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Presonus Studiolive 24 4 2 Manual

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Presonus Studiolive 24 4 2PreSonus STUDIOLIVE2442 24-Channel Digital Recording and Performance Firewire Mixer
The Presonus StudioLive 24.4.2 is a powerful and flexible 24-channel digital mixer for live performance and recording - boasting 24 high-headroom XMAX microphone preamps - a built-in 32x26 FireWire recording and playback engine - comprehensive Fat Channel pr

Part Numbers: PS-STUDIOLIVE-24-4-2, STUDIOLIVE-24-4-2, STUDIOLIVE2442
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PreSonus StudioLive 24.4.2 Digital Mixer Hands On Overview Part 1 of 2


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trenuf356t 1:01pm on Wednesday, July 28th, 2010 
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EU Directives on the Protection of the Environment and Other Euro Stuff
RoHS This product is compliant with the EU Directive 2002/95/ EG for the Restriction of the use of Certain Hazardous Substances in Electrical and Electronic Equipment. No lead (Pb), cadmium (Cd), mercury (Hg), hexavalent chromium (Cr+6), PBB or PBDE is intentionally added to this device. Any traces of impurities of these substances contained in the parts are below the RoHS specified threshold levels. REACh This product is compliant with the European Union Directive EC1907/206 for the Registration, Evaluation, Authorization, and Restriction of chemicals (REACh) and contains none or less than 0.1% of the chemicals listed as hazardous chemicals in the REACh regulation. WEEE As with the disposal of all old electrical and electronic equipment, this product is not to be treated as regular household waste. Instead it shall be handed over to the applicable collection point for the recycling of electrical and electronic equipment. CE This product complies with the European Union Council Directives and Standards relating to electromagnetic compatibility (EMC Directive 89/336/EEC) and the Low Voltage Directive (73/23/EEC).
4.1 4.1.1 4.1.2 4.1.3 4.1.4 4.1.5 4.1.6 4.2 4.2.1 4.3 4.3.1 4.4 4.4.1 4.4.2 4.5 4.5.1 4.6 4.7 4.7.1

Controls 24

The Fat Channel 24 Select Buttons, Meters and the Fat Channel What You Can Process with the Fat Channel and FireWire Sends 25 Fat Channel: Dynamics Processing and EQ 26 Fat Channel Panning and Stereo Link Fat Channel: Output Assignments 36 Copying, Loading, and Storing Fat Channel Settings 36 Metering 37 StudioLive Metering Controls 37 Input Channel Strip 38 Input Channel Controls 38 Aux Sends Analog Aux Send Controls 40 Internal Aux Send Controls Subgroups 45 Subgroup Controls 43 Main Output Bus Aux Inputs A and B Master Section 45 7.1 7.1.1 7.2 7.2.1 7.2.2 7.2.3 7.2.4 7.2.5 7.2.6 7.2.7 7.2.8 7.3 35
Advanced WDM Features (PC only)
Configuring the StudioLive For Core Audio (Mac Only) 70
Software: Universal Control, Capture, and Studio One Artist DAW 72
Universal Control Universal Control: Launch Window VSL: Virtual Studio Live 76 VSL: Browser 77 VSL: Overview Tab 80 VSL: Channel Tab 82 Loading Scenes and Presets from VSL 82 VSL: GEQ Tab 84 Enabling Lockout Mode 86 Remotely Controlling StudioLive with VSL Capture 87 VSL: Setup Tab 85


Software Universal Control, Capture, and Studio One Artist
Connecting to a CXomputer

Typical Recording Hookup

Scenes, Presets & System Menu


Scenes, Presets, and the System Menu 52

Talkback System 45

Quick Start: Level Setting Overview Hookup Controls Scenes, Presets & System Menu Connecting to a Computer Software Universal Control, Capture, and Studio One Artist Tutorials Technical Information Troubleshooting & Warranty

Solo Button

Turns Soloing On and Off.

Input Channel Controls

Adjusts the Input Gain Level. The Trim control adjusts the gain of the channels analog input. It is very important to properly adjust this control in order to minimize noise and avoid overload distortion Follow the Quick Start level-setting instructions on page 5 before operating a channel.

