Tuesday, March 25, 2014

PreSonus StudioLive 24.4.2 Digital Mixer



Pricelist : Rp. 42.525.000,-

More Than a Mixer—a Complete System

You'll never go back to an old-skool analog mixer once you've used StudioLive™. With its incredible signal-processing power on every channel, easy store and recall of every setting, and the ability to record it all with just two mouse clicks, you'll get spoiled fast! Easier to use, better sounding, and flawlessly integrated with state-of-the-art software, it delivers the most creative environment possible for both live performance and studio music production.
But StudioLive is not simply a mixer, it's a rapidly growing family of state-of-the-art, integrated hardware-software mixing and recording systems that deliver the features you need for live sound, live recording, and studio recording.
The StudioLive 24.4.2 is a fine choice for those who want to mix small to medium-sized shows and worship services, and it's a great choice for club systems, corporate applications, and educational institutions. And it's the perfect hardware core for a project studio.
Or daisy-chain two StudioLive 24.4.2s to form a 48x4x2 performance console for mid-sized shows and events.
Here, in one device, are high-headroom XMAX™ microphone preamplifiers, a built-in FireWire recording and playback interface, more than 90 signal processors, a big library of DSP effects, 10 aux buses, 4 subgroups, extensive LED metering, mixer save and recall, channel-strip save/recall/copy/paste, talkback, and more.
Yet despite its many controls and features, it's compact and easy to transport.
Build live mixes that glisten with clarity and detail—then record and enhance the performance with the power of StudioLive 24.4.2. Get creative in the studio. Build mixes, loops, sound effects, and more, then bring them out to your show and mix them with the live performance. Process channels using your favorite plug-ins and completely automate your entire performance.
StudioLive 24.4.2 revolutionizes music production, opening endless creative possibilities.

Control Your Sound Your Way!

With a PreSonus StudioLive-series digital mixer, you not only get high-end sound and tremendous processing, mixing, and recording power, you can control all of this sonic might from virtually anywhere. Want to touch your mix with the physical feedback of real faders and rotary knobs and an intuitive, analog-like user interface? The StudioLive delivers big time; sound people who have only mixed with analog boards quickly become comfortable working with a StudioLive.
↓ Read more about the StudioLive’s analog-like ease-of-use.

Virtual StudioLive: The magic of computer control.

Despite its analog-like mixing surface, this is very much a digital console, and it offers features no analog mixer—and very few digital boards—can match. For example, the ability to control the StudioLive mixer from a laptop adds tremendous flexibility and convenience—and with the bundled Virtual StudioLive bidirectional control/editor/librarian software, you get it all for free.
Written exclusively for StudioLive mixers, Virtual StudioLive (VSL) provides a complete visual representation of the mixer, allowing you to control the features with a mouse, trackpad, or trackball on a FireWire-equipped Mac® or PC. Add third-party VPN software, and you can even control StudioLive mixers over the Internet—ideal for contractors. To get a competing mixer with computer control even close to this complete, you'd have to pay several times as much.
Learn more about Virtual StudioLive.

Even better: wireless control!

You’re mixing a live show with an old-skool mixer—make that any mixer other than StudioLive—and you need to check the sound underneath the balcony—or in the balcony, for that matter. Or you’re sound-checking and want to hear the stage monitors for yourself. If you can’t leave the mixing station, you have to rely on someone else’s ears. If you don’t have a reliable crew, you don’t have a chance.
You can say goodbye to that problem if you use a StudioLive 24.4.2 and an Apple iPad®! With StudioLive Remote for iPad—available free from the Apple App Store—you have complete, real-time, wireless remote control over Virtual StudioLive, which in turn offers real-time control over the StudioLive mixer. As long as you have a wireless connection between your iPad and computer (and are connected via FireWire to the 24.4.2), you are in control of the console. StudioLive Remote is easy to use, provides control of almost every feature of the StudioLive, and looks and feels like an iPad app should.
Learn more about StudioLive Remote.

Yet even better: control of monitor mixes from iPhones and iPod touches!

