Presonus StudioLive 24.4.2
Product Description for the Presonus StudioLive 24.4.2
You’ll never go back to an old-school analog mixer once you’ve used StudioLive™. With its incredible signal-processing power on every channel, easy store and recall of every setting, and the ability to record it all with just two mouse clicks, you’ll get spoiled fast! Easier to use, better sounding, and flawlessly integrated with state-of-the-art software, it delivers the most creative environment possible for both live performance and studio music production. But StudioLive is not simply a mixer, it’s a rapidly growing family of state-of-the-art, integrated hardware-software mixing and recording systems that deliver the features you need for live sound, live recording, and studio recording. The StudioLive 24.4.2 is a fine choice for those who want to mix small to medium-sized shows and worship services, and it’s a great choice for club systems, corporate applications, and educational institutions. And it’s the perfect hardware core for a project studio.
Here, in one device, are high-headroom XMAX™ microphone preamplifiers, a built-in FireWire recording and playback interface, more than 90 signal processors, a big library of DSP effects, 10 aux buses, 4 subgroups, extensive LED metering, mixer save and recall, channel-strip save/recall/copy/paste, talkback, and more. Yet despite its many controls and features, it’s compact and easy to transport.
Build live mixes that glisten with clarity and detail—then record and enhance the performance with the power of StudioLive 24.4.2. Get creative in the studio. Build mixes, loops, sound effects, and more, then bring them out to your show and mix them with the live performance. Process channels using your favorite plug-ins and completely automate your entire performance. StudioLive 24.4.2 revolutionizes music production, opening endless creative possibilities.
See it. Touch it. Change it: the ease of analog meets the power of digital.
When we designed StudioLive, one of our primary goals was to provide a familiar interface that would keep all critical controls visible and accessible—not buried inside multiple menus.
Sit down at a StudioLive 24.4.2, and you see real hardware Mute and Solo buttons, trim controls, and clearly labeled, individual knobs for the parametric EQ and dynamics processing. The master section—complete with Talkback, Monitor, Cue, and a choice of headphone sources—looks just like the master section on an analog board but with far more power and flexibility. Aux sends have their own controls. Every channel has a big, bright meter display.
Bottom line: if you’ve ever used an analog mixer, you’ll be right at home with a StudioLive 24.4.2. And even if you’ve never used a mixer before, you’ll quickly be able to create quality mixes and recordings.
Which StudioLive is Best for You?
Your mixing and recording needs aren’t necessarily exactly the same as everyone else’s. That’s why we created a StudioLive family of digital mixers, starting with the StudioLive 16.4.2 and the StudioLive 24.4.2.
Why choose the StudioLive 24.4.2 rather than the StudioLive 16.4.2? Let’s say you want more than 16 channels but want to keep your system compact. Perhaps the acts and events you mix require lots of monitor mixes, so you need more than the six auxiliary buses in the 16.4.2, and you want fully parametric EQ, rather than semi-parametric. You could use an enhanced gate with Key Listen and Key Filter features, and a Threshold control on the limiter would be handy. A stereo graphic EQ on the mains is mandatory but you also want graphic EQ on the subgroups and auxes at times—four dual-mono, 31-band graphic EQs would do the job nicely. No problem! You get all of these enhancements and more with the 24-channel, 10-aux, StudioLive 24.4.2. A gigantic console in a small package thanks to the Fat Channel.
If StudioLive were an analog console, it would have 4-foot-long channel strips packed with knobs and buttons or it would require a massive outboard rack of expensive signal processors! That’s because each channel has its own studio-grade compressor, limiter, gate, 4-band parametric equalizer, and high-pass filter. In all, we’ve packed 43 compressors, 43 limiters, 43 gates, 24 high-pass filters, and more, into one remarkable Fat Channel.
Engaged by pressing any Select button, the StudioLive 24.4.2’s Fat Channel features extensive EQ and dynamics for every input channel, every aux output (including the two internal FX buses), every subgroup output, and the main outputs.
