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PreSonus StudioLive 32 Series III

Discussion in 'Consoles / Control Surfaces' started by Sean G, Oct 21, 2016.

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  1. Kurt Foster

    Kurt Foster Distinguished Member

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    77 Sunset Lane.

    i wasn't trying to throw a turd in the punch bowl. i was just wondering if Donny had ever used a Pre Sonus pre amp ( which i am under the impression are the same) and what he thought of them. my own conclusions weren't the point.
     
  2. dvdhawk

    dvdhawk Well-Known Member

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    Western Pennsylvania, USA
    It looks like this one is shipping at 48k / 24-bit. Whether it's possible to improve that through firmware updates in the future, I don't know. They allude to a firmware update to offer 44.1k.

    Taking it down is an algorithm, going up may hit a hardware processor limitation.
     
  3. audiokid

    audiokid Chris Staff

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    No sweat but you used the roll eye smiley and if I recall many posts by you over the years, you do not like PreSonus preamps. Which is why I asked you when the last time you used one?

    I wasn't trying to pin you into a corner or turn this into any drama, I was merely (sharing good news, qualifying and clarifying) my experiences with them as I have owned 2 PreSonus pre-amps and 3 StudioLive consoles in the last decade already.

    I'm just sharing hands on, personal experiences and thinking about you because I know you are always looking for ways to get the best for your buck as well. :love:
     
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  4. Kurt Foster

    Kurt Foster Distinguished Member

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    i think the console has a great features list and is probably priced competitively. that's one of the the things PreSonus does best. and i'll bet it performs as well as other products in that niche. too bad it (and others like it) don't offer a way to patch in quality balanced mic pres and bypass the stock utility grade pres at the front end. it would take the box up a step to the next level imo. that's what the market is missing. balanced line level inputs sans preamps. you know me, i'm a sucker for pres.


    edit: i took a second look and i see there are balanced line ins on the inputs on trs 1/4" jacks. i wonder if these are through the pre amp but padded downs or a true bypass of the pres?
     
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  5. dvdhawk

    dvdhawk Well-Known Member

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    The computer-based Capture software, which I use with the rack mount RM mixers as a front-end, can do up to 34 tracks simultaneously of 96k, or up to 64 tracks of 48k simultaneously. I think the biggest limitation in that system is the connection between the computer and RM, limiting data transfer rates of FW800, and the new mixer here is USB3.

    The new mixer's internal engine seems to be clocked at 48k, @DonnyThompson .

    How this will all eventually knit together is still unclear (to me).
     
  6. dvdhawk

    dvdhawk Well-Known Member

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    Kurt, this new one has 16 line level inputs that bypass the internal pres for just that application.
     
  7. audiokid

    audiokid Chris Staff

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    Exactly. And the last two SL generations could do this too.
    The converters, the SR are where it holds us hostage (for a lack of better term). If one could bypass the converters, use our own, this would really shine. But that being said... for $3000, its insanely priced. We already have heard great mixes from this as the only piece of gear in the studio.
    If I had this 20 years ago, I would most likely have an ocean front studio in the tropics, one up here in the beautiful coastal mountains lol.
    imho.
     
  8. Kurt Foster

    Kurt Foster Distinguished Member

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    i wasn't going to say it but that's what i was thinking. maybe the AES will allow digital ins?

    edit: i looked and the AES is out only.
     
  9. audiokid

    audiokid Chris Staff

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    (y)

    Would it ever be cool if outboard converters could replace the onboard, to improve the entire internal DSP.
    @Boswell

    Is this possible Bos?
     
  10. audiokid

    audiokid Chris Staff

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  11. dvdhawk

    dvdhawk Well-Known Member

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    That's correct, they will. The SL-AI and the rack mount RM-AI can go up to 96k and both use FW800. The first original version of the StudioLive console used FW400 and I could easily do 24 tracks with it, but that data is traveling in one direction at a time (half-duplex). The AI and RM-AI use FW800, which is twice as fast, but potentially using twice the bandwidth because it's double the sample-rate. FW800 is also full-duplex (data traveling both ways at the same time). I'm just guessing that if this Series III version is going to eventually be integrated into a DAW system as a control surface it would benefit from the speed and full-duplex of USB3. There would have to be data flowing each way simultaneously, but it would probably be asymmetrical. That's my guess anyway.

