PreSonus StudioLive 32SX 32-Channel Digital Mixer

PreSonus StudioLive 32SX 32-Channel Digital Mixer

With 32 preamps in a low-profile 25-fader frame, the StudioLive 32SX digital mixer offers 64x64 USB I/O, AVB networking and PreSonus' robust FLEX DSP engine.

PreSonus StudioLive 24.4.2 24-Channel Digital Mixer with FireWire Interface

No longer available at zZounds
Computer system requirements:
Below are the minimum computer-system requirements for your StudioLive 24.4.2.

Windows
Windows XP, Vista, Windows 7 (32- and 64-bit)
Intel Pentium 4 1.6 GHz processor or AMD Athlon 64 3000+ (Turion) (2.8 GHz or faster recommended)
1 GB RAM (2 GB or more recommended)
Macintosh
Mac OS X 10.6 (Snow Leopard) or later (32- and 64-bit)
Intel Core 1 Solo 1.5 GHz processor (Intel Core Duo or Intel Xeon processor 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
Note that the speed of your processor, amount of RAM and size and speed of your hard drive will greatly affect the overall performance of your recording system. Also, a more powerful system (faster processor with more RAM) will allow for lower latency (signal delay) that you might experience while monitoring audio or MIDI signals.
Monitor resolution for both PC and Macintosh should be no lower than 1024x768 pixels.

Known compatible and incompatible hardware
Microphone Preamp 1-24 (XLR Balanced)
Type XLR Female, Balanced
Frequency Response to Direct Output 20 Hz to 40 kHz +/- 0.5 dBu
Frequency Response to Main Output 20 Hz to 20 kHz +/- 0.5 dBu
Input Impedance (Balanced) 1 kohms
THD to Direct Output < 0.005%, +4 dB u, 20-20 kHz, unity gain, unwtd
THD to Main Output) <0.005%, +4 dB u, 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
Type 1/4" 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 k ohms

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 Output -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 100 ohms

Aux Outputs
Type 1/4" TRS Female, balanced (mono)
Rated Output Level +18 dBu
Output Impedance 100 ohms

Subgroup Outputs

Type 1/4" TRS Female, balanced (mono)
Rated Output Level +18 dBu
Output Impedance 100 ohms

Tape Outputs
Type RCA Female, unbalanced (stereo pair)
Rated Output Level +18 dBu
Output Impedance 100 ohms

Control Room Outputs
Type 1/4" TRS Female, balanced (stereo pair)
Rated Output Level +18 dBu
Output Impedance 100 ohms

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, 40 Hz-16 kHz
Threshold Range -84 dB to 0 dB
Gate Attenuation Range -84 dB to 0 dB
Attack Time 0.02s to 500 ms
Release Time 0.05s to 2s
Expander Attenuation Range 2:1

Limiter
Threshold -28 dBFS
Ratio Infinity:1
Attack 20 ns
Hold 10 ms
Release 20 ms

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, 400 Mb/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 apx 1 ps out)

Power/Environmental
Connector IEC
Input-Voltage Range 100 to 240 V~, 50-60 Hz
Power Requirements (continuous) 100W
Temperature Range 0 - 40 degrees Celsius

Physical
Length 21.31 inches (541.27 mm)
Width 25.19 inches (639.80 mm)
Maximum Height 7.02 inches (178.21 mm)
*Please see complete mechanical drawings when building a custom rack, desk or case.
Weight 30 lbs.
PreSonus Warranty Presonus offers a one year warranty (parts and labor) on all new products. All non-new Presonus products are not covered by any warranty.
If you have additional warranty questions, please contact the manufacturer at 225-216-7887

PreSonus StudioLive 24-Channel Mixer

Whether you are a disillusioned analog fan looking to convert to the dark side or an already digital savvy engineer looking for an upgraded mixer, Presonus has given you plenty of reasons to consider the StudioLive 24.4.2 24-Channel Digital Mixer with FireWire interface.

The 24.4.2 is a premier digital mixer/recorder suited for live performances and studio sessions. It features 24 class-A XMAX mic preamps on 24 channel strips, an enhanced gate with Key Listen and Key Filter, a threshold control on the limiter, fully-parametric EQ on all 24 inputs, four dual-mono 31-band graphic EQs assignable to any of 4 subgroups, 10 auxiliary buses, two programmable, 32-bit, stereo DSP effects engines, and more. As well, the 24.4.2 includes a simple FireWire connection that allows you to attach the mixer directly to a computer or laptop for easy audio transfer.

