Press Release PreSonus Unveils Third-Generation StudioLive Series III Consoles

Discussion in 'Press Release Forum' started by audiokid, Jan 19, 2017.

  1. audiokid

    audiokid Chris Staff

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    PreSonus Unveils Third-Generation StudioLive Series III Consoles

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    PreSonus StudioLive 32.

    Baton Rouge, Louisiana—January 2017…
    The result of nine years of R&D, PreSonus new third-generation StudioLive® Series III digital console/recorders are fully recallable. The new series launches with two models: the 16-channel StudioLive 16, with 17 touch-sensitive, motorized faders and 17 recallable XMAX preamps and the top-of-the-line StudioLive 32, with 33 touch-sensitive, motorized faders and 33 recallable XMAX preamps. The new 24- and 40-input consoles further improve on the StudioLive’s legendary ease of use while letting you customize workflow and operations to fit the way you work.
    PreSonus Capture™ multitrack recording software with virtual soundcheck is installed directly into StudioLive Series III consoles so you can leave your laptop at home. With just one touch, Capture records up to 34 tracks to the StudioLive’s onboard SD recorder. When finished recording, open your Capture session in Studio One® for Mac® and Windows® (included), and the entire mix scene will transfer to your Studio One session, including fader levels and Fat Channel settings.
    The StudioLive Series III’s distinctive Fat Channel processing section has received a major overhaul, including a plug-in-style workflow that features vintage-style EQ and compression options on every channel, from classic tube limiters to passive EQs. In addition to channel processing, StudioLive Series III consoles offer 6-band, fully parametric EQ on all mix outputs.
    StudioLive Series III goes above and beyond in providing ways to customize things to best fit the way you work. User layers for the channel faders let you place any channel or bus fader anywhere you want—and they’re easy to set up. You also can customize your Fat Channel layout, putting the parameters you care about most right at your fingertips, and there are several workflow options to personalize your mixing experience.
    With StudioLive Series III consoles, you can customize scenes even more precisely than with previous models. You could always decide which settings would be recalled in a global StudioLive scene change. Now, with Scene Safe, a scene change won’t alter the settings on designated “safe” channels. Similarly, Fat Channel presets have, for practical purposes, become like scenes for individual channels, not only saving input and Fat Channel settings but also aux send and bus assignments. Of course you can also use preset filters to choose what you want to recall.
    Don’t you hate it when you have an unused subgroup but you’re short one monitor mix? That’s not a problem anymore, thanks to 16 FlexMixes that can be individually designated as aux, subgroup, or matrix mixes. These 16 FlexMixes are in addition to the 4 fixed subgroups giving you a total of 20 mix buses, not counting the main mix, effects mixes, and solo buses. And with 24 DCAs, you can more easily and flexibly control groups of channels. To top it off, you can choose between 1-to-1 or split-layer workflows: Assign all channels to the top layer, with one fader per input channel, or split the faders between inputs and outputs, including DCAs and aux outputs.
    An AVB Ethernet connection enables you to network compatible computers and stream up to 55 channels of audio to and from a Mac or Windows PC. (AVB networked solutions, including stageboxes, personal monitor mixers, and increased third-party AVB interoperability, are coming later in 2017.) You also get 38x38 recording via USB 2.0, giving you a choice of computer recording methods. In addition to the AVB recording connection, StudioLive 32 consoles sport a 1 Gb Ethernet port that can connect to a wireless router or directly to a computer, providing remote control of virtually all features via a wired or wireless connection.
    PreSonus StudioLive 32 mixers are tightly integrated with an entire suite of state-of-the-art software. Mix wirelessly or over a wired network from anywhere using free UC Surface touch-control software for Mac, Windows, and iPad®. Even add a second—or third, or even fourth!—screen for fast workflow. Remote control the mixer’s recallable XMAX preamps and Fat Channel processing with Studio One (included) for low-latency recording with effects. Completely automate virtual soundchecks and record shows with Capture for Mac and Windows (included)—or record with Studio One or with any software that supports ASIO or Core Audio. The StudioLive 16 comes with Studio One Artist, while StudioLive 32 customers can enjoy the full power of Studio One Professional. Musicians can control their monitor mixes onstage with free QMix®-UC for iPhone®, iPod® touch, or Android™ device without the need for large monitor networks.
    StudioLive 32 digital console/recorders are available immediately, with a U.S. MAP price of $2,999.95; the StudioLive 16 will ship later in Q1 of 2017 at an anticipated MAP price of $1,999.95. For more information please visit www.presonus.com/products/StudioLive-Series-III-Digital-Mixers.


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    StudioLive 32 top.

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    StudioLive 32 rear.


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    StudioLive 16 top.

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    StudioLive 16 rear.
     

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  2. pcrecord

    pcrecord Quality recording seeker ! Distinguished Member

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    24 DCAs !! That's nice ;)
     
  3. Brother Junk

    Brother Junk Active Member

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    I'll take the 32 please :)

    That thing looks like a blast.