    New SL Series III Console Features:
    • 48 kHz operation with 24-bit resolution (44.1 kHz option coming soon)

    SL-AI Console Features:
    • 48 in x 34 out FireWire s800 direct digital recording interface (24-bit/44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz), compatible with Apple Thunderbolt to FireWire converter

    RM-AI Rackmount Features:
    • Fully integrated, continuously bidirectional, 52-in/34-out, FireWire 800 direct recording interface (24-bit, 44.1/48/88.2/96 kHz)

    A couple of their Studio 192 interfaces will do up to 192kHz, but none of the consoles, or rack mixers, have a Sample-Rate that high yet. I'm sure it's just a matter of time. Consider how much self-contained processing power has to be inside these AI consoles to do the 96k ADDA, with full DSP on every single input and output all the time.
     
  12. Sean G

    Sean G Well-Known Member

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    Good question...I will have to look into that.

    I know their Studio 192 is 192k, but unsure about this console.
     
  13. DonnyThompson

    DonnyThompson Distinguished Member

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    so then you can front load through a hi end pre of your choice and connect it to the line in's, bypassing their pre's and going straight to their converters... that's a cool feature.

    I know we all have our wish list of things we'd like to see, guys... from ultra high SR's, to different circuitry options, to replacing or working around their built-in converters... but, with every feature added, it becomes more expensive, and Presonus is trying to keep this thing priced at a very affordable point, to where small and mid level project studios can improve their workflow with a minimal investment.

    Sure, we could probably all weigh in on designing an engineer's "dream" digital console; adding things that we think would be great, to take it to the "next level"... like Neve pre's, and Antelope converters, SS/FET/Tube circuitry, with a 384k SR and 64 BR, with AES/EBU i-o, and FW, USB, TB connections... ( and tail fins, and chrome trim, and a cup holder, and a built in ashtray and doobie roller, beer tap and coffee maker LOL....) but at some point the desk is then gonna start costing in the neighborhood of 40, maybe even 50 grand, as opposed to the 3 G's it's priced at now. ;)

    IMO.
    -d.
     
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  14. kmetal

    kmetal Kyle P. Gushue Distinguished Member

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    I know you tagged boz but figured I'd offer my unsolicited opinion. Lol

    I think that comverters are just too much $ and seemingly will be for the foreseeable future. From what (little) I understand of comverters it's the R and D that takes so much effort and time and hence money. The Burl mothership was 10years or so in development. W the first incarnation being the UA 192 then the bomber, all being designed by the same dude in whole or part.

    Since a good converter basically sinks or swims by the quality of its analog section, I really wonder how much improvement we would hear pairing top adda w something like the SL analog section.

    That said I have run the stereo outs of the original SL thru a Yamaha LSR ch1/2 and into the house system it it's the best I ever heard the band sound. There was an instant clarity or lift of the fog.

    Whether that's the Yamaha or the system as a whole who knows. Beyond that it was still going thru the SL conversion and master bus into the lsr, so it was technically 2 conversions, which by rights should have sounded worse.

    I think it was just a better system that made the diff.
     
  15. Sean G

    Sean G Well-Known Member

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    I was thinking that the area on the top left corner of the StudioLive 32 (which looks to me like a place to put your ipad) would be an ideal place for a 500 series rack...too bad its probably crammed with circuit boards under there.

    Now that option would be good...a digital mixer with a 500 series rack where you could drop in your analog pres, EQ's and comps of choice. ;)
     
  16. kmetal

    kmetal Kyle P. Gushue Distinguished Member

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    Lol just when the roadies thought things were looking up..
     
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  17. Sean G

    Sean G Well-Known Member

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    Well I dunno...looks to me like you would get 4 x 500 series modules there...just thinking outside the box :D
     
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  18. Boswell

    Boswell Moderator Distinguished Member

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    Yes, it's entirely possible with the right digital console architecture - my old Yamaha O series console was an excellent mixer if you used external converters fed in via ADAT. However, the use of external conversion is completely separate from the mixer's internal DSP operations. All digital mixers use DSP internally in one form or another to perform such things as summing, EQ and dynamics. These work on digital samples, and the DSP engine has no knowledge of how its input samples arrived.

    To "improve" the internal DSP processing on a given mixer, you need a firmware upgrade from the manufacturer. The alternative is to trade the mixer in for one you prefer the sound of.
     
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  • AT5047

    The New AT5047 Premier Studio Microphone Purity Transformed

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