Revelator io24
2-channel audio interface for streamers,
podcasters, and music creators
Owner’s Manual
www.presonus.com
®
English
Table of Contents
1 Overview — 1
1.1 Introduction — 1
1.2 What is in the box — 1
1.3 What is in your MyPreSonus account — 2
1.3.1 Step 1: Register Revelator io24 — 2
1.3.2 Step 2: Download and Install
Universal Control — 4
1.3.3 Step 3: Download and Install
Studio One Artist (Optional) — 5
1.3.4 Step 4: Download and Install
Studio Magic (Optional) — 6
2 Connections and Controls — 7
2.1 Front Panel — 7
2.1.1 The Screen — 8
2.2 Back Panel — 10
2.3 Connection Diagram — 11
2.4 Standalone controls — 11
2.4.1 Setting the Microphone Level — 12
2.4.2 Setting Main Output level — 12
2.4.3 Setting Headphone level — 12
2.4.4 Setting Monitor blend — 13
2.4.5 Selecting Presets — 13
2.4.6 Stream Mix Mode — 14
3 Universal Control — 15
3.1 The Launch Window — 15
3.1.1 Launch Window Menu Items — 16
3.2 Using Your Revelator io24 with Popular
Applications — 17
3.2.1 Using Revelator io24 for
System Audio — 17
3.2.2 Using Revelator io24 for Skype — 21
3.2.3 Using Revelator io24 for Zoom — 22
3.2.4 Using Revelator io24 for
Google Meet — 26
3.2.5 Using Revelator io24 for OBS — 27
3.2.6 Using Revelator io24
on Chromebook — 28
3.2.7 Using Revelator io24 with Zoom
on Chromebook — 29
3.2.8 Using Revelator io24 with Google Meet
on Chromebook — 30
3.2.9 Using Revelator io24 with
iOS/iPadOS devices — 31
3.2.10 Using Revelator io24 with
Android devices — 31
4 Presets and Scenes — 32
4.1 Preset Management — 32
4.1.1 Changing Preset Button Slots — 33
4.1.2 Storing New Presets — 34
4.1.3 Exporting/Importing Presets — 36
4.1.4 Scenes - Save and Recall — 38
4.1.5 Sharing Scenes and Presets — 38
5 Fat Channel and Voice Effects — 39
5.1 Fat Channel and Voice FX — 39
5.1.1 High Pass Filter (HPF) — 39
5.1.2 Gate — 40
5.1.3 Compressor (Comp) — 40
5.1.4 Equalizer (EQ) — 41
5.1.5 Limiter — 42
5.1.6 Voice FX — 42
5.1.7 Reverb — 43
6 Mixing and Loopback Audio — 45
6.1 What is Loopback Audio? — 45
6.2 Mixer Controls — 46
6.2.1 Microphone Channel Controls — 46
6.2.2 Mixer Channel Controls — 47
6.2.3 Main Output Controls
and Mix Selection — 48
6.3 Feedback Loops are Bad — 49
7 Advanced Features and
Customization Tools — 50
7.1 Settings Menu — 50
7.2 Advanced Fat Channel and
Voice Effects Controls — 51
7.2.1 High Pass Filter — 51
7.2.2 Noise Gate — 51
7.2.3 Compressor — 52
7.2.4 Changing the Signal Chain — 55
7.2.5 Equalizer — 55
7.2.6 Limiter — 58
7.2.7 Voice FX — 58
8 Studio One Artist
Quick Start Guide — 62
8.1 Installation and Authorization — 62
8.2 Setting Up Studio One — 63
8.2.1 Configuring Audio Devices — 64
8.2.2 Configuring MIDI Devices — 64
8.3 Creating a New Song — 68
8.3.1 Configuring Your I/O — 69
8.3.2 Creating Audio and
Instrument Tracks — 70
8.3.3 Recording an Audio Track — 72
8.3.4 Adding Virtual Instruments
and Effects — 72
9 Resources — 74
9.1 Gain Staging 101: Begin at the Beginning — 74
9.2 Microphone Tips and Tricks — 75
9.2.1 Pickup Patterns — 76
9.2.2 Handling Noise — 76
9.2.3 How Close is Too Close? — 76
9.2.4 Problematic Pronunciation — 76
9.2.5 Putting it All Together — 77
9.3 Technical Specifications — 77
1
1 Overview
1.1 Introduction
Revelator io24
Owner’s Manual
1 Overview
1.1 Introduction
Thank you for purchasing the Revelator io24 audio interface! Revelator io24 is
the perfect audio interface for live streaming or podcasting, and is a powerful
recording solution for voice-overs and music production in your home studio. It’s
designed to deliver polished, professional-sounding results with ease. Once you’ve
registered your Revelator io24 at my.presonus.com, you’ll be able to download
your drivers, a complimentary copy of Studio One Artist, additional plug-ins,
content, and more. It’s our gift to you for becoming a PreSonus customer.
We suggest you read this manual to familiarize yourself with the features
and applications for your Revelator io24 before trying to connect it to your
computer. This will help you to avoid problems during installation and use.
Throughout this manual you will find Power User Tips. These tips and
tricks will help you to become a Revelator io24 expert—as well as help
you to better understand audio terminology, so you can get the most
from your purchase and get the best sound quality possible.
Thanks for joining the PreSonus family. We’re glad you’re here.
1.2 What is in the box
• Revelator io24 USB audio interface
• 1M USB-C-to-USB-A Cable. Use this to connect your Revelator io24 to a USB
port on your computer or a powered USB hub.
• Quick Start Guide. Use this as a handy reference guide to your hardware
features while you familiarize yourself with your new interface
• PreSonus Health, Safety, and Compliance Guide. Legal language to cure your
insomnia.
• Warranty/Registration Card
Hookup • Conexiones • Verkabelung • Branchements • 连接连接
© 2021 PreSonus Audio Electronics, Inc. All Rights Reserved. PreSonus is a registered registered
trademarks of PreSonus Audio Electronics, Inc. Other product names mentioned herein may be trademarks
of their respective companies. All specifications subject to change without notice.
18011 Grand Bay Ct. • Baton Rouge,
Louisiana 70809 USA• 1-225-216-7887
www.presonus.com
Revelator io24
2-channel audio interface for streamers and podcasters
Quick Start Guide
Revelator io24
Interfaz de audio de 2 canales para streamers y podcasters
Guía de arranque rápido
Revelator io24
2-Kanal-Audio-Interface für Streamer und Podcaster
Kurzanleitung
Revelator io24
Interface audio à deux canaux pour les streameurs et les podcasteurs
Guide de prise en main
Revelator io24
为流媒体工作者和播客设计的双通道音频接口为流媒体工作者和播客设计的双通道音频接口
快速启动指南
Part# 70-12000164-B
Microphone or Instrument to Input 2
Micrófono o Instrumento a Entrada 2
Mikrofon oder Instrument an Input 2
Microphone ou instrument vers entrée 2
麦克风或乐器至 Input 2
Microphone or Instrument to Input 1
Micrófono o Instrumento a Entrada 1
Mikrofon oder Instrument an Input 1
Microphone ou instrument vers entrée 1
麦克风或乐器至 Input 1
MIDI In and Out to MIDI Controller
Entrada y salida MIDI a controlador MIDI
MIDI-Ein- und Ausgang an MIDI-Controller
Entrée et sortie MIDI vers contrôleur MIDI
MIDI 输入输出至MIDI 控制器
USB-C to USB-A to computer or USB power
USB-C a USB-A a ordenador ó alimentación USB
USB-C auf USB-A an Computer oder
USB-Stromversorgung
USB-C vers USB-A pour ordinateur ou alimen-
tation USB
USB-C至USB-A到电脑或USB 电源
Out to Headphones
Salida para auriculares
Ausgabe über Kopfhörer
Sortie vers casque
输出至耳机
Left/Right Main Out to Speakers
Salida principal Izquierda/Derecha a altavoces
Lautsprecher an den Main-Ausgängen Links/
Rechts
Sorties gauche/droite vers enceintes
左/右主输出至扬声器
Basic functions • Funciones básicas • Grundlegende Funktionen • Fonctions de base • 基础功能基础功能
Press channel 1 or 2 button to select channel. Press encoder to cycle through
settings. Turn encoder to change chosen setting.
Pulse el botón canal 1 ó 2 para seleccionar el canal. Pulse el encoder para desplazarse
por los ajustes. Gire el encoder para cambiar el ajuste elegido.
Channel 1 oder 2 drücken, um den Kanal auszuwählen. Endlosregler drücken, um
durch die Einstellungen zu blättern. Endlosregler drehen, um die ausgewählte
Einstellung zu ändern.
Pressez la touche de canal 1 ou 2 pour sélectionner le canal. Pressez l’encodeur pour
parcourir les réglages. Tournez l’encodeur pour modier le réglage choisi.
按下 channel 1 或 2 按钮进行轨道选择。按下编码器在设置中进行循环选择。旋转编码器对
选中的设置进行更改。
Tap Preset to cycle through sound presets. Press and hold Preset to turn presets
o or on.
Toque Preset para desplazarse entre los presets de sonidos. Mantenga pulsado Preset
para desactivar o activar los presets.
Preset drücken, um durch die Sound-Presets zu blättern. Preset gedrückt halten,
um Presets zu de-/aktivieren.
Appuyez sur Preset pour parcourir les préréglages de son. Pressez et maintenez Preset
pour désactiver ou activer les préréglages.
按下 Preset 在声音预设中进行循环选择。按住 Preset 可开启或关闭预设。
From Home screen, press Encoder to cycle through control of Headphone
volume, Main volume, or monitor blend. Turn encoder to adjust the
selected parameter.
Desde la pantalla Inicio, pulse Encoder para ir desplazándose entre el volumen
de los auriculares, el volumen Principal o la mezcla de monitoraje. Gire el
encoder para ajustar el parámetro seleccionado.
Drücken Sie den Endlosregler im Home-Screen, um zwischen
Kopfhörerpegel, Gesamtlautstärke und Monitormischung umzuschalten.
Drehen Sie den Endlosregler, um den ausgewählten Parameter anzupassen.
En écran d’accueil, pressez l’encodeur pour faire déler les commandes de
volume du casque, de volume principal ou de mélange pour l’écoute de
contrôle. Tournez-le pour régler le paramètre ainsi sélectionné.
在主屏幕上，按编码器可循环控制耳机音量、主音量或监听混合。转动编码器来调
整所选参数。
PRESS
0
3
12
24
48v
2
+24dB
80Hz
PRESS
48v+24dB
80Hz
HOLD
Inputs
Playback
0
3
12
24
48v
2
80Hz
+30dB
Added bonus: PreSonus’ previously Top Secret recipe for…
Fantastic Vegan Gumbo
Ingredients:
•80ml all-purpose flour
•70 ml vegetable oil (e.g. high heat
sunflower oil)
•1-2 onions (diced)
•2 celery stalks (diced)
•1 green bell pepper (diced)
•3 cloves garlic (minced)
•1 liter of vegetable broth
•1 handful of okra, cut into pieces
•1 red bell bell pepper, cut into pieces
•250g mushrooms, cut into pieces
•1 cauliflower, cut into florets
•PreSonus “Sweet Darlin‘“ Cajun Dry
Rub
•salt
•thyme
•smoked paprika
•paprika (hot)
•black pepper
•2-3 bay leaves
•parsley, finely chopped
•spring onion, finely chopped
Cooking Instructions:
1. Make a roux: heat the oil in a pan set to medium heat. and stir in the our. Slowly
add our 1-2 Tbsp at a time, stirring continuously. Continue cooking and stirring
the roux until it is a dark brown (it should look like melted chocolate—milk or dark
chocolate is a question of taste and patience.) Be careful to not let the oil get too
hot, or the our will burn and you’ll have to start over! It’s best to work with the
heat set to medium and your patience set to high.
2. Once roux has reached the desired color, add the onions, peppers and celery; stir
well. After a few moments, add the garlic and fry briey. Then add the broth and
bring to a boil.
3. Add bay leaves and okra, and season to taste with the spices. Simmer on lowest
heat for about one hour.
4. In the meantime, place cauliower, red bell peppers and mushrooms on a baking
sheet. Drizzle with oil and sprinkle with Sweet Darlin‘. Brown in the oven at approx.
220°C.
5. Add the vegetables to the stew and simmer a little more, or turn o the heat and
let it sit for a few hours (Like any stew, it gets better overnight.)
6. Serve with rice and sprinkle with green onion and parsley. Season to taste with
Tabasco (or other hot sauce).
Serves 3-4
1
4
6
7
9
10 11 12
8
2 2
3
5
ENGLISH
1. Combo input jacks. Suitable for XLR, Line, or Instrument connections.
2. Channel Select Buttons. Press to display information about Input 1 or
input 2 on screen (3).
3. Screen. Displays metering, preset selection, and other important
information.
4. Back Button. Returns display on screen (3) to default Home view.
5. Preset Selectors. Cycles through presets for inputs 1 and 2,
respectively. Press to cycle through Presets; press and hold
to bypass Presets.
6. Multipurpose Encoder. Controls many parameters. From Home screen,
press it to cycle through controlling Headphone volume, Main volume,
or monitor blend. From Channel screen, press it to cycle through
+48v, gain, and high-pass lter options. Rotate Encoder to adjust the
selected parameter.
7. Mute. Enables/Disables the Main Outs.
8. Kensington Lock. Connect this port to a Kensington lock
to prevent theft.
9. USB-C. Connect USB-C to USB-A cable (included) to your computer or
USB power source.
10. MIDI In/Out. Connect to external MIDI controllers like keyboards for
control of virtual instruments in Studio One.
11. Main Out. Balanced 1/4” TRS outputs for speakers or power amp.
12. Headphone Output. The rear-panel headphone output mirrors the
same streams as the Main left/right outputs.
ESPAÑOL
1. Jacks combo de entrada. Adecuados para conexiones XLR, Línea o
Instrumento.
2. Botones de selección de canal. Pulse para mostrar información en pantalla
(3) sobre la Entrada 1 ó la entrada 2.
3. Pantalla. Muestra la medición, selección de presets y otra información
importante.
4. Botón Back. Devuelve lo mostrado en pantalla (3) a la vista Inicio por defecto.
5. Selectores de presets. Se desplaza de forma cíclica por los presets para
las entradas 1 y 2 respectivamente. Pulse para desplazarse por los presets;
mantenga la pulsación para poner los presets en bypass.
6. Encoder multifunción. Controla muchos parámetros. Desde la pantalla Inicio,
pulse en éste para ir desplazándose entre el volumen de los auriculares, el
volumen Principal o la mezcla de monitoraje. Desde la pantalla Canal, pulse
en éste para ir desplazándose entre las opciones +48v, ganancia y ltro paso
altos. Gire el encoder para ajustar el parámetro seleccionado.
7. Mute. Activa/desactiva la salida Principal (Main Outs).
8. Ranura se seguridad. Conecte este puerto a una ranura de seguridad
(Kensington lock) para prevenir su hurto.
9. USB-C. Conecte el cable USB-C a USB -A (incluido) a su ordenador fuente de
alimentación USB.
