The particular flagship in PreSonus’ brand new technology involving UNIVERSAL SERIAL BUS a couple of. 0 audio/MIDI interfaces, this AudioBox 1818VSL takes hardware/software integration to the next stage and produces a variety of features, sound recording good quality, and price that is certainly unprecedented within this item class.

With your personal computer PC and PreSonus Virtual StudioLive™ (VSL) computer software, AudioBox VSL-series interfaces offer reverb and postpone side effects and also the exact same Excess fat Station compression, decreasing, semi-parametric EQ, and high-pass filtering, because PreSonus StudioLive™ 04. 0. a couple of a digital mixer— many having inaudible latency.

It’s a most wonderful choice pertaining to undertaking dojos, carrying out bands, classes tunes labs, and numerous management and business installation and other company software.
This is the expert item right, having high-end 24-bit, 96 kHz converters; Class A new XMAX™ preamps; ADAT optical I/O; S/PDIF coaxial I/O; word-clock result; and MIDI I/O, stored in a heavy-duty, rack-mount metal chassis.

On top of that, thanks to the power involving VSL, this AudioBox 1818VSL has a 26x8 computer software appliance. Therefore, having merely a good AudioBox 1818VSL along with your laptop computer or even other personal computer, you possibly can combine the studio room treatment or even dwell display having a whole band—all though supervising and documenting having or even without having real-time side effects!
And you'll do it merely and simply, with no hardware appliance, simply no outboard side effects holder, and little cabling, thanks to this tight integration involving PreSonus hardware and computer software.

VSL provides you with two ways to look at your mix and to dial in FX settings: The Overview and Fat Channel tabs.

The Overview tab provides you with a complete graphical representation of your Virtual StudioLive mix environment. In the Overview, you’ll see the Fat Channel processors presented in compact versions called “microviews.”

The Fat Channel tab opens a detailed overview of the Fat Channel parameters for the currently selected channel. The Fat Channel tab can be opened either from its tab at the top of the VSL window or by simply double-clicking on any of the microviews in the Overview tab. On both tabs, each input channel and DAW return features a fader for accurate level adjustment. Unity gain (0 dB) is denoted by a “U.”

From either tab you can:

Adjust levels for all analog and digital inputs, all eight playback streams, both effects buses, the main output level of the entire mix, and the output levels of each monitor mix.

Adjust the panning for the analog and digital inputs and playback streams

Adjust the send level for both the analog and digital inputs and playback streams to each FX bus

Adjust the send level for each channel to outputs 3 and 4, 5 and 6, and 7 and 8

Adjust the parameters for the FX preset on each FX bus

Solo and mute each analog input and playback stream

Meter the inputs and outputs

What’s so great about effects and processing on monitors?

Tracking without hearing effects and signal processing is like playing a video game with your eyes closed. Musicians rely on aural cues when performing, and their performance can vary depending on what they hear in their monitors.

Adding just the right amount of compression, EQ, and reverb can make a huge difference in their ability to hear themselves clearly and to experience their performance as if it occurred in a natural space rather than in the artificial sonic environment of the studio. The result is a better performance and ultimately a better recording.

Each channel and DAW return in AudioBox VSL software can be processed with the Fat Channel section, which includes a separate compressor, limiter, and downward expander that were modeled after the classic, analog PreSonus ACP88. They deliver the advantages of programmable digital processors but they sound very much like analog. You also get a high-pass filter with -6 dB/octave slope and a variable cutoff frequency (18 Hz to 1.3 kHz) and phase reverse.

The Fat Channel’s 3-band quasi-parametric EQ has a high/low Q switch on the mid band and switchable shelving on the low and high bands. Each EQ band can be individually switched on/off.

You can monitor and record with or without Fat Channel processing.

Time-based effects such as delay and reverb are delivered by two stereo effects processors, which are assigned to dedicated effects buses and come with 30 user-editable factory 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. 

Overcoming the Latency Problem

You have plenty of effects plug-ins for your DAW, but processing audio with a DAW takes more time than you might think. True, we’re talking milliseconds, but it’s long enough that if you put DAW effects in your monitors, you’ll either hear the original sound slightly before the processed signal, or play a note on your instrument and have to wait a moment to hear the result of your action. Both of which are very disorienting.

Fortunately, our engineering wizards have dramatically reduced processing delay in the AudioBox VSL series. The result: dynamics processing, EQ, reverb, and effects that feel real, with no audible delay.

In the audio world, “latency” is another word for “delay.” It’s the time it takes for the sound from the front-of-house speakers at an outdoor festival to reach you on your picnic blanket. Or the time it takes for your finger to strike a piano key, for the key to move the hammer, for the hammer to strike the string, and for the sound to reach your ear. An extreme example is the time between a lightning strike and the time you hear the thunder.

Any significant amount of latency in a digital recording system can negatively impact a performer’s ability to play along to a click track or beat — making it sound like you’re performing in an echoing tunnel.

In practical terms, the amount of roundtrip latency you experience is determined by your audio interface’s A/D and D/A converters, its internal device buffer, its driver buffer, and the buffer setting you have selected in your DAW software (Mac) or Control Panel (Windows).

This is where AudioBox VSL-series interfaces enter the picture. This new series of interfaces takes advantage of recent technological discoveries and provides users with the ultimate monitor-mixing experience, without including expensive onboard DSP and the proportional cost increase to customers.

For a more detailed explanation of what latency is and how AudioBox VSL interfaces achieve ultra-low latency, enabling real-time monitoring with effects, read The Truth About Digital Audio Latency.

Record With or Without Processing

If you like what you hear, you can record with AudioBox VSL-series effects, too! These are the same high-quality StudioLive 16.0.2 Fat Channel dynamics processors and EQs that professional musicians, engineers, and producers record with every day.

The time-based effects are for monitoring only and can’t be recorded. Of course, most people add reverb and delay effects during editing and mixdown, rather than while tracking, in order to ensure that the effects on all tracks work together.

Great processors are a PreSonus tradition

We didn’t invent the first audio interface with effects. We simply did it better and for less money. Sure, some interface manufacturers that don’t normally make signal processors have added a compressor, EQ and a few effects to their interfaces.

But the AudioBox VSL series provides all that, plus a separate limiter, expander, and high-pass filter—and we’ve been making high-quality signal processors since 1995. The AudioBox VSL-series’ Virtual StudioLive (VSL)-based effects and Fat Channel processing have been extensively field-tested and proven popular by tens of thousands of StudioLive™-series mixer users, including many top professionals.