    If that thing becomes part of a give-a-way (How much pull do you have with them @audiokid ;) I will be ON IT!

    Would that thing work as a summing board for a dual daw system?
     
  4. Boswell

    Boswell Moderator Distinguished Member

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    Possibly. I can't see how 24 DCAs fits with 16 or 32 channels of fully-recallable pre-amps.

    But that document was all marketing-speak. Let's wait for real technical info.
     
  5. Brother Junk

    Brother Junk Active Member

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    Can I ask a dumb question...what does "fully-recallable pre-amps" mean?
     
  6. pcrecord

    pcrecord Quality recording seeker ! Distinguished Member

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    I'm sure the 16 channel will get less DCAs.. but the fac that they will have some is great to begin with.
    I can't remember which one, but I worked with a mixer with no DCA last summer, it was more work and less intuitive for live work...
     
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  7. pcrecord

    pcrecord Quality recording seeker ! Distinguished Member

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    It meens that if you work 3 bands in an evening you can save each band's mix as scene and loading the scene will recall all the settings including gain EQ etc.

    To add about the DCA. It's just easier to have each stems on one fader to be faster to react live. 24 is excessive, 8 - 12 - 16 is nice to have..

    With 8 dca, I usually put them as follow
    1 - all drums
    2 - bass
    3- all guitars
    4- keys
    5 - strings (violin or others)
    6- bac vocals
    7 - lead vocal
    8 - effects

    If I have more DCAs, I will split the percussions from the drums, have guitar left and right and seperate each vocals (unless theirs a choir which stays on one dca)
    Takes a bit of time to setup but when you have to lower the drums with 8-10 faders you realise DCAs are nice to have ;)
     
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  8. Brother Junk

    Brother Junk Active Member

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    The entire session? That sounds awesome!
     
  9. pcrecord

    pcrecord Quality recording seeker ! Distinguished Member

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    Yeah, most mixers call them scenes. When on tour with the same band for a while you can even make scenes for different songs (with different effects if you wish)
     
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  10. Brother Junk

    Brother Junk Active Member

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    So much equipment, so little cash.

    Wealth is wasted on the rich.
     
  11. Boswell

    Boswell Moderator Distinguished Member

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    No. The members of the StudioLive series are digital mixers; all the analogue inputs are digitized after the pre-amps, all the processing is done digitally, and then the outputs go through D-A converters to reach the analogue output connectors. The two-box mixing methods that we have been talking about over the years in these forums have an analogue summing stage between the source box and the capture box.
    He was talking about saving and recall of the mix settings rather than the audio track data (which can be done, more or less, anyway). The weak point in earlier digital mixers at this level was that the analogue gain settings were still manual knobs, so could not be saved in session scenes. With fully-controllable pre-amps, the analogue gain, HPF and mic/line select would all be digitally-set and stored in the recallable scenes.
     
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  12. pcrecord

    pcrecord Quality recording seeker ! Distinguished Member

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    With common sens, it's better to turn the mains and monitors off (muted) before saving for different bands so you don't load the scene to a feedback.
    Then I always do a line check before each bands starts to play ;)
     
  13. dvdhawk

    dvdhawk Well-Known Member

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    The distinction in the 'fully recallable pre-amps" being, the previous StudioLive consoles could recall everything except the physical position of the Gain knob. The Gain control was a true analog potentiometer controlling the pre-amp, where virtually all the other faders, and knobs were digital data encoders. (sending data rather than passing voltage)

    When they came out with the RM rackmount series, they had to up the ante to recallable pre-amps out of necessity. I use both the SLs and RMs, and I'd still rather have a physical Gain knob to turn, but the RMs don't seem to have lost any noticeable sound quality without them.

    To avoid the potential unexpected volume jump PC is referring to, I just don't save fader position to my Scenes. When you store Scenes in the SL, you can choose which parameters you want it to store (Faders, Aux, FX, EQs, etc) I don't store Fader position. I have my gain-structure set up so that somewhere near unity on all of the faders is going to put you in the ballpark anyway. So, I can Recall the Scene with the faders fully down, and then put them near unity, it's very fine tuning from there - no surprises. Otherwise, you can be in for a sudden jump or drop-off in volume. The data-encoder's physical location, does NOT necessarily have any bearing on the audio level you're hearing. The mixer only remembers the last data received from the encoder, so if you Recall a Scene with it at -20, the audio will reflect the -20 level, not the +5 level the encoder might be physically resting at. As soon as you move that fader in the slightest, you're sending it new data and it jumps from -20 up to +5 instantly …. Surprise. And obviously, you can have a sudden drop in volume too for the same reason, it's just not as startling. Again, all of that can be avoided by using good, consistent gain-structure and NOT saving your Fader location into your scenes.
     
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  14. Brother Junk

    Brother Junk Active Member

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    I would love to have time just watching you guys work. Like a weird, creepy, voyeur.
     
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