10. MIDI In/Out. Conecte a controladores MIDI externos como teclados para el
control de instrumentos virtuales en Studio One.
11. Main Out. Salidas TRS balanceadas de 1/4” para altavoces o una etapa de
potencia.
12. Salida de auriculares. La salida de auriculares del panel posterior reproduce
las mismas transmisiones que las salidas principales left/right.
DEUTSCH
1. Combo-Eingangsbuchsen. Zum Anschluss von Mikrofonen, Line-Quellen
oder Instrumenten.
2. Kanalauswahltasten. Drücken, um im Display (3) Informationen zu Input 1
bzw. 2 einzublenden.
3. Display. Blendet wichtige Information wie Pegelanzeigen und ausgewählte
Presets ein.
4. Zurück-Taste. Drücken, um im Display (3) den Home-Screen einzublenden.
5. Preset-Wahltasten. Drücken, um durch die Presets für die Inputs 1 und 2
zu blättern. Drücken, um durch Presets zu blättern; drücken und halten, um
Presets zu deaktivieren.
6. Multifunktions-Endlosregler. Steuert eine Vielzahl von Parametern.
Drücken Sie den Regler im Home-Screen, um zwischen Kopfhörerpegel,
Gesamtlautstärke und Monitormischung umzuschalten. Drücken Sie
ihn im Channel-Screen, um zwischen den Einstellungen für +48 V, Gain
und Hochpasslter umzuschalten. Drehen Sie den Endlosregler, um den
ausgewählten Parameter einzustellen.
7. Mute. Aktiviert/Deaktiviert die Main-Ausgänge.
8. Kensington Lock. Önung für ein Kensington-Schloss zur
Diebstahlsicherung.
9. USB-C. Zum Anschluss an einen Computer oder eine USB-Stromversorgung
mit einem USB-Kabel USB-C auf USB-A (im Lieferumfang enthalten).
10. MIDI In/Out. Zum Anschluss externer MIDI-Controller wie beispielsweise
Keyboards oder zur Steuerung virtueller Instrumente in Studio One.
11. Main Out. Symmetrische 6,35 mm TRS-Ausgänge zum Anschluss an
Lautsprecher oder Endstufen.
12. Kopfhörerausgang. Der rückseitige Kopfhörerausgang gibt denselben
Stream aus wie die Ausgänge Main Links/Rechts.
FRANÇAIS
1. Prises d’entrée mixtes. Conviennent aux connexions XLR, ligne ou
instrument.
2. Touches de sélection de canal. Pressez pour acher à l’écran (3) des
informations sur l’entrée 1 ou l’entrée 2.
3. Écran. Ache la mesure de niveau, la sélection de préréglage et
d’autres informations importantes.
4. Touche de retour. Ramène la page d’accueil par défaut à l’écran (3).
5. Sélecteurs de préréglage. Font respectivement déler les préréglages
des entrées 1 et 2. Pressez-les pour parcourir les préréglages.
Maintenez-les pressés pour désactiver les préréglages.
6. Encodeur multifonction. Contrôle de nombreux paramètres. En écran
d’accueil, pressez-le pour faire déler les commandes de volume du
casque, de volume principal ou de mélange pour l’écoute de contrôle.
En écran de canal, pressez-le pour faire déler les options +48 V, gain et
ltre passe-haut. Tournez-le pour régler le paramètre ainsi sélectionné.
7. Mute. Active/désactive les sorties principales.
8. Fixation antivol Kensington. Attachez-lui un antivol Kensington pour
empêcher le vol.
9. USB-C. Connectez le câble USB- C vers USB-A (inclus) à votre ordinateur
ou à votre source d’alimentation USB.
10. Entrée/sortie MIDI. Connectez-les à des contrôleurs MIDI externes
comme des claviers pour contrôler les instruments virtuels de Studio
One.
11. Sortie principale. Sortie sur jacks 6,35 mm 3 points (TRS) symétriques
pour enceintes ou ampli de puissance.
12. Sortie casque. La sortie casque de la face arrière produit les mêmes
ux que les sorties principales (Main Out) gauche/droite.
中文
1. 组合输入口。组合输入口。适用于 XLR、线路或乐器连接。
2.
轨道选择按钮。轨道选择按钮。按下按钮可在屏幕（3）上显示 Input 1 或 Input 2的信息。
3.
屏幕。屏幕。显示咪表、预设选择和其他重要信息。
4.
返回按钮。返回按钮。将屏幕（3）上的显示返回至默认的主页显示。
5.
预设选择器。预设选择器。分别循环浏览 Input 1和2的预置。按下可循环浏览预置；按住可
绕过预置。
6.
多用途编码器。多用途编码器。控制许多参数。在主屏幕上，按下它可以循环控制耳机音量、
主音量或监听混合。在通道屏幕上，按它可循环控制+ 48v，增益和高通滤波
器选项。旋转编码器来调整所选参数。
7.
静音。静音。启用/禁用主输出。
8. Kensington
锁。锁。将此端口连接到Kensington锁上以防止盗窃。
9. USB-C
。。将USB-C转USB-A电缆（附带）连接到您的电脑或USB电源。
10. MIDI
输入输出。 输入输出。连接到外部MIDI控制器，如键盘，以控制Studio One中的虚
拟乐器。
11.
主输出。主输出。用于扬声器或功率放大器的平衡1/4 “ TRS输出。
12.
耳机输出 。耳机输出 。
PreSonus Safety Warnings and Instructions
Electrical information and warning symbols for PreSonus products are located on the rear electrical panel of the unit
adjacent to the electrical plug or on the bottom of the unit along with other product compliance information.
This lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of non-
insulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock.
WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK) AS THERE
ARE NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
The exclamation point within an equilateral triangle is intended to alert the user to the presence of
important operating and maintenance instructions in the literature accompanying the appliance.
CAUTION: To reduce the risk of electric shock, do not expose this appliance to rain and moisture. Do not expose this device
to dripping or splashing liquids and no object filled with liquids, such as vases, should be placed on the device.
CAUTION: These service instructions are for use by qualified service personnel only. To reduce the risk of electric shock,
do not perform any servicing other than that contained in the operation instructions. Qualified service personnel must
perform repairs.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this device near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
8. Do not install near any heat sources, such as radiators, heat registers, stoves,
or other device (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades
and a third grounding prong. The wide blade and the third prong are provided for your safety. If the provided
plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched, particularly at plugs,
convenience receptacles, and the point where they exit from the device.
11. Use only attachments/accessories specified by PreSonus.
12. Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer or sold with
this device. Use caution when moving a cart/device combination to avoid injury from tip-over.
13. Unplug this device during lightning storms or when unused for long periods.
14. Servicing is required when the device has been damaged in any way, such as if a power-supply
cord or plug is damaged; or liquid is spilled, or objects have fallen into the device; or if
the device has been exposed to rain or moisture, does not operate normally, or has been
dropped. All PreSonus products in the USA should be serviced at the PreSonus factory
in Baton Rouge, Louisiana. If your PreSonus product requires a repair, contact support@
presonus.com to arrange for a return authorization number. Customers outside the USA
should contact their local distributor. Your distributor’s contact information is available at www.presonus.com.
15. Protective grounding(earthing) terminal. The apparatus should be connected to a
mains socket outlet with a protective grounding(earthing) connection.
16. Where the Mains plug or an appliance coupler is used as the disconnect device,
the disconnect device shall remain readily operable.
17. The use of apparatus is in moderate climates.
18. Please allow 5cm around the apparatus for sufficient ventilation; the ventilation should not be impeded
by covering the ventilation openings with items, such as newspapers, table-cloths, curtains, etc.
Rackmounting
• Use an equipment rack that is 19-inches wide (482.6 mm) and rated for the total weight of your equipment.
• Use a minimum of (4) 10/32 threaded screws per rack mounted device.
WARNING:
Cancer and reproductive harm - www.p65warnings.ca.gov
PreSonus Compliance Information
European Union (EU)
The CE mark on this product indicates that the device is compliant with the
EU Council Directives
2014/35/EU Low Voltage Directive
2014/30/EU EMC Directive
2011/65/EU RoHS Recast
EC 1907/2006 REACh
For a copy of a specific product DoC, contact PreSonus at [email protected].
RoHS Recast Directive 2011/65/EU
REACh Directive EC1907/206
WEEE This symbol on this product or its packaging indicates that this product must not be disposed of with other
waste. Instead, it is your responsibility to dispose of your waste equipment by handing it over to a designated
collection point for the recycling of waste electrical and electronic equipment. The separate collection and recycling
of your waste equipment at the time of disposal will help conserve natural resources and ensure that it is recycled
in a manner that protects human health and the environment. For more information about where you can drop
off your waste equipment for recycling, please contact your local city recycling office or the dealer from whom you
purchased the product.
Radio and Television Interference
If these symbols are marked on the product, the device complies as follows:
Any Changes or modifications not expressly approved by the party responsible for compliance could void the user’s authority to operate
the equipment.
USA: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to
Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful
interference, and (2) this device must accept any interference received, including interference that may cause
undesired operation. These limits are designed to provide reasonable protection against harmful interference in a
residential installation. This equipment generates, uses, and can radiate radio frequency energy, and, if not installed
in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception,
which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of
the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and the receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
FCC Radiation Exposure Statement:
This equipment complies with FCC radiation exposure limits set forth for an uncontrolled environment. This equipment should be installed
and operated with minimum distance 20cm between the radiator& your body.
This transmitter must not be co-located or operating in conjunction with any other antenna or transmitter.
CAUTION: Changes or modifications to this device not expressly approved by PreSonus Audio Electronics could void the user’s authority to
operate the equipment under FCC rules.
Australian Compliance: This equipment complies with Radio communication Devices Notice 2003; or Radio communication
Labeling (Electromagnetic Compatibility) Notice 2008; or Radio communication (Compliance Labeling Electromagnetic
Radiation) Labeling Notice 2003.
IC WARNING
IC RSS warning: This device complies with Industry Canada licence-exempt RSS standard (s). Operation is subject to the following two
conditions: (1) this device may not cause interference, and (2) this device must accept any interference,including interference that may
cause undesired operation of the device. Under Industry Canada regulations, this radio transmitter may only operate using an antenna of a
type and maximum (or lesser) gain approved for the transmitter by Industry Canada. To reduce potential radio interference to other users,
the antenna type and its gain should be so chosen that, the equivalent isotropically radiated power (e.i.r.p.) is not more than that necessary
for successful communication.
This radio transmitter (identify the device by certifcation number, or model number if Category II) has been approved by Industry Canada
to operate with the antenna types listed below with the maximum permissible gain and required antenna impedance for each antenna
type indicated. Antenna types not included in this list, having a gain greater than the maximum gain indicated for that type, are strictly
prohibited for use with this device.
IC Radiation Exposure Statement:
This equipment complies with IC RF radiation exposure limits set forth for an uncontrolled environment. This transmitter must not be
co-located or operating in conjunction with any other antenna or transmitter.
ICES003: This CAN ICES3 (B)/NMB3(B) digital apparatus complies with Canadian ICES003.
PreSonus Health, Safety, and Compliance Guide
Class B
PreSonus Health, Safety, and Compliance Guide
Class B
®
PreSonus Health, Safety, and Compliance Guide. Part# 70-00000013-C
© 2018 PreSonus Audio Electronics, Inc. All Rights Reserved.
18011 Grand Bay Ct. • Baton Rouge, Louisiana 70809 USA • 1-225-216-7887
www.presonus.com
2
1 Overview
1.3 What is in your MyPreSonus account
Revelator io24
Owner’s Manual
1.3 What is in your MyPreSonus account
There’s more to your Revelator io24 than what comes in the box!
Let’s take a moment to register your Revelator io24 and download
the digital products that come with it. These include:
• Universal Control. Unlock the StudioLive inside your Revelator io24 with
Universal Control. This installation package also includes your audio driver
controls that you will need to use advanced Revelator io24 features.
• Studio One Artist. Studio One Artist is our award-winning recording
and production software. It’s also designed to be intuitive and easy
to use, so whether you’re a seasoned professional or just starting out,
Studio One Artist has the tools you need to make a great recording.
• Studio Magic Bundle. Over $1000 USD worth of plug-ins, sounds, and
more; Studio Magic supercharges your Studio One Artist experience!
1.3.1 Step 1: Register Revelator io24
To download your digital products, you must first create a MyPreSonus
account. This account lets you manage all your PreSonus product
registrations, provides curated educational content, and is the portal
to all tech support and service inquiries. Let’s get started!
1. In your Internet browser of choice, visit my.presonus.com and
click “Create Account”
Power User Tip: If you already have a MyPreSonus account, please log in and skip
to step 5.
3
1 Overview
1.3 What is in your MyPreSonus account
Revelator io24
Owner’s Manual
2. Fill in the form with the required information. Make sure to verify
that you are, in fact, human and agree to our PreSonus Terms of
Use. If you’d like to receive occasional emails about promotions
and new video content, check that box now as well.
3. Click “Save.”
4. Click “Go to MyPreSonus” to log into your shiny new MyPreSonus account.
5. Click “Register a Product.”
4
1 Overview
1.3 What is in your MyPreSonus account
Revelator io24
Owner’s Manual
6. In the pop-up menu, click on the Hardware tab.
7. Select your purchase date and enter your Revelator io24 Serial
Number. You can find your serial number on the bottom of
your interface as well as on your Quick Start Guide.
8. Click Register.
9. Click View Product to download your companion software.
1.3.2 Step 2: Download and Install Universal Control
1. From the Revelator io24 product listing in MyPreSonus, click the
“Download Universal Control” button at the top. MyPreSonus will scan your
computer and present the correct installer for your operating system.
2. Locate the Universal Control installer in your
Downloads folder. Double click to open it.
3. Follow the onscreen instructions to install Universal Control.
See Section 3 for information and use instructions for all the advanced
features available in Universal Control.
5
1 Overview
1.3 What is in your MyPreSonus account
Revelator io24
Owner’s Manual
1.3.3 Step 3: Download and Install Studio One Artist (Optional)
1. From the Revelator io24 product listing in MyPreSonus, locate Studio One
Artist from the product listing. Quick links to every digital product that comes
with your Revelator io24 will be listed here. Click the “Download Installer”
button at the bottom of the Studio One Artist listing. MyPreSonus will scan
your computer and present the correct installer for your operating system.
2. Locate the Studio One installer in your Downloads folder. Double click to open it.
Windows: Launch the Studio One Artist installer
and follow the onscreen instructions.
Mac: Drag the Studio One Artist application into the
Applications folder on your Mac hard drive.
3. Locate Studio One in your Applications and launch it. When Studio One is
launched for the first time on your computer, it will communicate with your
My.PreSonus account and verify your registration. To ensure a seamless
authorization process, make sure to download your installer to the computer
on which you will be using it, and be sure that your computer is connected
to the Internet when you launch the application for the first time.
6
1 Overview
1.3 What is in your MyPreSonus account
Revelator io24
Owner’s Manual
Power User Tip: You may be prompted to enter your My.PreSonus user account
information. Clicking “Remember Credentials” will allow you to have immediate access to
any content you purchase from shop.presonus.com.
