Interfaces Presonus Audiobox USB 96 - Discontinued - Updated - Now Undiscontinued!

[PapaRaptor]

EDIT: Apparently, I started this thread in error. the Audiobox 96 USB had not been discontinued. It has been re-issued as an Anniversary Edition. The Audiobox 96 USB continues to be offered in the Presonus audio interface line of products.

Presonus doesn't yet list it on their website as discontinued, but Sweetwater as well as a number of other online merchants either list it as discontinued or the link to their page returns a not found error code (404).

For anyone considering buying their first interface, if you can find one it may be the bargain of Q1-2022. Sam Ash, Guitar Center and Amazon all show them in stock at a price of $99.95. The Audiobox USB 96 has two inputs, either of which can be configured for MIC/Instrument/Line configuration. It also comes with a license for Studio One Artist DAW software. More on that later.

The replacement for this in the Presonus line is the new Audiobox GO, which sells for $79.95 and is available just about everywhere. If offers one MIC/Line input and 1 Instrument level input. It comes with Studio One Prime.

Why do I suggest grabbing an available Audiobox USB 96? Well, besides being more flexible, with two fully configurable inputs, the kicker for me is the license for Studio One Artist software. This is normally a $99 purchase on its own. The Audiobox GO comes with a license for Studio One Prime, which is Presonus free software and is far more limited than their Artist version. Also, having an Artist version of Studio One gives you the ability to upgrade in the future to Studio One Pro at a substantial discount. Studio One Prime gives you a bare bones DAW and no incentives for an upgrade. But, that may be all you need!

If you are concerned about buying a product that is unofficially discontinued (Presonus site doesn't list Audiobox USB 96 as discontinued as of yet), you might consider moving on to the Studio 24c USB-C Interface, which adds a few more bells and whistles over the basic Audiobox models. It also comes with the Artist version of Studio One, at a price point of $169.95.

Obviously, your choice and direction may not dictate these things to be as important to you. But a purchase of the Audiobox GO at $79.95 and an eventual upgrade to Studio One Artist at $99.95 makes the Audiobox USB 96 a real bargain at $99.95 and the Studio 24c on par with buying both the Audiobox GO and the Artist upgrade. And the 24c gives you a much more flexible interface.

 

[dvs]

I agree that's an attractive purchase, especially if there are discounts to be had on the Audiobox 96 as a discontinued product. It is a very nice, basic, 2-in/2-out USB interface. However if budget allows, I'd lean toward the Studio 24c for two reasons: 1) the level meters on the 24c are way more useful than the clip indicator lights on the Audiobox; and 2) the two inputs on the Audiobox are supported for Mic/Inst levels and not for Line level inputs (such as the main outputs from a mixer). The Audiobox inputs do work for line-level signals if you turn the gain control to zero (and bypass the preamp), so it's not a deal-breaker, but Presonus recommends using a DI box for line level inputs and that extra gear kind of changes the cost/benefit calculation. The Studio 24c has different preamps that are better able to deal with the different input signal levels, though it lacks a switch to select between Line and Hi-Z (instrument) for the 1/4-inch inputs. The higher models in the Studio series do have such a switch, in addition to more inputs.

 

[PapaRaptor]

However if budget allows, I'd lean toward the Studio 24c for two reasons: 1) the level meters on the 24c are way more useful than the clip indicator lights on the Audiobox; and 2) the two inputs on the Audiobox are supported for Mic/Inst levels and not for Line level inputs (such as the main outputs from a mixer).

Good point, which I really hadn't considered. I know quite a few home users using the 96 with line level inputs, just like you mentioned.
I also hadn't considered the level meters. I'm used to the clip only lights, having used the Studio Live AR12 mixer/interface and with the input level controls built into Studio One, that has been a set and forget operation. I can see how it would be of benefit if your recording configuration changes on a regular basis.

 

[BraylonJennings]

Good point, which I really hadn't considered. I know quite a few home users using the 96 with line level inputs, just like you mentioned.
I also hadn't considered the level meters. I'm used to the clip only lights, having used the Studio Live AR12 mixer/interface and with the input level controls built into Studio One, that has been a set and forget operation. I can see how it would be of benefit if your recording configuration changes on a regular basis.

