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PreSonus StudioLive 24.4.2 Performance and
Recording Digital Mixer, 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
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General Information |
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Manufacturer |
PreSonus |
|
Manufacturer Part Number |
StudioLive 24.4.2 |
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Product Name |
Performance and Recording Digital Mixer |
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Marketing Information |
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.
New Virtual StudioLive™ (Mac/Win) and StudioLive Remote (iPad®) let you
remote-control StudioLive 16.0.2, 16.4.2 and 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.
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.
You've read the book. Now see the movies.
We've provided plenty of written material about StudioLive. In addition,
our 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 we 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 we mean about intuitive ease-of-use.
You'll hear what we 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. |
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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
- 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
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Specifications |
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Microphone Preamp
1-24 (XLR Balanced) |
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Type |
XLR Female, Balanced |
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Frequency Response to Direct Output |
20 Hz to 40 kHz ±0.5 dBu |
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Frequency Response to Main Output |
20 Hz to 20 kHz ±0.5 dBu |
|
Input Impedance (Balanced) |
1 kΩ |
|
THD to Direct Output |
< 0.005%, +4 dB u, 20-20 kHz, unity gain,
unwtd |
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THD to Main Output |
<0.005%, +4 dB u, 20-20 kHz, unity gain,
unwtd |
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EIN to Direct Output |
+125 dB unwtd, +130 dB A-wtd |
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S/N Ratio to Direct Output |
-97 dB |
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S/N Ratio to Main Output |
-94 dB |
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Common Mode Rejection Ratio |
+65 dB |
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Gain Control Range |
-16 dB to +67 dB (± 1 dB) |
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Maximum Input Level (unity gain) |
+16 dBu |
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Phantom Power |
+48 VDC |
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Line Inputs |
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Type |
¼" TRS Female, balanced mono |
|
Frequency Response to Direct Outputs |
10-40 kHz, 0 / -0.5 dBu |
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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 |
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THD to Main Output |
<0.005%, +4 dBu, 20-20 kHz, unity gain,
unwtd |
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S/N Ratio to Direct Output |
-105 dB |
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S/N Ratio to Main Output |
-94 dB |
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Gain Control Range |
-20 dB to +20 dB (±1 dB) |
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Maximum Input level (unity gain) |
+22 dBu |
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Tape Inputs |
|
Type |
¼" TRS Female, balanced mono |
|
Maximum Input Level |
+10 dBu |
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Auxiliary Inputs |
|
Type |
¼" TRS Female, balanced (2 stereo pairs) |
|
Maximum Input Level |
+22 dBu |
|
Main Outputs |
|
Type |
Male, balanced (stereo pair); ¼" TRS
Female, balanced (stereo pair); XLR Male, balanced (mono) |
|
Rated Output Level |
+24 dBu |
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Output Impedance |
100Ω |
|
Aux Outputs |
|
Type |
¼" TRS Female, balanced (mono) |
|
Rated Output Level |
+18 dBu |
|
Output Impedance |
100Ω |
|
Subgroup Outputs |
|
Type |
¼" TRS Female, balanced (mono) |
|
Rated Output Level |
+18 dBu |
|
Output Impedance |
100Ω |
|
Tape Outputs |
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Type |
RCA Female, unbalanced (stereo pair) |
|
Rated Output Level |
+18 dBu |
|
Output Impedance |
100Ω |
|
Control Room Outputs |
|
Type |
¼" TRS Female, balanced (stereo pair) |
|
Rated Output Level |
+18 dBu |
|
Output Impedance |
100Ω |
|
System Cross Talk |
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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 |
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Threshold Range |
-84 dB to 0 dB |
|
Gate Attenuation Range |
-84 dB to 0 dB |
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Attack Time |
0.02s to 500 ms |
|
Release Time |
0.05s to 2s |
|
Expander Attenuation Range |
2:1 |
|
Limiter |
|
Threshold |
-28 dBFS |
|
Ratio |
∞: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 ≈ 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) |
A-20110721-1250-130-L
*This item is BRAND NEW -
not refurbished. It comes with all manufacturer supplied accessories, and full
manufacturer's USA warranty.
|