Studio One Artist comes bundled with an array of demo and tutorial
materials, instruments, loops, and samples. The first time you launch Studio
One Artist, you will be prompted to install its companion content. Select the
content you wish to add and click “Install.” The content will automatically
begin to download and install from your My.PreSonus user account.
Power User Tip: To select only a portion of the available content, click on “Show
Packages.” From here you can customize your content installation.
See Section 8 for a Getting Started guide to help your start recording and mixing in
Studio One Artist.
1.3.4 Step 4: Download and Install Studio Magic (Optional)
From the Revelator io24 product listing in MyPreSonus, you will
also find a complete list with links to all the Studio Magic products
that came with your Revelator io24 registration. Click on the “View
More Details” button below any product you’d like to install.
Studio Magic software is developed by many different manufacturers, so
MyPreSonus will send you to their respective websites for download and installation.
7
2 Connections and Controls
2.1 Front Panel
Revelator io24
Owner’s Manual
2 Connections and Controls
2.1 Front Panel
Microphone Inputs. Your Revelator io24 interface is equipped with high-quality
microphone preamplifiers for use with all types of microphones. The Revelator io24
features XMAX-L solid-state microphone preamps that are optimized for bus power.
Both input channels on your Revelator io24 interface are equipped with combo
jacks. This convenient connector accepts either a ¼-inch or an XLR connector.
Instrument / Line-Level Inputs. The ¼-inch connectors on Channels
1 and 2 can be used with passive instruments (guitar, bass, etc.)
or line-level devices (synthesizers, signal processors, etc.).
Please note: As with any audio input device, plugging in a microphone or an instrument,
or turning phantom power on or off, will create a momentary spike in the audio output.
Because of this, we highly recommend that you turn down the channel trim before
changing connections or turning phantom power on or off. This simple step will add
years to life of your audio equipment.
Multipurpose Encoder Knob. This is a lot more than a simple volume knob! It’s
also a button, and can be used to control many features of your Revelator io24:
• From the Home screen, press it to cycle through Headphone volume,
Main volume, and Monitor Blend. Rotate to edit the selected option.
• From the Channel screen, press to cycle through +48v, Gain, and High-pass filter
options. Rotate to edit the selected option.
8
2 Connections and Controls
2.1 Front Panel
Revelator io24
Owner’s Manual
2.1.1 The Screen
The screen displays metering, preset selection, and other important information.
The following information is displayed on Revelator io24’s Home screen.
This is the default screen you’ll see when you first use Revelator io24.
0
3
12
24
1
48v
L
R
2
48v
1
2
3
4
5
6
7
8
9
10
1. Input Meters. These meters indicate the input level of the analog
inputs on your Revelator io24. The red Clip indicator will light when
your input signal reaches -0.5 dBFS. At this level, the signal will begin
to overload the analog-to-digital converters and exhibit signs of
clipping. Use the gain controls to keep the signal below this level.
2. Output Meters. These meters indicate the signal level received
from the first two driver returns (Main Left/Right). These meters
display the signal level before the main output level control.
3. Output Volume/Blend. This indicates output volume of
the currently-selected output (Headphones or Mains) just
like a volume knob—as well as Monitor Blend.
4. Encoder status. Lets you know if the Encoder Knob is controlling Headphone
output level, Main output level, or monitor Blend (direct vs. hardware.)
5. USB Status indicator. Confirms that Revelator io24 is
connected via USB and functioning normally.
6. Preset indicators. These lights indicate the preset selection of
both channels. If presets are bypassed, both will be dark.
7. Input Clip indicator. Lights red when the incoming signal
is too loud for the converter, causing distortion.
8. Output Clip indicator. Lights red when the outgoing signal is too loud.
9. Stereo link indicator. This icon informs you that Channels 1 and 2 are
configured for use as a single stereo channel for use with stereo instruments
like keyboards. This feature can be activated in Universal Control, or by
pressing both channel buttons on Revelator io24 simultaneously.
10. +48v indicator. Informs you if +48v power has been
activated—required for most condenser microphones.
WARNING: Phantom power is only required for condenser microphones and
can severely damage some dynamic mics, especially ribbon mics. Therefore,
switch phantom power off when it is not required. Consult the user documentation
that came with your microphone before engaging phantom power.
XLR connector wiring for phantom power:
Pin 1 = GND Pin 2 = +48V Pin 3 = +48V
9
2 Connections and Controls
2.1 Front Panel
Revelator io24
Owner’s Manual
The following information is displayed on Revelator io24’s
Channel screens. Press Channel Select Buttons 1 or 2 to bring it
up. Press the Back button to return to the Home screen.
0
3
12
24
48v
80Hz
2
+24dB
1
2
3
4
5
6
From the Channel screen, the Encoder Knob can be
pressed to cycle through the following options:
1. Gain. Rotate the Encoder to turn input Gain up or down. Use this to
bring your connected instrumet or microphone signals up or down
to suitable recording levels. Avoid aforementioned clipping.
2. High-pass filter 80Hz. Rotate the Encoder to turn the High-pass
filter on and off. This can be used to cut low-end rumble and
other unwanted low frequencies from your recordings.
3. +48v Phantom Power. Rotate the Encoder to enable/disable
+48v power for attached condenser microphones.
Other information on the Channel screen includes:
4. Input Meter. This meter indicates the input level of the selected
channel on your Revelator io24, just like on the Home screen.
5. Gain reduction meter. If you’re running any compression or limiting
via Revelator io24’s DSP (Digital Signal Processing), the amount of
gain reduction being applied will be indicated by this blue meter.
6. Preset indicators. These lights indicate the preset selection
of the currently-selected channel, including none.
Channel Select Buttons. Press to display information about Input 1 or input 2 on
the screen.
Back Button. Returns display on screen to default Home view.
Preset Selectors. Cycles through presets for inputs 1 and 2, respectively.
Press to cycle through Presets; press and hold to bypass Presets.
Mute. Enables/Disables the Main Outs. Has no effect on Headphone Out.
10
2 Connections and Controls
2.2 Back Panel
Revelator io24
Owner’s Manual
2.2 Back Panel
USB-C Port. Use this port to connect your Revelator io24 to your computer. While
the Revelator io24 connects using USB-C, it is fully compatible with USB 2.0 and
3.0 connections. Use the USB-C to A cable that came with your Revelator io24
if your computer has a USB-A connection rather than a USB-C connection.
Please note: The Revelator io24 is backward compatible with USB 2.0 and USB 3.0 speed
connections. USB 1.1 is not supported.
Kensington Lock. Connect this port to a Kensington lock to prevent theft.
Headphone Output. Connect your headphones here. Level can be controlled from
the Home screen using the Encoder.
Main Outs. These are the Main outputs for the Revelator io24. The output level of the
Main outputs is controlled by the Main level control on the front of the unit. Playback
streams 1 and 2 are routed to these outputs.
MIDI I/O. This is the MIDI input and output connections. MIDI stands for “Musical
Instrument Digital Interface.” However, MIDI can be used for many things other
than instruments and sequencing. The MIDI inputs and outputs allow connection
to a variety of MIDI-equipped hardware, such as keyboard controllers, and
can be used to send and receive MIDI Machine Control and MIDI Time Code.
Note: MIDI does not carry audio signals but is frequently used to trigger or control an
audio source, such as a virtual instrument or hardware synthesizer. You should
ensure that MIDI data is correctly sent and received by the appropriate hardware or
software. You may also need to route hardware sound sources’ audio to the inputs of
your Studio-series interface. Please consult the User’s Manual of your MIDI devices for
help with MIDI setup and usage.
11
2 Connections and Controls
2.3 Connection Diagram
Revelator io24
Owner’s Manual
2.3 Connection Diagram
2.4 Standalone controls
While many of the features available for your Revelator io24 can be
found in Universal Control, critical controls are available right at your
fingertips. Most of these settings can be changed from Universal Control
to customize your Revelator io24 to your application and needs.
The most important thing to remember is that the Multipurpose Encoder
on your Revelator io24 can be used for nearly everything! From either
the Home or Channel screen, pressing the Encoder will cycle through
the available options, and rotating it will adjust the parameters.
From the Home screen you can:
• Adjust your Headphone volume
• Adjust your Main Out volume
• Blend your mix between your input signal and
the playback from your computer
And from the Channel screen you can:
• Set your mic level
• Toggle +48v phantom power
• Toggle the 80Hz High-pass filter
12
2 Connections and Controls
2.4 Standalone controls
Revelator io24
Owner’s Manual
2.4.1 Setting the Microphone Level
To set your Revelator io24’s input level, press the Channel button for the Channel
you would like to use. Next, press the encoder to cycle through the available options.
A yellow underline will indicate the currently-selected option. Once you’ve selected
the Gain setting—it’s shown below the Channel indicator number and measured in
dB (decibels)—turn the Encoder to set the desired gain level.
Power User Tip: If your input level is too loud, the clip indicator will display in red above
the input level meter. This means that your input signal is clipping, and will begin to
sound distorted. If your input signal clips, it will overload the analog-to-digital converters
and cause digital distortion. Digital distortion sounds terrible, and cannot be undone if
recorded. Because of this, it’s important to keep your eye on this indicator while you’re
setting your levels. Check out Section 9 for other recording tips.
2.4.2 Setting Main Output level
By default, the Encoder knob on your Revelator io24 controls the output level of
your Main Outputs—the outputs you have your speakers connected to. From the
home screen, press the Encoder repeatedly until the speaker icon appears below the
Volume indicator. Then rotate the Encoder to set the desired Main output level.
2.4.3 Setting Headphone level
From the home screen, press the Encoder repeatedly until the headphone icon
appears below the Volume indicator. Then rotate the Encoder to set the desired
Headphone output level.
13
2 Connections and Controls
2.4 Standalone controls
Revelator io24
Owner’s Manual
2.4.4 Setting Monitor blend
Revelator io24 provides an easy way to create a blend between your
input signal and the playback from your computer. This lets you listen
to your performance in real-time without any latency (delay).
From the home screen, press the Encoder repeatedly until the XLR/
speaker icon appears below the Volume indicator. Then rotate
the Encoder to set the desired monitor Blend balance.
Turning the knob to the left will increase the level of the input signal relative
to the playback from your computer. Turning it to the right will increase the
level of the playback from your computer relative to the input signal.
Power User Tip: Universal Control lets you create a custom mix between your input
signals, main computer playback, and both stereo loopback audio channels.
So when you’re ready to dial in your headphone mix, go to Section 6 to learn more!
2.4.5 Selecting Presets
EQ and compression are the secret behind the professional broadcast studio
sound we all know so well. Your Revelator io24 has you covered with 8 easy-to-use,
professionally crafted processing and effects presets. These presets are designed to
give you great-sounding results with no audio engineering experience required!
The first two presets can be accessed right from the Preset buttons on your
Revelator io24. To cycle through them, press the Channel 1 or Channel 2
Preset buttons repeatedly. The default Presets for Channel 1 are Broadcast
and Vocal. Channel 2’s default presets are Broadcast and Acoustic Guitar.
When Channels 1 and 2 are linked for stereo operation, available
factory presets include several options optimized for stereo recordings,
including: Stereo Acoustic, Stereo Piano, Stereo DJ, and more!
Power User Tip: But wait! There’s more! No really, there are a lot more. Open up Universal
Control to access the other presets. You’ll also find an additional 12 preset slots (6 per
channel) to create your own. You can choose any two of these 12 total presets to be
accessible directly from the Preset buttons on your Revelator io24. See Section 4.1 for
information on creating and storing presets.
By default, the sound you hear in your headphones will be the sound that is
recorded. If you’d like to use presets for monitoring purposes only, you can open
up Universal Control and change that setting. See Section 6 to learn how.
To bypass the presets, just press and hold the Preset button for the desired
Channel. The Preset indicators on Revelator io24’s screen will go dark.
Power User Tip: Bypass the presets when you want a clean sound with no effects—great
for processing your recording later, or when you want to monitor through plug-ins inside
your favorite recording application.
For more on presets, check out Section 4.
Press + Hold
14
2 Connections and Controls
2.4 Standalone controls
Revelator io24
Owner’s Manual
2.4.6 Stream Mix Mode
Stream Mix mode gives you single-click access to an efficient routing configuration
optimized for live streaming. In Stream Mix Mode, Revelator io24 sends a complete
mix of your analog inputs, loopback channels, reverb, and effects directly to USB
Outputs 1 and 2 for use with streaming applications like OBS or Facebook Live.
When to use Stream Mix mode:
• When you would like to live stream using multiple audio sources
including: your microphone, guest audio from Skype or Zoom,
backing music from a media player app, etc., and you want all of these
elements sent to your streaming software in a stereo signal.
• You will be able to monitor the full mix of the above
mentioned sources in your headphones.
When to use Default mode:
• When you would like to record directly from the Revelator io24’s inputs into a
DAW, and you don’t want to mix in any sources from Skype, Zoom, Spotify, etc.
Here’s a simple block diagram to illustrate the changes in signal flow when
using Revelator io24 in Stream Mix Mode vs. the Default mode.
ComputerComputer
Revelator 24io
Computer
Revelator 24io
Stream Mix Deactivated (Default Mode)
Channel 1
Channel 2
Channel 1
Channel 2
Stream Mix Activated
L
R
Out to
DAW
USB
Out 1/2
Mixer
DSP
MixerDSP
Out to OBS,
etc.
USB
Out 1/2
15
3 Universal Control
3.1 The Launch Window
Revelator io24
Owner’s Manual
3 Universal Control
The Revelator io24 is so much more than a great-sounding
USB interface—and the secret to its advanced features and
mixing capability is unlocked with Universal Control.
Before proceeding, please make sure you have followed the instructions in Section
1.3.2 and have downloaded and installed Universal Control.
3.1 The Launch Window
Get ready for lift off! When Universal Control is launched, you will see the Launch
window. From this window, you can manage all the driver settings for your
Revelator io24.
Sample Rate. Changes the sample rate. You can set the sample rate to 44.1, 48, 88.2,
or 96 kHz. (With Multi Mode on macOS, the sample rate is limited to 44.1 and 48 kHz.)
A higher sample rate will increase the fidelity of the recording, but will also increase
the file size and the amount of system resources necessary to process the audio.
Power User Tip: For most applications, leaving this setting on 48 kHz will yield the best
results with the least amount of hassle.
Block Size (Windows only). Sets the buffer size. From this menu, you can set the
buffer size from 64 to 8,192 samples. Lowering the buffer size will lower latency,
which is the amount of time it takes for your audio to go from Revelator io24 to
the computer and back to your ears; however, this will also increase performance
demands on your computer. In general, you will want to set the buffer size as low
as your system can safely support. If you begin to hear pops, clicks, or distortion
in your audio path, try raising the buffer size. When adjusting the block size,
the Safe mode will automatically change to provide the best performance.