Trim Control

Phantom Power Button
Turns Phantom Power On/Off. The StudioLive is equipped with individual phantom power for every microphone input. The 48V button will illuminate when phantom power is activated. For more information on phantom power and the microphones that require it, please review Section 8.1.

Controls Aux Sends

Controls 4 Aux Sends 4.4

Channel Fader

Controls the Overall Level of the Channel. Each input channel features a 100 mm long-throw fader for accurate level adjustment. Unity gain (0 dB) is denoted by a U. The white area above the fader can be used as a scribble strip. Use only oil pencils; other types of pens or pencils cannot be wiped off. To clean the scribble strip, use a lightly damp cloth to remove the writing.

Output Level Control

Adjusts the Master Level of the Aux Output. This knob controls the overall output level of the aux mix.

Aux Send Select Button

Enables Fat Channel Viewing. As previously described in section 4.1.1, the Select button routes its aux bus through the Fat Channel, allowing you to add dynamics processing and EQ

Mix Button

Enables Aux Bus Mixing in the Fat Channel. When the Mix button is pressed once, the 24 encoder knobs in the Fat Channel become the aux-send level controls for each of their respective input channels. The meters will display the send amount for each of the input channels.
Controls Troubleshooting & Warranty Technical Information Tutorials Software Universal Control, Capture, and Studio One Artist Connecting to a Computer Scenes, Presets & System Menu
Scenes, Presets & System Menu Connecting to a Computer Software Universal Control, Capture, and Studio One Artist Tutorials Technical Information Troubleshooting & Warranty

Aux Sends

The StudioLive has ten analog aux buses and two internal effects buses. The aux buses are mono; however, two aux buses can be linked to create a stereo bus. Section 8.5 discusses how to use these aux buses for monitor and effects mixing.
Pressing the Mix button a second time will switch the first six meters and encoders to become the aux-send level controls for the Main FireWire Return, Analog Tape In, Aux Input A, Aux Input B, the output of FXA and FXB, and the Talkback mic. While in this mode, the Mix button will remain illuminated, and LEDs at the top, middle, and bottom of meters 7-24 will also illuminate. Press the Mix button a third time to disengage Aux Mix mode.

This button patches the Tape input to the main outputs. It will illuminate to indicate that the Tape input is being sent to the mains. To disable the routing, simply press the button again. 46 47

Tape Input On/Off Button

Sends the Tape Input to the Main Outputs.
Quick Start: Level Setting Overview
Controls 4 Digital Effects | Master Control 4.8

Solo Bus Monitor Button

Assigns the Solo Bus to the Monitor Outputs. The Solo Bus Monitor button patches any soloed channel, subgroup, or aux send to the Monitor bus. This can be useful in any number of ways. For example: Auditioning an aux-send monitor mix Dialing in the dynamics processing and EQ on a subgroup
Headphone Output Level Control
Adjusts the Overall Level of the Headphone Output. This knob adjusts the overall level for the headphone output.
Control-Room Monitor Level Control
Adjusts the Overall Level of the Control Room Monitor Outputs. This knob adjusts the overall level of the control-room monitor outputs.
The Digital FX (Effects) Menu
The StudioLive features two internal effects processors. Each processor can access the StudioLives selection of high-quality reverbs and delays. As described in Section 8.4, each of these effects can be routed to any of the subgroups, the aux bus, or the main outputs. To access the effects library and make adjustments to effect parameters, press the FX button in the Master Control section.
Software Universal Control, Capture, and Studio One Artist Troubleshooting & Warranty Technical Information Tutorials
Tape-Input Monitor Button
Assigns the Tape-Input Signal to the Monitor Bus. The Tape monitor button routes the signal from the tape inputs (tape returns) to the monitor bus. The level for this input is controlled by the knob in the 2 Track In section.

Main Mix Monitor Button

Assigns the Main Mix to the Monitor Bus. The Main Mix Monitor button routes the same signal that is being sent from the main outputs to the Monitor bus. This signal is always pre-fader.
The first page of the FX menu is the QuickView screen. It displays both of the effects assigned to the internal effects buses, the main parameter for each, and to which Aux buses the effect is being routed. Effect A is assigned to EFX A bus, and Effect B is assigned to EFX B bus. Use the Next and Prev buttons to navigate through the screen. To change a parameter, use the Value encoder directly beneath the LCD screen. The color will invert for each parameter when it is selected for modification. The Next button will scroll through this screen in the following order: FX A library selection, FX A main parameter, FX B library selection, FX B main parameter. When choosing your effects preset, use the Value encoder to scroll through the library.

