PreSonus takes integrates AI into flagship 32.4.2AI console
Following the recent introduction of its Active Integration (AI) loudspeakers, PreSonus has extended the technology to its digital console range with the StudioLive 32.4.2AI. The 32-channel desk is described by PreSonus as offering ‘over 64 times the processing power and 10,000 times more RAM than the previous top-of-the-line StudioLive 24.4.2’. Wireless control of the mixer without an external computer is also possible for the first time in the StudioLive range, using the included USB 2.0 port and USB Wi-Fi LAN adapter.
Features onboard the 32.4.2AI include 32 Class A XMAX mic preamps with individually switched phantom power (plus an XMAX preamp for the Talkback input), 32 line inputs, 14 aux mixes, four subgroups with variable output delay, a 48 x 34 FireWire S800 interface, six mute groups with All On/All Off switches and six user-assignable Quick Scene Recall buttons. Four internal effects buses are offered, two with reverb and two with delay effects.
Additionally, the console boasts the same Fat Channel features as found on the 24.4.2, including routing, panning, a high-pass filter and polarity reverse on every channel, and a full-feature gate, full-featured compressor, limiter, and 4-band parametric EQ on every channel, aux, subgroup, and effects bus. The added processing power also allows end-users to create two complete sets of EQ and dynamics settings for a channel and then make A/B comparisons with the Alt EQ/Dyn button.
Finally, the mixer’s option-card slot comes with a default dual-FireWire S800-plus-S/PDIF stereo output card though this can be swapped for optional Thunderbolt-plus-Ethernet (Dante) or Thunderbolt-plus-dual-FireWire S800 I/O cards.
Also new from the Baton Rouge-based manufacturer are Eris Series studio reference monitors, designed as an ultra-affordable, two-way option for home studios.
Described as delivering ‘very accurate response with a tight bass and very clear upper end’, the monitors can be user-adjusted via a four-position Acoustic Space switch that controls a second-order shelving filter, centred at 800Hz, providing three attenuation points (no attenuation, -2 dB, and -4 dB), allowing the user to control the bass response relative to the monitor’s proximity to walls. A High Pass switch sets the low-frequency cut-off (second-order slope, -12 dB/octave) to be either flat, 80Hz, or 100Hz. Continuously adjustable high frequency and midrange controls from -6 dB to +6 dB are also available.
Two models are available. The larger is the Eris E8 with an 8-inch, Kevlar LF section driven by a 75W, Class-A/B amp; and a 1.25-inch silk-dome, HF tweeter with a 65W, Class-A/B amp. It can deliver up to 105dB SPL peak with a frequency response rated at 45Hz to 22kHz. The more compact Eris E5 has a 5.25-inch, Kevlar LF driver driven by a 45W, Class-A/B amplifier; and a 1-inch tweeter powered by a 35W, Class-A/B amp. It delivers 102dB SPL peak with a frequency response of 64Hz to 22kHz.
Both models have individual balanced XLR and ¼-inch TRS inputs plus unbalanced RCA inputs, alongside RF shielding, current-output limiting, temperature protection and subsonic protection.
Meanwhile Capture 2.0 has been released as an upgrade to PreSonus’ audio recording software for Mac and PC. Designed specifically for live recording and bundled with all StudioLive mixers, the update includes, says the manufacturer, ‘significant new safety features’.
Among the additions is a new Start page allowing users to immediately create new sessions and access previous recordings, a ‘Soundcheck’ mode, an overall darkening of the UI to facilitate its legibility in difficult lighting conditions, and a new ‘Big Meter’ mode that turns the user’s screen into a ‘a gigantic meter bridge that is clearly visible from a considerable distance’. Other workflow enhancements comprise a ‘Prerecord’ feature which captures audio on all tracks, starting up to a minute before the user presses record, and the auto-saving of sessions.
Additionally, all sessions now store metadata and folder structures are organised by artist, performance, location, and song (marker). Meanwhile, in terms of stability the platform has been improved to the point that should the power fail during a session, Capture will automatically recover the session and all files upon relaunch. The update also adds support for 96kHz recording with the StudioLive 32.4.2AI console.
Finally, PreSonus has added the PRM1 reference microphone to its range to work alongside its Virtual StudioLive (VSL) mixer-control software with Smaart integration.
Designed to be an affordable but effective route into system optimisation via SMAART, the PRM1 employs a ¼-inch pre-polarised electret-condenser capsule and delivers a linear frequency response between 20Hz and 20kHz. It has an omnidirectional polar pattern and a sensitivity rating of -37 dB/Pa, EIN (A-weighted) at 26dB, a S/N ratio of 70dB, a dynamic range of 106dB, and a maximum SPL of 132dB SPL. The all-metal chassis comes with a clip, foam windscreen, and hard case.