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StudioLive 32.4.2AI

32-input live performance and recording digital mixer

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he PreSonus StudioLive 32.4.2AI is a 32-channel (32x4x2) digital mixer that is designed for live events, live and studio recording, and corporate, institutional, and other installations.
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Buses, Scenes, and Graphic EQ The StudioLive 32.4.2AI has 14 aux buses, 4 subgroups, a talkback section with Class A XMAX preamp, extensive LED metering, mixer scene save and recall, eight Quick Scene buttons that save and recall scenes directly from the mixing surface, and channel-strip save/ recall/copy/paste. Eight dual-mono (16 total), 31-band, graphic EQs are available and are assignable in pairs to the subgroups, the aux sends, and the Main output bus.

PreSonus Active Integration PreSonus Active Integration products combine advanced DSP processing and networkability. In the StudioLive 32.4.2AI, this is accomplished with the Texas Instruments OMAP-L138 processor, a 32-bit, up to 96 kHz processor bass/d.i. drumkit that operates at 456 MHz and features integrated USB 2.0 and 100 Mb Ethernet connections. AI products can be directly, wirelessly remote controlled by iOS devices and OS X and Windows computers when connected to the same wireless router network. The StudioLive 32.4.2AI’s processor runs a Linux kernel that allows support for the included USB wireless module and enables the included Ethernet connection to connect directly to a standard LAN network. The speed of the DSP also allows for extensive dynamics and effects processing. The 32.4.2AI is capable of running 54 highpass filters, 60 noise gates, 60 compressors, 60 4-band parametric EQs, 60 limiters, 16 graphic EQs, 2 reverbs, and 2 delays simultaneously. Channel Input Features Each channel features an XLR mic input and high-headroom Class A XMAX mic preamp, individually switched 48V phantom power, ¼” balanced line input, and insert point. Channel, subgroup, and main levels are set with 100 mm faders.

An included Ethernet port on the option-slot card enables the mixer to be hardwire-networked to a desktop or laptop computer. The mixer can also be networked wirelessly by connecting a WiFi-equipped router directly to the Ethernet port or by using the mixer’s top-panel USB 2.0 control port and included Wi-Fi LAN adapter to wirelessly connect to the router. text continued on page 5
●● 32 mic/line channel inputs with 100 mm faders, insert sends/returns, and direct outputs ●● 33 Class A XMAX solid-state mic preamplifiers (32 ch. + talkback) ●● 4 subgroups and 14 auxiliary buses ●● 4 stereo effects processors (2 reverbs, 2 delays) ●● Fat Channel processing on all channels and buses: highpass filter, 4-band fully parametric EQ, compressor, gate, and limiter ●● Two sets of Fat Channel EQ and dynamics settings with A/B comparison ●● Wireless and wired networking via Ethernet port; wireless networking via USB 2.0 control port with Wi-Fi LAN adapter (requires router) ●● Optional I/O cards: Thunderbolt-FireWire S800-S/PDIF Out and Ethernet/DanteFireWire S800-S/PDIF Out ●● 48-in/34-out FireWire S800 recording interface (24-bit/44.1 kHz and 48 kHz) ●● Scene and individual settings store and recall, including 8 Quick Scenes ●● Eight dual-mono, 31-band graphic EQs ●● Bundle for Mac and Windows includes Studio One Artist DAW, Capture recording software, Virtual StudioLive -AI control software ●● Free StudioLive Remote-AI iPad control software and QMix -AI iPhone /iPod touch aux-control software
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Networking and Communications The mixer incorporates an option slot that ships with a 48x34 FireWire recording/playback interface and has two FireWire S800 (IEEE 1394b) ports. In addition to providing computer connectivity, the ports permit pass-through for connecting a hard drive.
StudioLive control surface