True about the interface metering, I never look at them, preferring instead to monitor levels through the daw.

 

[dvs]

How do you check and set levels when you're not using your DAW?

 

[BraylonJennings]

The daw is the only time I use an interface.

 

[dvs]

That makes sense, Lloyd and Braylon. I don't usually put effects and plugins on my tracks until I'm finished recording, I don't monitor my playing through the DAW, and I've got a few more quirks in my workflow that influence how I use this gear.

P.S. It's not my main interface, but I do own and use an Audiobox 96.

 

[PapaRaptor]

How do you check and set levels when you're not using your DAW?

I just used the directions in the Studio LIve AR12 manual. I think it's the same information for both the ARx USB and the ARx C mixers in section 2.1 of the manuals.
My setup is more complicated than it needs to be, but it has evolved over time.
Windows doesn't support aggregate audio devices, so the Studio Live AR is usually my main interface to the PC.
For playing along (not recording) with backing tracks, this allows me to set the PC levels using the internal PC controls and/or the dedicated fader on the Super Channel. I use the Control Room Audio Outs on the AR instead of the main outs, so I can use all audio functions, but keep the microphones out of my monitor mix. This setup came after a lot of gnashing of teeth trying to get a livestream setup I could use and keep the microphones out of my monitors. When I track anything with microphones, I turn off the CTRL Room feed and use headphones, which mirror the main outs (but are conveniently on a small trimmer pot so I can adjust those levels as well).

When recording electric guitar or bass, I switch Studio One to use my Eleven Rack as the interface. The 11r will pass all playback from Studio One directly through and it gives me the ability to record both a modeled signal from 11r as well as passing through a dry signal from whatever instrument is connected. If for some reason I'm really in a hurry or just don't have any need for a dry guitar track, I can also use the SL-AR as the interface and record the modeled 11r audio through the SL-AR.

I control the monitor levels on the 11r by having the stereo outs from the 11r connected into a pair of the Studio LIve AR stereo inputs. When I'm doing this, the Studio Live AR is acting only as a mixer and not an interface.

In addition, I have a second Eleven Rack which is connected to a second computer in the room and the audio out from it is directed to another stereo pair on the SL-AR. There is also a third PC that uses a n old TASCAM US-1800 interface. It's outputs are also fed to a stereo input on the SL-AR.

It sounds like a mess, but in operation it's pretty seamless and I've had it like this for a couple years. No matter which device is used (on my main PC) as the interface, I always have PC audio and I always have Audio from Studio One, two Eleven Racks and a third interface. Each interface is on a fader. The only thing I ever really have to think about is which device Studio One is using as an interface. It has all been gain staged and comes very close to being a black box in the corner.

 

[dvs]

Yep, that all makes sense.

I find that for one reason or another I often need to know quickly if a device is getting a signal or not. A VU meter will tell me this at a glance (from across the room, if nec.), as will the signal LEDs on the AR mixer channels (they light up green if there's something there, red if it's clipping). The clip LED on the Audiobox doesn't show anything unless there is clipping, which I do not find to be as useful.

 

[Silicon Valley Tom]

Good information for those interested in recording, from the above posts. It is a real trip, and can cost a good deal of money trying to find what you want or need, to record audio. Once you starting recording, you may wish you went in a very different direction. Recording yourself is straight forward, compared to recording groups, etc.

I like to record “dry” (no effects), save the file, and then process it, always keeping the “dry” file. Years ago, I tried various software approaches to creating a “final version” I spent too much time playing with software. So I went with a hardware rack of “goodies” - PRS Pre Amp, Lexicon MPX110, Graphic Equalizer, Compressor, etc. I set the controls once, and do not have to touch them. That is my preference, and everyone is different.

My advice to recording is to first determine what you want to accomplish. Next, ask questions, and read a lot. That advice may help reduce the time and money spent on recording. Normally, I have chosen a slightly more expensive approach to any activity I have an interest in. If you go cheap, that might work out. Then again, cheap might be a reason for not attempting to advance or even causing you to loose all interest. If you go top of the line, that can be costly. Then next week, that top of the line may be obsolete. It is all so much fun!