Your StudioLive comes with 50 Fat Channel presets custom designed by professional PreSonus users. These presets can be altered, renamed and overwritten; however, there are 50 additional empty storage locations for you to build your own custom library of channel strip settings.
The StudioLive 24.4.2 features 4 stereo (dual mono), 31-band, 1/3 octave graphic EQs that can be inserted on the Main output bus, the Subgroups, or any of the Auxes. When the GEQ button is enabled, the meters and encoders of the Fat Channel become the controls for the Graphic EQ. As you touch a knob, you will notice that its band number, frequency, and gain are displayed in the System Menu. The 31 bands range from 20 Hz to 20 kHz.

Channel Presets Library

Graphic Equalizers
Scene, Presets, and the System Menu Graphic Equalizers
Scene, Presets, and the System Menu 5 System Menu 5.4
Each of the eight channels of Graphic EQ can be controlled individually or odd-even pairs can be controlled as a stereo unit. To copy the left side (odd) GEQ settings to the right side (even), simply page down to the ride side and press the Recall button. Pressing the Recall button while using an odd numbered GEQ will flatten it. Use the Page Up and Page Down buttons to navigate between Graphic EQs. Use the Next and Prev buttons to navigate through each GEQ screen and the Value knob to change a parameter Like all other parameters on your StudioLive, your Graphic EQ settings can be stored and recalled. If you
LCD Contrast and LCD Backlight. Press the System button to access the System menu. The first page allows you to adjust the LCD Contrast and LCD Backlight for optimal viewing in your working environment. These settings are retained when the unit is powered down. Aux Pre Position. Press the Page Down button to access the Aux Pre Position page. By default, all 10 Aux buses are set to Pre 1. This places the send of all 24 channels to each aux bus before the fader, limiter, EQ, and compressor and after the phasereverse switch, high-pass filter, and noise gate. The 2 internal effects buses are set to Pre 2, which routes each of the 24 channels after all Fat Channel dynamics and EQ but pre-fader. From this menu, you can choose between these two Pre positions for each Aux mix. If you have two Aux buses stereo linked, you only need to set the Pre position on the Link Master. Remember, the Link Master is the aux that was selected when the link was created. To find out which Aux is the Link Master, simply select either of the Aux buses in the pair. The Link Masters ID will be shown in the Select Channel LED readout.

7. Highlight all input and output drivers beginning with PreSonus FireStudio. 8. Go to Options | Audio. and click on the General tab. 9. Set the Playback Timing Master to PreSonus FireStudio. DAW Out 1. 10. Set the Recording Timing Master to PreSonus FireStudio. Mic/Inst 1.
FireWire Sends and Returns
When using the StudioLive as an audio interface, it is important to understand the terms FireWire send and FireWire return. Because the audio interface in the StudioLive is completely integrated with the other functions of the mixer, the FireWire I/O is designed to work as an independent bus. You can route (send) signals from other buses to the FireWire bus, and its output (return) signal is hard-coded to designated mixer channels. Your StudioLive has 32 available sends and 26 returns. FireWire sends 1 through 24 are hard-coded to be sent pre-fader from the 24 input channels of the StudioLive. These sends can be pre- or post-Fat Channel EQ and dynamics. To record the EQ and dynamics processing on any channel, simply enable the Dig Out button. It will illuminate, indicating that the Fat Channel signal path is being routed to the FireWire send. If this mode is not enabled, the signal sent via FireWire will be post-trim and post-analog insert (if applicable). As discussed in Section 4.5.1, the Dig Out button is not operable for the subgroups, main outputs, aux bus, internal FX returns, and aux inputs. The subgroups, main outputs, and aux inputs are also sent post-fader to their FireWire sends. FireWire sends 25-32 are routed in 4 stereo pairs from the Universal Control Device window. Any combination of four of the following inputs and buses can be selected: Main Mix Left / Right Subgroup 1 & 2
Subgroup 3 & 4 Aux Send 1 & 2 Aux Send 3 & 4
Aux Send 5 & 6 Aux Send 7 & 8 Aux Send 9 & 10 66
FireWire streaming on your StudioLive is continuously bidirectional. This means that the StudioLive is always sending signals from the direct FireWire sends on all 24 input channel, as well as from the auxiliary inputs and buses assigned to the second bank of eight FireWire sends. At the same time, the StudioLive is receiving signals back from the 26 FireWire returns. Because the FireWire returns always come back to their respective StudioLive channels, you can quickly insert a plug-in from your recording application into any channel strip and monitor it in real time. In this example, we will insert the Beat Delay plug-in from PreSonus Studio One onto Channel 16 of the StudioLive.