Power User Tip: Your Revelator io24 features built-in zero-latency monitoring so you can
leave your Block Size high and the performance demands on your computer low. In
general, you can use the default block size, but if you’re using an older computer that is
having trouble keeping up, go ahead and raise this setting. Experiment to find what
works best for you!
16
3 Universal Control
3.1 The Launch Window
Revelator io24
Owner’s Manual
Device Mode (macOS only). By default, your Revelator io24 presents itself as a
single audio interface with 6 inputs and 6 outputs. But when you’re ready to use
the loopback audio streams to record or route audio to multiple applications at the
same time (like the output of a Skype call to the audio input of your Facebook Live
stream), that’s where Multi Mode comes in. In this mode, your Revelator io24 will
show up as 3 different devices on your computer: Revelator IO 24, Revelator IO24
Loopback 1, and Revelator IO 24 Loopback 2. Each of these devices has 2 inputs
and 2 outputs. This is great for applications like Skype that only allow you to use
the first two inputs and outputs of any audio interface. PreSonus recommends that
you use Multi mode for the best experience. Note that in Multi mode, sample rate
options are limited to 44.1 kHz or 48 kHz. For more information on how loopback
audio works and how to use it for your podcasts, streams, and more, see Section 6.
Power User Tip (for Windows Users): On Windows, Revelator io24 is always in Single
Mode. If you are using WDM for applications like Skype, your Web Browser, etc., look for
the Revelator IO 24 name in respective applications’ audio setup menus. If you are using
ASIO for applications like Studio One and other DAWs, look for “PreSonus DSP USB” in
respective applications’ audio setup menus.
3.1.1 Launch Window Menu Items
• File Menu. Manages devices connected to Universal Control.
• Show All Devices. Launches all control windows for all
supported devices connected to your computer.
• Close All Devices. Closes all open control windows.
• Sign Out. Signs out of your My.PreSonus user account.
• Check for Updates. Connects to your My.PreSonus user
account to check for updates for Universal Control.
• Transfers. Displays recent downloads from your My.PreSonus user account.
• About Universal Control. Displays version and build date information.
• Quit. Quits the Universal Control application and all hardware control windows.
17
3 Universal Control
3.2 Using Your Revelator io24 with Popular Applications
Revelator io24
Owner’s Manual
• Settings Menu. Provide customization options to
personalize your Universal Control experience.
• Always on Top. Keeps the Universal Control Launch window on
top whether it is the currently active application or not.
• Run at Startup. Launches Universal Control
automatically when your computer boots.
• Preferences. Sets language and appearance options (see below).
• Rescan Network. Scans your computer’s connections
for all supported PreSonus products.
• Language. Sets the language (English, French, German,
Korean, Simplified Chinese, or Spanish).
Power User Tip: The Launch Window will inform you when a new firmware update is
available for your Revelator io24 —or other PreSonus hardware!
3.2 Using Your Revelator io24 with Popular Applications
If you’ve never used an audio interface, your computer and every application
on it are currently sourcing audio from the built-in microphone and
routing audio out to the onboard sound card. To use Revelator io24 with
any application that can access audio inputs or outputs or both, you must
first set up your computer to use Revelator io24 as an audio interface.
This section will take you through some of the most common use
cases. If you are using an application not listed in this section, you’ll
need to check with the documentation that came with it.
3.2.1 Using Revelator io24 for System Audio
The easiest way to make your Revelator io24 seen by just about any
application on your computer is to set it up as the default sound source
for your computer. Not only will this prompt most video conferencing
and streaming applications to look for Revelator io24, it will also set
your default Internet browser to use Revelator io24 as well.
Power User Tip: Setting your Revelator io24 as the default sound card for your system will
also route music streaming applications like Spotify and Apple Music to the headphone
output on your new interface. If you do not want to use your interface this way, it is best to
configure Revelator io24 as the audio I/O only for the applications for which you want to
use it.
18
3 Universal Control
3.2 Using Your Revelator io24 with Popular Applications
Revelator io24
Owner’s Manual
Windows
1. Click on start icon in lower left corner
2. Click on Settings gear icon
3. Click on System
4. Click on Sound
19
3 Universal Control
3.2 Using Your Revelator io24 with Popular Applications
Revelator io24
Owner’s Manual
5. Click on “Choose your Output Device” and choose HP Out L/R (Revelator IO 24)
6. Click on “Choose your input device” and choose Mic/Inst 1/2 (Revelator IO 24)
Your Revelator io24 is ready to use!
20
3 Universal Control
3.2 Using Your Revelator io24 with Popular Applications
Revelator io24
Owner’s Manual
macOS
1. From the Apple Menu, go to System Preferences.
2. Click on Sound.
3. Click on the Outputs tab and select Revelator IO 24 from
the device list. This will route all audio from your computer
to the headphone output on your Revelator io24.
21
3 Universal Control
3.2 Using Your Revelator io24 with Popular Applications
Revelator io24
Owner’s Manual
4. Click on the Inputs tab and select Revelator IO 24 from the device list. This
will set your Revelator io24 interface as the input source for your computer.
Your Revelator io24 is ready to use!
3.2.2 Using Revelator io24 for Skype
1. From the Skype menu, go to “Audio & Video Settings.”
2. Under Microphones, select “Revelator IO 24.” This will route
the audio from your Revelator io24 to your Skype call.
3. Under Speakers, select “Revelator IO 24.” This will route the audio from
your Skype call to the headphone output on your Revelator io24.
Power User Tip: If you would like to record your Skype call, select Revelator IO 24
Loopback 1 or Revelator IO 24 Loopback 2 from the Speaker menu. See Section 6 for
more information on using loopback audio.
22
3 Universal Control
3.2 Using Your Revelator io24 with Popular Applications
Revelator io24
Owner’s Manual
3.2.3 Using Revelator io24 for Zoom
1. Launch Zoom, and click the cog wheel icon to enter Zoom Preferences.
2. Click the “Audio” tab.
23
3 Universal Control
3.2 Using Your Revelator io24 with Popular Applications
Revelator io24
Owner’s Manual
Windows:
• Set Speaker to HP Out L/R (Revelator IO 24)
• Set Microphone to Mic/Inst 1/2 (Revelator IO 24)
• Uncheck the box marked “Automatically adjust microphone volume”
Power User Tip: When this option is selected, the sliders in Zoom will not have any
effect on the Speaker output or Microphone Input gain, as these are controlled by the
Revelator io24 itself—either by the on-board controls and/or through the Universal
Control software.
macOS:
• Set Speaker to Revelator IO 24
• Set Microphone to Revelator IO 24
• Uncheck the box marked “Automatically adjust microphone volume”
Power User Tip: When this option is selected, the sliders in Zoom will not have any effect
on the Speaker output or Microphone Input gain, as these are controlled by the
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Revelator io24 itself—either by the on-board controls and/or through the Universal
Control software. Mac users will see that the sliders do not move and will snap back to the
zero position indicating that these controls in Zoom are disabled.
Scroll down and click on Advanced.
In Zoom’s Advanced Audio settings menu, please populate the checkboxes
and the drop-down menu with the settings shown below.
If you need to switch your audio device to Revelator io24 while in a meeting,
select the arrow next to the Mute Button to select your audio device list.
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macOS users running Revelator io24 in Single Mode will see Revelator IO 24
appear in Zoom’s Microphone and Speaker selections as follows:
All Windows users and Mac users running Revelator io24 in Multi
Mode will see Revelator IO 24 appear in a list similar to this:
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3.2.4 Using Revelator io24 for Google Meet
Open Google Meet, and click on the vertical dots in the lower right corner of the
Google Meet window. In the pop-up menu, choose “Settings” by the cog icon.
Google Meet’s Audio menu will be highlighted by default. If
Revelator io24 is not already selected, click the down arrow under
Microphone and Speakers and click on “Revelator IO 24.”
Mac Users running Revelator io24 in Single Mode will see
one instance of Revelator IO 24 shown as follows
Windows Users and Mac Users running Revelator io24 in Multi Mode will see
multiple instances of Revelator IO 24. This is normal. Click on “Revelator IO 24.”
Power User Tip: Google Meet will switch audio devices automatically to the last device
connected to your system. There is a chance that the next time you open Google Meet
that it may default to a different audio device without notifying you. Be sure to check your
audio settings to make sure Revelator io24 is selected. PreSonus has no control over how
this device selection works.
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3.2.5 Using Revelator io24 for OBS
1. Click on Settings under “Controls”
2. Click “Audio.”
3. Under Mic/Auxiliary Audio, select Revelator IO 24.
4. If you would like to source the audio for other applications, you can set Mic/
Auxiliary Audio 2 and 3 to Revelator IO 24 Loopback 1 and 2 respectively.
Please note, you must route the output for those applications to the
same device. For example, if you would like the audio output from your
Skype call to be available on Auxiliary Audio 2, you would set “Revelator
IO 24 Loopback 1” as both the Speaker output for Skype and the source
for Auxiliary Audio 2. Please see Section 6 for more information.
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5. Under Advanced, set the Monitoring Device to Revelator IO 24. This will route
the output audio from OBS to the headphone output on Revelator io24.
6. Click Apply.
7. Click OK.
Your Revelator io24 is now set-up for OBS!
3.2.6 Using Revelator io24 on Chromebook
While Chromebooks are compatible with Revelator io24, there is no
way to run Universal Control for advanced editing of the settings or
effects presets beyond what is directly accessible on the interface itself.
That said, Audio setup in Google Chromebooks is very simple.
1. After connecting the Revelator io24 to your Chromebook, select the taskbar
menu in the lower right corner (by the clock) to bring up the system menu.
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2. Select the greater than symbol (>) to the right of the volume slider to
enter Audio Settings and select your audio device. The green circle
with the check mark indicates your preferred device. If Revelator io24
is not already selected, select it here for both Output and Input.
3.2.7 Using Revelator io24 with Zoom on Chromebook
You can use Revelator io24 on a Chromebook to conduct Zoom meetings.
Chrome does not install an application for Zoom like it does on macOS or Windows.
Instead, on Chromebook, Zoom installs a widget for the Chrome browser, through
which you can select your audio device and toggle some advanced audio settings.
1. Launch Zoom and start a Zoom meeting.
2. Once you are in a Zoom meeting, you can change your audio device by selecting
the up arrow next to the microphone icon in the lower left corner of the screen.
3. Select Revelator io24 as your Microphone and Speaker.
4. Click on Audio Settings to access the Advanced options menu.
5. Ensure that the box labeled “Automatically adjust
microphone volume” is not checked.
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6. You can adjust both Input gain and speaker playback
volume on the Revelator io24 manually.
There are no other advanced menu options as found
in the Mac / Windows versions of Zoom.
3.2.8 Using Revelator io24 with Google Meet on Chromebook
Revelator io24 will work with Google Chromebook for Google Meet.
1. Open Google Meet and start a meeting.
Once you’re in a Google Meeting, select the vertical dots in the lower right
corner of your Google Meet window to open the Options menu.
2. Click on the Settings Cog icon.
Google Meet’s Audio menu will be highlighted by default. If
Revelator io24 is not already selected, click the down arrow under
Microphone and Speakers and click on “Revelator io24.”
Power User Tip: Google Meet will automatically switch to the last audio device connected
to your system. There is a chance that the next time you open Google Meet that it may
choose a different audio device without notifying you. Be sure to check your audio
settings to make sure Revelator io24 is selected. PreSonus has no control over how this
device selection works.
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3.2.9 Using Revelator io24 with iOS/iPadOS devices
Revelator io24 works when connected directly to iOS/iPadOS devices
like iPads, though you should be aware of the following:
When connected to iPad Pro tablets with USB-C ports, Revelator io24 will
function as intended without additional power or direct connect. However,
there’s no way to charge the iPad while Revelator io24 is connected.
All other iOS devices with Lightning connectors will require the use of the Apple
Lightning to USB 3 Camera Adapter which features a pass-through for a power cable.
Revelator io24 will not work when connected directly to
an iPhone, as it requires additional power.
Note: You must use the Apple Lightning to USB 3 Camera Adapter, not the Lightning to
USB cable.
3.2.10 Using Revelator io24 with Android devices
Revelator io24 works great when connected directly to Android
devices. If you find your Android device doesn’t provide enough power,
an externally-powered USB hub can be connected to your Android
device to provide additional power to your Revelator io24.
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4 Presets and Scenes
4.1 Preset Management
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4 Presets and Scenes
4.1 Preset Management
Your Revelator io24 can access 2 presets using the Preset button... but there are 6
more presets created by PreSonus for you to enjoy—plus another 6 preset slots for
you to create custom presets. These presets are all available from Universal Control.
To view the advanced features, click on Revelator io24 from the
Device List in the Universal Control launch window.
In the upper left corner, you will see the Preset Manager. Let’s take a quick tour:
1. Hot Key. This preset slot lets you store a setting to use on the fly. It overrides the
current presets and must be toggled off before you can use the other presets
again. This is great when you want to throw a quick effect on your voice.
Note that the Hot Key works only with whichever channel Voice FX are assigned
to—default is Channel 1.
2. Preset Slots 1-2. This corresponds to the two Preset slots on your Revelator io24.
These are the presets that are available from the front panel Preset buttons.
You can choose to keep the factory presets, or change them as you see fit.
3. Save Preset. Click on this button to save a preset to
one of the 6 user slots. Rename it, if you like.
4. Preset List. Click on the Preset name to view the Preset dropdown menu. This
will let you view every Preset available and quickly select the one you want.
5. Preset Selection Knob. Use your mouse’s scroll wheel to
turn this knob and audition presets in real-time.
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4.1.1 Changing Preset Button Slots
To change one of the presets available from Revelator io24:
1. Click to select the slot you would like to change.
2. Select the desired preset using either the Preset selection
knob or selecting it from the dropdown menu.
Let’s try it!
In our example, we’re going to change the “blue” preset
from “Broadcast” to “Vintage Channel.”
1. From the Preset Slot list, select “Broadcast”
2. Click on the dropdown menu and select “Vintage Channel” from the list.
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3. “Vintage Channel” is now the preset stored in this slot.
That’s it!
4.1.2 Storing New Presets
We’re going to get into all the Fat Channel settings later (Section 5), but while we’re
here, let’s talk about storing new Presets.
To store a new preset to one of the 6 User Slots:
1. Click on the Save Preset button.
2. Select the user slot to which you want to store it.
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3. Enter the name you’d like to use.
4. Click Store.
Done!
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4.1.3 Exporting/Importing Presets
Revelator io24 can save two presets per channel on the
hardware unit itself. This is useful for times when you want to use
Revelator io24 with a device that doesn’t run Universal Control—for
example, a Chromebook, iPad, or a camera with an audio input.
You can Import and Export Presets from Universal Control to
Revelator io24 and vice-versa. This way, you can build a wide inventory
of presets to use for many different applications—and always make
sure you have them ready for whatever task comes your way.
To Export a new preset to one of the 6 User Slots:
1. Click on the Save Preset button.
2. Select the device preset that you want to Export.
3. Click on the right arrow to Export the Preset. The Preset will appear in the list.
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To find where the exported Preset has been stored on your computer,
right-click on it and choose Show in Finder (Mac) or Show in Explorer
(Windows). Have fun sharing this file with other Revelator io24 users!