Of great importance, thanks to VSL’s drag-and-drop convenience, adding processing and creating and loading presets is easy. Pro-level processing and superior ease of use mean you’ll get better results and have more fun!

AudioBox VSL software features a browser window along the right side of the screen that functions similarly to the browser in PreSonus Studio One. From the VSL browser, you can see all of the scenes, Fat Channel presets, and FX presets that are saved on your computer. Create new settings from this window, and simply drag-and-drop a scene or preset to load it into the AudioBox 1818VSL.

A Scene is like a snapshot of your mix. It stores each Fat Channel parameter for every input and bus, as well as fader positions, the aux and effects mixes, FX bus settings, and channel mutes and solos. Creating a Scene requires simply dialing in a mix that you would like to use at a later date and saving it.

VSL also comes equipped with 50 Fat Channel presets that have been custom-designed by professional audio engineers. These presets can be altered, renamed, and overwritten; you can build your own nearly limitless custom library of channel-strip settings.

With 30 custom reverb and delay presets to get you started, dialing in just the right effect is easy. In addition to these presets, you can build your own, nearly limitless, custom effects library. The factory presets can be altered, renamed, and overwritten. 

High-end sound in a versatile, roadworthy interface

Versatile and portable, the AudioBox 1818VSL offers 2 convenient front-panel mic/instrument combo inputs and 6 front-panel mic/line combo inputs, true 48V phantom power (switchable in 2 banks), and 8 line-level outputs.

ADAT Optical I/O provides 8 more channels of input and output (at 44.1 or 48 kHz; 4 channels at 88.1 or 96 kHz). S/PDIF coaxial digital I/O adds 2 more channels, bringing the total to 18 audio input channels and 18 output channels.

The ADAT Optical interface—commonly referred to as “Lightpipe”—was originally designed by Alesis for use with its revolutionary eight-channel ADAT digital tape recorders. The interface uses fiber-optic cable to transfer a high-speed serial bitstream carrying up to eight channels of 24-bit, 44.1 or 44.8 kHz digital audio between compatible devices.

ADAT Lightpipe employs a Toslink optical connector, which is the same connector used for S/PDIF optical transfers but the two datastreams are mutually incompatible. It always transfers at 24-bit resolution; for example, if a 16-bit signal is sent via Lightpipe, the first 16 bits carry the audio information and the remaining bits are a string of zeros.

The Lightpipe is “hot pluggable”; you don’t have to turn off the devices when plugging or unplugging the optical cable. However, you should turn down the master level because making and breaking optical connections creates a significant signal spike that can damage your speakers.

Transferring digital audio via Lightpipe is simple, and fiber-optic cables are not subject to electromagnetic and radio-frequency interference. Furthermore, you can use fairly long cable runs; a 16-foot optical cable is no problem.

However, it is important to protect your optical cables from sharp bends and turns, as the cables are relatively fragile and are almost impossible to repair without specialized tools. Don’t stand on optical cables or put heavy weight on them.

Note that Lightpipe ports emit a red light beam. The beam is harmless. However, it’s important to keep the optical ports clean, so cover them with the small plastic plugs that come with your unit when the ports are not connected to cables. 

The AudioBox 1818VSL’s sound is pure PreSonus, with the same high-headroom, Class A solid-state XMAX preamps found in our StudioLive mixers and high-quality, 24-bit, 96 kHz converters with 114 dB dynamic range for clear, clean audio.

At PreSonus, we know that the mic preamplifier is a key component in the sonic quality of a recording. Many other companies that offer mobile recording interfaces add the cheapest possible microphone preamplifier as an afterthought. In contrast, the AudioBox 1818VSL includes custom-designed, high-voltage, discrete, XMAX Class A microphone preamplifiers that are suitable for use with all types of microphones.

The job of a microphone preamplifier in an audio interface is to boost a microphone-level signal to line level before conversion to the digital domain. A good preamp boosts the level to almost 400 times that of the original signal, making the preamp one of the most important stages in an interface. A cheap, off-the-shelf, op-amp-type mic preamp delivers thin, noisy, harsh results. But with XMAX preamps, the sonic quality is limited only by what microphone you plug into it.

XMAX preamplifiers are built with three key elements:

• High Voltage. The XMAX preamplifier runs on power rails of 30V. Most off-the-shelf, op-amp-based designs run on power rails of 10V to 18V. Higher-voltage power rails deliver more headroom, deeper lows, smoother highs, and a richer overall sound.
• Discrete components—not op-amps. We only use genuine transistors, resistors, and capacitors. Op-amps add noise, coloration, and harshness to a signal. Our discrete design delivers ultra-low noise and transparency.
• Class A. Class A circuits have no crossover distortion and deliver purer, clearer, and more musical results than the Class AB designs that are found in many preamps.

The net result of the XMAX preamp design is high headroom, low noise, wide dynamic range, extended frequency response, and—most important—musicality and transparency, with smooth highs, solid deep lows, and everything in between. 

The AudioBox 1818VSL also boasts PreSonus’ legendary 120 mW headphone output, which is loud enough to explode the oysters in a Po’-Boy sandwich. (Be careful with your level control!)

Built for the rigors of the road

Pause and ponder this for a moment: a great-sounding 18x18 interface with a computer-based mixer and full complement of dynamics processing and EQ, with reverb and delay effects on dedicated buses, plus MIDI and word clock, all in a single rackspace! And there’s more.

The flexibility and power of software

VSL enables you to easily manage the processing and mixing from your Mac^® or Windows^® PC and provides editor/librarian functions, making it simple to create and use a library of presets. To get you started, we’ve included the same library of more than 50 Fat Channel presets that comes with StudioLive mixers. These presets were created by professional musicians and engineers and let you instantly set up dynamics processing and EQ for vocals, guitar, and much more.

Seamlessly integrated with the included Studio One^® Artist DAW and VSL, the AudioBox 1818VSL interface works with virtually all Mac and Windows audio-recording software.

Wireless remote control offers new possibilities!

With PreSonus AB1818VSL Remote, you can control all features of AudioBox 1818VSL software (except Solo and Channel Link) wirelessly from an Apple iPad^®. The app provides multiple views of the key AudioBox VSL mixer and processing controls. And it’s a free download from the Apple App Store!

Because the AudioBox 1818VSL has a built-in 26 x 18 mixer, it can be seriously considered as a live mixer for small groups. With AB1818VSL Remote, you can stash the AudioBox 1818VSL and a USB-connected Mac or PC backstage or at the side of the stage and control the system from anywhere in the house.

