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.

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.

If your needs and budget are more modest, you might want to consider the StudioLive 16.0.2. The StudioLive 16.0.2 provides fewer channels, mic preamps, aux buses, FireWire streams, graphic EQs, and meters than the StudioLive 24.4.2, and it does not have subgroups, digital outs and analog direct outs. Its faders are 60 mm instead of 100 mm, and you can't daisy-chain two 16.0.2s to create a larger system. And the StudioLive 16.0.2's Fat Channel is less elaborate than the 24.4.2 Fat Channel. However, the StudioLive 16.0.2 is much lighter and more compact than the 24.4.2, it's considerably less expensive, and it has a very cool feature that the larger StudioLives don't offer: MIDI control over main output level, effects levels and routing, and Scene change.

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 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
• 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