The Presonus 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.
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See it. Touch it. Change it: the ease of analog meets the power of digital. When they designed StudioLive, one of PreSonus's 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.
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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, they’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, PreSonus 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.
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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.
PreSonus 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.
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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.
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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.
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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.
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You’ve read the book. Now see the movies. PreSonus provided plenty of written material about StudioLive. In addition, their Web site hosts a whole series of instructional videos showing StudioLive mixers in church, club, and project-studio applications. Video blogs go into detail about various powerful StudioLive features. And they regularly add new videos.
Reading about the StudioLive 24.4.2 is a good start but nothing beats actually getting your hands on one, so visit your nearest PreSonus dealer today. You’ll see what they mean about intuitive ease-of-use. You’ll hear what they mean about Class A preamps, rich DSP effects, and overall sound quality. And when you have seen and heard it for yourself, you’ll understand why your new mixer should be a StudioLive.
Features: • 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:
Solo
Mute
Access to Fat Channel functions (except high-pass filter and phase reverse)
• 10 aux sends, each with
Solo
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:
Mute
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
• Fat Channel with rotary encoders:
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
• 2 internal digital effects-processors, each with 50 customizable reverb and delay presets
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
• Metering/Displays
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 levelv -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
• Input/Output:
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
• Digitalia:
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
• Physical:
Rugged, non-flex steel chassis
100 mm long-throw faders
Military-grade, quick-touch buttons
BNC 12V lamp socket
Optional dust covers available sold separately
Computer system requirements:
Below are the minimum computer-system requirements for your StudioLive 24.4.2.
• Windows:
Windows 7, Vista, XP (32-bit and 64-bit)
Intel Pentium 4 1.6 GHz processor or AMD Athlon 64 (Turion) (2.5 GHz or faster recommended)
1 GB RAM (2 GB or more recommended)
• Macintosh:
Mac OS X 10.5.2 or later (32-bit and 64-bit)
PowerPC G4 1.25 GHz or Intel Core Solo 1.5 GHz processor (2 GHz or faster recommended)
1 GB RAM (2 GB or more recommended)
• Windows and Macintosh Systems
IEEE 1394 FireWire 400 Port
Internet connection recommended
DVD-ROM drive
Internal or external 7200 RPM storage drive highly recommended
Specifications:
• Microphone Preamp 1-24 (XLR Balanced)
Type: XLR Female, Balanced
Frequency Response to Direct Output: 20 Hz to 40 kHz ±0.5dBu
Frequency Response to Main Output: 20 Hz to 20 kHz ±0.5dBu
Input Impedance (Balanced): 1K Ohm
THD to Direct Output: < 0.005%, +4dBu, 20-20kHz, unity gain, unwtd
THD to Main Output: <0.005%, +4 dBu, 20-20 kHz, unity gain, unwtd
EIN to Direct Output: +125 dB unwtd,, +130 dB A-wtd
S/N Ratio to Direct Output: -97 dB
S/N Ratio to Main Output: -94 dB
Common Mode Rejection Ratio: +65 dB
Gain Control Range: -16 dB to +67 dB (+/- 1 dB)
Maximum Input Level (unity gain): +16 dBu
Phantom Power: +48 VDC
• Line Inputs:
Type1/4" TRS Female, balanced mono
Frequency Response to Direct Outputs: 10-40 kHz, 0 / -0.5 dBu
Frequency Response to Main Outputs: 20-20 kHz, +/- 0.5 dBu
Input Impedance: 10 kΩ
THD to Direct Output: <0.0007%, +4 dBu, 20-20 kHz, unity gain, unwtd
THD to Main Output: <0.005%, +4 dBu, 20-20 kHz, unity gain, unwtd
S/N Ratio to Direct Output: -105 dB
S/N Ratio to Main Outpu: -94 dB
Gain Control Range: -20 dB to +20 dB (+/- 1 dB)
Maximum Input level (unity gain): +22 dBu
• Tape Inputs:
Type: 1/4” TRS Female, balanced mono
Maximum Input Level: +10 dBu
• Auxiliary Inputs:
Type: 1/4” TRS Female, balanced (2 stereo pairs)
Maximum Input Level: +22 dBu
• Main Outputs:
Type: Male, balanced (stereo pair); 1/4” TRS Female, balanced (stereo pair); XLR Male, balanced (mono)
Rated Output Level: +24 dBu
Output Impedance: 10 kΩ
• Aux Outputs:
Type: 1/4" TRS Female, balanced (mono)
Rated Output Level: +18 dBu
Output Impedance: 51 Ω
• Subgroup Outputs:
Type: 1/4” TRS Female, balanced (mono)
Rated Output Level: +18 dBu
Output Impedance: 51 Ω
• Tape Outputs:
Type: RCA Female, unbalanced (stereo pair)
Rated Output Level: +18 dBu
Output Impedance: 100 Ω
• Control Room Outputs
Type: 1/4” TRS Female, balanced (stereo pair)
Rated Output Level: +18 dBu
Output Impedance: 51 Ω
• System Cross Talk:
Input to Output: -90 dBu
Adjacent Channels: -87 dBu
• Noise Gate / Expander:
Key Listen Filter: 2nd order resonant bypass; Q=0.7; OFF, 40Hz-16kHz
Threshold Range: -84 dB to 0 dB
Gate Attenuation Range: -84 dB to 0 dB
Attack Time: 0.02s to 500ms
Release Time: 0.05s to 2
Expander Attenuation Range: 2:1
• Limiter:
Threshold: -28dBFS
Ratio: ∞ :1
Attack: 20ns
Hold: 10ms
Release: 20ms
• Compressor:
Threshold Range: -56 dB to 0 dB
Ratio: 1:1 to 14:1
Attack Time: 0.2 ms to 150 ms
Release Time: 40 ms to 1000 ms
Auto Attack and Release: Attack = 10 ms, Release = 150 ms
Curve Types: hard and soft knee
• EQ:
Type: 2nd order shelving filter (Q = 0.55)
Q: 0.1 to 4
Low (Lowpass or Bandpass): 36 to 465 Hz, ± 15 dB
Low Mid: 90 Hz to 1.2 kHz, ±15 dB
High Mid: 380 Hz to 5 kHz, ±15 dB
High (Highpass or Bandpass): 1.4 kHz to 18 kHz, ±15 dB
• Graphic EQ:
31- Band 1/3rd Octave Controls: Curve-fitting algorithm
Gain/Attenuation: ±15 dB
• Digital Audio:
ADC Dynamic Range (A-wtd, 48 kHz): 118 dB
DAC Dynamic Range (A-wtd, 48 kHz): 118 dB
FireWire: S400, 400Mb/s
Internal Processing: 32-bit, floating point
Sampling Rate: 44.1, 48 kHz
A/D/A Bit Depth: 24
Reference Level for 0 dBFS: -18 dBu
• Clock:
Jitter: <20 ps RMS (20 Hz - 20 kHz)
Jitter Attenuation: >60 dB (1 ns in ≈ 1 ps out)
• Power/Environmental:
Connector: IEC
Input-Voltage Range: 100 to 240 V~, 50-60Hz
Power Requirements (continuous): 100 W
Temperature Range: 0 - 40 degrees celsius
• Physical:
Dimensions: (LxWxH): 21.31" x 25.19" x 7.02" (541.27 x 639.80 x 178.21mm)
Weight: 30 lbs. (13.61kgs)