To Import a new preset to one of the 6 User Slots:
1. Click on the desired Preset in the Local Presets list.
2. Click on the desired Slot in the Device Presets list.
3. Click on the left arrow to load the Preset into the selected Device Preset slot
Now, if you’d like that new Preset stored in one of the positions
available from the Preset buttons on your Revelator io24, follow
the instructions in Section 4.1.1 and customize away!
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4.1.4 Scenes - Save and Recall
Scenes allow you to store all of the Revelator io24’s settings for recall at a later time.
This is useful for if you have various projects that require specific settings—you
won’t have to set up every little detail of your Revelator io24 every time you change
projects! For example, you might have a podcasting setup with a preset for your
frequent guest, and also have a setup you like for recording acoustic guitar.
Use Scenes to quickly jump from one configuration to
another without having to adjust multiple settings!
To store a Scene:
1. Set up your Revelator io24 just the way you like it for a
particular application before storing the Scene.
2. Click the Scenes menu on the top right of Universal Control.
3. Click Store and name your Scene. Click OK.
To Recall (load) a Scene, simply click the Scene you want
from the Scene List and then click Recall.
To delete a Scene, right-click it in the Scene List and choose Delete.
4.1.5 Sharing Scenes and Presets
Exporting a Scene or Preset creates a Scene or Preset file.
To share Presets and Scenes with your friends, all you need to do is send the desired
Scene or Preset file to your friend, either via e-mail or a PreSonus Sphere Workspace.
If someone is kind enough to share a Preset or Scene with you, it can be
imported to Universal Control simply by placing the file in the correct folder.
Folder locations for sharing and import are listed below. Note that these folders won’t
be found on your system if you have not Exported Scenes or Presets of your own.
Windows:
Scenes are stored in: C:\Users\YOUR_USER_NAME\
Documents\PreSonus\Revelator IO\Scene
Presets are stored in: C:\Users\YOUR_USER_NAME\
Documents\PreSonus\Revelator IO\Fat
macOS:
Scenes are stored in: /Users/YOUR_USER_NAME/
Documents/PreSonus/Revelator IO/Scene
Presets are stored in: /Users/YOUR_USER_NAME/
Documents/PreSonus/Revelator IO/Fat
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5 Fat Channel and Voice Effects
5.1 Fat Channel and Voice FX
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5 Fat Channel and Voice Effects
5.1 Fat Channel and Voice FX
The Fat Channel provides essential signal processing tools to sculpt
your sound, as well as Voice FX section to warp, distort, and bounce it
around. These are the effects that are stored with a preset. A dedicated
Reverb processor is also available, but it is important to note that Reverb
is not stored with a Preset. More on Reverb in Section 5.1.7.
If you’re new to audio processing, the Fat Channel section provides easy-to-use
presets for each processor block. This section will go through the controls available as
well as provide some useful information on how these processors affect your sound.
If you are an advanced user, more granular control is available for each
processor. To view every parameter available, click on the Advanced
(...) button. For more information, please refer to Section 7.2.
5.1.1 High Pass Filter (HPF)
Also known as a low-end roll-off filter, the High Pass Filter (HPF) lets
you cut all frequencies below a specified point, letting the frequencies
above that point pass through unchanged. This filter can be handy
when you want to reduce the “boominess” or “muddiness” of a vocal and
improve the overall clarity. Note that this is a digital high-pass filter that is
independent of the hardware high-pass filter discussed in section 2.1.1
Choose between 40 Hz, 80 Hz, and 160 Hz.
Power User Tip: When looking at frequency ranges in audio, it’s important to know that
the smaller the number, the lower the frequency is. The 40 Hz and 80 Hz settings can be
especially useful in reducing the “rumble” from a nearby road or any background
electrical noise or hum.
If you would like more granular control, please see Section
7.2.1 on advanced High Pass Filter settings.
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5.1.2 Gate
Noise gating is the process of removing unwanted sounds from your audio by
cutting (or attenuating) all signals below a set threshold. The gate will remain
“open” as long as the signal is louder than the set threshold. Noise gates were
originally designed to help eliminate extraneous noise and unwanted artifacts
from a recording, such as hiss, rumble, or transients from other instruments in
the room. Since hiss and noise are not as loud as the intended audio source
(You!), a properly set gate will only allow the intended sound to pass through;
the volume of everything else is lowered. Not only will this strip away unwanted
artifacts, it will also add definition and clarity to the desired sound.
Choose between Low, Moderate, and High. Low will provide
the least amount of gating, High will provide the most.
Ready to build your own gate? See Section 7.2.2 for advanced Noise Gate controls.
5.1.3 Compressor (Comp)
Audio signals have very wide peak-to-average signal-level ratios (sometimes
referred to as dynamic range) which is the difference between the loudest
level and the softest level. This can create problems when you’re setting
input levels because when enough gain (or volume) is applied to capture
the softest level at its best, one cough, laugh, or excited moment can
overload the input, resulting in distortion… and not the cool kind.
A compressor works by limiting the dynamic range of an audio source to make it
sound more consistent and even. By setting the maximum level, the compressor
makes sure that any audio signal that exceeds that volume is reduced to match it.
Choose between Low, Moderate, High, and De-Ess. Low will provide the least
amount of compression, High will provide the most. Compression presets optimized
for electric guitar, bass guitar, vocals, and acoustic guitar are also available.
Use the De-Ess setting if you notice a lot of “sibilance” in your speech.
Sibilance is the pronounced presence of the “s” or “sh” sound. Depending
on your accent and speech pattern, it can be more or less pronounced.
Power User Tip: While it may be charming in casual speech, sibilance can quickly become
distracting because it resonates at a higher frequency that can become grating when
heard repeatedly. The goal of a de-esser is not to remove the “s” sound entirely, rather, it’s
intended purpose is to level it out so that it’s even with the rest of the consonants. In other
words, you’ll still sound like you.
For more advanced compression controls and to learn about the different
compressor models onboard your Revelator io24, see Section 7.2.3.
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5.1.4 Equalizer (EQ)
An equalizer, or EQ, is a filter that allows you to adjust the volume level of a
frequency or range of frequencies within an audio signal. In its simplest form,
an EQ will let you turn the treble and bass up or down, allowing you to adjust
the coloration of your car stereo or your television. In professional audio circles,
equalization is a highly sophisticated art that can be used to sculpt the tone of
instruments in a mix, counteract anomalies in a room, or just pump up the bass.
Regardless of its application, good equalization is critical to a good sound.
When used correctly, an equalizer can provide the impression of nearness
or distance, “fatten” or “thin” a sound, and help blend or provide separation
between similar sounds in a mix, allowing both to be heard as intended.
Choose between the following preset EQ settings:
• Vocal
• Vintage
• Bass-Boost
• Mid-Boost
• Band Pass
• Female Vox
• Broadcast
• Keys
• Electric Guitar
• Acoustic Guitar
• Electric Bass
Power User Tip: The best way to pick the best EQ setting for your voice is to experiment.
Everybody’s voice is unique and because EQs are entirely dependent on the frequency of
the source, your ears are your best tool in finding the right sound for your voice.
Like the Compressor, Revelator io24 offers advanced controls
and several EQ models to choose from when you’re ready to dive
deeper. See Section 7.2.5 for Advanced EQ Controls.
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5.1.5 Limiter
True to its name, a Limiter sets the upper dynamic range of your signal and prevents
the source from exceeding it by “limiting” it to that threshold. If you’re thinking that
sounds a lot like what we just told you a compressor does, you’re catching on! A
limiter is different from a compressor in a very critical way: Unlike a compressor,
which works gradually to reduce the signal, the limiter prevents virtually any increase
in gain at the upper end of the dynamic range. In other words, you can try to get as
loud as you want, but the limiter is going to stop that volume spike like a brick wall.
Choose between Low, Moderate, and High. Low will provide the
least amount of limiting, High will provide the most.
Ready to dial in a customized Limiter setting? See
Section 7.2.6 for advanced Limiter controls.
5.1.6 Voice FX
Need an effect for your Sci-Fi podcast? Want to add a little spookiness to your
Halloween stream? Voice FX are here to give you fun, fantastical effects for your
audio. Expect crazy echoes, distortions, warbles, robot voices, and more.
Don’t forget—just because they’re called Voice FX, doesn’t mean they can
only be used on voices... Experiment with different sound sources!
Note: Revelator io24’s Voice FX can only be used on one of the two Inputs at a time. You
can select Channel 1 or 2 for use with Voice FX from the Settings menu.
Like the rest of the Fat Channel, each Voice Effect has advanced
controls. See Section 7.2.7 to find out more.
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5.1.7 Reverb
Reverberation—or reverb, as it is more commonly known—is perhaps the
most widely-used effect in recording. Natural reverb is created by sound
waves reflecting off of a surface or many surfaces. For example, when you walk
across the wooden stage in a large hall, thousands of reflections are generated
almost instantaneously as the sound waves bounce off the floor, walls, and
ceilings. These are known as early reflections, and their pattern provides
psycho-acoustic indications as to the nature of the space that you are in, even
if you can’t see it. As each reflection is then reflected off of more surfaces,
the complexity of the sound increases, while the reverb slowly decays.
The reason for the widespread use of reverb in audio recording is fairly self-evident:
Human beings don’t live in a vacuum. Because our brains receive cues about the
nature of the space around us based partially on audio reflections, a sense of space
can make an audio recording sound more natural and, therefore, more pleasing.
The Reverb in Revelator io24 is independent of your presets, so you
can use the same Reverb setting on any preset you like.
To adjust the amount of Reverb you hear in your mix, raise or lower the Reverb Fader
in the mixer. See Section 6.2.2 for more information on your Revelator io24 mixer.
1. Preset. Choose between Small, Medium, and Large. These presets emulate
room size. In general, the bigger the room size, the more reverberant it will be.
2. Size. This setting adjusts the length of each reflected
sound as well as how often you hear them.
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3. HPF (High Pass Filter). Like the High Pass Filter in Fat Channel, this setting
will cut frequencies in the reverb’s output below the threshold you set here.
Power User Tip: This is especially helpful for bass-rich sound sources (baritone voice,
acoustic guitar) as adding too much reverb in low frequencies can muddy your
sound.
4. Pre-Delay. Pre-Delay is the time (in milliseconds) between the end of the
initial sound and the moment when the first reflections become audible.
Power User Tip: Imagine you’re on a stage in a large music hall. You stand on the
very edge of the stage and shout “Hello world!” toward the center of the hall. There
will be a brief pause before you hear the first noticeable reflections of your voice,
because the sound waves can travel much further before encountering a surface and
bouncing back. Adjusting the pre-delay parameter on a reverb allows you to change
the apparent size of the room without having to change the overall Size. This will
give your mix a little more transparency by leaving some space between the original
sound and its reverb.
5. Reverb (Amount). To change the amount of Reverb affecting Channels 1 and 2,
use the Reverb control at the top of either Channel to dial in the amount to taste.
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6 Mixing and Loopback Audio
6.1 What is Loopback Audio?
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6 Mixing and Loopback Audio
Revelator io24 is equipped with a powerful yet easy-to-use mixer that lets you
blend your input signals with three stereo audio streams. These can include
playback from a recording application like Studio One, the audio from a Skype
call, the sounds from your favorite video game, or all three at the same time.
If you’re just starting out and only plan on recording your voice, you
won’t ever need to use the mixer. However, when you’re ready to start
adding call-in audio to your podcast or creating more elaborate streams,
this mixer will solve a myriad of routing problems and headaches.
macOS users, please note: All the mixer descriptions in this section assume that you have
enabled Multi Mode. This will provide you with the best user experience. If you haven’t
enabled Multi Mode, please take a step back to Section 3.1 and do so now.
6.1 What is Loopback Audio?
Loopback audio is the industry term for routing audio from one application
to another. Applications that use audio interfaces, like your Revelator io24,
are designed to receive audio from one audio device and send audio to
one audio device. This means that most applications can only send to
and receive from an audio interface… not from other applications.
This can present a challenge in certain situations. Still wondering
why loopback audio is so cool? Here are some great uses:
• Make your Podcast guests feel like they’re right there in the studio
with you. Not only can you easily record the audio from your Zoom
guest, you can combine your mic signal with audio from Studio One—
and send the entire mix to Zoom by selecting one of your Revelator
io24’s loopback devices as the source for Zoom. Your guests hear both
your voice and your audio add-ons while you record just their voice!
• Create super professional screencasts. Most screen-capture
applications let you include your mic OR your system audio. With
Revelator io24’s mixer and loopback streams, you can create a mix
of both your mic and your system sound then use a Revelator io24
loopback device as the source for your screen-capture application.
• Make a gameplay video. Just like with making a screencast, loopback audio
makes recording gameplay audio and your mic at the same time quick and easy.
Best of all, the Revelator io24’s mixer makes it easy to monitor any mix you
create, so you can record and stream with confidence, knowing that what
you’re hearing is exactly what your audience will be listening to as well.
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6.2 Mixer Controls
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6.2 Mixer Controls
6.2.1 Microphone Channel Controls
1. +48v. Engages/disengages +48v power for use with
condenser microphones like the PreSonus PX-1 or M7.
2. Gain. Use this control to set the gain for your connected microphone or
instrument. Gain can also be set using the Encoder knob on your Revelator io24.
3. Reverb. Use this control to set the amount of Reverb applied
to the signal. Reverb settings can be set up to taste using the
Reverb section. See section 5.1.7 for more on Reverb.
4. Pan. This sets the pan position for your signal in every stereo mix. Pan sets the
position of the microphone relative to the left and right side of the mix. When
the Pan is set to the center position, your microphone will sound equally in
both the left and right side of the mix. As you turn it to the right, it will be louder
in the right side. As you turn it to the left, it will be louder in the left side.
5. Clip Light. This light will illuminate red when the input signal is too
loud and clipping. If your input signal clips, it will overload the Revelator
io24’s analog-to-digital converters, causing digital distortion. This
sounds terrible. If you record a signal with digital distortion, there
is no undoing it or fixing it. And because of this, it’s important to
keep your eye on this indicator while you’re setting your levels.
6. Channel Meter. This meter displays the current level
of your microphone before the fader level.
7. Gain Reduction Meter. This meter displays the amount of gain reduction being
applied to your microphone signal by the gate, compressor and/or limiter.
8. Microphone Channel Fader. Controls the Overall Level of the
Microphone Channel in the currently selected mix.
9. Mute. Mutes the signal in every stereo mix.
10. Solo. Solos the signal in every stereo mix.
11. Channel Link. Clicking this links Channels 1 and 2 to act as a single
stereo Channel, suitable for stereo instruments like keyboards.
12. Channel Name. Double-clicking on the word “Microphone” will
let you customize the name of the microphone channel.
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6.2.2 Mixer Channel Controls
Your Revelator io24 mixer has four Channels:
1. Playback. This is the output channel for the Revelator
io24 Playback Device in each stereo mix.
2. Loopback 1. This is the output channel for the Revelator
io24 Loopback 1 Device in each stereo mix.