The advantages of going digital are clear. The advanced Fat Channel digital signal processing featured on the 24.4.2 allows each channel input and most of the outputs to have its own compressor, limiter, gate, 4-band parametric EQ, and high-pass filter without physically extending the board to an intrusive size in order to accommodate all the knobs, switches, and buttons an analog mixer would need to achieve the same effects. Further, StudioLive incorporates a simple save function to make storing and recalling every meticulously forged mixture quick and painless. For auditoriums, churches, clubs, and other recurring gigs, the value of having easy to find and implement presets cannot be overstated.

Live recording, similarly, is quite easy with the PreSonus StudioLive, simply attach the 24.4.2 to any laptop or computer that is capable of supporting a 6-pin FireWire connection. Then using any DAW program or the included Capture(tm) recording software, you can multitrack your live performance, either pre- or post-Fat Channel signal processing. If you need more than 24 channels for recording, and you don't need a full channel strip for the additional inputs, plug in your PreSonus FireStudio Project, FireStudio Tube, or FireStudio Mobile interface through the FireWire port. The StudioLive 24.4.2 can also playback on up to 26 channels from your computer.

The FireWire port is good for more than just recording and playback, however; it allows you to daisy chain multiple 24.4.2's together should you happen to need more than 24 channels of mixing for larger more complex shows. With all this FireWire capability built in, it's no wonder the StudioLive makes such a fantastic analog-style front-end for your project studio.

However, perhaps the most intriguing feature of the 24.4.2's digital computer interface is not its playback/recording/mixing abilities but the remote control capability presented by the Virtual StudioLive(tm) software. This amazing program lets you remotely set all your Fat Channel processing and effects from any computer or iPad using the StudioLive Remote app. This means you can literally get up and walk around the venue to check levels and balance while adjusting and tweaking the setting on the go. Even more, this program allows you to drag and drop setting from your computer unto the mixer and even share 'Scenes' -- saved mix levels -- with fellow StudioLive users.

Features:

- 24 channel strips with high-headroom XMAX microphone preamplifiers
- 10 aux buses and 4 subgroups
- Over 90 signal processors with onboard library of DSP presets accessible via Fat Channel
- 32-bit floating-point processing for digital mixing and effects
- LED meters for every channel and processor function
- Mixer save and recall, and Fat Channel save/recall/copy/paste
- Master section with Talkback, Monitor, Cue, and selectable headphone sources
- Built-in FireWire recording and playback interface with super-stable JetPLL(tm) synchronization technologya
- Bundled software includes Capture for FireWire live recording, Studio One Artist(TM) digital audio workstation software to edit your recordings, and Virtual StudioLive to remote-control your mixer

Presonus developed the StudioLive line of mixers -- the 16.4.2, the 16.0.2, and the 24.4.2 -- to provide sound engineers, recording artists, and other performers with hardware that could serve equally well as both a live and studio mixer/recording unit. Of that line, the 24.4.2 offers more channels and key features, such as the threshold control on the limiter, four extra auxiliary buses, and fully parametric EQs not found on the smaller more economic models.

Virtual StudioLive (Mac/Win) and StudioLive Remote (iPad)

PreSonus Virtual StudioLive software for Mac and Windows provides bidirectional control of the StudioLive 16.0.2 digital mixer. Now you can see and control the most-used mixer parameters onscreen, including channel, subgroup, aux send, and main levels, as well as Fat Channel, effects, and graphic EQ settings.

Control the mixer with a mouse or watch VSL update when you adjust the hardware. Drag Fat Channel presets onto all 16 channels in seconds. Mute or solo every channel with a sweep of the mouse. Apply a Scene to the whole mixer just by dragging it on VSL from a list you see at all times. Collect and trade Scenes with other StudioLive users. This is huge!

To top it off, you can control VSL -- and therefore, your StudioLive mixer -- from an Apple iPad. With PreSonus StudioLive Remote for iPad (free from the Apple App Store), you can walk around the venue and tweak the mix, in real time, from any location, fixing monitor mixes from the stage and eliminating sonic problems on the spot.

