You'll never go back to an old-school analog mixer once you've used StudioLive™. 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.
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.
Sit down at a StudioLive 24.4.2, and you see real hardware Mute and Solo buttons, trim controls, and clearly labeled, individual knobs for the parametric EQ and dynamics processing. The master section—complete with Talkback, Monitor, Cue, and a choice of headphone sources—looks just like the master section on an analog board but with far more power and flexibility. Aux sends have their own controls. Every channel has a big, bright meter display.
Which StudioLive is Best for You?
Your mixing and recording needs aren’t necessarily exactly the same as everyone else’s. That’s why we created a StudioLive family of digital mixers, starting with the StudioLive 16.4.2 and the StudioLive 24.4.2. 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.
A gigantic console in a small package thanks to the Fat Channel. If StudioLive 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. Engaged by pressing any Select button, the StudioLive 24.4.2’s Fat Channel features extensive EQ and dynamics for every input channel, every aux output (including the two internal FX buses), every subgroup output, and the main outputs.
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.
All of these features add 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.
Microphone Preamp 1-24 (XLR Balanced)Type: XLR Female, balancedFrequency response to directoutput: 20 Hz to 40 kHz ±0.5 dBuFrequency Response to main output: 20 Hz to 20 kHz ±0.5 dBuInput impedance (Balanced): 1 k ohmTHD to direct output: <0.005%, +4dBu, 20-20 kHz, unity gain, unwtdTHD to main output: <0.005%, +4 dBu, 20-20 kHz, unity gain, unwtdEIN to direct output: +125 dB unwtd,, +130 dB A-wtdS/N Ratio to direct output: -97 dBS/N Ratio to main output: -94 dBCommon Mode Rejection Ratio +65 dBGain control range: -16 dB to +67 dB (+/-1 dB)Maximum input level (unity gain): +16 dBuPhantom power: +48 VDC
Line InputsType: 1/4" TRS Female, balanced monoFrequency response to direct outputs: 10-40 kHz, 0/-0.5 dBuFrequency response to main outputs: 20-20 kHz, +/-0.5 dBuInput impedance: 10 k ohmTHD to direct output: <0.0007%, +4 dBu, 20-20 kHz, unity gain, unwtdTHD to main output: <0.005%, +4 dBu, 20-20 kHz, unity gain, unwtdS/N ratio to direct outpu: -105 dBS/N ratio to main output: -94 dBGain control range: -20 dB to +20 dB (+/- 1 dB)Maximum input level (unity gain): +22 dBu
Tape InputsType: 1/4" TRS female, balanced monoMaximum input level: +10 dBu
Auxiliary InputsType: 1/4" TRS Female, balanced (2 stereo pairs)Maximum input level: +22 dBu
Main OutputsType: Male, balanced (stereo pair); 1/4" TRS Female, balanced (stereo pair); XLR Male, balanced (mono)Rated output level: +24 dBuOutput impedance: 10 k ohm
Aux OutputsType: 1/4" TRS female, balanced (mono)Rated output level: +18 dBuOutput impedance: 51 ohms
Subgroup OutputsType: 1/4" TRS Female, balanced (mono)Rated output level: +18 dBuOutput impedance: 51 ohms
Tape OutputsType: RCA Female, unbalanced (stereo pair)Rated output level: +18 dBuOutput impedance: 100 ohms
Control Room OutputsType: 1/4" TRS Female, balanced (stereo pair)Rated output level: +18 dBuOutput impedance: 51 ohms
System Cross TalkInput to output: -90 dBuAdjacent channels: -87 dBu
Noise Gate/ExpanderKey listen filter (2nd order resonant bypass): Q=0.7; OFF, 40 Hz-16 kHzThreshold range: -84 dB to 0 dBGate attenuation range: -84 dB to 0 dBAttack time: 0.02s to 500msRelease time: 0.05s to 2sExpander attenuation range: 2:1
LimiterThreshold: -28 dB FSRatio: ohms:1Attack: 20nsHold: 10msRelease: 20ms
CompressorThreshold range: -56 dB to 0 dBRatio: 1:1 to 14:1Attack time: 0.2 ms to 150 msRelease time: 40 ms to 1000 msAuto attack and release: Attack = 10 ms, Release = 150 msCurve types: hard and soft knee
EQType: 2nd order shelving filter (Q = 0.55)Q: 0.1 to 4Low (Lowpass or Bandpass): 36 to 465 Hz, ± 15 dBLow mid: 90 Hz to 1.2 kHz, ±15 dBHigh mid: 380 Hz to 5 kHz, ±15 dBHigh (Highpass or Bandpass): 1.4 kHz to 18 kHz, ±15 dB
Graphic EQ31-Band 1/3rd octave controls: Curve-fitting algorithmGain/Attenuation: ±15 dB
Digital AudioADC dynamic range (A-wtd, 48 kHz): 118 dBDAC dynamic range (A-wtd, 48 kHz): 118 dBFireWire: S400, 400Mb/sInternal processing: 32-bit, floating pointSampling rate: 44.1, 48 kHzA/D/A Bit depth: 24Reference level for 0 dBFS -18 dBu
Power/EnvironmentalConnector: IECInput-voltage range: 100 to 240 V~, 50-60 HzPower Requirements (continuous): 100 wattsTemperature range: 0 - 40 degrees celsius
PhysicalDimensions: 21.31" L x 25.19" W x 7.02" max H (541.27 x 639.80 x 178.21 mm)*Please see complete mechanical drawings when building a custom rack, desk or case.Weight: 30 lbs.