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A StudioLive™ is a 3G cell phone with an easy-to-use interface and powerful applications. You'll never go back to an old-skool 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!
Like the 3G cell phone in our analogy, StudioLive is truly a third-generation digital mixer. 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.
Here, in one portable 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, 6 (16.4.2) or 10 (24.4.2) aux buses, 4 subgroups, extensive LED metering, mixer save and recall, channel-strip save/recall/copy/paste, talkback, and more.
Create live mixes that glisten with clarity and detail-then record and enhance the performance with the power of StudioLive.
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 revolutionizes music production, opening endless creative possibilities.
Among the employees of PreSonus, there are more band members than you can shake a mic stand at. All of us have lived with conventional mixers for years. And many of us have struggled with the less-than-intuitive interfaces of earlier digital mixers.
So 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, and you see real hardware Mute and Solo buttons, trim controls, and clearly labeled, individual knobs for 4-band EQ and dynamics processing. The master section-complete with Talkback, Monitor, Cue, and a choice of control room sources-looks just like the master section on an analog board but with far more power and flexibility. Aux sends have their own physical 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 16.4.2 or StudioLive 24.4.2. And even if you've never used any mixer before, you'll quickly be able to create professional mixes and recordings.
If StudioLive 16.4.2 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, basic limiter, gate/expander, 4-band semi-parametric EQ, and high-pass filter. In all, we've packed 31 compressors, 31 limiters, 31 gates, 16 high-pass filters, 2 stereo reverbs/delays, 2 master stereo graphic EQs, and more, into one remarkable Fat Channel.
The new StudioLive 24.4.2 ups the ante with 4-band fully parametric equalization and a truly studio-grade gate with Key Filter and Key Listen.
Engaged by pressing any Select button, the Fat Channel features extensive equalization and dynamics for every input channel, every aux output, every subgroup output, and the main outputs. The high-pass filter and four-band semi-parametric EQ algorithms are based on PreSonus' digital EyeQ™ equalizer, delivering extremely musical results. Also included in the Fat Channel are limiters, plus compressors and gates modeled after PreSonus' highly-respected ACP88, providing complete dynamics control.
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.
You get two programmable, 32-bit floating point, stereo DSP effects engines, loaded with 50 reverb, delay, and time-based effects presets that you can really use (see sidebar on page 10). The reverbs are so rich and detailed that you feel like you're there. Delays are precise. Slap echo sounds like old-skool tape effects. All 50 effects have easy-to-use parameter adjustment, tap tempo, store and recall selection for ultimate creative flexibility.
The StudioLive 16.4.2 also sports a stereo 31-band graphic equalizer on the main outputs so you can compensate for room acoustics and speaker response. The new 24.4.2 goes hog-wild with 4 stereo 31-band graphic equalizers, which can be applied to the main, subgroup, and aux outputs.
Whether StudioLive's 94+ signal processors and 50 DSP effect presets were on gigundo channel strips, in a whopping rack of outboard gear, or neatly condensed into our Fat Channel, they have a lot of settings to remember and reset at every performance. That's where the power of digital comes in: StudioLive never forgets.
Two factors work against getting that Perfect Mix with an analog mixer. First, The Perfect Mix can be hard to reproduce a week, day, or hour after you perfect it. And second, a good mix for a complete performance should be dynamic: levels, effects, and even EQ should be tailored to each song or segment of the show, service, or presentation.
StudioLive solves this problem by letting you save all of your digital settings for quick setup and recall. Save Scenes that include every setting on the mixer. 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. It means that you can fine-tune Scenes for different songs and call them up instantly. And it lets rank amateur volunteers run the StudioLive and achieve pro-quality sound.
We've included a whole library of individual channel settings as starting points for optimizing the sound of instruments, vocals, and spoken word. And an Automatic AutoStore feature regularly saves your current settings, just in case the power fails.
If you have a laptop, you have a 32-track digital recorder instantly ready to capture your gig, church service, or presentation. Just two mouse clicks engages Capture 1.1 recording software. Then your Studio One Artist digital audio workstation lets you edit and enhance to your heart's content (see page 00 for a complete description).
StudioLive features a tightly integrated FireWire interface with advanced JetPLL™ synchronization, delivering 32 channels or more 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 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. (The drummer got stuck in traffic again.) Or create backing tracks at your studio and seamlessly blend them with live performance.
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 digital mixing 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.
The XMAX™ Class A preamplifiers. StudioLive 24.4.2 and 16.4.2 preamplifiers have three key advantages:
The net result of the XMAX preamp design is high headroom, low noise, wide dynamic range, extended frequency response, and-most important-musicality and transparency, with smooth highs; solid, deep lows; and everything in between.
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, with +118 dB dynamic range, for spectacular sonic results and unmatched musicality.
JetPLL Sync. Synchronization to your computer is stable and robust, thanks to JetPLL™ synchronization technology. JetPLL incorporates noise shaping to virtually remove all audio-band jitter, ensuring near-perfect clock performance and optimal converter performance when networking two or more digital-audio devices. JetPLL quickly locks to any digital format through a wide range of frequencies and is extremely robust and tolerant of wide variations in clock frequencies. As a result, you'll experience better stereo separation and clearer, more transparent audio.
Need more than 16 or 24 channels? Daisy-chain up to four StudioLive 16.4.2s via their FireWire ports to get up to 64 input channels and 16 submix buses.
Combining two or more consoles only takes a few minutes. You just remove the side rails, add one or more optional Transition Brackets, and connect FireWire cables between the units.
Now that you have captured your tracks, you probably want to bring them back to your studio for editing and sweetening before doing your final mix. No worries! StudioLive 16.4.2 also comes bundled with Studio One Artist, the amazing new DAW software for Mac OS X and Windows XP and Vista that makes producing high-quality projects easier than ever before. As part of the Studio One Artist package, you get 20 new PreSonus Native Effects plug-ins and virtual instruments and a generous bundle of third-party loops, software, and instrument sounds.
Compare Studio One Artist and bundled extras to what comes with competing mobile interfaces:
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