The following are diagrams and descriptions of the Session interface.
The Transport is at the top of the Session page and contains: Meter Bridge: Peak LED-style meters with clip indicators for each input into Capture from your StudioLive mixer, plus an additional pair of meters for the routable Master track. (See Section 7.2.5 for details on how to route a bus to this track.) Link Button: Between each meter you will find a link button When this button is active, Capture will record that track as a stereo interleave file. By default, the routable bus pair (25 and 26) is link-enabled. Record Arm Button: Below each meter, you will find the Record Arm button for that track. When this button is active, Capture will record audio from that input.
Mouse Tools Arrow Tool: The default tool for access to most functions. Range Tool: Select the range of an Audio Event for editing. Splice Tool: Splice Audio Events. Eraser Tool: Erase Audio Events. Sample Rate Display: Displays the current Capture/StudioLive Sample Rate. Transport Controls Capture features a single-window user interface so you dont need to manage multiple windows and views. When a new Session is created or an existing Session is opened, you will be taken to the Session page. This page contains all of the necessary tools to record and edit multitrack audio. Previous Marker: Jump the playback cursor to the previous marker. Rewind: Rewind for the duration this button is held down. Fast Forward: Fast Forward for the duration this button is held down. Next Marker: Jump the playback cursor to the next marker. Back to Beginning: Return to the beginning of the Session. Stop: Stop playback. Play: Start playback at the current playback-cursor position. Record: Start recording at the current playback-cursor position.

The Session Page

Loop: Engage/Disengage Loop Mode. Time Display: Displays the time at the current playback-cursor position. Remaining Time: Displays the remaining time that can be recorded, based on the size of the available storage left on the hard drive to which you are recording.
Tracking is the first stage of audio production. The following chapter discusses aspects of recording tracks in Capture, including Session creation and setup, Audio Tracks and Events, and more. Audio Device Before recording anything in Capture, please take a moment to be sure your StudioLive mixer is properly connected to the computer via FireWire and that Capture displays the StudioLive as your audio device on the Start page. When the StudioLive mixer is not connected to the computer successfully, Capture will display No Audio Device in the Audio Device window.

The Edit Window

The Edit window is the main view of the Session page, which provides an overview of the Session for editing.
Creating a New Session A Session is the document type in which all recording takes place in Capture. To create a new Session, do one of the following: 1. From the Start page, click on the New Session button. 2. Navigate to File/New Session. 3. Press [Ctrl]/[Cmd]+N on the keyboard. The Edit Window contains the following: Timeline Ruler: Displays time increments in seconds. Marker Lane: Displays user-inserted markers. Arm All: Click this button to arm all inputs for recording. Marker : Click on the plus (+) button to add a marker at the current playback cursor position. Select a marker and click on the minus (-) button to remove the marker. Track Column: Contains a dedicated mono audio track for each audio input into Capture from the StudioLive mixer, including a Main stereo track. Vertical Zoom: Increases or decreases the size of the tracks and audio files. Horizontal Zoom: Zooms the session in or out. Session Setup When a new Session is created, a setup menu with the following options will pop up: Session Title This will be the title of your Session. This name will be the Session file name (Title.Session), as well as the name of the new folder that contains all data related to your Session. Session Location This is where new Sessions and all related data will be saved. The Session location can be chosen each time you create a Session. By default, the new Session location will be the Capture folder in your Documents folder. You can choose a different file location by clicking on the Browse button and browsing to a new location. The last known save location will appear as the default the next time you create a new Session.
Tutorials Scenes, Presets & System Menu
Getting Started in Capture
Capture Audio I/O Setup There is no need for audio inputs and outputs to be set up in Capture, as it automotically detects which type of StudioLive mixer (16.4.2 or 24.4.2) is connected and self-configures. Each input from your StudioLive mixer is represented with a mono input track in the Track column of the Session, and each input track has a corresponding level meter in the meter bridge. The following diagram illustrates the one-to-one relationship of the StudioLive and Capture input channels. The input signal into each channel on the StudioLive mixer is automatically routed to each respective input channel in Capture.