AB1818VSL Remote’s Overview screen displays the most-used parameters, such as channel levels, mutes, panning, EQ curves, and more, for multiple channels at once.

As with AudioBox VSL software for Mac and Windows, the Fat Channel processors are displayed as microviews; tap a microview to zoom in on the Fat Channel processing, then navigate between the processors with the flick of a fingertip.

Adjust mix send levels, control the reverbs and delays—with AB1818VSL Remote for iPad, the power of AudioBox VSL software is literally at your fingertips.

Having a powerful user interface, unrivaled sound quality, remarkable DSP overall performance, strong Wi-Fi and also LAN verbal exchanges, fast and also intuitive workflow, on the deck of FireWire s800 software, and also snugly built-in software room pertaining to Mac®, Windows®, and also iOS®, StudioLive™ AI-series digital camera mixers develop a structured working atmosphere pertaining to both equally stay and also facility utilize.

Renovated on the terrain way up, these types of state-of-the-art mixers present analog workflow with considerable two indication digesting upon every route and also shuttle and also definitely built-in software which covers real-world complications and also enables you to document and also send out that which you mix. Configurable social networking and also communications option playing cards make sure your current expenditure won’t always be out-of-date since completely new engineering come up.

In a nutshell, StudioLive AI-series mixers supply the most effective with digital camera mixing up and also saving technological innovation and also allow it to become many unbelievably intuitive and also all to easy to discover and also utilize.
The long run is usually Lively Integration™

StudioLive AI-series mixers start off with all the current strengths which manufactured the 1st era regarding StudioLive mixers well-known: powerful, surface-driven software; tons of DSP digesting and also analog I/O; and also layerless mixing up, due to specific mix busses. Chances are they'll press your technological innovation to the next level. So while a few StudioLive AI-series mixers — your StudioLive 33. four. 2AI, twenty four. four. 2AI, and also of sixteen. four. 2AI —look and also feel just like his or her non-AI counterparts, they have been reengineered on the terrain way up with much more capabilities and also processing electrical power.

The big difference is usually Lively Integration™ (AI), an extensive, networked, snugly built-in hardware/software environment in which every touch stage within the technique conveys to further improve the user practical knowledge and also fix functional complications in manners not previously possible.

Lively Integration products blend powerful 32-bit floating-point DSP, wi-fi and also " cable " social networking, USB 2. 0 connectivity, and also exclusive software to resolve real-world live-sound and also facility complications. PreSonus sales opportunities the with hardware/software integration, and also Lively Integration takes this particular concept into a completely new level, featuring high-end capabilities which may have never been recently accessible before.

Present Lively Integration products utilize cutting-edge OMAP™ L138 processors — a full laptop or computer using a processor. Most of these 32-bit, 96 kHz multi-stream CPUs perform from 350 MHz and show the computer, 100 Mb Ethernet communications, USB 2. 0 and also 1. 1, and also magnificent levels of high-speed GOOD OLD RAM.

With PreSonus StudioLive™ AI-series digital camera mixers, Lively Integration technological innovation consists of powerful Wi-Fi remote control above a range of attributes, applying free of charge Mac®, Windows®, and also iPad® software. In addition, Lively Integration allows common Ethernet communications and also recommended Dante and also AVB social networking, generating possible particularly flexible, powerful, networked techniques.

Because of Lively Integration, your StudioLive AI-series mixers have got 64 periods your digesting electrical power and also a terrific 10, 000 periods more GOOD OLD RAM compared to past top-of-the-line StudioLive twenty four. four. 2. This kind of allows a lengthy feature fixed, such as doubly quite a few inner side effects busses, and also the ability to generate a pair of comprehensive pieces regarding EQ and also character configurations for the route then produce quick A/B evaluations with the touch of the press button. The powerful COMPUTER interior just about every StudioLive AI appliance allows us to exploit key elements of your legitimate Studio room One audio tracks motor. We live able to operate the same 64-bit coefficients for your summing motor, EQ, and also character. Fundamentally, we have definitely built-in what produce Studio room One sound so competent into these types of mixers. The actual result is often a bigger sound, much better stereo audio image resolution, and even more precise audio tracks.

Along with Lively Integration, completely new attributes and also other improvements might be added with long term firmware and also software updates—and PreSonus provides earned the popularity pertaining to on a regular basis delivering this sort of changes with the digital camera products.

Nevertheless Lively Integration doesn’t cease with hardware. The newest StudioLive AI software room has been recently newly designed to be able to make completely new social networking attributes.

Create Customized Systems—Up to 64 Channels!

Combining two StudioLive AI mixers provides exceptional power and flexibility and enables you to create a large-format console on a small-format budget. Start with 16, 24, or 32 channels, then cascade a second StudioLive AI-series mixer of any frame size to create custom-sized mixing consoles with all the hardware and software advantages of StudioLive Active Integration systems. Now your system can grow with your needs and budget!

By connecting a FireWire 800 cable between two StudioLive AI-series mixers, you can cascade them to functionally create a single large-format console with full DSP, routing, recording, and remote-control capability. For example, you can combine two StudioLive 32.4.2AI mixers to get a 64-channel system with 32 mix buses that can record 80 simultaneous streams and play back 66 on any FireWire 800- or Thunderbolt-equipped computer.

Cascading mixers of different frame sizes is great for special events that require a few extra recording channels that don’t need to be in every monitor mix. For example, a StudioLive 16.4.2AI can be cascaded to a 32.4.2AI and form a single 48-channel console with 6 global aux buses, as well as 8 local aux sends that are available to the channels on the 32.4.2AI.

When two mixers are cascaded, one mixer is designated the “Master” and the other the “Slave.” All buses from the Slave mixer, except the internal effects buses, are merged into the buses of the Master mixer. However, you can optionally merge the subgroups or manage them separately to use as DCAs, with full Fat Channel processing, patched to the main bus. Merged buses are passed through the outputs of the Master mixer, and all bus controls are linked. Channel controls remain local to each mixer.

The internal FX buses remain separate for the two boards, so you have up to four reverbs and four delays across the complete system. Mute Groups and Quick Scenes are disabled on the Slave mixer but operate normally on the Master board.