To let you get the most from all of this processing power without descending into menu purgatory, we designed the Fat Channel with clearly labeled physical knobs; an ingenious, multi-function, 16-ladder LED display; an in-your-face Selected Channel display; and even a separate horizontal pan display. It’s easy to instantly access any function and get clear, visible feedback.
Not just effects. Effects you’d expect from a $600 stand-alone processor.
You get two programmable, 32-bit, stereo DSP effects engines, loaded with 50 reverbs, delays, and time-based effects that you can really use. The reverbs are so rich and detailed that you feel like you’re there. Delays are precise. Slap echo sounds like old-school tape effects. All 50 effects have easy-to-use parameter adjustment, tap tempo, store, recall, and Scene selection for ultimate creative flexibility.
The StudioLive 24.4.2’s 4 dual, 31-band graphic equalizers can be applied to the main, subgroup, and aux outputs so you can compensate for room acoustics, speaker response, and much more.
All of these features add up to a lot of settings to remember and reset at every performance. That’s where the power of digital comes in: StudioLive lets you save all of your digital settings for quick setup and recall. Save Scenes that include every setting on the mixer or save just the Fat Channel settings. Copy-and-paste settings across multiple channels. Save individual DSP effects for ultimate ease, speed, and control.
This means that for fixed applications like clubs, churches, and auditoriums, you can always count on the same sound and can fine-tune Scenes for different songs and call them up instantly. And it lets rank amateur volunteers successfully operate the StudioLive 24.4.2.
We’ve included a whole library of individual channel settings as starting points for optimizing the sound of instruments, vocals, and spoken word. An AutoStore feature regularly saves your current settings in case the power fails.
Recording made easy.
If you have a computer with 6-pin FireWire, you have a 26-track digital recorder instantly ready to capture your gig, church service, or presentation. Just two mouse clicks engages Capture™ recording software. Studio One Artist™ digital audio workstation lets you edit and enhance to your heart’s content.
StudioLive 24.4.2 features a tightly integrated FireWire interface that delivers up to 32 channels of recording and up to 26 channels of simultaneous playback. Each FireWire recording channel can be set to record either pre- or post-Fat Channel signal processing, delivering total flexibility and power.
Because StudioLive 24.4.2 can so easily return FireWire playback channels from your computer, you can pull off nifty tricks. You can soundcheck your band and fine-tune the P.A. in a new venue, even when the band’s not there yet. Or create backing tracks at your studio and seamlessly blend them with live performances. Inside, it’s pure PreSonus.
Ease of use and powerful features only count if the sound quality is equally impressive. After all, it really comes down to how good those microphone preamps are, how clean the signal path is, and how well the algorithms perform. That’s why you should choose a digital mixer made by PreSonus, a company already famous for its analog mic preamps, pristine digital interfaces, and well-regarded signal processors.
XMAX™ Class A preamplifiers deliver more headroom, deeper lows, smoother highs, and a richer overall sound than the preamps found in competing mixers. Ultra-high-headroom, 32-bit floating-point processing is used for all digital mixing. All analog inputs and outputs use the highest quality digital converters available. Synchronization to your computer is stable and robust, thanks to JetPLL™ synchronization technology, resulting in great stereo separation and clear, transparent audio. StudioLive expands with your input needs.
Need more than 24 channels for mixing live shows and don’t need to record? Daisy-chain two StudioLive 24.4.2s via their FireWire ports to get up to 48 input channels and 8 submix buses. If you need more than 24 channels for recording, and you don’t need a full channel strip for the additional inputs, you can daisy-chain a StudioLive 24.4.2 with a PreSonus FireStudio Project, FireStudio Tube, or FireStudio Mobile interface. It could not be simpler.
- 24 mic/line inputs with high-headroom Class A XMAX™ mic preamplifiers
- 4 subgroups
- Stereo/mono main out
- 10 auxiliary mixes
- 32-in/26-out FireWire digital recording interface (24-bit/44.1 kHz and 48 kHz)
- Studio One Artist Digital Audio Workstation software for Mac™ and PC
- Capture™ 1.1 recording software for Mac™ and PC
- Direct recording interface compatible with Logic®, Nuendo, Cubase, Sonar™, Digital Performer™, Ableton™ Live, and more
- 24 channel strips
- Trim control with –20 to +20 dBV line/-15 to +65 dBu mic gain range (80dB!)
