By Mike SeniorCan this digital mixer perform equally well in both the studio recording and live sound worlds?PreSonus have plenty of experience in analogue hardware, audio interface and monitor controller design, and have drawn on this in designing their StudioLive 16:4:2 mixer. This fully featured, stand-alone, four‑bus digital mixer is aimed as much at front‑of‑house as at recording applications, and is equipped with a Firewire port, so it can also act as a 32‑in, 18‑out audio interface.The idea is that you can use the mixer for live sound mixing while simultaneously multitracking the gig for a later mixdown.
After the show, you can route audio back into the desk, using its processing and effects to reduce the burden on your computer.I've condensed the StudioLive's main features into a 'Vital Statistics' box, and will concentrate here on what it's like to use, and how it sounds. I've considered this mixer from a studio production perspective, but you'll be able to read a more live‑focused review in a forthcoming issue of our sister publication, Performing Musician. In the meantime, the 'Live Sound' box gives a quick roundup of the mixer's dedicated live sound features.Before I dive too deeply into the audio interface side of things, let's look at the mixer itself.
The Yamaha AW-2400 is gone and has been replaced with a Zoom R24 recorder, a Studio Project VTB-1 preamp and a really powerful DAW called Reaper. You can read about my recording process below and there are many great web sites to read about reviews on these great products so there's no need for me to cover the basics here.
The topology is pretty simple, with 16 preamp‑fed input channels, four subgroup buses, and a stereo master bus. There are eight aux sends (of which two are dedicated to a pair of internal mono‑in, stereo‑out effects processors), as well as a pair of stereo aux returns and two‑track I/O. A central section of buttons, rotary encoders and meters provides the only assignable controls on the console. Otherwise, you get one control per function.The primary role of the assignable controls is to access the main channel processing module (the 'Fat Channel'), which equips most inputs and outputs (including subgroups, main outs, aux sends, and aux/effects returns) with a powerful mix of dynamics and EQ.
I make that 34 channels of processing, which is a big chunk of DSP power. Hit a Select button anywhere on the console and that channel's processing comes up on the assignable controls and meters for editing. Other buttons allow you to view and adjust the send level and pan settings for any particular aux-bus send, or to switch the meters to show audio levels passing through the console at various key points.Aux sends are switchable pre/post‑fader, as you'd hope, but you can also take the pre‑fader feed from before the Fat Channel compressor, via an easily accessible system preferences setting. Channel linking and bus routing is sensibly implemented, and a simple channel‑copy facility takes the sting out of applying similar settings to several tracks. You can save 100 different Fat Channel settings for later use, as well as storing the entire setup of the console in any of 100 Scene memories.The master section features basic controls for the two stereo returns and two‑track inputs, as well as allowing selection of AFL, PFL and in‑place solo modes.
A simple monitor matrix pipes the mix of its input sources to the headphones and control‑room monitors, and a well‑specified talkback facility can feed three aux‑send pairs and/or the main outputs, depending on your needs.As of the v1.10 firmware, you can connect up to four of these mixers together using Firewire cables, in which case the aux, subgroup and master buses are combined to the unit you designate as the master. Effects sends remain independent for each mixer, although you could easily set up the same effects on each to simulate global sends, and you can also choose to leave the subgroups of each independent. All mixer recall functions are local to each unit, but you can lock all units at once from the master.You need more than a glance at the rear panel to take in the extent of the connectivity on offer in the Studio Live. Not only do you get 16 mic pres, but also inserts and direct outs on every channel, Firewire interfacing for your PC or Mac, and various additional outputs for control‑room and monitoring duties.The Firewire interfacing fits elegantly into the scheme: your recording software receives 16 audio streams from the mixer's main input channels (before or after the Fat Channel processing), as well as 16 streams selected in pairs from pretty much any of the signal buses. You can also send 16 channels from your software directly back into the mixer's input channels (again pre‑ or post‑Fat Channel), as well as routing a stereo monitoring feed to the two‑track return and/or monitor matrix. Firewire returns from the computer are activated via dedicated backlit buttons dotted around the console.Let's look at how you'd work with this system in practice. While tracking, you could have unprocessed mic channels feeding the computer for recording, while using the Fat Channel and onboard effects to deal with the various monitor mixes for your performers.
For simple overdubbing, you could feed the backing track through the monitor matrix to your performer, and record him/her as before. Alternatively, if you want more monitoring control, you could route mix stems to spare channels on the console, alongside your recording channels. The closest comparable product is probably the Yamaha N12, given its digital mixer, Firewire audio interfacing and simplicity of control, but that has fewer preamps, fewer channels of Firewire audio and no Scene memories. If you'd prefer analogue mixing and true zero‑latency monitoring, there are several Firewire- and USB‑equipped mixers with multi‑channel interfacing, Mackie's Onyx 1640 and Allen & Heath's ZED R16 probably being the most interesting contenders in this price range.
A more powerful option is Yamaha's latest O1V96 digital mixer, although you'll need to run audio into and out of a computer in Yamaha's mLAN format, via an optional mini‑YGDAI card — which, of course, bumps up the price. A traditional benefit of digital mixing is the ability to store complete mixer setups and recall them in an instant. The StudioLive provides memory space for 100 such 'Scenes', each a record of all the mixer's level, routing, processing and effects settings. You can choose to recall partial Scene settings, if you wish (for example, just the Fat Channel and bus assignments), but there's no way to exclude specific channels from the recall, as there is on some desks.Great in principle as the Scene recall is, the unmotorised level faders and pots mean you'll typically find that a number of the parameter settings for a recalled Scene won't match the physical positions of their respective hardware controls.