- Easy drag-and-drop workflow
- Drag presets directly to channels
- Drag parts of presets directly to components in the Fat Channel
- Adjust the Fat Channel gate, compressor, and EQ plus the graphic EQ and effects
- Quickly drop entire Scenes to the mixer to instantly load all channel, effects, and graphic EQ settings
- Load effects quickly by simply dragging presets into the GUI
- Use the mouse to quickly assign channels to multiple buses, mute, solo, etc.
- Store and organize presets on your computer, then transfer them to your mixer for that night's gig
- Create presets on the road, store them to the mixer, then drag them to your preset pool the next time you're connected to the computer
- Reorder presets in mixer memory and in the software to best fit your workflow for each gig
- Share presets with friends; drag presets out of the browser and email, IM, or disk-swap presets with other StudioLive owners
- See all of the most-used parameters on the mixer at once
- See the state of all Fat Channel settings at once
- See all aux mixes at once
- See the current effects and other parameter settings
- View and graphically edit all parametric EQ and compression curves
- View and graphically edit all graphic equalizer settings
- Do time-stamped backups of the entire mixer
- Remote control the mixer from an iPad using StudioLive Remote software.

Q-Mix Wireless Aux-Mix Control Software for iPhone(r) and iPod touch(r)

With QMix, you can enjoy wireless remote control of any PreSonus StudioLive mixer's aux sends from up to ten Apple iPhones or iPod touches! Let performers create their monitor mixes from individual iPhones. With the Wheel of Me, you can select multiple "Me" channels and control their levels simultaneously. Requires a Mac or PC running PreSonus Virtual StudioLive.

Features:

- Runs on an Apple iPhone or iPod touch with iOS 4 or higher
- Provides wireless control over aux mixes in Virtual StudioLive and hence, over aux mixes in any StudioLive-series digital mixer
- Portrait view shows Wheel of Me, where you can select multiple "Me" channels and control their levels simultaneously
- Landscape view provides control of all aux-send levels and panning (for linked auxes)
- Aux mixes can be named (up to 10 characters)
- Control the auxes on any StudioLive mixer on the wireless network from one iPhone or iPod touch
- Multiple iPhones and iPod touches can control the same StudioLive
- Set permissions in VSL so each iPhone and iPod touch can control only one specific aux mix
Free from the Apple App Store
(27 ratings)
Submitted July 26, 2013 by Bradley S
"Awesome..."
Verified Customer zZounds has verified that this reviewer made a purchase from us.
My first digital after several years of trusty ol' analogue. I was scared it would sound too dead or flat... Glad it worked out in my favor.1) Can't beat all the on board stuff. If you can't find it, you don't need it.2) If you forget to save settings (scene) and it powers off for whatever reason, it's automatically recalled upon powering up. (the last scene used, that is)3) 10 auxes, fully loaded means not having to chase feedback around in the monsAND MOST OF ALL -This thing is a stand alone beast in recording live or studio - if you're in the know. It won't flatter anything, but it won't hurt anything... In my eyes that's perfect. Basically, if you can imagine it, this console will do it. If not, well, you imagined it - find a solution. The Presonus consoles will handle it. Oh, and for the price point - reverse polarity is in the box... No more reverse engineered cables, or extra trinkets and hoo-hahs to cart around. Try that with an analogue board.As a matter of fact, I ran a 3 day festival back in May and FOH was simply the Presonus and a desk. Other than bare bones sound, I did it all in the box. I didn't need 15 outlets at FOH. Just 1 :)Oh, and if you insist on having matching snakes with no excess ins/outs check out Seismic Audio. They have a Presonus specific snake for the 16 and 24. Buy them up. If the 150' sells well, they'll stock a 200'. I need 200'. I own SA gear. They're legit as hell. I gave its features 4.5 read more because it isn't USB compatible. I have both on my comp so it didn't kill me, but there was a learning curve, or so I thought.As far as Presonus Support, I haven't had to deal with them, but the Presonus Forum is chocked full of folks who know Presonus in and out. I put up 4.5 stars on Ease Of Use only because the users manual doesn't clearly state that the Aux's are exactly the same as the Inputs minus only some basic differences (Key Filter and such). Really. I don't see the need for a 31 Band on an Aux/Mon mix if you have Fully Parametric 4 Band on ALL channels. I'm done rambling. I am the bees knees now. It was nice that other "Sound Engineers" don't come up any more and finger f*** my rig. They're really intimidated. (Jokes on them. It's really just the same as analogue minus the digital part)

Sound
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Musical Background:
In it since 2003. Wannabee producer, LOL!!!! Sound Engineer/Singer-Songwriter/Lead - Rhythm Guitar and various other inst.

Musical Style:
Genre - Post-Rock-Anti-Folk-Country-Bluegrass-Reggaeton-Dubstep (It sounds real good if you're drunk and high with a touch of cr
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