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Experience with Presonus Studio Live 16.4.2? Condenser Microphones
Old 22nd December 2010
  #1
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Experience with Presonus Studio Live 16.4.2?

Looking at this for a second rig and to do live broadcast feeds where I need effects on certain channels and the 2-bus. Any of you Remote Slutz used or listened to this thing?
Old 23rd December 2010
  #2
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Quote:
Originally Posted by tenor39 View Post
Looking at this for a second rig and to do live broadcast feeds where I need effects on certain channels and the 2-bus. Any of you Remote Slutz used or listened to this thing?
I bought a 24.4.2 about two months ago to serve as a live production console and as a 24 track tracking source into my Logic 9 / HD24 rig. Aside from the usual RTFM (or lack thereof) mistakes, it's been a joy to learn and run. I've used it on three tracking gigs and a dozen live outings. Having full Fat Channel resources on 24 inputs has reduced my pack by two 12-space SKBs with more processing on tap.

As a tracking console, I'm still learning the gain structure when using my Apogee and DAV BG8 mic amps. The DAV is capable of overloading the PreSonus inputs after 12 o'clock, even with SM58s. Backing down the level of the DAV and decreasing the pad on the 24.4.2 input cleaned things up nicely, while still recording to a nice -12dBFS (peaks). Recording through PreSonus's "Capture" application is plug'n'play stupid easy. Logic requires a bit more futzing to build the session, but isn't any different than tracking an Onyx or a FirePod... and you end up with a Logic session ready for edit and mixdown.

If you ever expect to have more than 16 inputs (or need 10 auxes, as I sometimes do in live FOH/Monitors gigs) the extra dough for the 24.4.2 is a great investment. My choices (for an ongoing monthly 24-track live capture gig, with a $3K budget) were the JoeCo Blackbox or the StudioLive. No choice, really. Same money... but a LOT more usefulness all around from the StudioLive.

I'll post up a clip or two from the most recent two tracking gigs (an acoustic event, and a R'n'R/R'n'B thing) in a couple of days. One more gig on Christmas Eve and some shopping, and the craziness will subside. For about four days...

HB
Old 23rd December 2010
  #3
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Thanks, Harry. I'm guessing you like the sound of the unit by your enthusiastic comments. I can't see myself using more than 16 inputs right now and money is an issue, so...

I should be out your way in March sometime, so let's have that drink we missed last time.heh
Old 23rd December 2010
  #4
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So here's a clip... passive split from the FOH feed -> StudioLive 24.4.2 mic pres -> analog out (RCA) -> Edirol R09HD -> Logic 9. AIF to iTunes, 160mbps mp3 conversion.

I added some LF (+6dB, 100Hz, Q=1.2) in Logic's Mastering suite to make up for the fact that I was 50' out from the stage in a 200-seat room... i.e., lotsa bass in the room, not enough in the 2-mix... and ran it through the Apple MultiPressor, stock settings. This was probably the most "active" bit (except voices...) of the evening. I haven't moved the multitrack over yet, but this may give you an idea of the "sound" of the console on a analog 2-mix. All mics were peaking around -12dBFS on the input channels. The Edirol was 44.1/24bit. Mostly 57s and 58s, with Beta 98s, BG81 (HH) and Beta 52 (K) on the kit; Rode NT4 overhead, bass and keys DI.

"You Don't Love Me" (reprise) featuring Lee Roy Parnell (L) and Jack Pearson (R) at Hard Rock Cafe's Reverb Room here in NashVegas. This is a live rough 2-mix through cans (Lee Roy uses these to check performance before he works the multitrack) to the R09.

HB
Attached Files

You Don't Love Me Reprise.mp3 (4.34 MB, 1165 views)

Old 23rd December 2010
  #5
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Here's another clip, this from the acoustic evening at Christ Episcopal Cathedral in downtown Nashville on 19 December. The concert benefits "Room In The Inn", a local homeless ministry. I usually just bring PA and some mics, set up and strike, and watch the input levels on the tracking computer. This year, normal FOH mixer Dave Sinko (Punch Brothers) was out in SF on a gig, so I got the Entire Enchilada. I learned a lot... and don't think I bothered the pooch. Much.

This clip is Andy Leftwich, Dave Pomeroy and Rob Ickes ("Three Ring Circle") on "Do You Hear What I Hear?". Mics are (Dave Sinko's) classic Neumann M94/582 valve mics on the mando and dobro, and a Gefell M296 on the bass amp (Dave was playing his favorite skeleton bass). The "room" mic is a Royer SF12 about 7' out and at eye level. 582s were through my DAV BG8; the Royer was through the mic amps on my Apogee Ensemble, and the Gefell was a PreSonus channel mic amp.

Chain was mic amps -> Presonus 24.4.2 (TRS in padded to +4) -> Logic Pro 9 -> HDD. Quick 2-mix was ITB Logic, no additional EQ, compression or other processing, to the mp3.

Enjoy... music of the season. Ho, ho... HO! Good stuff.