Cascading Options for StudioLive AI-series Mixers

Mixer Combination	Total Channels	Total Aux Buses	Total FX Buses	Total Subgroups	Recording Interface
2 x 16.4.2AI	40 (32 channels + 4 stereo Aux Ins)	6	8 (local sends only)	4 or 8 (depending on Subgroup merge state)	48 x 34
16.4.2AI (Slave) + 24.4.2AI (Master)	48 (40 channels + 4 stereo Aux Ins)	6 global sends + 4 additional local sends (24.4.2AI only)	8 (local sends only)	4 or 8 (depending on Subgroup merge state)	56 x 42
16.4.2AI (Slave) + 32.4.2AI (Master)	56 (48 channels + 4 stereo Aux Ins)	6 global sends + 8 additional local sends (32.4.2AI only)	8 (local sends only)	4 or 8 (depending on Subgroup merge state)	64 x 50
2 x 24.4.2AI	56 (48 channels + 4 stereo Aux Ins)	10	8 (local sends only)	4 or 8 (depending on Subgroup merge state)	64 x 50
24.4.2AI (Slave) + 32.4.2AI (Master)	64 (56 channels + 4 stereo Aux Ins)	10 global sends + 4 additional local sends (32.4.2AI only)	8 (local sends only)	4 or 8 (depending on Subgroup merge state)	72 x 58
2 x 32.4.2AI	72 (64 channels + 4 stereo Aux Ins)	14	8 (local sends only)	4 or 8 (depending on Subgroup merge state)	80 x 66

Actively integrated software.
PreSonus StudioLive AI-series mixers are tightly integrated with an entire suite of free, state-of-the-art software that helps you mix and record better and have more fun doing it. No other digital mixer anywhere near this price class comes close with respect to software integration and features. In fact, most digital mixers in much higher price classes don’t come close.

The StudioLive AI Software Library has been redesigned for the Active Integration platform and comprises the latest version of our tightly integrated software bundle for Mac and Windows: Capture™ 2.1 multitrack-recording software, Studio One Artist^® 2.6 DAW, and Virtual StudioLive-AI editor/librarian/control software with Smaart Measurement Technology™.

In addition, StudioLive Remote-AI control software for iPad^® and QMix™-AI aux-mix control for iPhone^®/iPod^® touch are available free from the Apple App Store.

All of these applications are designed to communicate with each other and with the mixer. This means that you can now save and load scenes with Capture™ 2.1 and share presets between the Fat Channel plug-in in Studio One 2.6 and VSL-AI. Channel names entered in SL Remote-AI are broadcast throughout the network (including Capture), so you only have to name a channel once—and you can name it from anywhere, including the StudioLive AI mixer!

Here’s a level of integration you won’t get anywhere else: When you record with Capture 2.1, you have the option of saving the StudioLive AI mixer scene along with the Capture Session. Studio One 2.6 can import Capture Sessions seamlessly, and when you import a Capture Session that includes a StudioLive AI mixer scene, the Studio One mixer is set to match your StudioLive AI mix scene, including fader values, mutes, pan, and FX send mixes. Fat Channel settings are loaded into Studio One’s new Fat Channel Native Effects™ plug-in. Now you can listen to your mix on your laptop, just as it sounded during the gig, even if the StudioLive AI mixer is packed and on its way to the next gig.

Wi-Fi and wired networking.

PreSonus StudioLive™ AI-series digital mixers’ Active Integration™ technology includes powerful real-time, direct, wired and Wi-Fi remote control over a variety of features, using free Mac^®, Windows^®, and iOS^® software. And unlike previous StudioLive mixers, you don’t need to have a Mac or PC attached to have wireless control!

Creating a wireless network may be new to you but no worries: We made it easy to connect your StudioLive AI mixer to a wireless network.

If you connect a wireless router to your StudioLive AI mixer with an Ethernet cable, the system assumes (just like Mac OS X and Windows) that you have permission to be on that network, and your mixer automatically connects to it. If you want to go wireless, you can scan for available wireless networks and scroll through them by name. If you name your wireless network “StudioLive,” your mixer will even connect automatically.

You will never have to create an IP address or enter a subnet mask, or even know what those are.

Bottom line: If you’ve ever connected your computer, iPad, or iPhone to a wireless network, you already know how to connect your StudioLive AI mixer to the network.

That said, we understand that corporate, educational, and government environments require secured, firewalled networks, which requires some expertise. We gave you that capability, too: The networking backbone of PreSonus AI technology was recently registered with IANA (Internet Assigned Numbers Authority). Simply open port 47809 to let AI control network traffic through.

Like all StudioLive mixers, every AI-series mixer integrates a multi-channel recording interface. Unlike previous StudioLive mixers, however, AI-series mixers are equipped with a continuously bidirectional FireWire s800 audio interface that is located on an option card, so you will be able to swap it out and use the latest cutting-edge technologies, such as Thunderbolt, Dante, and AVB (coming soon).

StudioLive AI-series mixers improve upon the much-lauded recording capabilities of previous StudioLive mixers. A pair of FireWire ports—FireWire s800, rather than the FireWire 400 ports found on the original StudioLive mixers — lets you connect the StudioLive AI mixer to a Mac or Windows PC for recording and enables wired VSL-AI software control, including Smaart audio-analysis. (More about VSL-AI shortly.)

The StudioLive 32.4.2AI’s integrated recording interface can send up to 48 audio streams to a computer and return up to 34 playback streams. The StudioLive 24.4.2AI offers 40 digital sends and 26 digital returns, and the 16.4.2AI provides 32 sends and 18 returns.

Every StudioLive AI-series mixer offers a special USB 2.0 port with an included USB wireless (Wi-Fi) LAN adapter for connection to your wireless router.

A standard Ethernet port provides a hard-wired connection to your wireless router. So you have two different ways to connect to a router and can use whichever works best for the gig.

But you aren’t limited to FireWire and standard Ethernet. The FireWire s800 and Ethernet ports come preinstalled on a card that can be replaced with optional Dante, AVB, or Thunderbolt cards so you can use the latest technology.

Safe, sane, and secure.

Powerful networking and wireless remote control is great—but what if someone tries to hack into your Wi-Fi system and take control of the show or some clown attempts to play FOH engineer when you step away from the mixing station? You can put the kibosh on that, thanks to the StudioLive AI mixer’s security features!

If you’ve mixed many shows, you know that securing the mixing station can be crucial when you step away for any reason. Securing your wireless remote control system is an even bigger issue because a hacker could be anywhere in the venue. That’s why StudioLive AI-series mixers have security features that effectively protect the entire system.