It is possible to process each StudioLive mixer input channel with the Fat Channel before the input signal is routed to Capture. To do this, you will need to engage the Post button in the Dig Out section of the Fat Channel for each channel in your StudioLive mixer. This routes the signal post-EQ and post-dynamics processing. The following diagram illustrates the signal flow in this scenario (below).
Capture Main Source Selection The Auxiliary Stereo Track in Capture is a stereo channel intended to be used to record a stereo mix from your StudioLive. This mix can be recorded while recording the 24 individual input channels, so a mix is available immediately after a live show, or you can use this channel to route your final studio mixes through the StudioLive. As discussed in Section 7.2.6, VSL features an Auxiliary Inputs Router that allows you select which buses you want to record in addition to your input channels. Auxiliary Inputs 25 and 26 are dedicated for recording a stereo mix in Capture. However, in addition to the Main L/R mix, you can selection from any of the following outputs, buses, and inputs: Sub 1/2, Sub 3/4, Aux 1/2, Aux 3/4, Aux 5/6, EFX Send A, EFX Send B, Aux Return A, Aux Return B, 2 Track, Talkback, EFX Return A, EFX Return B, and the Solo Bus.
Activating Recording in Capture Once you have the desired tracks record-enabled, the next step is to record. To activate recording, click on the Record button in the Transport. The Record button will turn red, and the Play button will turn green in the Transport; the Playback Cursor will start to scroll from left to right from its current position; and a new Audio Event will be recorded to any record enabled tracks. Recording will continue until you manually stop it by clicking on the Stop button in the Transport, or press [Spacebar] on the keyboard. Capture utilizes the Broadcast Wave file format for recording. This is the only format utilized, as it is the most widely used format, and it contains timestamps that mark when recordings start within a Song. When recorded Broadcast Wave audio files get bigger than 4 GB, the RF64 file format is automatically used as the standard file format. The recommended file system for the recording partition on your computer is NTFS on Windows and HFS+ on Mac OS X. After recording, the next step in production is usually editing. In the editing process, recorded events are manipulated in many ways to achieve a desired sound.

blows up during the live show, your live mix will be completely unaffected. You can mix and record a live performance using the StudioLive mixer and Capture with complete confidence. Insert Markers While Recording
7.3.11 Capture Applications and Scenarios
To do this, first open the original Session. If you have not already done so, rename each marker to the desired name for each song. Then, select Export to Audio File from the Session menu. In the Export to Audio File menus Options section, select Export Tracks and Each Marker, and set the Format to the desired file-format settings. Then click OK. Capture will then automatically generate separate audio files for each track in each song. The names and files will be based on the name you specified in the Export to Audio File menu, the names of the markers, and the track names in your Session (Export NameTrack Name-Marker Name). You can then import the files for each song into a new Capture Session, or into a different audio recording application, to be mixed with the StudioLive mixer. A few days after the original performance, you have finished producing a ten-song live album for the band you recorded, and they could not be more impressed. The studio-recording process often appears very different from the liverecording process. However, the StudioLive mixer and Capture are equally at home in the studio and in concert. The following describes aspects of the studio-recording workflow using the StudioLive mixer and Capture. Overdubbing In a studio-recording session, as opposed to recording live, you might wish to record on only a few tracks, or on a single track at a time, and then record more later. This process of adding to your recorded tracks later is called "overdubbing." Using Capture and the StudioLive mixer, you can play recorded audio on any tracks through the StudioLive mixer and simultaneously record new audio to tracks in Capture. To do this, it is a good idea to first establish a good mix to listen to while recording. Just as when creating monitor mixes for a live performance with the StudioLive mixer, you can create a number of mixes to listen to. For instance, you might create a stereo mix of the playback from Capture on Auxes 1 and 2 for a guitarist who is about to overdub a lead guitar part. To accomplish this, do the following: For all input channels on the StudioLive mixer on which you wish to play tracks from Capture, engage the FireWire return by pressing each channels FireWire Input Select switch (near the top of the channel strip) so that it illuminates. This will route the output of the tracks in Capture to their respective input channels on the StudioLive mixer. Start playback in Capture. The output from each track in Capture will play through their respective input channels on the StudioLive mixer (Capture Track 1 on StudioLive Channel 1, etc.). At this point, link Aux 1 and 2 on the StudioLive mixer and create a mix for the linked Aux1/2 by adjusting the level for each input channel that has playback coming from Capture. This is a stereo aux mix, so you can also access the pan for each input channel in the mix by pressing the Mix/Pan button for Aux 2. (For details on how to set aux mixes, see Section 2.7 of the StudioLive manual.) 110