Tom

 

[CaptainMoto]

True about the interface metering, I never look at them, preferring instead to monitor levels through the daw.

I suggest, that’s not a good practice.
I learned, the first thing to watch is the level at the interface .
If it’s not right there you’ll never fix it.

It’s called gain staging:
Think of it like playing guitar where you have volume knobs on the instrument as well as on the amp.
Each plays a roll in the final sound.

If you clip at the interfaces it’s going to be baked in along the rest of the signal path,
If it’s to low at the interface you can raise it in the DAW but you’ll be bringing up the noise floor with it.

 

[MarkDyson]

What do you do when your interface (like the Focusrite) doesn't have meters apart from the clipping warning LEDs? Stage it there so it's just below the clipping range?

 

[CaptainMoto]

What do you do when your interface (like the Focusrite) doesn't have meters apart from the clipping warning LEDs? Stage it there so it's just below the clipping range?

Correct!

 

[PapaRaptor]

If you clip at the interfaces it’s going to be baked in along the rest of the signal path,
If it’s to low at the interface you can raise it in the DAW but you’ll be bringing up the noise floor with it.

I'll add my two cents worth here as well.
If you are going to err, do it on the too low side.
What @CaptainMoto says is true. If you are too low you will have to bring the levels up and will bring the noise floor up as well.
But what exactly is "too low?"
If you have a recording that is too low and you normalize it, if you can suddenly hear hiss and possible pops and crackles, your input is indeed too low.
But within the range that doesn't light the clip light, you have pretty good latitude. It's simply because most modern recording gear is exceptionally quiet, which keeps the noise floor very low.

 

[CaptainMoto]

What do you do when your interface (like the Focusrite) doesn't have meters apart from the clipping warning LEDs? Stage it there so it's just below the clipping range?

It has been my observation that gain staging / record levels are a critical first step to getting a good mix.
Getting the input levels set properly should be done prior to touching the mix faders.

I'm certain that every DAW has input gain adjustment available.
I can only speak to how it's done in S1:
-First set the gain level properly at the interface, look for strong signal with no clipping
-Next, within S1, open the "Input tab", this will give you visibility to the input levels coming into S1, I usually try to set my input levels near -18 (opinions vary on proper input levels).
-Adjusting input gain can also be done on the track using clip gain.

Once all the input gain is at appropriate levels you can start the mixing process with the mix faders and all your plugins.

I apologies if this comes of as being preachy but, from personal experience, I can tell you it's very easy to let yourself get confused with input vs output, remember, the mix faders are adjusting what's going out of the DAW, while the input gain sets the level coming in.
Once again, think of it like a pedal board going into an amp.
The pedals effect what's going into the amp and the amp volume determines what's coming out.

 

[MarkDyson]

Preach away, brother! I'm listening.

 

[BraylonJennings]

Gain staging is critical and noise floors are very low these days. My setup is fairly static, I never run anything in the box on my daw input channel. I've learned that overloading my interface will over load Studio One's input. I try to input at -12 to -18db, staying closer to -12db as a rule. Flashing red lights tend to grab your attention, but the gain knobs on my Audient interface are usually nearly bottomed out. If I was changing my setup or recording others, I might have to pay more attention, but that's rare. Guitars go direct from my amps, just need to not bump the signal output. Basses usually go direct to the daw, I monitor from there. I've mostly stopped using outboard processing on any mic'd sources, so they go direct too. I use the interface input gain to establish those levels but monitor them on the daw input channel. That meter is just easier to read, if it clips, it'll be pretty noticeable audibly, anyway. YMMV

 

[CaptainMoto]

Gain staging is critical and noise floors are very low these days. My setup is fairly static, I never run anything in the box on my daw input channel. I've learned that overloading my interface will over load Studio One's input. I try to input at -12 to -18db, staying closer to -12db as a rule. Flashing red lights tend to grab your attention, but the gain knobs on my Audient interface are usually nearly bottomed out. If I was changing my setup or recording others, I might have to pay more attention, but that's rare. Guitars go direct from my amps, just need to not bump the signal output. Basses usually go direct to the daw, I monitor from there. I've mostly stopped using outboard processing on any mic'd sources, so they go direct too. I use the interface input gain to establish those levels but monitor them on the daw input channel. That meter is just easier to read, if it clips, it'll be pretty noticeable audibly, anyway. YMMV