For starters, you can lock selected sections of the StudioLive hardware with a password, so nobody can mess with your settings when you step away from the console. The lockout feature can save you a lot of anguish, and not every digital mixer has it.

But what sets StudioLive AI mixers apart with respect to security is that your wireless remote-control network also is protected. StudioLive AI mixers let you set permissions that determine which features can be controlled from each iPad on the network that is running SL Remote-AI.

You also can decide whether a given QMix-AI for iPhone/iPod touch on the network can control an entire aux mix or just the Wheel of Me. The rhythm guitarist is quite capable of creating a good monitor mix, so allow him to do it. But that lead guitarist is sure to mess up his monitor mix and then complain that he can’t hear—so build a monitor mix for him and just let him use the Wheel of Me to get “more me.”

Here’s the best part: You can completely block any iOS device from accessing the network entirely, even if someone has the router password. That hacker who wanted to take over the show? Foiled!

A gigantic console in a small package.

If a StudioLive AI mixer 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 and bus has its own studio-grade compressor, limiter, gate/expander, and 4-band parametric equalizer. Each input channel, aux and FX bus also has a highpass filter, and input channels have polarity invert.
It all fits into one remarkable processing and routing section known as the Fat Channel.
Unlike most competing digital mixers, there are no limitations or compromises, no shared resources, no figuring out what processing is available where. You have all of the processing available at all times.
Because StudioLive AI mixers have so much more processing power and blazing-fast RAM than previous StudioLive models, you can create two complete sets of EQ and dynamics-processor settings for every channel and bus and then make quick A/B comparisons at the touch of the Alt EQ & Dyn button. Does your guitar player use a Strat for some songs and Les Paul for others? Don’t use up two channels, create two completely different Fat Channel settings for each guitar and access them with the press of a button before he’s got the next guitar strap on.
It’s like having two complete channel strips on every input and output—but simpler and more efficient!

Engaged by pressing any Select button, the StudioLive AI-series Fat Channel section delivers a compressor, limiter, gate/expander, and four-band parametric EQ (semi-parametric on the StudioLive 16.4.2AI and fully parametric on the 32.4.2AI, 24.4.2AI, and via SL Remote-AI and VSL-AI for the 16.4.2AI) on every channel and mix bus. You also get a highpass filter on every channel and aux bus and polarity invert for each channel—not to mention routing, panning, and scene and setting store and recall.

To let you get the most from all of this processing power without descending into menu purgatory, we designed the Fat Channel with clearly labeled, physical knobs; an ingenious, multifunction, 16-ladder LED display; an in-your-face Selected Channel display; and even a separate horizontal pan display. It’s easy to instantly access any function and get clear, visible feedback. The bright blue Select button is fully illuminated only for the active channel or bus (including stereo-linked channels and buses), so you know at a glance which channel or bus you’re processing.

StudioLive AI-series mixers have a new Quick Parameter Null feature that makes working with Fat Channel processing even easier. To return any Fat Channel parameter to its Zero Out scene setting, press and hold the Tap Tempo button and turn the parameter’s encoder. Done.

We’ve noted before that a StudioLive AI mixer is a hardware/software ecosystem; the tightly integrated software adds key capabilities and contributes significantly to ease of use. A great example is the Rational Acoustics Smaart Measurement Technology™ that is integrated in PreSonus VSL-AI control software for Mac and Windows.

With Smaart, you can really put the StudioLive’s 4-band parametric EQs to work improving the sound of your system. Precisely identify nasty feedback frequencies. Get your loudspeakers to play nicer with the room they're in. Set the correct subgroup output-delay time for remote speakers. And the implementation is user friendly, with wizards that help you get the job done — no degree in acoustical engineering needed.

Effects you'd expect from a $600 stand-alone processor. Or two.

You get four programmable, 32-bit, stereo DSP effects engines—two of them loaded with reverbs and two armed with delay effects that you can really use. Each stereo processor has its own dedicated internal FX bus, and you can use all four all of the time without compromising other resources.
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. And all 50 preset effects have easy-to-use parameter adjustments, tap tempo, store, recall, and Scene selection for ultimate creative flexibility.

Some of our competitors include a lot more than 50 digital effects. But frankly, many of their “effects” are so weird that they aren’t good for much more than a hearty chuckle or the most drunken karaoke party in history.

Instead, we armed StudioLive with an essential library of serious, down-to-earth reverbs and delays, created by seasoned sound professionals. Each is useful, practical, and very rich, thanks to 32-bit floating-point processing and exquisite algorithms. None of them sound like a dog gargling—unless you want them to, since each has multiple adjustable parameters.

AMBIENCE

• Natural
• Lively

SMALL ROOM

• Closet
• Studio A
• Studio B
• Bedroom

BRIGHT ROOM

• Kitchen
• Tile Floors
• Tile Bathroom
• Concrete Floors

SMALL HALL

• Radio Booth
• Small Club
• Big Club

BRIGHT HALL

• Brick House
• Linoleum Room
• Tile Room

WARM HALL

• Log Cabin
• Wood Floors
• Brick Club
• High Ceilings

GATED HALL

• GateVerb Short
• GateVerb Med
• GateVerb Long
• GateVerb Extreme

LARGE HALL

• Church
• Cathedral
• Gymnasium
• Arena

PLATE

• Shimmer
• Thick
• Drums
• Vox

MONO DELAY

• M: Short Slap
• M: Long Slap
• M: Triplet
• M: Triplet

FILTER DELAY

• Analog Slap
• Analog Trip
• Analog 8th

STEREO DELAY

• Slap Quick
• Long Slap
• Spacey
• Long Tail
• ST: Triplet

PING PONG DELAY

• Quick
• Slap
• Spacey
• Trip
• Purple Rain

Plentiful graphic EQ.

With StudioLive AI-series mixers, you get graphic EQ on every aux bus and on the mains—all at the same time, without compromising other resources. In addition, each graphic EQ has an A/B option, so you can, for example, boost the bass for a rock band and then switch over to a “smiley face” for intermission program music.
Connect to VSL-AI over a FireWire connection, and you can use the Smaart Spectra™ Spectrograph and RTA and StudioLive EQs to quickly kill feedback building up in floor wedges before the musicians even notice it!

A wealth of dedicated analog I/O.

View the rear of a StudioLive AI-series mixer, and you’ll see a familiar jackfield, with individual XLR mic and ¼” line inputs and TRS insert points on every channel, along with a wealth of other dedicated inputs and outputs. Every input channel and bus send has its own dedicated jack—no sharing, no compromises.