Thresholdhold -2.1 dB RatRatioio 3.5:1 AttAttackack 78 ms Release 300 ms

Thresholdhold -13.7 dB

RatRatioio 1.3:1

AttAttackack 27 ms

Release 128 ms

Fretted Instruments

Electric Bass. The fast attack and slow release in this setting will tighten up the electric bass and give you control for a more consistent level.
Thresholdhold -4.4 dB RatRatioio 2.6:1 AttAttackack 45.7 ms Release 189 ms
Acoustic Guitar. This setting accentuates the attack of the acoustic guitar and helps maintain an even signal level, keeping the acoustic guitar from disappearing in the track.
Thresholdhold -6.3 dB RatRatioio 3.4:1 AttAttackack 188 ms Release 400 ms
Left/Right (Stereo) Overheads. The low ratio and threshold in this setting gives a fat contour to even out the sound from overhead drum mics. Low end is increased, and the overall sound is more present and less ambient. You get more boom and less room.
Screamer. This setting is for loud vocals. It is a fairly hard compression setting for a vocalist who is on and off the microphone a lot. It puts the voice in your face.
Medium. This setting has more limiting than the Soft compression setting, producing a narrower dynamic range. It moves the vocal more up front in the mix.
Release. The gate-release time determines the rate at which the gate closes. Release times should typically be set so that the natural decay of the instrument or vocal being gated is not affected. Shorter release times help to clean up the noise in a signal but may cause chattering in percussive instruments. Longer release times usually eliminate chattering and should be set by listening carefully for the most natural release of the signal.
Vocals Soft. This is an easy compression with a low ratio setting for ballads, allowing a wider dynamic range. Its good for live use. This setting helps the vocal "sit in the track.
Compression Settings: Some Starting Points
Electric Guitar. This is a setting for crunch electric rhythm guitar. A slow attack helps to get the electric rhythm guitar up close and personal and gives punch to your crunch.
Thresholdhold -0.1 dB RatRatioio 2.4:1 AttAttackack 26 ms Release 193 ms
Keyboards Piano. This is a special setting for an even level across the keyboard. It is designed to help even up the top and bottom of an acoustic piano. In other words, it helps the left hand to be heard along with the right hand.
Thresholdhold -10.8 dB RatRatioio 1.9:1 AttAttackack 108 ms Release 112 ms Note C-0 C#-0 D-0 D#-0 E-0 F-0 F#-0 G-0 G#-0 A-0 A#-0 B-0 C-1 C#-1 D-1 D#-1 E-1 F-1 F#-1 G-1 G#-1 A-1 A#-1 B-1 Release 98 ms Freq 16 Hz 17 Hz 18 Hz 19 Hz 21 Hz 23 Hz 24 Hz 26 Hz 28 Hz 29 Hz 31 Hz 32 Hz 33 Hz 35 Hz 37 Hz 39 Hz 41 Hz 44 Hz 46 Hz 49 Hz 52 Hz 55 Hz 58 Hz 62 Hz Note C-2 C#-2 D-2 D#-2 E-2 F-2 F#-2 G-2 G#-2 A-2 A#-2 B-2 C-3 C#-3 D-3 D#-3 E-3 F-3 F#-3 G-3 G#-3 A-3 A#-3 B-3 Freq 65 Hz 69 Hz 73 Hz 78 Hz 82 Hz 87 Hz 92 Hz 98 Hz 104 Hz 110 Hz 116 Hz 123 Hz 131 Hz 138 Hz 147 Hz 155 Hz 165 Hz 175 Hz 185 Hz 196 Hz 208 Hz 220 Hz 233 Hz 247 Hz Note C-4 C#-4 D-4 D#-4 E-4 F-4 F#-4 G-4 G#-4 A-4 A#-4 B-4 C-5 C#-5 D-5 D#-5 E-5 F-5 F#-5 G-5 G#-5 A-5 A#-5 B-5 Freq 262 Hz 277 Hz 294 Hz 311 Hz 330 Hz 349 Hz 370 Hz 392 Hz 415 Hz 440 Hz 466 Hz 494 Hz 523 Hz 554 Hz 587 Hz 622 Hz 659 Hz 698 Hz 740 Hz 784 Hz 830 Hz 880 Hz 932 Hz 988 Hz Note C-6 C#-6 D-6 D#-6 E-6 F-6 F#-6 G-6 G#-6 A-6 A#-6 B-6 C-7 C#-7 D-7 D#-7 E-7 F-7 F#-7 G-7 G#-7 A-7 A#-7 B-7 Freq 1.05 kHz 1.11 kHz 1.17 kHz 1.24 kHz 1.32 kHz 1.39 kHz 1.48 kHz 1.57 kHz 1.66 kHz 1.76 kHz 1.86 kHz 1.97 kHz 2.09 kHz 2.22 kHz 2.35 kHz 2.49 kHz 2.64 kHz 2.79 kHz 2.96 kHz 3.13 kHz 3.32 kHz 3.52 kHz 3.73 kHz 3.95 kHz