HB

This music is not for distribution, but for demonstration only. The arrangement is by Three Ring Circle/EarWave Productions.
Attached Files

Do You Hear_ mp3.mp3 (6.59 MB, 918 views)

Old 14th January 2011
  #6
Gear Nut
 

Very nice! I enjoyed both clips.
Old 14th January 2011
  #7
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Quote:
Originally Posted by rprecording View Post
Very nice! I enjoyed both clips.
Thanks, Karl. I'll be at the Salt Palace on a photo gig in April. PM if you'd like to get together and chat over a cool craft brew at Red Rock or Squatter's one evening.

HB
Old 25th November 2012
  #8
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Quote:
Originally Posted by hbphotoav View Post
Here's another clip, this from the acoustic evening at Christ Episcopal Cathedral in downtown Nashville on 19 December.

Mics are (Dave Sinko's) classic Neumann M94/582 valve mics on the mando and dobro, and a Gefell M296 on the bass amp (Dave was playing his favorite skeleton bass). The "room" mic is a Royer SF12 about 7' out and at eye level. 582s were through my DAV BG8; the Royer was through the mic amps on my Apogee Ensemble, and the Gefell was a PreSonus channel mic amp.

Chain was mic amps -> Presonus 24.4.2 (TRS in padded to +4) -> Logic Pro 9 -> HDD. Quick 2-mix was ITB Logic, no additional EQ, compression or other processing, to the mp3.

Enjoy... music of the season. Ho, ho... HO! Good stuff.

HB

This music is not for distribution, but for demonstration only. The arrangement is by Three Ring Circle/EarWave Productions.
I'm not sure how to phrase my questions, but I'll start by saying your live church recording of the instruments, particularly the mandolin, are crystal clear.

A friend gave me her Christmas CD last year. She has a wonderfully clear voice, and I know some of the musicians on her CD are excellent players. The CD recording (made in a studio), however, struck me as dull and way short of what I've heard from them in person.

What does it really take to make a recording like yours? You used a Presonus-not some unobtainable interface. You recorded in a church-not some multimillion dollar treated studio. Is the critical difference in the choice of these microphones, the mic preamps going into the presonus, the EQ?

Between the mics and the Presonus, I'm guessing there was at least $10K of gear used? Realistically, for a recording to not sound homemade, is this level of investment what it takes?
Old 26th November 2012
  #9
I had one for a couple of months and sold it. I loved the console and the flexibility and on board effects but we stopped doing a lot of remotes with multiple microphones and are now just doing direct to two track. The guy I sold it to uses it every week and we are getting a lot of mastering from his efforts. A very good console for a very good price. You might also want to look at the Behringer X32 if you are using a lot of microphones. I personally think the preamps in the Presonus sound great and I don't know much about the Behringer except what I heard in the GC showroom or read about here in Gearslutz.
Old 26th November 2012
  #10
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Thanks. It's good to know you have a favorable opinion of the preamps. That helps.

Now those mics that Harry used to make the recording of Three Ring Circle... are they necessary to get that kind of clarity in a recording? I don't know what else to narrow it down to except skill and the mics given it's a live recording in a church (no treatment), apparently not a lot of processing, a SL board....
Old 27th November 2012
  #11
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Quote:
Originally Posted by 2manyrocks View Post
Thanks. It's good to know you have a favorable opinion of the preamps. That helps.

Now those mics that Harry used to make the recording of Three Ring Circle... are they necessary to get that kind of clarity in a recording? I don't know what else to narrow it down to except skill and the mics given it's a live recording in a church (no treatment), apparently not a lot of processing, a SL board....
Harry, here.

I think it's the entire chain on that Three Ring Circle piece. The mics are delicious; the PSU was quiet, the mic amps (D.A.V.) are transparent without being "cold" or "clinical" (whatever those terms mean) and the PreSonus does no noticeable harm to that sweet, lovely signal coming in the line inputs. That the players are world-class is a factor, as is the beautiful acoustic. In short, you can have this gig when you pry it from my cold, dead fingers. I'd even do it if they weren't paying me.

Which they aren't.

While those are borrowed for this gig, I have heard similar from the M296 Gefells that I own, from my DPA4061s (grids off) on choral, and from my Neumann TLM193s. I have researched and sought out mics with flat frequency response, especially off-axis, and am pleased with my choices.

IMHO, it's all about the transducers. Well... 90%, anyway... a great performance granted... and the rest is the room.

HB
Old 27th November 2012
  #12
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Quote:
Originally Posted by hbphotoav View Post
Harry, here.

I think it's the entire chain on that Three Ring Circle piece. The mics are delicious; the PSU was quiet, the mic amps (D.A.V.) are transparent without being "cold" or "clinical" (whatever those terms mean) and the PreSonus does no noticeable harm to that sweet, lovely signal coming in the line inputs. That the players are world-class is a factor, as is the beautiful acoustic. In short, you can have this gig when you pry it from my cold, dead fingers. I'd even do it if they weren't paying me.

Which they aren't.

While those are borrowed for this gig, I have heard similar from the M296 Gefells that I own, from my DPA4061s (grids off) on choral, and from my Neumann TLM193s. I have researched and sought out mics with flat frequency response, especially off-axis, and am pleased with my choices.

HB
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