For the faders, you automatically find yourself in a special Faders Locate mode upon recalling a Scene. In this mode, the faders don't have any effect on the channel levels (which are set to the values in the Scene), and the meters show the disparity between the current setting of each physical fader and its stored position — so you can manually correct the physical faders. Once you exit Faders Locate, the channel levels revert to reflecting the physical fader positions, irrespective of whether you actually matched the fader positions correctly. This system works fine, but it's not something I'd attempt in a hurry, as it does take a minute or so to get through all 21 faders if you want to be accurate.Recall of the rotary level controls is more problematic, because (puzzlingly) there's no equivalent to the Faders Locate mode for them: the internal parameters zap themselves to the stored settings, and the controls are left wherever they happen to be. If you grab any of them, the parameter instantly reverts to following the physical control, irrespective of whether that causes a huge level jump! What's more, there's no way to tell before you reach for any given rotary level control whether it's at its stored value or not — so you never quite know what you might get as you adjust each control following a Scene change.
Most people will prefer to defeat Scene recall of the pots completely (which, fortunately, is an option). As it is, PreSonus suggest that you fill in a paper recall sheet for each mixer Scene to save these settings (and, indeed, the mic preamp settings). Remind me, please. What year is it? The twin effects processors offer a choice of 13 delay‑reverb algorithms: Ambience, two Rooms, five Halls (one of them gated), Plate, and four Delays (Mono, Filter, Stereo, Ping‑pong). You can quickly set delay times using a tap‑tempo button, and there are between one and six editable parameters, accessible via the commendably shallow LCD‑based menu system.Edited patches can be saved into 100 memory locations, 50 of which come pre-loaded with sensible presets. The delay algorithms seem to cover the most important bases, and the editable parameters have been well selected.
The only fly in the ointment is that delay times can only be set in 5ms increments, which isn't fine enough for me while mixing. The reverbs aren't particularly spacious, but they sound nicely smooth and satisfying in a mix context, and seem to include some modulation that's pretty successful at keeping metallic resonances at bay, even on drums. The slightly vague sense of dimension means that the different reverb algorithms don't feel as distinct from each other, sonically, as I'd normally expect, but that's not to say they won't be useful in a lot of mixing situations: like many less 'natural' reverbs, I'd look to them for the richness of their character, rather than for a realistic sense of location. The StudioLive has several live-sound oriented features.
The mono output can be used for external powered subwoofers, for example, and the individual rear‑panel output trims for both main and mono outputs help match the desk levels with the PA you happen to be using. A 12V BNC socket on the front panel can feed a gooseneck lamp, although the LCD is already backlit and the console lights are themselves bright enough to give a certain amount of illumination.Another useful feature is that you can lock all the controls to prevent curious punters tampering with them while you hop off for a pint. A five-digit password needs to be entered, using the channel Select keys, to enable and disable the lock.
Finally, the latest firmware version includes a master 31‑band graphic EQ, which you can drive from the assignable controls, switching between the bands in two banks of 16. All contents copyright © SOS Publications Group and/or its licensors, 1985-2019. All rights reserved.The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers.Web site designed & maintained by PB Associates & SOS.
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If you disagree with the rules, you’re always free to explain your thoughts and proposed alternative. Sure.first off, think about how much pro tools cost. Go look it up (even the student version). That's a lot of cash to drop on a program you may OR may not even get the hang of.
REAPER will let you try the full version for an extended period of time without crippling itself. You can go get it now and start figuring it out without any cash outlay.second, REAPER has a very similar workflow to protools. You have a screen for wave editing, and a screen for the simulated mixer (i'm simplifying a little here). If you can get the hang of REAPER, you will most likely get the hang of protools. But the REAL bottom line is that you need to get used to how a DAW workflow works, and once you understand the basic concepts, you can probably move from one DAW to the next.
That's how i started (cool edit pro - cubase - tracktion - protools mpowered - reaper). REAPER is so good, and does a lot of things BETTER than protools.thrid, functionality. I friggin' hate iLok, which is a protools requirement. I hate being tied down to a closed ecosystem (ala apple), which protools was up until recently.
I hate that i have to be at my one authorized computer to work on audio (still a protools issue). I can use reaper anywhere. I can buy a new laptop, download the trial version of REAPER, and pickup progress on a session from my thumbdrive within minutes! Try doing that with protools! Bottom line is that i'm not hindered by the software.
With REAPER i can just get on and get at it with minimal fussing.fourth, did i mention the generous trial period? I used REAPER for about a year (sorry cockos!) before i was ready to throw down cash for the license.
![Presonus studiolive series iii Presonus studiolive series iii](https://www.presonus.com/uploads/staticpages/files/PreSonus-Studio-One-Dark-1280x1024px.png)
I was able to figure out the software, convert all my old sessions, work on new sessions, and all i had to put up with was a 5 sec nag screen at startup each day. I was happy to give them my money! And the fact that it can compete with protools or any other major DAW.wow!
What a time to be alive. I wish REAPER was around in 1999 when i fussing with whatever i had back then (cool edit?).lastly, plugins. There aren't very many DAWs that have good stock plugins. Some don't even come with any! I really like the sonitus stuff in cakewalk.
Protools plugs are ok, but very vanilla sounding (and everyone has them, so you hear them everywhere). REAPER comes with some very plain looking, but very good plugins.
There are some stillwell vsts (again very plain looking) that come with reaper that are great! Plus there are tons of great free ones out there. Any the ability to route audio and utilize advanced effect techniques with ease (sidechain, freq ducking, sidechain plugs that don't have an aux input).again, i feel like i died and have gone to heaven.bottom line, it can't hurt to try it out.