We've given you a lot of sonic control with the StudioLive, Virtual StudioLive, and StudioLive Remote. It's only fair that we help you give the band control of their sound, too. With PreSonus' free QMix™, each band member can control their own StudioLive aux (monitor) mix from an iPhone® or iPod® touch. QMix lets you adjust a single aux mix per iPhone. Select inputs and levels for your custom monitor mix, and then use the Wheel of Me to get, well… “more me”… quickly during performances.
You can even set permissions to ensure that the bass player, always the practical joker, can't mess with the hot-tempered lead singer's monitor mix. Otherwise, that bass player is going to get in trouble someday. We're just sayin'….
Learn more about QMix.
The level of control you get with PreSonus StudioLive-series mixers is beyond cool—it's absolutely ice! Now you can control your sound from anywhere you choose—no limits! Only with PreSonus StudioLive.

A gigantic console in a small package thanks to the Fat Channel.

If StudioLive 24.4.2 were an analog console, it would have 4-foot-long channel strips packed with knobs and buttons or it would require a massive outboard rack of expensive signal processors! That's because each channel has its own studio-grade compressor, limiter, gate, 4-band parametric equalizer, and high-pass filter. In all, we've packed 43 compressors, 43 limiters, 43 gates, 24 high-pass filters, and more, into one remarkable Fat Channel.
 ↓ Read more: Fat Channel signal processing and effects.

Not just effects. Effects you'd expect from a $600 stand-alone processor.

You get two programmable, 32-bit, stereo DSP effects engines, loaded with 50 reverbs, delays, and time-based effects that you can really use. The reverbs are so rich and detailed that you feel like you're there. Delays are precise. Slap echo sounds like old-school tape effects.
All 50 effects have easy-to-use parameter adjustment, tap tempo, store, recall, and Scene selection for ultimate creative flexibility.
↓ Read more: A complete listing of effects presets.
The reverbs are so rich and detailed that you feel like you’re there. Delays are precise. Slap echo sounds like old-skool tape effects. All 50 effects have easy-to-use parameter adjustment, tap tempo, and store and recall selection for the ultimate in creative flexibility.
The StudioLive 24.4.2's 4 dual, 31-band graphic equalizers can be applied to the main, subgroup, and aux outputs so you can compensate for room acoustics, speaker response, and much more.
Furthermore, with Smaart Measurement Technology™, you'll be able to really put StudioLive's graphic EQ to work improving the sound of your P.A. Precisely identify nasty feedback frequencies. Get your loudspeakers to play nicer with the room they're in — all without having a degree in acoustical engineering.

What was then is now: complete store and recall.

Two factors work against getting that Perfect Mix with an analog mixer. First, the Perfect Mix can be hard to reproduce a week, day, or hour after you perfect it. And second, a good mix should be dynamic: levels, effects, and EQ should be tailored to each song or segment of the show, service, or presentation. This adds up to a lot of settings to remember and reset at every performance.
That's where the power of digital comes in: StudioLive lets you save all of your digital settings for quick setup and recall. Save Scenes that include every setting on the mixer or save just the Fat Channel settings. Copy-and-paste settings across multiple channels. Save individual DSP effects for ultimate ease, speed, and control.
This means that for fixed applications like clubs, churches, and auditoriums, you can always count on the same sound and can fine-tune Scenes for different songs and call them up instantly. And it lets rank amateur volunteers successfully operate the StudioLive 16.4.2.

↓ Read more: Store and recall made easy.
↓ Read more: Sample list of channel presets.

Recording made easy with Capture™

If you have a computer with 6-pin FireWire, you have a 26-track digital recorder instantly ready to capture your gig, church service, or presentation. That’s because StudioLive 24.4.2 features a tightly integrated FireWire interface that delivers up to 32 channels of recording and up to 26 channels of simultaneous playback. Each FireWire recording channel can be set to record either pre- or post-Fat Channel signal processing, delivering total flexibility and power.
Just two mouse clicks engages Capture™ recording software. When you install it on your laptop, it automatically “maps” to the outputs of the 24.4.2 to automatically record all 24 input channels.
↓ Read more: Recording with Capture
Learn more about Capture.

Studio One® Artist — A serious digital audio workstation.

Once you’re recorded studio tracks or a live multi-track performance, it’s time to finish it with effects and a good mix (not to mention editing out that huge burst of feedback during the third song).
Studio One is a groundbreaking music-creation and -production application for Mac OS X and Windows® that makes audio recording and MIDI sequencing ridiculously simple right out of the box.
Studio One changes the rules of the game with fresh code, innovative drag-and-drop features, advanced MIDI mapping, auto-configuration with your StudioLive 24.4.2, insanely good audio quality, unlimited tracks and plug-ins per track, and a powerful, inventive Start page. Studio One Artist also comes with a Native Effects™ 32-bit effects library, complete with dynamics processors, reverbs, modulation effects, amp simulators, and more. And with Studio One's free Nimbit® extension, you can immediately start selling your music.
Learn more about Studio One.