Unlike many competing mixers, StudioLive AI-series mixers have dedicated mix buses with physical outputs. Aux mix 1 always feeds the Aux 1 output, Aux mix 2 feeds the Aux 2 output, and so on. The same is true of the subgroups, the talkback bus, and the tape send/return. You never run short of outputs, and you never have to decide which bus goes to which jack. Wiring and routing are consistent and obvious.

StudioLive mixers also have XLR mic inputs, ¼” TRS line inputs, and analog insert points for every channel unlike most digital mixers in this price range.

You get analog direct channel outputs on DB25 connectors, too, with eight channels per connector.

With StudioLive, you never run short of analog I/O, and you never have to wonder which output a bus is feeding. This is analog connectivity with no compromises.

​

Inside, it's pure PreSonus.

Getting a great-sounding mix depends partly on your skill (assisted by StudioLive’s ease of use, features, and integrated software) and partly how good the mixer’s microphone preamps and converters 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. And because StudioLive AI mixers were redesigned from the ground up, they sound even better than their predecessors.
The StudioLive’s XMAX™ Class A preamplifiers deliver more headroom, deeper lows, smoother highs, and a richer overall sound than the preamps found in competing mixers. High-headroom, 32-bit floating-point processing is used for all digital mixing. The high-end Burr-Brown digital converters on every input and output are state-of-the art, with 118 dB dynamic range.

At PreSonus, we know that the mic preamplifier is a key component in the sonic quality of a recording. StudioLive AI-series mixers include custom-designed, high-voltage, discrete, XMAX Class A microphone preamplifiers that are suitable for use with all types of microphones.

The job of a microphone preamplifier in a digital mixer is to boost a microphone-level signal to line level before conversion to the digital domain. A good preamp boosts the level to almost 400 times that of the original signal, making the preamp one of the most important stages in an interface. A cheap, off-the-shelf, op-amp-type mic preamp delivers thin, noisy, harsh results.

But with XMAX preamps, the sonic quality is limited only by the microphones you plug into them.

XMAX preamplifiers are built with three key elements:

• High Voltage. The XMAX preamplifier runs on power rails of 30V. Most off-the-shelf, op-amp-based designs run on power rails of 10V to 18V. Higher-voltage power rails deliver more headroom, deeper lows, smoother highs, and a richer overall sound.
• Discrete components—not op-amps. We only use genuine transistors, resistors, and capacitors. Op-amps add noise, coloration, and harshness to a signal. Our discrete design delivers ultra-low noise and transparency.
• Class A. Class A circuits have no crossover distortion and deliver purer, clearer, and more musical results than the Class AB designs that are found in many preamps.
• The net result of the XMAX preamp design is high headroom, low noise, wide dynamic range, extended frequency response, and—most important—musicality and transparency, with smooth highs, solid deep lows, and everything in between.

The StudioLive AI mixer’s synchronization to your computer is stable and robust, thanks to JetPLL™ synchronization technology, resulting in great stereo separation and clear, transparent audio.

Synchronization to your computer is stable and robust, thanks to JetPLL™ synchronization technology. JetPLL™ incorporates noise shaping to virtually remove all audio-band jitter, ensuring near-perfect clock performance and optimal converter performance when networking two or more digital-audio devices.

JetPLL quickly locks to any digital format through a wide range of frequencies and is extremely robust and tolerant of wide variations in clock frequencies.

As a result, you’ll experience better stereo separation and clearer, more transparent audio.

The ease of analog meets the power of digital.

Among the employees of PreSonus, there are more band members than you can shake a mic stand at. All of us have lived with conventional mixers for years. And many of us have struggled with the less-than-intuitive interfaces of earlier digital mixers, with their bank switching, layers, nested menus, etc. Many of today’s digital mixers have the same problems.
When you’re mixing a live event or have an artist in the studio, you need to be able to work quickly. So when we designed StudioLive, one of our primary goals was to provide a familiar interface that would keep all critical controls visible and accessible —not buried inside multiple menus. And the few times you do need to access a menu, StudioLive AI-series mixers quickly get you to the page you need.

StudioLive mixers do not use banks or layers, so you always know where you are and what you’re controlling. Once you learn that the Select button on each channel and bus accesses the Fat Channel processing section, everything makes total sense. Only the four stereo effects processors, the global system settings, and a few special features are accessed via the LCD. All key features you need to mix and record are right in front of you on the mixing surface.

Even the LCD pages are easily accessed, and in some cases the appropriate page automatically appears when you work with the related hardware button or control. For example, when a channel or output bus is selected, the Channel Info page opens in the LCD. From this page, you can view helpful information and customize the name for each channel and bus.

Sit down at a StudioLive AI mixer, and you see easily accessed, color-coded function buttons for Mute and Solo; rotary trim controls; and clearly labeled, individual knobs for EQ and dynamics processing. Aux sends have their own physical controls. Every channel has a big, bright meter display and a dedicated level fader that only serves that function.

The master section comes complete with Talkback, Monitor, Cue, and a choice of control-room sources. It looks just like the master section on an analog board but with far more power and flexibility.

Bottom line: If you’ve ever used an analog mixer, you’ll be right at home with a StudioLive AI mixer. And even if you’ve never used a mixer before, you’ll quickly be able to create professional mixes and recordings.

In contrast, many digital mixers make you constantly return to an LCD screen and navigate through its menus in order to assign and control processing and routing. Which channel or bus you’re working with depends in part on which bank you’ve selected, so you have to keep track of that. When you’re mixing a live show and need to fix something in a hurry, good luck getting to the needed feature in time. If you’re used to an analog board, the learning curve can be brutal. Even if you didn’t learn to mix on analog boards, why go through all that pain?

With StudioLive AI-series mixers, you can work quickly and focus on mixing and recording. It’s a lot easier to do your best work and enjoy the gig!

To ensure you can hear just what you need to hear instantly, with minimal fuss, we paid close attention to solos and mutes. These features have been considerably enhanced in StudioLive AI-series mixers.

StudioLive AI series mixers offer convenient, backlit Solo buttons for every channel, subgroup, and aux bus. The original StudioLive mixers supported one Solo mode: Latch. In Latch Solo mode, you can solo multiple channels and buses at once. It’s the mode people tend to use most often, and it’s still the default Solo mode in the StudioLive AI-series mixers.