- +48V phantom power switch for condenser microphones
- FireWire Input Select
- 100 mm precision faders
- Lighted Solo and Mute buttons
- Access to Fat Channel functions
- 15-LED ladder metering + clip LED
- Analog ¼" insert (rear panel)
- 4 subgroup buses, each with:
- Access to Fat Channel functions (except high-pass filter and phase reverse)
- 10 aux sends, each with
- Pre/post-fader send
- Output-level control
- Access to Fat Channel functions (except phase reverse)
- Mix and Mix/Pan Fat Channel metering
- Available sources: 24 input channels, Aux A and B, Tape Input, Talkback
- 2 internal effects sends, each with:
- Pre/post-fader send
- Output-level control
- Access to Fat Channel (except phase reverse)
- Effects-send Select for Fat Channel metering
- Mix button for aux-bus mixing and Fat Channel metering
- Master Section
- Aux Input A and B
- Level Control and Select (Fat Channel metering) switch
- Access to all Fat Channel functions (except phase reverse)
- Talkback System
- Mic Level control
- Output Select ( Aux 1-2, 3-6, 7-10, Main)
- Talk button
- Rear-panel XLR mic input with level control and continuous 48V phantom power
- 2 Track In
- Level control
- Tape Input to Mains button
- FireWire source on/off
- Solo Bus
- Cue Mix volume control
- PFL/AFL and Solo In Place (SIP) buttons
- Monitor Bus
- Headphone-output level control
- Control-room monitor-level control
- Solo Bus to Monitor button
- Tape Input to Monitor button
- Main L/R FireWire Return to Monitor button
- Main Mix to Monitor button
- Pan with dedicated 15-LED display
- Stereo link for input channels, aux buses, and subgroups
- Phase reverse (main channels only)
- High-pass filter: 6 dB/oct., sweepable from Off to 1 kHz (main channels and aux’s only)
- 4-band fully parametric equalizer
- Low EQ: sweepable from 36 Hz to 465 Hz, ±15 dB, switchable shelf or peaking
- Low Mid EQ: sweepable from 90 Hz to 1.2 kHz, ±15 dB, variable Q 0.1 to 4.0
- High Mid EQ: sweepable from 380 Hz to 5 kHz, ±15 dB, variable Q 0.1 to 4.0
- High EQ: sweepable from 1.4 kHz to 18 kHz, ±15 dB, switchable shelf or peaking
- Master EQ On/Off button
- Gate: Threshold: 0 to –84 dB, Attack: 0.02 to 500 ms, Release: 0.05 to 2 sec, Bandpass Key Filter: 40 Hz to 16 kHz, second-order resonant bandpass filter Q (0.7) with Key Listen function
- Compressor: Threshold,-56 to 0 dB; Ratio 1:1 to 14:1, LIM=∞:1; Attack 0.2 to 150 ms; Release 2.5 to 900 ms; Makeup Gain 0 to 28 dB; Soft Knee switch; Auto Mode with 10 ms Attack and 150 ms Release
- Limiter: variable Threshold -28 dBfs to 0, ∞:1 Ratio
- Output Assign: 4 subgroups and main with post-EQ/post-dynamics option
- All settings can be copied among channels and saved as user presets.