3. Loopback 2. This is the output channel for the Revelator
io24 Loopback 2 Device in each stereo mix.
4. Reverb. This is the output channel for the Reverb in each stereo mix.
The higher you set the fader, the more Reverb you will hear.
Each channel has the same controls:
1. Channel Meter. This meter displays the current level
of the channel before the fader (#2) level.
2. Channel Fader. Controls the Overall Level of the
Channel in the currently selected mix.
3. Mute. Mutes the Channel in your currently-selected mix. Note that the
microphone channel Mute is global and mutes the channel across all mixes.
4. Solo. Solos the Channel in your currently-selected mix. Note that the Input
channel Solos are global and solos the channel across the Main Mix mix.
5. Channel Name. Double-clicking on the default name
will let you customize the name of the Channel.
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6.2.3 Main Output Controls and Mix Selection
Revelator io24 gives you very fine, detailed control over the details of the
different mixes that you can send to your Loopback streams and outputs.
The Main Output Controls affect the physical outputs of your Revelator io24,
including Main Outputs, Headphones, etc. Anything you can plug a cable into.
1. Stream Mix. Click this button to activate/de-activate Stream
Mix mode. See section 2.4.6 for more on Stream Mix.
2. Main Out. Master volume control for your Main outputs (your speakers)
3. Phones. Master volume control for your Headphone Output.
4. Blend. Control your direct monitoring signal in relation to your software
monitoring signal. Left = more direct, right = more from software.
Revelator io24’s Mix Selection Controls let you create four unique mixes
to send to four different outputs. This is useful if, for example, you have
backing music running during your podcast, but don’t want to send
the backing music to a guest on your show calling over Skype. You can
create custom mixes for Monitor, Main, Loopback 1, or Loopback 2.
5. Main. Click on this tab to bring up the mix for the Revelator io24 Device.
6. Record. Click on this tab to bring up the mix for the Main
USB Output stream. Stream Mix must be engaged.
7. Loopback 1. Click on this tab to bring up the mix for
the Revelator io24 Loopback 1 Device.
8. Loopback 2. Click on this tab to bring up the mix for
the Revelator io24 Loopback 2 Device.
9. Phones Listen. You can listen to any of the four mixes by clicking on the
headphone icon. This will route the selected mix to your headphones
instead of the Monitor mix, so you can audition your other mixes.
10. Link. You can quickly copy your Phones mix settings
to any other Mix by clicking this Link button.
11. Mono/Stereo. Each mix can toggled between mono and stereo. Use
the mono control when routing loopback audio to an application that
only accepts one input, or when you wish to monitor in mono.
12. Output Fader. Sets the overall output level of the currently selected mix.
13. Mix Clip. When this light illuminates, your mix is too loud
and is “clipping”. You can fix this by lowering the overall
output level or by lowering each channel in the mix.
14. Mix Meter. Displays the overall level of the current mix.
15. Mute. Mutes the currently selected mix.
16. Mix Name. Each Mix name can be customized by clicking
on the default name below the Main output fader.
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6.3 Feedback Loops are Bad
While loopback audio and the Revelator io24 mixer makes it really easy
to mix and record the sound of one piece of software into another,
there is also the potential to send the output of a software application
back into itself and create what is known as a “feedback loop.”
Whenever you’re recording using the Revelator io24 mixer with
an application that offers monitoring, like Studio One or OBS, you
must either disable monitoring or mute the return channel in your
Revelator io24 mixer to avoid creating a feedback loop.
Applications like Skype and Zoom have a “mix minus” feature that removes the
input signal from the output signal, so you don’t have to worry about this if
you’re just recording a video chat. This feature is on by default, all the time.
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7.1 Settings Menu
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7 Advanced Features and Customization Tools
7.1 Settings Menu
Your Revelator io24 features several customizable features. Press
the Settings button in the upper right corner to get started.
1. Reset All. Click this button to reset your Revelator io24 to its factory default state.
2. Fat Channel on USB Stream Outputs. By default, your Revelator io24 will record
audio just as you hear it in your headphones, complete with the Fat Channel
preset. If you would like to record only the raw unprocessed audio, but still listen
to the presets while you record, disable “Fat Channel on USB Stream Outputs.”
3. Preset Button Mode. By default, your Revelator io24 offers two presets
via the Preset buttons on the interface itself. If you find yourself only
using one, you can simplify this accordingly by clicking here.
When One or Two Preset Button Mode is engaged, you will only see the respective
number of presets in the Revelator io24 mixer as well; the unused presets will be
greyed out. Note that in single Preset slot mode, the Preset button on Revelator
io24 will toggle between the loaded preset and bypass. In two-Preset slot mode,
bypass is still achieved by pressing and holding the Preset button on Revelator io24.
4. Voice Effects. By default, your Revelator io24’s Voice FX are only
available on Channel 1. Use this control to make them available
on Channel two. Only one channel can use Voice FX.
5. Output Delay. Use an output delay to help sync audio to video
if you’re experiencing sync issues between your audio and video.
Use the drop-down menu to choose the desired Outputs, and the
Delay knob to set the amount of delay in milliseconds. (Similar
features are sometimes called “lip sync” on some TVs)
USB 1/2 = Main
USB 3/4 = Loopback 1
USB 5/6 = Loopback 2
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7.2 Advanced Fat Channel and Voice Eects Controls
To open the advanced Fat Channel and Voice Effects Controls, click on the Fat
Channel menu at the top right of Universal Control, or click “Fat Channel.”
To edit any of the effects, click on the name of the desired processor from
the tabs at the top of the screen. This will bring its controls into focus.
7.2.1 High Pass Filter
Use this control to set the High-Pass Filter frequency threshold for
the selected Channel or Output Bus. The filter’s threshold can be set
from 24 Hz to 1 kHz. When the threshold is set to its lowest point,
the filter is off. The high-pass filter’s slope is -12 dB/8va.
Power User Tip: A high-pass filter attenuates all frequencies below the set threshold.
Usethe Fat Channel high-pass filter to remove unwanted low frequencies from your
source signal, rather than trying to EQ them out.
7.2.2 Noise Gate
1. On/Off. Turns the Noise Gate on or off in the signal chain.
2. Threshold. Sets the signal level that bisects the signals you wish
to keep from the signals you want to attenuate. Signals below
this level are attenuated according to the setting of the Range
parameter. Signals above this level pass through unaffected.
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3. Range. Sets the amount of attenuation applied to a signal when its level falls
below the Threshold. Lower settings pull signal level down further, all the
way to -∞, if desired. Higher settings pull the signal down to a lesser extent,
de-emphasizing noise and other nuisance signals more subtly (without a
“hard” cut-off). Note: Range is disabled when the Expander is engaged.
4. Key Filter. This sets the frequency at which the gate will open. Setting a specific
frequency, in addition to a specific decibel level, provides more sonic shaping.
Power User Tip: A properly set key filter on a gate can greatly improve the overall
sound quality of a mix. For example, if you are recording outside, the road noise may
be loud enough to open the gate. This is where a key filter can come in handy. By
setting the key filter to remove some of those low frequencies, the gate won’t be as
apt to open for the next passing car.
5. Attack. Sets the time it takes for the gate to “open”
when a signal passes the threshold.
Power User Tip: A fast attack rate is crucial for percussive instruments. Slow-rising
signals such as vocals and bass guitar require a slower attack; with these signals, a
faster attack can cause an audible click. All gates have the ability to click when
opening but a properly set gate will never click.
6. Release. Sets the time it takes for the gate to “close”
when a signal falls beneath the threshold.
Power User Tip: Gate release times should typically be set so that the natural decay
of the instrument or vocal being gated is not affected. Shorter release times help to
clean up the noise in a signal but may cause “chattering“ with percussive
instruments. Longer release times usually eliminate chattering and should be set by
listening carefully for the most natural release of the signal.
7. Key Listen. Press the button to engage or disengage the Key Listen function.
It will illuminate to indicate that the Key Listen is active. When Key Listen is
enabled, you will be listening to the frequency that Key Listen is set to.
8. Expander Mode. Press the button or turn the encoder to switch
between Gate and Expander functions for this processor.
7.2.3 Compressor
As previously mentioned, a compressor is a dynamics processor that
reduces the dynamic range of a signal by attenuating it by a set ratio when
it exceeds a defined threshold. Your Revelator io24 is equipped with three
compressor models from which to choose: Standard, Tube, and FET.
These distinct compressor plug-in models have
their own set of controls and behavior:
• Standard Compressor. A clean and full-featured compressor
that offers transparent dynamic range reduction.
• Tube Leveling Amplifier. A model of a tube-based optoelectronic
compressor, with simple, quick controls and a classic tonal character.
• Class-A FET Leveling Amplifier. A model of a Class-A FET-based
compressor, with an aggressive, punchy tonal character.
To change the compressor model, click on the dropdown menu. Note:
The compressor will turn off whenever a new model is loaded and
must be re-enabled for you to hear its effect on your voice.
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Standard Compressor
1. On/Off. Turns the Compressor on or off in the signal chain.
2. Threshold. Sets the level above which the compressor
begins to attenuate the signal.
3. Ratio. Sets the relationship between the amount a signal goes above the
threshold, and the amount it is attenuated. At a 1-to-1 ratio (often written as
1:1), no compression occurs. At a 4:1 ratio, a signal that passes the threshold by
8 dB is attenuated to within 2 dB of the threshold (dividing by four). The higher
the ratio you choose, the more pronounced the compressor effect becomes.
4. Attack. Sets the time it takes for the compressor to begin
attenuating a signal, once it passes the threshold.
5. Release. Sets the time it takes for the compressor to stop
attenuating a signal once it falls below the threshold.
6. Auto. Press to toggle Auto mode on or off. When Auto mode is active, the
Attack and Release controls become inoperative, and a preprogrammed attack
and release curve is used. In this mode, the attack is set to 10 ms, and the release
is set to 150 ms. All other compressor parameters can still be adjusted manually.
7. Soft. Press to toggle Soft knee on or off. When set to “on,”
compression will be applied more gradually over time
when the Threshold is reached by the input signal.
Power User Tip: Very short compressor release times can produce a choppy or “jittery”
sound, especially when compressing instruments that have a lot of low-frequency
components, such as a rich acoustic guitar. Very long release times can result in an
over-compressed, or “squashed,” sound. All ranges of release can be useful, however, and
you should experiment to become familiar with different sonic possibilities.
8. Gain. Sets the amount of “makeup gain” to apply to a signal. Once a
signal is compressed, its overall level is often reduced. This gain control
lets you bring it back up to the proper level after compression occurs.
9. Key Filter. This sets the frequency at which the compressor will
engage. The compressor will still process the entire frequency range,
but it is only engaged when the specified frequency is present.
10. Key Listen. Press to listen the signal being used to trigger the compressor,
as set with the Key Filter control (including the effects of the high-pass
filter). Press again to switch back to the normal channel signal.
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Tube Leveling Amplifier
1. On/Off. Turns the Compressor on or off in the signal chain.
2. Gain. Sets input gain to the compressor. Because this type of
compressor operates in a different way than a standard compressor,
much of the way that it affects signals is based on the input
level. Try different settings to see what suits your needs.
3. Peak Reduction. Sets the amount of peak reduction to
apply to the signal. Higher settings result in more gain
reduction and more pronounced compression effect.
4. Compressor/Limiter Toggle. The button below toggles the Tube Leveling
Amplifier between its compressor and limiter modes. When in compressor
mode, it acts with a variable ratio of 1:1-10:1. When in limiter mode, it acts
with a variable ratio of 10:1-20:1, more aggressively limiting peaks.
5. Key Filter. This sets the frequency at which the Tube Leveling
Amplifier will engage. It will still process the entire frequency range,
but it is only engaged when the specified frequency is present.
6. Key Listen. Press to listen to the signal being used to trigger the compressor,
as set with the Key Filter control (including the effects of the high-pass
filter). Press again to switch back to the normal channel signal.
Class-A FET Compressor
1. On/Off. Turns the Compressor on or off in the signal chain.
2. Input Gain. Sets input gain to the compressor. This setting
affects the action of the compressor, so feel free to try various
settings to find the optimal effect for your needs.
3. Output Gain. Sets the amount of “makeup gain” to apply to a signal. Once
a signal is compressed, its overall level is often reduced. This gain control
lets you bring it back up to the proper level after compression occurs.
4. Attack. Sets the time it takes for the compressor to begin
attenuating a signal once it passes the threshold.
5. Release. Sets the time it takes for the compressor to stop
attenuating a signal once it falls below the threshold.
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6. Ratio. Sets the Ratio for the compressor. The following
Ratios are available: 4:1, 8:1, 12:1, 20:1, or All.
7. Key Filter. This sets the frequency at which the compressor will
engage. The compressor will still process the entire frequency range,
but it is only engaged when the specified frequency is present.
8. Key Listen. Press to listen to the signal being used to trigger the
compressor,as set with the Key Filter control (including the effects of the
high-pass filter). Press again to switch back to the normal channel signal.
7.2.4 Changing the Signal Chain
The Compressor and EQ can be reordered in the signal path. By default, the
signal passes through the compressor before passing through the EQ. When
reordered, the EQ is placed before the compressor in the signal path.
Power User Tip: Placing the compressor before the EQ allows you to make dramatic
changes to the EQ settings without needing to alter the compressor setting. However, if
you place the EQ before the compressor, you can better control different frequencies,
achieving a more natural response.
7.2.5 Equalizer
As previously mentioned, an EQ (or equalizer) is a tone control that lets
you make changes in the tonal balance of a signal. You can boost or cut
the level of ranges of frequencies, to make corrective or creative changes
to the signal. Like the compressor, your Revelator io24 is equipped with
three EQ models from which to choose: Standard, Passive, and Vintage.
These distinct EQ models have their own set of controls and behavior:
• Standard EQ. A clean and full-featured EQ that offers transparent tone shaping.
• Passive Program EQ. A model of a tube-based EQ with
simple, quick and a classic tonal character.
• Vintage 1970s EQ. A model of a classic solid-state EQ, with
simple, musical frequency settings and a lot of character.
To change the EQ model, click on the dropdown menu. Note:
The EQ will turn off whenever a new model is loaded and must
be re-enabled for you to hear its effect on your voice.
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Standard EQ
1. On/Off. Turns the EQ on or off in the signal chain.
2. Frequency. This control sets the center frequency at which
signals are boosted or cut for the currently selected band.
3. Gain. Sets the amount by which the selected frequency will be boosted or cut.
4. Q. Sets the Q (or width) of the current EQ band. Larger Q values affect a
narrower range of frequencies. Lower Q values affect a wider range.
5. Low Shelf On/Off. Enables/disables the low shelf EQ. When the Shelf button
is not engaged, the Low band is parametric. Enabling the Shelf button turns
the Low band into a low-shelving EQ that alters, by a fixed amount, a band
of low frequencies at and below a user-selected shelving frequency.
Power User Tip: A low shelving EQ is like a bass-control knob on a stereo. In this
mode, the Center Frequency control selects the shelving frequency.