I hear you!
My usual session consists of a few guitar tracks, a few vocal tracks and maybe a synth or drum machine.
I have each of those going into dedicated inputs on my interface.
I have several inputs on my interface so, once set, I rarely need to revisit the interface levels.
If I had only one or two inputs on my interface, I'd need to revisit those levels every time I plugged in a new source instrument/mic.

 

[PapaRaptor]

There are also considerations as to what type of input you are providing.
Regardless of the input, keeping the levels in your DAW peaking at around -12 is recommended by most manufacturers. Once it is in your DAW and clean, you have a lot more latitude with how you want to deal with it and as long as you don't exceed the bit rate on your recording, you won't have issues.
If you're recording a "wet" signal from a guitar, either via a mic or direct from a modeler/amp sim you will probably be doing less processing within the DAW than you would if you plugged an electric guitar directly into your interface as a "dry" signal. A dry electric guitar signal is generally pretty unpleasant and tinny sounding, so you will likely want to use a plug-in to do some form of amp simulation (Kontact, Positive Grid, Ampire) along with possible stompboxes, compression, reverb, delay, etc., All of these will add to your signal level, so your -12 on a dry guitar will increase to a greater level. Once your signals are in the DAW, level considerations as far as overloading aren't as critical until you come to mixdown time, when they again become a factor.

A lot of older guys (us, basically) who went through the years of recording reel-to-reel or audio cassettes were encouraged to record with levels as close to 0db as possible in order to pack as much volume into the analog tape medium, where noise floors were a significant factor. If all you were doing is dubbing an existing recording to tape (like the mix tapes we used to make for parties and road trips in the car, that was totally appropriate. In the days of analog tape you wanted to keep your inputs as high as possible without distorting, because you had a much higher noise floor with analog tape. The old analog tape engineers used subtractive mixing where all tracks were mixed to levels lower than they were recorded. Lowering a high input signal also lowered the noise floor of the track.

But you can't carry that analogy over to modern digital mixing. While the noise floor is still present in digital recordings it is several orders of magnitude lower than analog tape recording and for most recordings it isn't a consideration. If you were baking a cake that called for 2 eggs, 2 cups of water, two cups of flour and two cups of sugar, you wouldn't expect to mix that in a bowl that holds 2 cups. But I've seen people expect to take a backing track that peaks at 0db and add a guitar track (or several) that are set to peak at around 0db. In order to do that, you're going to have to scale the levels back on one or more of the tracks. This is going to reduce your overall dynamic range and possibly alter the sonic palette of the final recording. Having said that, few instruments (specifically electric guitars and basses) have a dynamic range that would be significantly affected by lowering their volume.

tl;dr TMI? Keep your interface set low enough so it doesn't clip. Keep your DAW inputs set so they don't normally exceed -12. Most DAW software expects those levels and works best when using them.

 

[PapaRaptor]

I've learned that overloading my interface will over load Studio One's input. I try to input at -12 to -18db, staying closer to -12db as a rule.

The input levels are spot on. But you're not overloading Studio One. Studio One only deals with digital inputs, so it's not really possible to overload it. It just gets numbers from your interface, where the A/D conversion occurs. What happens with the Input Gain controls on Studio One is really a math conversion process. It is important primarily because Studio One processes all signals internally using 32 or 64 bit floating point math, whereas your interface is likely using 16 or 24 bit integer. The input gain controls simply set reference points for conversion between the two different bit rates. On playback (or monitor), your DAW does another conversion of bit rates to set the 32 or 64 bit internal process out to your interface, which doesn't understand 32/64 bit, so Studio One converts back to a 16 or 24 bit format and sends that digital signal to your interface. Then a D/A conversion process occurs in the interface and ends up as analog audio you can hear.

That's probably way over the top of an explanation, but all of us are nerdy in some ways. My nerd credentials just happens to be basic math and recording...