Current Issue

May 2012

Print Article     Email Article

  Page 1 of 4   >>

Audio Review: PreSonus StudioLive 16.4.2

16-Channel Live Performance and Recording Digital Mixer

by John F. McJunkin

I’m always fascinated to see manufacturers evolve. It’s neat, for instance, to see a boutique microphone company expand from offering a single model to a few dozen. In this month’s review, I take a look at PreSonus’ StudioLive console. I have watched PreSonus from the periphery over the years—the company has produced solid, high-value products, and has continued to expand its line-up with bigger and better offerings.

When I first heard last year that PreSonus would be introducing a console, I was not the least bit surprised. After developing increasingly sophisticated interfaces over the years, it only makes sense that they leverage the technology they have under their belts to create a mixing console. I was very anxious to see what they accomplished with the StudioLive. The StudioLive is a 16x4x2 digital console intended for both recording and live sound applications. It seems like I’ve seen a lot of mixers introduced recently that are designed to transition easily back and forth between both worlds, and it’s a pleasant development. Don’t misunderstand me. There are critical live sound and recording applications for which a hybrid console simply will not do. But in the budget-conscious world in which we live, the most bang for the buck is a high item on the list of priorities when we go console-shopping. Certain compromises must happen when straddling the line between live and studio consoles, but PreSonus has done reasonably well at keeping the compromises to a minimum.

The StudioLive is a 16x4x2 console, with 16 mic pres, and the capacity to send 32 and receive 18 channels of audio in real time to or from a computer via FireWire. Each mic pre has discreet 48V phantom power. Each input is routed through what PreSonus calls the “Fat Channel,” which provides a high-pass filter, gate, compressor, limiter, and four band semi-parametric EQ. The high and low bands are 2nd order (12 dB/octave) shelving type, providing boost or cut of 15 dB from 36-465 Hz, and from 1.4-18 kHz, respectively. The low- and hi-mid bands are semi-parametric (no continuous bandwidth control) but they do feature a switch to narrow the Q for each. They boost or cut 15 dB from 90 Hz-1.2 kHz, and from 380 Hz-5 kHz, respectively. Each channel has a large, bright LED meter to indicate level, and the meters also double to indicate settings of Fat Channel parameters. Fat Channel processing is also available for all the auxiliaries, subgroups, effects outputs, and the main bus. In addition to the Fat Channel, a 31-band graphic equalizer is available in the mixer’s digital effects section for the main bus. Each channel also has access to six auxiliaries with physically represented outputs, and two internal effects buses, which feed the console’s two on-board digital signal processors. Each channel also features a pan pot, routing assignment buttons (subs 1-4 and main,) select, solo, and mute buttons, and a 100-millimeter fader. Adjacent channel pairs can be linked in stereo, but only in odd-even pairs (e.g., 1-2, 3-4, etc.) Unfortunately, channels cannot be linked in any other way (e.g., more than two channels at a time, or non-adjacent channels.) One nice thing:Individual channels can be copied, saved, and loaded easily via three buttons. It’s nice to not be forced to snapshot the entire mixer. A single button changes the FireWire outputs from the 16 main channels from pre-Fat Channel to post-Fat Channel. The controls for the gate are simplified, featuring only a threshold and release control, but the compressor features more controllable parameters—threshold, ratio, attack, release, and make-up gain. A single button turns the limiter on or off for the selected channel. The limiter is permanently set with a threshold of 0 dB and an ∞:1 ratio. I was excited to see an “auto” button among the compressor controls (“auto” anything is a big plus when untrained volunteers use the console,) but I was a bit disappointed to discover that the “auto” button only establishes pre-established attack and release times of 10ms and 150ms, respectively. By all rights, the button should be labeled “attack/release preset” or some such thing. One positive in the compressor: a soft-knee function. It’s nice to tame the onset of the compression a bit for certain applications. All eight of the console’s buses (including the two internal effects buses) can be switched pre or post-fader, and the six auxiliaries with outputs can be soloed to hear monitor mixes. The two internal buses feature mute switches;I like this because if the worship leader is speaking (not singing,) there should be no reverb. There are four subgroups available, through which any of the sixteen main channels can be routed—always nice for a volunteer to have, for instance, music, choir, pastor, and drama to contend with. The console’s I/O is simple and straightforward, with 16 insert-equipped mic and line inputs. There is also a talkback mic input with a level control. In addition to the stereo XLR main outputs, there is an XLR mono output as well—nice for distribution, a cry room feed, broadcast, or Internet streaming. Quarter-inch TRS main outputs mirror the aforementioned XLRs, and a discrete pair of ¼-inch TRS outputs provide a control room signal. A stereo S/PDIF output is included, and two DB25 connectors represent the direct pre-insert outputs of the pre-amplifiers. There are also stereo RCA pairs for tape I/O. All the remaining connections are ¼-inch TRS jacks representing two auxiliary inputs, the four subgroup outputs, and the six auxiliary outputs.

  Page 1 of 4   next page >>

John McJunkin is the CEO of Avalon Podcasting in Chandler, Arizona, which offers high quality podcast production and consultation services to a broad range of clients. He’s also the host of the Podcast Pro Tech & Tips Podcast at www.avalonpodcasting.com.