Note that the aux outputs on the slaved mixer are still active but only have access to the local channels. So in this example, the Aux 3 mix for Channels 1-24 on the Slave is routed locally to the Aux 3 output and merged with the overall Aux 3 mix on the Master unit at the same time. Only the Master mixer receives the merged signals from all cascaded mixers, in addition to its local channels.
For example, Channels 1 through 24 reside on the Slave, and Channels 25 through 48 will reside the Master unit. Lets say that you want to create an aux mix on Aux 3. To begin, press the Aux 3 Mix button on either mixer. The Fat Channel meters and encoders on both mixers will be ready for you to create an Aux 3 mix. you will use the Fat Channel meters and encoders on the Slave to set the Aux 3 send levels for Channels 1-24 and the meters and encoders on the Master unit to set the Aux 3 send levels for Channels 25-48. The resulting mix is then routed from the Aux 3 output on the Master unit. If you would like to add Fat Channel dynamics to the overall Aux 3 mix, simply press the Aux 3 Select button on the Master unit and use the Master unit Fat Channel to dial in your dynamics and EQ settings.
Configuring Multiple Units
Creating an aux mix with multiple mixers works exactly the same way as with one mixer. Each of the encoder beneath the meters in the Fat Channel control the amount of send level for each of their corresponding channels on that mixer to the enabled aux.
Every channel in the mixer chain can be sent to the ten aux outputs on the Master unit. When you press the Mix button on any of the ten auxes on either mixer, you will notice that the Mix button for the corresponding aux will illuminate on the other mixer in the chain. For example, if you press the Mix button on Aux 1 on the Master unit, the Mix button on Aux 1 on the slaved units will also illuminate.
Cascading Two StudioLive 24.4.2s
Aux Mixing with Cascaded Mixers
If Subgroup Merge is turned Off, each of the four subgroups on both mixers are locally controlled. So Channels 1-24 can only be assigned to the Subgroups on the Slave and Channels 25-48 can only be assigned to the Subgroups on the Master unit. Because the Subgroups on each of the mixers can still be routed to the Main output on the master unit, unmerging the Subgroups offers advantages for Effects group mixing. (See Section 8.4.2 for details.) But this can also be useful in any situation where you want 24 or fewer channels assigned to the same Subgroup; just do a little careful patching!
Analog Tape Input: As described in Section 4.7.3, the Analog Tape Input on the StudioLive is patched directly to the Main Output using a button in the Master Section. The Tape Inputs are active on both mixers in the chain, but the Tape In button only routes the associated Tape Input to the Main bus on that unit. For example, the Tape In button on the Slave patches it to the Main bus on the Slave only. Because of this, we recommend that you only use the Tape Input on the Master unit. Monitor Bus: You must use the Monitor section on the Master unit to monitor all channels in the chain (by listening to the Solo bus or the the Main bus), the Tape Input for the Master Main bus, and the Main FireWire Return. The Monitor bus on the slaved unit can only receive signals from the mixer it is on. The Solo bus is a merged bus; any channel on any mixer can be soloed and monitored from the Master unit. When either PFL or SIP are engaged on either mixer, both mixers are placed into the same mode at the same time.