With AI-series mixers, you also can choose Radio Solo mode, in which you can solo only one channel or bus at a time. Still not what you want? Choose CR Solo mode, where soloing any channel will automatically patch the Solo bus to the Monitor bus and disable any other buses that are currently engaged in the Solo bus. While in CR Solo mode, you can solo multiple channels and buses at once, but you can only patch one input or bus to the monitor bus at a time.

Latch Solo and Radio Solo modes allow the Monitor bus to function as a summing amp. CR Solo mode is more like the old-skool Solo you remember from analog mixers. Now you can choose whichever Solo mode is best for a given situation. Don’t thank us — it was your suggestion!

Another new feature in the StudioLive AI mixers is Solo Clear. To clear all solos, you simply press and hold the Tap Tempo button while simultaneously pressing any Solo button on the mixer. All Solo buttons will be disengaged.

All StudioLive AI mixers offer backlit Mute buttons for each channel and aux. The StudioLive 32.4.2AI adds a feature that makes the mutes even more useful: six mute groups with All On and All Off buttons. But we didn’t leave StudioLive 24.4.2AI and 16.4.2AI users out in the cold: VSL-AI provides mute groups even when the mixing surface doesn’t!

A mute group allows you to mute and unmute multiple channels and buses with the press of a single button. With the six mute groups on the StudioLive 32.4.2AI mixer (or in VSL-AI for StudioLive 24.4.2AI and 16.4.2AI), you could, for example, assign the drum mics to Mute Group 1, the other instruments to Mute Group 2, the background vocalists to Mute Group 3, all the aux buses to Mute Group 4, all four FX buses to Mute Group 5, and every channel on the mixer to Mute Group 6.

So during an acoustic jam, you can mute all the drum mics with one button. When the lead singer introduces the band and says “Hello, New Orleans!” you can mute all of the effects assigned to his vocal. When the band goes on break, you can mute all of the channels at once. And when its time to break down the stage and start unplugging things, you can just lower the main fader and mute all the stage monitors with one button.

Creating a mute group is quick and easy: Just mute the desired channels and buses and press and hold a Mute Group button. The button will flash for one second to indicate it is storing the group, and then will remain illuminated.

Want to mute all channels and buses? Hit the All On button. An All Off button lets you instantly unmute all muted channels and buses.

We couldn’t add mute groups to the StudioLive 24.4.2AI and 16.4.2AI because of their smaller mixing surfaces. But give us an inch of space, and we’ll find a cool way to use it — and the StudioLive 32.4.2AI gave us just enough space to add this extremely useful feature.

Complete store and recall—instantly.

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. Unlike some digital mixers, StudioLive makes it very quick and easy.

With StudioLive mixers, you can 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. It’s quick and easy, thanks to straightforward, clearly marked Copy, Load, and Save buttons.

And of course you can name and store an unlimited number of settings and scenes on your laptop with Virtual StudioLive-AI. There, saving and loading scenes and settings is a simple matter of drag-and-drop. It can’t get much easier!

The StudioLive 32.4.2AI makes saving and recalling scenes even faster and more convenient with six user-assignable Quick Scene buttons. We added Quick Scenes to VSL-AI for StudioLive 24.4.2AI and 16.4.2AI users too; with Active Integration, StudioLive AI-series mixers aren’t limited to how many buttons will fit on the control surface.

The Quick Scenes buttons allow you to create a Scene without storing it to permanent memory and giving it a name. This is especially useful when mixing multiple bands that you might not ever mix again. You can also use this to have important stored Scenes at your fingertips.

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 a StudioLive AI-series mixer.

(Note that only the StudioLive 32.4.2AI has Quick Scenes on the control surface.)

To further ease and speed your workflow, we’ve included a whole library of individual channel settings as starting points for optimizing the sound of instruments, vocals, and spoken word. New in StudioLive AI-series mixers, these presets, as well as your custom settings, can be organized and browsed by category so you can quickly find your favorite vocal preset without scrolling through horn and guitar presets. An Automatic AutoStore feature regularly saves your current settings in case the power fails.

“WOW! How did you get that snare to sound so good?”

Don’t tell them it was one of the 50 StudioLive Fat Channel channel presets.

StudioLive’s Fat Channel lets you apply the equivalent of a six-foot rack of signal processors to every input. If you’re an experienced sound person, you’ll love all the options. But if you’re new to pro audio, gating, compression, limiting, semi-parametric equalization, and so on, can seem pretty complicated—which is why we’ve built in 50 excellent preset starting points.

Before we released the first StudioLive, we sent some out to professional sound mixers and engineers, let them tweak to their heart’s content under actual live and studio conditions, and then stored the results in factory presets. You get the benefit of their years of experience at making drums, percussion, guitars, keyboards, horns, vocals, and spoken word sound their best.

And of course you can alter, rename, and generally customize each preset and save it in any of 50 empty storage locations. Here’s a sample:

DRUMS

• Kick, Funk, Jazz,
• Fat Snare and Snare Crackalak
• Toms Low and Hi Overhead
• Rock
• and 9 more

BASS

• Electric 1, 2
• Slap
• Upright

GUITAR

• Rock 1, 2
• Funk
• Metal
• Acoustic
• and 3 more

KEYBOARDS

• Bright Piano
• Warm Piano
• Jazz Piano
• and 3 more

HORNS

• Trumpet
• Trombone
• Sax
• Solo Sax

PERCUSSION

• Congas
• Bongos
• and more

VOICE

• 3 male presets
• 2 female presets
• 2 spoken-word presets

Which StudioLive is best for you?

Why choose the StudioLive 32.4.2AI rather than the StudioLive 24.4.2AI, StudioLive 16.4.2AI, or StudioLive 16.0.2?
The StudioLive 32.4.2AI is the new top-of-the-line, and in most respects, it is very similar to the StudioLive 24.4.2AI and 16.4.2AI. The most obvious differences are that the 32.4.2AI has more channels and aux buses than the other two AI-series models. It’s also the only StudioLive mixer with Quick Scenes and mute groups available from the mixing surface. (The StudioLive 24.4.2AI and 16.4.2AI have these features in VSL-AI.) There are a few other differences, as well.

Although the three StudioLive AI-series mixers are virtually identical in many respects, there are some noteworthy differences, as shown in the table below.

Bottom line: If you don’t need 32 channels and 14 auxes, can live without Quick Scenes and mute groups on your mixing surface, and would like to have a smaller footprint (the 16.4.2AI is rack-mountable and comes with rack ears)—not to mention spend less money—the StudioLive 24.4.2AI and 16.4.2AI are great choices.