- 50 channel-strip presets for drums, bass, guitars, keyboards, and vocals
- 31-band graphic equalizers
- Assignable in four stereo pairs
- Mono or stereo operation
- Main outputs, aux outputs, subgroup outputs
- Scene Store and Recall
- Global Scene Storage: all current StudioLive settings
- Up to 80 at a time
- Automatic Global AutoStore
- Individual channel-strip Scene storage
- Up to 48 at a time, plus…
- 50 factory presets for instruments and vocal
- Copy and Paste between channels
- Customizable naming (for example, “Saturday Gig” or “Main Worship Service”)
- Lockout mode to keep inspired amateurs from changing your settings
- 24 x 16- LED Fat Channel matrix:
- Pre-dynamics/pre-fader input
- Post-dynamics/post-fader output
- Gain reduction
- Aux 1-10 and EFX A/B output
- Fader-position recall
- 8 x 15-LED main meter bank
- Selected channel level
- Selected channel gain reduction
- Sub buses 1 to 4
- Main stereo outputs
- 15-LED horizontal Pan/Balance display
- 64 x 194 LCD matrix
- Effects parameters
- Scene creation, storage, and recall
- System menus
- 2-digit Channel Selected display
- 24 main inputs, each with XLR mic, ¼" line, and ¼" inserts
- 2 ¼" stereo (L/R) aux inputs
- 1 XLR talkback-mic input with phantom power and level control
- Unbalanced RCA stereo (L/R) tape inputs and outputs
- XLR stereo (L/R) main outputs with level control
- ¼" stereo (L/R) main outputs
- XLR mono output with level control
- ¼" stereo (L/R) control-room outputs
- ¼" Headphone output
- 4 ¼" subgroup outputs
- 10 ¼" aux outputs
- 24 pre-insert, balanced direct outputs, Ch. 1-8, 9-16, 17-24 (DB25 sockets) S/PDIF digital out
- 2 FireWire 400 ports
- High-definition analog-to-digital converters (118 dB dynamic range)
- Unlimited-headroom, 32-bit floating point, digital mixing and effects processing
- Internal sample frequency 44.1 kHz and 48 kHz
- Rugged, non-flex steel chassis
- 100 mm long-throw faders
- Military-grade, quick-touch buttons
- BNC 12V lamp socket
- Optional dust covers available
|Dimensions (WxHxD)||23.6" x 6.8" x 21.31"|
Buy Buy Buy and get a Mac Mini to connect it too
Review by Rockin Dockin
I could gone on for a while.
Conclusion: I would buy the board again and again. (Posted on 12/31/12)
good board. good price.
Review by Konstantin
Cons: (1) First thing and probably the only thing that I have problem with is, as all digital boards you can only work on one channel at a time. For example can't eq two channels unless they are linked. (2) Second, sync with laptop. One time I hooked up my laptop after the sound check to record the band at the wedding and to use my pad as a remote. All of a sudden I wasn't getting any output. Simple solution I restarted the board. All came back online. Another time I did the same thing, everything was working however one of the channels was restored to default settings. So that was a hick up. (3) third, need a laptop, router, and an ipad(s) to really appreciate what this board can do. (4) fourth the faders are a bit too light. I understand they are digital but wish they would have a little more resistance. (5) fifth, graphical eq's can only be assigned in stereo pairs. So if eq1 is aux1 then eq2 is aux2 by default. (6) sixth, Can't dial in or change fx from ipad. No control besides send and return. Major downer.
Pros: (1) one, small footprint. I didn't buy any outboard gear yet and I don't think I will anytime soon. (2) two, the board has enough processing power to make crappy mics sound good. Lots of control sometimes even too much but "Better to have it and not need it, than need it and not have it." One of my friends says. (3) three, With my ipad I can take my graphical eq anywhere. Ring out the monitors and actually hear how they really sound. Pad can control almost everything on the board. Except fx. (4) four, you can set up delays on the subgroups. (5) five, with multiple pads you can control different monitor mixes on stage. (6) six, presets on the board are great. If I have a new band I never mixed I preset the board before the show and those presets work right out of the box. I got decent speakers so its much easier with eq but the fact is I can come in setup and all I have to do is adjust gain to get the right volume. With some rooms I need to change eq a bit but so minimalistic. Saves a lot of time. (7) seven, should have mentioned it earlier fx are great. Good quality. (8) eight illuminated buttons. Looks like enterprise "Full warp power". (9) nine, save scenes, presets. (10) ten should have mentioned it first, very intuitive. Easy to read and get used to. First time I used it I did not have to look for a thing. Everything is in front of you almost as if you just know where to look.
I think I wrote a handful. Might add some things in the future. Hope this helps. (Posted on 11/30/11)
good sounding nice and esay recording.
Review by frizz