Inside, it's pure PreSonus.

Ease of use and powerful features only count if the sound quality is equally impressive. After all, it really comes down to how good those microphone preamps are, how clean the signal path is, and how well the algorithms perform.
That's why you should choose a digital mixer made by PreSonus, a company already famous for its analog mic preamps, pristine digital interfaces, and well-regarded signal processors.
XMAX™ Class A preamplifiers deliver more headroom, deeper lows, smoother highs, and a richer overall sound than the preamps found in competing mixers. Ultra-high-headroom, 32-bit floating-point processing is used for all digital mixing. All analog inputs and outputs use the highest quality digital converters available.
↓ Read more about XMAX preamps.
Synchronization to your computer is stable and robust, thanks to JetPLL™ synchronization technology, resulting in great stereo separation and clear, transparent audio.
↓ Read more about A/D/A and Jet PLL.

StudioLive expands with your input needs.

Need more than 24 channels for mixing live shows and don't need to record? Daisy-chain two StudioLive 24.4.2s via their FireWire ports to get up to 48 input channels and 8 submix buses.
If you need more than 24 channels for recording, and you don't need a full channel strip for the additional inputs, you can daisy-chain a StudioLive 24.4.2 with any PreSonus FireStudio-series interface. It could not be simpler.

Which StudioLive is best for you?

Why choose the StudioLive 24.4.2 rather than the StudioLive 16.4.2? Let's say you want more than 16 channels but want to keep your system compact. Perhaps the acts and events you mix require lots of monitor mixes, so you need more than the six auxiliary buses in the 16.4.2, and you want fully parametric EQ, rather than semi-parametric. You could use an enhanced gate with Key Listen and Key Filter features, and a Threshold control on the limiter would be handy. A stereo graphic EQ on the mains is mandatory but you also want graphic EQ on the subgroups and auxes at times—four dual-mono, 31-band graphic EQs would do the job nicely. No problem! You get all of these enhancements and more with the 24-channel, 10-aux, StudioLive 24.4.2.
If your needs and budget are more modest, you might want to consider the StudioLive 16.0.2. The StudioLive 16.0.2 provides fewer channels, mic preamps, aux buses, FireWire streams, graphic EQs, and meters than the StudioLive 24.4.2, and it does not have subgroups, digital outs and analog direct outs. Its faders are 60 mm instead of 100 mm, and you can't daisy-chain two 16.0.2s to create a larger system. And the StudioLive 16.0.2's Fat Channel is less elaborate than the 24.4.2 Fat Channel. However, the StudioLive 16.0.2 is much lighter and more compact than the 24.4.2, it's considerably less expensive, and it has a very cool feature that the larger StudioLives don't offer: MIDI control over main output level, effects levels and routing, and Scene change.

You've read the book. Now see the movies.

We've provided plenty of written material about StudioLive. In addition, you can go to the Video tab on the upper section of this page and watch a whole series of instructional videos showing StudioLive mixers in church, club, and project-studio applications. Video blogs go into detail about various powerful StudioLive features. And we regularly add new videos.
Reading about the StudioLive 24.4.2 is a good start but nothing beats actually getting your hands on one, so visit your nearest PreSonus dealer today. Use our Where to Buy section to locate your nearest PreSonus dealer.
You'll see what we mean about intuitive ease-of-use. You'll hear what we mean about Class A preamps, rich DSP effects, and overall sound quality. And when you have seen and heard it for yourself, you'll understand why your new mixer should be a StudioLive—the most exciting small-format digital mixer on the planet.

Smaart Measurement Technology

We've begun to incorporate Rational Acoustics' highly regarded Smaart Measurement Technology™ directly into our Virtual StudioLive™ remote-control/editor/librarian software for StudioLive™ mixers.
↓ Read more: What is Smaart?
The first module from Smaart Measurement Technology to be implemented is Smaart Spectra™, which is part of PreSonus Universal Control 1.6 and later. (Download Universal Control free from the Technical Support section of the PreSonus Web site.)
Now you can really put StudioLive's graphic EQ to work improving the sound of your P.A. Precisely identify nasty feedback frequencies. Get your loudspeakers to play nicer with the room they're in — all without having a degree in acoustical engineering. VSL’s Smaart implementation is accessible and intuitive, so that inexperienced users can make basic adjustments to the system, and experienced users can adjust the system quickly and precisely.