6. Low Band Select. Enables/Disables the Low Band and
enables the Frequency, Gain, and Q for this band.
7. L-Mid Band Select. Enables/Disables the Low-mid Band and
enables the Frequency, Gain, and Q for this band.
8. H-Mid Band Select. Enables/Disables the High-mid Band
and enables the Frequency, Gain, and Q for this band.
9. High Band Select. Enables/Disables the High Band and
enables the Frequency, Gain, and Q for this band.
10. High Shelf On/Off. Enables/disables the high shelf EQ. When the Shelf button
is not engaged, the High band is a parametric EQ. Enabling the Shelf button
turns the High band into a high shelving EQ that alters, by a fixed amount, a
band of high frequencies at and above a user-selected shelving frequency.
Power User Tip: A high shelving EQ is like a treble-control knob on a stereo. In this
mode, the Center Frequency control selects the shelving frequency.
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Passive Program EQ
1. On/Off. Turns the EQ on or off in the signal chain.
2. Low Boost. Sets the level of boost applied around the chosen low frequency.
This control interacts nicely with the Low Attenuation control, allowing for boosts
in apparent bass energy while keeping overall bass energy within optimal limits.
3. Low Attenuation. Sets the level of attenuation applied around
the chosen low frequency. his control interacts nicely with the
Low Boost control, allowing for boosts in apparent bass energy
while keeping overall bass energy within optimal limits.
4. Low Frequency Select. Sets the center frequency of the band
covered by the Low Boost and Low Attenuation controls.
5. High Bandwidth. Sets the Q (or width) of the effect of the high EQ band.
6. High Boost. Sets the level of boost applied around the chosen high frequency.
7. High Attenuation. Sets the amount of attenuation applied in a shelving
fashion to frequencies at and above the chosen high frequency.
8. High Frequency. Sets the center frequency of the high EQ band.
9. Attenuation Select. Sets the frequency at and above which
the High Attenuation control attenuates treble content.
Vintage 1970s EQ
1. EQ On/Off. Enables/disables the EQ globally. Touch to toggle on or off.
2. Low Frequency. Sets the shelving frequency for the Low Band.
3. Low Gain. Sets the Gain for the Low Band.
4. Low-Mid Frequency. Sets the center frequency for the Low-Mid Band.
5. Low-Mid Gain. Sets the Gain for the Low-Mid Band.
6. High-Mid Frequency. Sets the center frequency for the High-Mid Band.
7. High-Mid Gain. Sets the Gain for the High-Mid Band.
8. High Gain. Sets the Gain for the High Band.
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7.2.6 Limiter
This encoder sets the threshold of the limiter for the selected channel or output
bus. When the signal’s amplitude (level) exceeds the threshold setting, the limiter
is engaged. Turning the knob counterclockwise lowers the threshold, so limiting
begins at a lower amplitude. The Limiter ratio is ∞:1.
7.2.7 Voice FX
Your Revelator io24 is equipped with six Voice FX processors that can make your
voice sound ethereal, otherworldly, or just plain weird… your choice! This section
will go through each effect in detail. Note that while you can use any of these
effects with the Fat Channel and Reverb, you can only use one effect at a time.
To enable/disable the Voice FX of your choice, use the power button in the Voice tab.
Doubler
The Doubler will enhance your voice with a natural doubling effect
that will add richness and depth with just a hint of reverb.
1. Lows. Use this control to boost the low-frequency content.
2. Width. This control adjusts the stereo image.
3. Wet/Dry. Blends the affected sound with the dry sound of your voice. Set to
100% to only hear the processed sound. Set to 0% to only head the dry sound.
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Detuner
True to its name, the Detuner will artificially lower your voice.
1. Tune. Sets the amount your voice will be lowered.
2. Wet/Dry. Blends the affected sound with the dry sound of your voice. Set to
100% to only hear the processed sound. Set to 0% to only head the dry sound.
Vocoder
Think of a vocoder as a “talking synthesizer.” Your voice is sent through a
filter and essentially removed so that only the synthesized sound after it
was modulated by the filter remains. This results in a synthesized sound that
pulses to the tempo of your voice with the same tonal characteristics.
1. Freq. Sets the frequency of the filter.
2. Type. Choose between three filter types: Noise, Sawtooth, Rectangle
3. Wet/Dry. Blends the affected sound with the dry sound of your voice. Set to
100% to only hear the processed sound. Set to 0% to only head the dry sound.
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Ring Modulator
A Ring Modulator basically takes two separate signals (your voice and an oscillator)
and creates a new signal that is made up of the sum and differences of the original
sources. All of this is a fancy way of saying: it makes you sound like a robot.
1. Dist. Controls the amount of distortion from zero to over-the-top.
2. Freq. Sets the frequency of the oscillation.
3. SC Freq. Sets the frequency of the Sub Carrier.
4. Sub Carrier. You can choose to add a low frequency oscillation to
your signal or not by engaging or disengaging the Sub Carrier.
5. Wet/Dry. Blends the affected sound with the dry sound of your voice. Set to
100% to only hear the processed sound. Set to 0% to only head the dry sound.
Filters
This is a custom filter bank that allows you to create some truly otherworldly effects!
1. Tune: Adjusts the pitch of the affected signal from high to low.
2. Damping: Adjusts the amount of high-frequency content
sent through feedback (4.) in the affected signal.
3. Wet/Dry: Blends the affected (“wet”) sound with the un-affected,
(“dry”) sound of your voice. Set to 100% to only hear only the
processed sound. Set to 0% to only head the dry sound.
4. Feedback: Adjusts length of echo effect.
5. Distortion: Add some grit and edge to the affected
sound, like an overdriven guitar ampllifier.
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Delay
A delay essentially creates an echo, although you can often use
delays to create more complex time-based effects. The source signal
is delayed so that it is heard later than it actually occurred.
1. Time. This is the time (in milliseconds) between the source signal
and its echo. The simplest delay effect is a single repeat. A short
delay between 30 and 100 ms can be used to create slap-back
echo, while longer delay times produce a more distant echo.
2. Feedback. Variable feedback, or regeneration, produces multiple decaying
repeats. Increasing the feedback value increases the number of echoes, as
well as the resonance that is created as one echo disappears into another.
3. Wet/Dry. Blends the affected sound with the dry sound of your voice. Set to
100% to only hear the processed sound. Set to 0% to only hear the dry sound.
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8 Studio One Artist Quick Start Guide
8.1 Installation and Authorization
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8 Studio One Artist Quick Start Guide
All PreSonus professional recording products come with Studio One Artist
recording and production software. Whether you are about to record
your first album or your fiftieth, Studio One Artist provides you with all
of the tools necessary to capture and mix a great performance.
Power User Tip: As a valued PreSonus customer, you are eligible for a discount upgrade
to Studio One Professional. For more details on the Studio One upgrade program for
PreSonus customers, please visit https://shop.presonus.com/products/software/studio-
one-prods.
8.1 Installation and Authorization
Once you have installed the drivers for your Revelator io24 and connected it
to your computer, you can use the included PreSonus Studio One Artist music-
production software to begin recording, mixing, and producing your music. To
install Studio One Artist, log into your My.PreSonus account and register your
Revelator io24. Your product key for Studio One Artist will automatically be
registered to your My.PreSonus account, along with your hardware registration.
Downloading and Running the Studio One Installer
To install Studio One Artist, download the Studio One Artist installer from
your My.PreSonus account to the computer on which you will use it.
Windows: Launch the Studio One Artist installer
and follow the onscreen instructions.
Mac: Drag the Studio One Artist application into the
Applications folder on your Mac hard drive.
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Authorizing Studio One
When Studio One is launched for the first time on your computer, it will
communicate with your My.PreSonus account and verify your registration. To
ensure a seamless authorization process, make sure to download your installer
to the computer on which you will be using it, and be sure that your computer is
connected to the Internet when you launch the application for the first time.
Power User Tip: You may be prompted to enter your My.PreSonus user account
information. Clicking “Remember Credentials” will allow you to have immediate access
to any content you purchase from the PreSonus Marketplace.
Installing Bundled Content for Studio One Artist
Studio One Artist comes bundled with an array of demo and tutorial
materials, instruments, loops, and samples. The Studio One Artist
bundle includes all that you need to begin producing music.
The first time you launch Studio One Artist, you will be prompted
to install its companion content. Select the content you wish to
add and click “Install.” The content will automatically begin to
download and install from your My.PreSonus user account.
Power User Tip: To select only a portion of the available content, click on “Show
Packages”. From here you can customize your content installation.
8.2 Setting Up Studio One
Studio One Artist was designed to work with PreSonus interfaces and provides
unique interoperability and simplified setup. When Studio One Artist is
launched, by default you will be taken to the Start page. On this page, you
will find document-management and device-configuration controls, as well
as a customizable artist profile, a news feed, and links to demos and tutorials
from PreSonus. If your computer is connected to the Internet, these links will
be updated as new tutorials become available on the PreSonus website.
Complete information on all aspects of Studio One Artist is available in
the Reference Manual PDF located within Studio One. The information
in this tutorial covers only the basic aspects of Studio One Artist and is
intended to get you set up and recording as quickly as possible.
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8.2.1 Conguring Audio Devices
In the middle of the Start page, you will see the Setup area. Studio One
Artist automatically scans your system for all available drivers and selects
a driver. By default, it will choose a PreSonus driver if one is available.
If you do not see your device listed on the Start page when
you launch Studio One, click on the Configure Audio Devices
link in the Setup area to open the Options window.
In the Options window, click on the Audio Setup tab and
select your device driver from the pull-down.
8.2.2 Conguring MIDI Devices
From the External Devices window in Studio One Artist, you can configure
your MIDI keyboard controller, sound modules, and control surfaces. This
section will guide you through setting up your MIDI keyboard controller
and sound modules. Please consult the Reference Manual located within
Studio One for complete setup instructions for other MIDI devices.
If you are using a third-party MIDI interface or USB MIDI-controller
keyboard, you must install any required drivers for these devices before
beginning this section. Please consult the documentation that came
with your MIDI hardware for complete installation instructions.
If you do not have any MIDI devices, please skip to Section 8.3.
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Setting up an External MIDI Keyboard Controller from the Start Page
A MIDI keyboard controller is a hardware device that is generally used for playing
and controlling other MIDI devices, virtual instruments, and software parameters.
In Studio One Artist, these devices are referred to as Keyboards, and they must be
configured before they are available for use. In some cases, your MIDI keyboard
controller is also used as a tone generator. Studio One Artist views the controller
and tone-generation functions as two different devices: a MIDI keyboard controller
and a sound module. The MIDI controls (keyboard, knobs, faders, etc.) will be
set up as a Keyboard. The sound modules will be set up as an Instrument.
You can set up your external MIDI devices from the Setup area
in the Start page. Before setting up a new Song for recording,
take a moment to configure external devices.
Make sure you have connected the MIDI Out of your external MIDI controller to
a MIDI In on your PreSonus audio interface (if available) or other MIDI interface. If
you are using a USB MIDI controller, connect it to your computer and power it on.
1. Click on the Configure External Devices link in the Setup area on
the Start page to launch the External Devices window.
2. Click the Add button. This will launch the Add Device window.
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3. From the menu on the left, select your MIDI controller from the list of
manufacturers and models. If you do not see your MIDI controller listed,
select New Keyboard. At this point, you can customize the name of
your keyboard by entering the manufacturer and device names.
4. You must specify which MIDI channels will be used to communicate with
this keyboard. For most purposes, you should select all MIDI channels.
If you are unsure of which MIDI channels to choose, select all 16.
5. Studio One allows you to filter out specific control functions. If you would
like Studio One to ignore Aftertouch, Pitch Bend, Program Change, or
all CC messages, enable filtering for any or all of these messages.
6. In the Receive From drop-down menu, select the MIDI interface
input from which Studio One Artist will receive MIDI data (that
is, the MIDI port to which your keyboard is connected).
Power User Tip: In the Send To drop-down menu, select the MIDI interface output
from which your Studio One Artist will send MIDI data to your keyboard. If your
keyboard controller doesn’t need to receive MIDI data from Studio One, you can
leave this unselected.
7. If this is the only keyboard that you will use to control your external
synthesizers and virtual instruments, you should check the box
next to Default Instrument Input. This will automatically assign your
keyboard to control all MIDI devices in Studio One Artist.
8. Click “OK.”
If you have a sound module that you’d like to connect, leave the External
Devices window open and proceed to the next part of this section.
If not, you can close the window and skip to the next section.
Setting up an External MIDI Sound Module from the Start Page
MIDI instrument controllers (keyboards, MIDI guitars, etc.) send musical information,
in the form of MIDI data, to tone modules and virtual instruments, which respond
by generating sound as instructed. Tone modules can be standalone sound devices
or can be integrated into a MIDI instrument, such as a keyboard synthesizer. Studio
One Artist refers to all tone generators as Instruments. Once you have set up your
MIDI keyboard controller, take a moment to configure your sound module.
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Make sure you have connected the MIDI In of your external
sound module to the MIDI Out of your MIDI interface.
1. In the External Devices window, click the Add button.
2. Select your device in the menu on the left. If your device is not listed,
select New Instrument. At this point you can customize the name of
your keyboard by entering the manufacturer and device names.
3. Specify which MIDI channels will be used to communicate with this sound
module. For most purposes, you should select all MIDI channels. If you are
unsure of which MIDI channels to select, we suggest you select all 16.
4. In the Send To menu, select the MIDI interface output from which Studio One
Artist will send MIDI data to your sound module. Click “OK” and close the External
Devices window. You are now ready to start recording in Studio One Artist.
The rest of this Quick Start Guide will go over how to set
up a Song and will discuss some general workflow tips for
navigating through the Studio One Artist environment.
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8.3 Creating a New Song
Now that you’ve configured your audio and MIDI devices, let’s create
a new Song. We’ll start by setting up your default audio I/O.
1. From the Start page, select “Create a New Song.”
2. In the New Song window, name your Song and choose the directory in
which you’d like it saved. You’ll notice a list of templates on the left. These
templates provide quick setups for a variety of devices and recording
situations. The section will describe creating a Song from an empty session.
3. Select “Empty Song” from the Templates list. At this point, you should give
your Song a name and select your preferred sample rate and bit depth for
recording and playback. You can also set the length of your Song and the
type of time format you would like the timeline to follow (notation bars,
seconds, samples, or frames). Click the OK button when you are finished.
Power User Tip: If you plan to import loops into your Song, make sure that the Stretch
Audio Files to Song Tempo option is selected. This will automatically import loops at the
correct tempo.
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8.3.1 Conguring Your I/O
1. Click on Song | Song Setup to set your sample rate and
resolution and configure your audio I/O.
2. Click on the Audio I/O Setup tab.
3. From the Inputs tab, you can enable the inputs for your Revelator io24, including
the Loopback Inputs. that you’d like to have available. We recommend you
create a mono input using Input 1 of your Revelator io24 and two Stereo
Inputs; one for Loopback Streams 3-4 and another for Loopback Streams
5-6. These correspond to Loopback 1 and Loopback 2 respectively.