Type Maximum Input Level

1/4 TRS Female, balanced (2 stereo pairs) +22 dBu
Type Male, balanced (mono) Rated Output Level Output Impedance
XLR Male, balanced (stereo pair); 1/4 TRS Female, balanced (stereo pair); XLR +24 dBu
Input Impedance THD to Direct Output (1 kHz at unity gain) THD to Main Output (1 kHz at unity gain) EIN to Direct Output S/N Ratio to Direct Output (Ref = +4 dB, 20 kHz BW, unity gain, A-wtd) S/N Ratio to Main Output (Ref = +4 dB, 20 kHz BW, unity gain, A-wtd) Common Mode Rejection Ratio (1 kHz at unity gain)

Aux Outputs

Type Rated Output Level Output Impedance 1/4 TRS Female, balanced (mono) +18 dBu 51
Gain Control Range (+/- 1 dB) Maximum Input Level (unity gain) Phantom Power (+/- 2 VDC)
Type Rated Output Level Output Impedance
1/4 TRS Female, balanced (mono) +18 dBu 51

Line Inputs Tape Outputs

Type Frequency Response to Direct Outputs (at unity gain) 1/4 TRS Female, balanced mono 10 Hz-40 kHz, 0 / -0.5 dBu 20 Hz-20 kHz, 0/-0.5 dBu 10 k <0.0007%, +4 dBu, 20 Hz-20 kHz, unity gain, unwtd <0.005%, +4 dBu, 20 Hz-20 kHz, unity gain, unwtd -105 dB -94 dB -20 dB to +20 dB +22 dBu Type Rated Output Level Output Impedance 1/4 TRS Female, balanced (stereo pair) +18 dBu 51 Type Rated Output Level Output Impedance RCA Female, unbalanced (stereo pair) +18 dBu 100
Frequency Response to Main Outputs (at unity gain) Input Impedance THD to Direct Output (1 kHz at unity gain) THD to Main Output (1 kHz at unity gain) S/N Ratio to Direct Output (Ref = +4 dBu, 20 kHz BW, unity gain, A-wtd) S/N Ratio to Main Output (Ref = +4 dBu, 20 kHz BW, unity gain, A-wtd) Gain Control Range (+/- 1 dB) Maximum Input level (unity gain)

Control Room Outputs

System Crosstalk
Input to Output (Ref = +4 dBu, 20 Hz-20 kHz, unwtd) -90 dBu -87 dBu

Tape Inputs

Type Maximum Input Level RCA Female, unbalanced (stereo pair) +22 dBu
Adjacent Channels (Ref = +4 dBu, 20 Hz-20 kHz, unwtd)

Subgroup Outputs

Main Outputs

Auxiliary Inputs

Threshold Range Attack Time Release Time
-84 dB to 0 dB 0.5 ms 0.05s to 2s 2:1
Connector Input-Voltage Range Power Requirements (continuous)
IEC 90 to 240 VAC (factory-configured for country of destination) 100W
Expander Attenuation Range Noise Gate Attenuation Range

Declaration of Conformity


Added bonus: PreSonus previously Top Secret recipe for
7257 Florida Boulevard Baton Rouge, Louisiana 70806

The back page of the


7.02 178.21

25.19 639.80

6.80 172.81 17.50

14.17 359.86

21.31 541.27

22.37 568.10

23.61 599.80

1.89 47.95

8.20 208.25
PreSonus Audio Electronics, Inc.


StudioLive 24.4.2 Case Dimensions










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