See the spectral content of your mix in real time. Then do something about it.

When you click on the Graphic Equalizer button in Universal Control 1.6, Smaart Spectra’s Spectrograph and real-time analyzer algorithms go to work, showing you the spectral content of whatever is routed though a particular graphic EQ.
You can also activate a real-time analyzer, much like the Studio One™ 2 plug-in, and view what you are hearing. Can’t tell if your mix has too much low end or your room is boomy? Use the RTA to see where your mix has gone awry and clean it up!
But the real magic is Smaart's unique Spectrogram display.

Audio in three dimensions.


The Smaart Spectra Spectrogram shows level versus frequency versus time. It graphs a continuous series of Spectrum measurements with frequency on one axis, time on another, and level indicated by colors. The display responds in real time as you adjust the graphic EQ.
↓ Read more about the Smaart Spectrogram.
↓ Use case: Ringing out feedback with Smaart Spectrograph 

All the advantages of VSL, too!

Because Smaart is integrated into VSL, its features can be wirelessly remote-controlled using StudioLive Remote 1.3 or later for iPad® — a free download from the Apple App Store. You can even use third-party VPN software to remote-control VSL, and therefore, Smaart, over the Internet—so contractors can help solve clients’ sonic emergencies without being physically present.
This is just the start of a beautiful relationship with Rational Acoustics — PreSonus products are about to get a lot Smaarter!