	32.4.2AI	24.4.2AI	16.4.2AI
Input Channels	32	24	16
Aux Buses	18 (14 with analog outs + 4 internal FX)	14 (10 with analog outs + 4 internal FX)	10 (6 with analog outs + 4 internal FX)
Mute Groups	6	6 (via VSL-AI)	6 (via VSL-AI)
Quick Scenes	8	8 (via VSL-AI)	8 (via VSL-AI)
Digital Sends/Returns	48/34	40/26	32/18
Fat Channel EQ	4-band parametric with individual band and global On/Off	4-band parametric with individual band and global On/Off	4-band semi-parametric (mid bands: High/Low Q switch) with individual band and global On/Off (Fully parametric EQ is available through VSL-AI and SL Remote-AI.)
Gate Parameters	On/Off, Threshold, Range, Attack, Release, Key Filter, Key Listen, Expander	On/Off, Threshold, Range, Attack, Release, Key Filter, Key Listen, Expander	On/Off, Threshold, Release (Range, Attack, Key Filter, Key Listen, and Expander are available through VSL-AI and SL Remote-AI.)
Limiter Parameters	On/Off, Threshold	On/Off, Threshold	On/Off (Threshold is available through VSL-AI and SL Remote-AI.)
Graphic EQ	18 (auxes, mains); front-panel GEQ switch	12 (auxes, mains); front-panel GEQ switch	8 (auxes, mains); front-panel GEQ switch
Rackmount	No	With optional adapter and oversize rack	Yes (rack ears included)
Dimensions (LxWxH)	21.31” (54.13 cm) x 31.58” (80.21 cm) x 7.02” (17.82 cm)	21.31” (54.13 cm) x 25.19” (63.98 cm) x 7.02” (17.82 cm)	22.35” (56.8 cm) x 17.22” (43.74 cm) x 6.90” (17.53 cm)
Weight	50 lbs. (22.68 kg)	30 lbs. (13.6 kg)	23 lbs. (10.43 kg)

If your needs and budget are more modest, consider the StudioLive 16.0.2 rather than a StudioLive AI-series mixer. The 16.0.2 doesn’t have the power of Active Integration but it’s inexpensive, compact, lightweight, and ultra-portable. Furthermore, it has a cool feature that no other StudioLive mixer offers: MIDI.

Having already compared the three AI-series mixers, we’ll focus here on the differences between the two 16-channel models: StudioLive 16.4.2AI and 16.0.2.

Note that while the StudioLive 16.0.2 does not offer the many advantages of Active Integration, it is lighter and more compact than the StudioLive AI mixers, and it's considerably less expensive.

The StudioLive 16.0.2 also has a very cool feature that the larger StudioLive AI mixers don't offer: MIDI control over main output level, effects levels and routing, and Scene change. It has MIDI I/O on standard 5-pin DIN jacks—perfect for remote control from a MIDI footpedal or other controller—and it can serve as a standard MIDI interface for your computer. The StudioLive 16.0.2 also can send and receive MIDI over FireWire, so you can automate its MIDI features from a DAW.

​​	StudioLive 16.4.2AI	StudioLive 16.0.2
General Features
Input Channels	16 mono	16 total: 8 mono, 4 stereo
XMAX™ Preamps	On 16 channels and Talkback	On 12 channels
Aux sends	6	4
Subgroups	4	0
Faders	100 mm for all channels, subgroups, and mains	60 mm for all channels, auxes, and mains
MIDI I/O and Control	No	Yes (via 5-pin DIN and FireWire)
Recording Interface
Interface Type	2 FireWire s800, Thunderbolt option	2 FireWire 400
Digital Sends	32: 16 channels, 16 aux sends	16 channels
Digital Returns	18: 16 channels, stereo 2-track	16: 16 channels or 14 channels + stereo 2-track
Networking
USB 2.0 Communications Port with Wi-Fi LAN Adapter	Yes	No
Wireless Control	Direct connection via router	Requires VSL and computer
Standard Ethernet	Yes	No
Optional Communications Cards	Dante or AVB + Thunderbolt	No
Signal Processing
Dual Fat Channel with A/B Compare	Yes	No
Semi-parametric EQ	4-band	3-band
Gate/Expander	Switchable	Expander only
Effects Processors with Dedicated Buses	2 reverbs, 2 delays	2 reverb/delays
31-band Graphic EQ	8 linkable mono, insertable on every aux and on the main bus	1 stereo for mains
Workflow
Metering Style	Peak or peak hold	Peak
Solo, Mute, and Digital Return Buttons	Individual buttons for each function	Multifunction buttons
Solo Clear	Yes	No
Solo Type	Latch, Radio, Control Room	Latch
Aux Mutes	Yes	No
Quick Parameter Null	Yes	No
Browsable Fat Channel Preset Categories	Yes	No
Channel Info Page with Programmable Scribble Strip	Yes	No
Control Software
Editor/Librarian	VSL-AI	VSL
Smaart Spectragraph	Every channel and bus	Main bus only
Smaart RTA	Every channel and bus	Main bus only
Smaart® Wizard Support	Yes	No
Automatic Preset/Scene Sync	Yes	No
iPad Remote Control	StudioLive Remote-AI	StudioLive Remote
iPhone/iPod touch Aux Control	QMix-AI	QMix
Recording Software
Capture 2.1
Mix Scene Load/Store	Yes	No
Channel Name Sync	Yes	No
Remote Control over Digital Returns	Yes	No
Studio One Artist 2.6
Mix Scene Import	Yes	No
Fat Channel Plug-in Preset Exchange	Yes	No
Physical
Rackmount	Yes (rails included)	Yes (rail adapters optional)
Dimensions (LxWxH)	22.35” (56.8 cm) x 17.22” (43.74 cm) x 6.90” (17.53 cm)	15.56” (39.7 cm) x 16” (40.6 cm) x 5.5” (14 cm)
Weight	23 lbs. (10.43 kg)	20 lbs. (9.07 kg)

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 Media tab at the upper section of this page and watch a whole series of instructional videos showing StudioLive mixers in church, club, and studio applications. Video blogs go into detail about various powerful StudioLive features. And we regularly add new videos.
Reading about the StudioLive AI series 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. You’ll experience the power and potential of actively integrated, state-of-the-art software and wireless connectivity.
And when you have seen and heard for yourself, you'll understand why your new mixer should be a PreSonus StudioLive AI — the most exciting small-format digital mixing and recording systems on the planet.