoring with playback/input Mix control knob
Mac®- and Windows®-compatible, including Mac OS X 10.7 Lion and Windows 7
Supports ASIO, Core Audio, Direct Sound (Windows XP), Windows Audio Session API (Windows Vista and Windows 7)
1/3U rack-mountable (screw-mount to standard rack tray, not included)
Road-rugged construction with all-metal chassis and metal knobs
Weighs just 1.6 lb. (0.7 kg)
Powered via USB bus—no wall wart!
Virtual StudioLive™ (VSL) ultra-low-latency control and effects software for Mac® and Windows®; manages:
Near-zero-latency monitoring with extensive signal processing
4x2 DSP mixer
StudioLive™16.0.2 Fat Channel compressor, limiter, expander, high-pass filter, and semi-parametric EQ for each analog input, and analog output and its DAW return
2 stereo effects buses with reverb and delay
More than 50 Fat Channel DSP presets for enhancing instrument and vocal recordings
Studio One® Artist 2
PreSonus’ revolutionary digital audio workstation for Mac and Windows, with unlimited track count and 10+ GB of third-party resources. With Studio One's Nimbit® extension, you can immediately start selling your music.
Computer system requirements:
Below are the minimum computer-system requirements for the AudioBox 22VSL:
Windows® XP SP3, Vista x64/x32 SP2, Windows 7 / 8 x64/x32 SP1
Intel® Core™ Duo or AMD Athlon™ X2 processor (Intel Core 2 Duo or AMD Athlon X4 or better recommended)
2 GB RAM (4 GB or more recommended)
Mac® OS X 10.6.8 or later
Intel Core Duo processor (Intel Core 2 Duo or Intel Core i3 or better recommended)
2 GB RAM (4 GB or more recommended)
Windows and Mac Systems
USB 2.0 Port
Internet connection (only for activation)
Monitor with at least 1024x768 resolution
20 GB hard-disk space
Internal or external 7200 RPM storage drive highly recommended
The minimum system requirements may differ for DAWs other than Studio One. Please check the requirements for your DAW of choice with its manufacturer.
Note that the speed of your processor, amount of RAM and size and speed of your hard drive will greatly affect the overall performance of your recording system. Also, a more powerful system (faster processor with more RAM) will allow for lower latency (signal delay) than you might experience while monitoring audio or MIDI signals. Monitor resolution for both PC and Macintosh should be no lower than 1024x768 pixels.