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4. Click on the Outputs tabs to enable any or all of the outputs on your
Revelator io24. In the lower right corner, you will see the Audition
Select menu. This allows you to choose the output from which you
will audition audio files prior to importing them into Studio One
Artist. In general, you will want this to be the main output bus.
Power User Tip: If you would like this I/O configuration to be the same every time
you open Studio One, click the Make Default button.
8.3.2 Creating Audio and Instrument Tracks
1. In the upper left corner of the Arrange window, you will notice
several buttons. The button furthest to the right is the Add Tracks
button. Click on this button to open the Add Tracks window.
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2. In the Add Tracks window, you can customize the track name and
color, add a preset rack of effects, and set the physical source for
the input and output of your audio tracks. Most important, you
can select the number and type of tracks you’d like to create.
• Audio. Use this track type to record and playback audio files.
• Instrument. Use this track to record and playback MIDI data to
control external MIDI devices or virtual instrument plug-ins.
• Automation. This track type lets you create automated
parameter controls for your session.
• Folder. This track helps you to manage your session as
well as to quickly edit multiple tracks at once.
Power User Tip: If you would like to add an audio track for each of the available inputs,
go to Track | Add Tracks for All Inputs.
Mute
Custom
Track
Color
ST/Mono
Audio Input
Source Select
Solo
Rec
Arm
Monitor
Track
Name
Meter
Note: Instrument tracks are nearly identical to audio tracks. The Input Source list for
Instrument tracks lists available external MIDI devices as well as any virtual instruments
that have been added to the Song.
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8.3.3 Recording an Audio Track
1. To begin recording, create an audio track from the Add Tracks window, set its input
to Input 1 on your Revelator io24, and connect a microphone to the same input.
2. Select Record Enable on the track. Turn up the Input 1 level on your
Revelator io24 while speaking/singing into the microphone. You should
see the input meter in Studio One Artist react to the input. Adjust the gain
so the input level is near its maximum without clipping (distorting).
You are now ready to start recording. For complete instructions, please consult the
Studio One Reference manual located in Help | Studio One Reference Manual.
8.3.4 Adding Virtual Instruments and Eects
You can add plug-ins and instruments to your Song by dragging-and-dropping
them from the browser. You can also drag an effect or group of effects from one
channel to another, drag in customized effects chains, and instantly load your
favorite virtual-instrument preset without ever scrolling through a menu.
Opening the browser.
In the lower right corner of the Arrange window are three buttons:
• The Edit button opens and closes the audio and MIDI editors.
• The Mix button opens and closes the Mixer window.
• The Browse button opens the browser, which displays all of the
available virtual instruments, plug-in effects, audio files, and MIDI files,
as well as the pool of audio files loaded into the current session.
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Drag-and-Drop Virtual Instruments
To add a virtual instrument to your session, open the browser and click on
the Instrument button. Select the instrument or one of its patches from the
Instrument browser and drag it into the Arrange view. Studio One Artist will
automatically create a new track and load the instrument as the input.
Drag-and-Drop Effects
To add a plug-in effect to a track, click the Effects button in the browser and
select the plug-in or one of its presets in the effects browser. Drag-and-drop
the selection over the track to which you would like to add the effect.
Drag-and-Drop Audio and MIDI Files
Audio and MIDI files can be quickly located, auditioned, and imported into
your Song by dragging them from the file browser into the Arrange view.
If you drag the file to an empty space, a new track will be created with
that file placed at the position to which you dragged it. If you drag the file
to an existing track, the file will be placed as a new part of the track.
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9.1 Gain Staging 101: Begin at the Beginning
It may seem counterintuitive to boost the signal closest to its source and cut it
later in the signal path if it is too loud, but this is precisely the best way to get
a noise- and feedback-free recording. That said, you don’t want to gain it up
too much at the beginning either. If you find that you must cut the signal at
every component that sits after the input-trim stage to avoid distortion, you’ve
probably set the trim too high. Then, and only then, should you gain it down.
Step 1: Setting the Microphone Gain
First, plug in your microphone into your desired Channel input and activate +48v if
your mic requires it. Put on your headphones and listen.
Turn the Encoder knob clockwise while speaking into the microphone. Watching
for the signal/clip indicator to turn red, then back it down until the level indicator is
green only...
Step 2: Setting the EQ and Dynamics
After you have set the input gain, you can use your channel EQ to
sculpt your source. The more bands your EQ offers, the more control
you will have, but you’ll also add more potential for improper gain
staging, so use with caution. This is also true with compression.
To set the EQ, you will need to adjust both the channel and the
main faders to 0.0 dB. (AKA “unity.”) This is just for the purposes of
dialing in the sound you want. You’ll dial in the mix next.
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Often, when people are new to using an equalizer, they listen for what
is missing from their source signal and try to boost it in. But that’s
not always the best solution. Sometimes removing the frequencies
that are drowning out the ones you want works best.
Dynamics processors can be difficult to work with at first, because they both reduce
gain and amplify it. Let’s take a look at a compressor for a moment. A compressor
works by lowering the dynamic range—and by extension, the gain—of a signal,
but it also gives you a make-up gain control that allows you to get some of that
back. If you apply a lot of gain reduction to a signal, then boost it too far with the
make-up gain, your sound can get very unwieldy very fast. As with an EQ, only
compress a signal as much as you need to (unless you’re using it for a creative
effect), and only gain it back up as far as you have to for it to cut through your mix.
Step 3: Setting Your Mix—The Unity Myth
There is an unfortunate rumor that persists in the darker corners of the
audio-nerd Internet. It states that all your faders should be set to unity (that
bold line in the middle of the fader markings at 0 dB). But if you do this, you
will limit the dynamic range of your signals—and not in a good way.
That bold mark next to your faders means just one thing:
The channel and output mix level controls are not adding or
removing any amplitude (volume) to or from your signal.
Why do you need to know this? For input gain staging and
dialing in your EQ and dynamics, of course!
With the channel and the main faders at unity, you can listen to an individual channel
unadulterated while you’re setting your input gain level and adjusting your EQ and
dynamics to sculpt the sound. Once that’s done, the fat line in the middle of the
channel has largely served its purpose. Are you getting too much of your animated
guest caller in your headphones? By all means, go ahead and lower it. Need to give
your own channel a little gas to compete? That’s what that 10 dB above unity is for.
Like everything in audio, however, these rules aren’t absolute, especially
in a live sound situation. If you are gaining up a channel well above
unity just for it to be heard in your mix, maybe your other channels
are too loud. Try lowering the levels of the rest of your mix.
9.2 Microphone Tips and Tricks
Like any tool, a microphone must be used properly to get the best result.
Professional broadcasters or vocalists will tell you that good microphone technique
is crucial to getting a good recording. How many times have you listened to a
podcast where it sounded like there was a wall between the on-air talent and
their microphone? Or the microphone was so close you could hear each breath
and every popping ‘P’ sounded like a mini explosion in your headphones?
Proximity to the microphone is the most common issue when anyone
begins the process of learning proper mic technique, but other issues, like
background noise and improper gain staging, will exacerbate a poorly
positioned microphone. Don’t worry, we’ve all been there, and PreSonus has
put together this tutorial to help you mitigate the most common mistakes
people make when getting started recording their voice with a microphone.
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9.2.1 Pickup Patterns
Microphones are designed with different pickup patterns. A pickup pattern
represents the particular areas around the microphone’s capsule where
it is most sensitive to sound. The most common pattern for vocal and
broadcast microphones is called Cardioid, because it’s heart-shaped.
9.2.2 Handling Noise
Holding a microphone too roughly will create problematic handling noise. While
this is fine for a stage performance where the sheer volume of the instruments
on stage will mask this noise, in an audio recording made from a quiet location,
handling noise becomes a distraction from the primary sound source. And in
this case, that source is you! Handling noise can be eliminated by mounting your
microphone to a stand or boom arm, particulary one with a shock mount.
9.2.3 How Close is Too Close?
Microphones are designed to pick up sound; that’s their job. When
folks are first learning to use a microphone, there is a natural tendency
to speak too softly or too loudly. This is where monitoring yourself
through headphones is especially helpful. As a general rule, if it sounds
good in your headphones, it will sound good in your recording.
A good starting point is to position your mouth about four inches from
the microphone. If you project your voice naturally, you may need
to sit a little further back. The good news is that good microphone
technique quickly becomes muscle memory once you get the hang
of it, so the more you practice, the less awkward it becomes.
9.2.4 Problematic Pronunciation
Depending on your natural speaking style, additional adjustments may be necessary:
Plosives. Plosives are bursts of air that are picked up by the microphone that
sound like a sort of low thump or booming sound when recorded. They can occur
with any consonant, but occur most commonly when you say ‘P’ or ‘B’ sounds. The
audio industry has battled these natural speech events for so long that there is a
specialized hardware tool to combat them: pop filters! A pop filter sits between your
mouth and microphone and slows down and disperses these bursts of air, shielding
the microphone from picking them up. The other advantage of a pop filter is that
it they can be used for maintaining a fixed position in front of your microphone,
and are especially useful when recording with a condenser microphone.
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Sibilance. Sibilance occurs when you make a consonant sound by directing your
breath to the back of your teeth using your tongue. The most common examples
of problematic sibilants are ‘S’ and ‘Z’ sounds. Depending on your speech pattern,
you may naturally exaggerate these sounds without noticing—and this may
be a habit that you wish to alter while you’re recording. Luckily, if this is a habit
you cannot or do not want to break, you can fix most sibilance issues in post-
production as long as you are multi-tracking your podcast using a dynamics
effect called a de-esser, which your Revelator io24 happens to have onboard! See
Section 5.1.3 for more information. Professional DAW applications, like PreSonus
Studio One, are also equipped with a de-esser plug-in especially for this purpose.
Power User Tip: If you are recording a several speakers at once with your Revelator io24,
using a de-esser can cause more problems than it solves, because over-using a de-esser or
putting one where it is not needed can turn all your ‘S’ sounds to “Th” sounds, and you can
easily give someone a lisp they don’t have, which they are unlikely to appreciate.
9.2.5 Putting it All Together
Once you’ve practiced your microphone placement and technique, do some
practice recordings to find out what works for you and what doesn’t. Just
sit in front of the microphone and talk as you would if you were chatting
with a friend. The more natural you feel behind the microphone, the
more engaging your performance will be. Letting your natural charisma
and charm come across is the best way to engage your audience.
9.3 Technical Specications
Audio Interface
Type USB-C™ Compatible USB 2.0
Sample Rates 44.1kHz, 48kHz, 88.2kHz, 96kHz
Bit Depth 24 bit
ADC Converter Dynamic Range 105 dB
DAC Converter Dynamic Range 105 dB
Hardware Controls: Direct Monitor, Mic Gain, Headphone Level, Mute, Preset Select
Software Controls: Mic Gain, Monitor Mix, Preset Management
Onboard DSP
PreSonus StudioLive Fat Channel: High Pass Filter, Noise Gate / Expander, 3 Compressor models, 3 EQ models, and Limiter;
Voice Effects: Doubler, Vocoder, Ring Modulator, Comb Filter, Detuner, Delay, Reverb
Microphone Inputs
Maximum Level +10 dBu (±0.5 dBu, min gain)
Gain Range 60 dB
Frequency Response 20 Hz - 20 kHz (+0.1dB/-0.3 dB, unity gain, unwtd)
THD + N 0.005% (1 kHz, -1 dBFS, min gain)
EIN -126 dBu (A-weighted, 150Ω, max gain)
Input Impedance 1.4 kΩ
Phantom Power +48 VDC (10 mA total)
Instrument Inputs
Maximum Level +10 dBu (min gain)
Gain Range 50 dB
Frequency Response 20 Hz – 20 kHz (+0.1dB/-0.3 dB, unity gain, unwtd)
THD + N 0.005% (1 kHz, min gain)
Input Impedance 1M Ω
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Main Outputs
Type ¼” TRS, Female
Maximum Level +10 dBu (1 kHz, unity gain, z-balanced)
Frequency Response 20 Hz – 20 kHz (+0.1dB/-0.3 dB, unity gain, unwtd)
THD + N 0.003% ( 1 kHz, -1 dBFS, unity gain)
Headphone Output
Maximum Power 30 mW / channel @ 56Ω
Frequency Response 20 Hz – 20 kHz (+0.1dB/-0.5 dB, unity gain, unwtd)
THD + N 0.050 % (1 kHz, 0 dBFS, loaded)
Impedance Working Range 32Ω to 300Ω
Physical
Height 2.5” (63.5mm)
Width 6.25” (158.8mm)
Depth 6.25” (158.8mm)
Weight 2lbs (0.9kg)
Dinner is Served
Added bonus: PreSonus’ previously Top Secret recipe for…
Andouille & German Red Cabbage Po-Boys
Ingredients:
• 1 small Onion
• 3 Tbsp. fresh Ginger
• 1 small head Red Cabbage
• 1 tsp Salt
• 3 Tbsp. Honey
• ¼ cup Red Vinegar
• 12 oz Andouille or Bratwurst Sausage sliced lengthwise
• ¼ lb. Muenster Cheese
• Creole or German Mustard to taste
• 1 loaf French Bread
Cooking Instructions:
1. Heat 2 tablespoon vegetable oil in large skillet. Add onions and ginger, then cook them for about 3 minutes until onions
begin to wilt. Add cabbage, vinegar, and honey, and then cook for about 5 minutes. Add salt to taste and set aside.
2. Heat oil in a skillet till hot. Add sausage cut side down till nice and brown, turn and cook for about 5 minutes till thoroughly
cooked.
3. Slice bread lengthwise, lay a bed of cabbage, then sausage, and cheese on top. Toast under the broiler or in a hot oven till
cheese is melted and bread is crisp.
4. Spread mustard on bread. Sandwich can then be cut into 2-3 pieces and shared (or not if you’re really hungry).
BONUS: Extra cabbage can be used as a condiment with meat, eggs, sandwiches, etc.
©2021 PreSonus Audio Electronics, Inc. All Rights Reserved. AudioBox USB, Capture, CoActual, EarMix, Eris, FaderPort, FireStudio, MixVerb, Notion, PreSonus, PreSonus AudioBox, QMix, RedLightDist, SampleOne,
Sceptre, StudioLive, Temblor, Tricomp, and WorxAudio are registered trademarks of PreSonus Audio Electronics, Inc. Studio One is a registered trademark of PreSonus Software Ltd.
Mac, macOS, iOS, and iPadOS are registered trademarks of Apple, Inc., in the U.S. and other countries.
Windows is a registered trademark of Microsoft, Inc., in the U.S. and other countries.
ASIO is a trademark and software of Steinberg Media Technologies GmbH. VST is a trademark of Steinberg Media Technologies GmbH.
Other product names mentioned herein may be trademarks of their respective companies. All specifications subject to change without notice...
except the recipe, which is a classic.
18011 Grand Bay Ct. • Baton Rouge,
Louisiana 70809 USA• 1-225-216-7887
www.presonus.com
Part# 70-12000167-A
®
Revelator io24
2-channel audio interface for streamers,
podcasters, and music creators
Owner’s Manual