FEATURES :
  • 24 mic/line inputs with high-headroom Class A XMAX™ mic preamplifiers
  • 4 subgroups
  • Stereo/mono main out
  • 10 auxiliary mixes
  • 32-in/26-out FireWire digital recording ­interface (24-bit/44.1 kHz and 48 kHz)
  • Studio One Artist Digital Audio Workstation software for Mac® and PC
  • Capture™ 1.1 recording software for Mac® and PC
  • StudioLive Remote mixer-control software for iPad® available free from Apple App Store
  • QMix™ aux-control software for iPhone® and iPod touch® available free from Apple App Store
  • Direct recording interface compatible with Logic®, Nuendo, Cubase, Sonar™, Digital Performer™, Ableton™ Live, and more
  • 24 channel strips
  • Trim control with –20 to +20 dBV line/-15 to +65 dBu mic gain range (80dB!)
  • +48V phantom power switch for condenser microphones
  • FireWire Input Select
  • 100 mm precision faders
  • Lighted Solo and Mute buttons
  • Access to Fat Channel functions
  • 15-LED ladder metering + clip LED
  • Analog ¼" insert (rear panel)
  • 4 subgroup buses, each with:
    • Solo
    • Mute
    • Access to Fat Channel functions (except high-pass filter and phase reverse)
  • 10 aux sends, each with
    • Solo
    • Pre/post-fader send
    • Output-level control
    • Access to Fat Channel functions (except phase reverse)
    • Mix and Mix/Pan Fat Channel metering
    • Available sources:  24 input channels, Aux A and B, Tape Input, Talkback
  • 2 internal effects sends, each with:
    • Mute
    • Pre/post-fader send
    • Output-level control
    • Access to Fat Channel (except phase reverse)
    • Effects-send Select for Fat Channel metering
    • Mix button for aux-bus mixing and Fat Channel metering
  • Master Section
    • Aux Input A and B
    • Level Control and Select (Fat Channel ­metering) switch
    • Access to all Fat Channel functions (except phase reverse)
    • Talkback System
      • Mic Level control
      • Output Select ( Aux 1-2, 3-6, 7-10, Main)
      • Talk button
      • Rear-panel XLR mic input with level control and continuous 48V phantom power
    • 2 Track In
      • Level control
      • Tape Input to Mains button
      • FireWire source on/off
    • Solo Bus
      • Cue Mix volume control
      • PFL/AFL and Solo In Place (SIP) buttons
    • Monitor Bus
      • Headphone-output level control
      • Control-room monitor-level control
      • Solo Bus to Monitor button
      • Tape Input to Monitor button
      • Main L/R FireWire Return to Monitor button
      • Main Mix to Monitor button 
  • Fat Channel with rotary encoders:
    • Pan with dedicated 15-LED display
    • Stereo link for input channels, aux buses, and subgroups
    • Phase reverse (main channels only)
    • High-pass filter: 6 dB/oct., sweepable from Off to 1 kHz (main channels and aux's only)
    • 4-band fully parametric equalizer
      • Low EQ: sweepable from 36 Hz to 465 Hz, ±15 dB, switchable shelf or peaking
      • Low Mid EQ: sweepable from 90 Hz to 1.2 kHz, ±15 dB, variable Q 0.1 to 4.0
      • High Mid EQ: sweepable from 380 Hz to 5 kHz, ±15 dB, variable Q 0.1 to 4.0
      • High EQ: sweepable from 1.4 kHz to 18 kHz, ±15 dB, switchable shelf or peaking
      • Master EQ On/Off button
    • Gate: Threshold: 0 to –84 dB, Attack: 0.02 to 500 ms, Release: 0.05 to 2 sec, Bandpass Key Filter: 40 Hz to 16 kHz, second-order resonant bandpass filter Q (0.7) with Key Listen function
    • Compressor: Threshold,-56 to 0 dB; Ratio 1:1 to 14:1, LIM=∞:1; Attack 0.2 to 150 ms; Release 2.5 to 900 ms; Makeup Gain 0 to 28 dB; Soft Knee switch; Auto Mode with 10 ms Attack and 150 ms Release
    • Limiter: variable Threshold -28 dBfs to 0, ∞:1 Ratio
    • Output Assign: 4 subgroups and main with post-EQ/post-dynamics option
    • All settings can be copied among channels and saved as user presets.
    • 50 channel-strip presets for drums, bass, guitars, keyboards, and vocals
  • 2 internal digital effects-processors, each with 50 customizable reverb and delay presets
    • 31-band graphic equalizers
      • Assignable in four stereo pairs
      • Mono or stereo operation
      • Main outputs, aux outputs, subgroup outputs
    • Scene Store and Recall
    • Global Scene Storage: all current StudioLive settings
      • Up to 80 at a time
    • Automatic Global AutoStore
    • Individual channel-strip Scene storage
    • Up to 48 at a time, plus…
    • 50 factory presets for instruments and vocal
    • Copy and Paste between channels
    • Customizable naming (for example, "Saturday Gig" or "Main Worship Service")
    • Lockout mode to keep inspired amateurs from changing your settings
  • Metering/Displays
    • 24 x 16- LED Fat Channel matrix:
      • Pre-dynamics/pre-fader input
      • Post-dynamics/post-fader output
      • Gain reduction
      • Aux 1-10 and EFX A/B output
      • Fader-position recall
    • 8 x 15-LED main meter bank
      • Selected channel level
      • Selected channel gain reduction
      • Sub buses 1 to 4
      • Main stereo outputs
    • 15-LED horizontal Pan/Balance display
    • 64 x 194 LCD matrix
      • Effects parameters
      • Scene creation, storage, and recall
      • System menus
    • 2-digit Channel Selected display
  • Input/Output
    • 24 main inputs, each with XLR mic, ¼" line, and ¼" inserts
    • 2 ¼" stereo (L/R) aux inputs
    • 1 XLR talkback-mic input with phantom power and level control
    • Unbalanced RCA stereo (L/R) tape inputs and outputs
    • XLR stereo (L/R) main outputs with level control
    • ¼" stereo (L/R) main outputs
    • XLR mono output with level control
    • ¼" stereo (L/R) control-room outputs
    • ¼" headphone output
    • 4 ¼" subgroup outputs
    • 10  ¼" aux outputs
    • 24 pre-insert, balanced direct outputs, Ch. 1-8, 9-16, 17-24 (DB25 sockets) S/PDIF digital out
    • 2 FireWire 400 ports
  • Digitalia
    • High-definition analog-to-digital converters (118 dB dynamic range)
    • Unlimited-headroom, 32-bit floating point, digital mixing and effects processing
    • Internal sample frequency 44.1 kHz and 48 kHz
  • Physical
    • Rugged, non-flex steel chassis
    • 100 mm long-throw faders
    • Military-grade, quick-touch buttons
    • BNC 12V lamp socket
    • Optional dust covers available

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