USB WiFi dongle

WIFI
iPad running SL Remote-AI iPhones running QMix-AI

wireless router

drum monitor

side fill

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2 mixer functions via FireWire-connected computer ●● Easy drag-and-drop workflow ●● Drag presets directly to channels ●● Drag parts of presets directly to components in the Fat Channel ●● Adjust the Fat Channel gate.2AI ™ The StudioLive Software Library ships free with the StudioLive 34. compressor. and graphic EQ settings ●● Load effects quickly by simply dragging presets into the GUI ●● Integrates Smaart audio analysis and correction technology ●● Makes StudioLive as easy to use as Studio One ●● Use the mouse to quickly assign channels to multiple buses.4. 96 kHz ●● Prerecord captures audio up to a minute before you press Record ●● Auto-Save at user-definable intervals ●● Automatic session and file recovery ●● Sessions store metadata. mute.StudioLive 32. copy.) ●● Big Meter mode turns your monitor into a gigantic meter bridge ●● Stereo Playback mode—use Capture with any computer soundcard ●● Peak LED-style meter bridge withclip indicators ●● Marker placement and recall Virtual StudioLive-AI Remote Control ●● Remote control of all main StudioLive 32. etc. etc.4. ●● Timestamp backups of the entire board June 2013 2 12 PG OF . effects. paste. enabling automatic session naming ●● Soundcheck mode—virtually soundcheck using previously recorded material ●● Session Lock prevents accidental keyboard access ●● Essential editing (cut. solo. and EQ and the graphic EQs and effects in a huge popup window ●● Quickly drop entire scenes to the mixer for instant recall of all channel.2AI! Capture 2 Multitrack Recording ™ ●● Automatically scales to fit StudioLive mixer (up to 66 tracks) ●● One-click recording (Record Now button) ●● Records at up to 32-bit.4.

where you can select multiple “Me” channels and control their levels simultaneously ●● Landscape view provides control of all aux-send levels and panning (for linked auxes) ●● Aux mixes can be named (up to 10 characters) ●● Multiple iPhones and iPod touches can control the same StudioLive 32.2AI digital mixer ●● Overview displays levels.2AI ●● Set permissions in the StudioLive system menu so each iPad can control FOH (all functions) or aux mix only or access can be denied ●● Free from the Apple App Store QMix -AI ™ ●● Provides wireless control over aux mixes on any StudioLive 32. panning. and instruments ●● Mac . and Core Audio-compliant interfaces ●● 25 Native Effects 32-bit effects and virtual instrument plug-ins ●● 4+ GB of third-party software. and Fat Channel processing for multiple channels at once ●● Aux view shows the levels.4.Studio One Artist 2 DAW ® ●● Elegant single-window work environment ●● Powerful drag-and-drop functionality ●● Content browser with convenient sort options and preview player ●● Most intuitive MIDI-mapping system available ●● Unlimited audio tracks.4. panning.2AI ™ StudioLive Remote-AI ●● Provides wireless control over any StudioLive 32. loops. Windows Audio-.2AI ●● Set permissions in the StudioLive system menu so each iPhone and iPod touch can control only one specific aux mix or access can be denied ●● Free from the Apple App Store June 2013 3 12 OF PG .4. mutes.2AI digital mixer on the wireless network from an iPhone or iPod touch ●● Portrait view shows Wheel of Me. and Fat Channel processing for the Aux sends and internal FX buses ●● GEQ view lets you adjust the graphic EQs ●● Control Talkback on/off. buses. routing assignments.4.4. and Scene recall for hard-drive-based scenes ●● Portrait view shows every parameter for a single channel ●● Control any StudioLive 32.2AI mixer on the wireless network from one iPad ●● Multiple iPads can control the same StudioLive 32.4. and FX channels ●● Real-time audio time-stretching and resampling ●● Automatic delay compensation ●● Advanced automation ●● Instantly configures to PreSonus interfaces ●● Compatible with ASIO-. virtual instruments. MIDI tracks. EQ curves.and Windows -compatible ™ ® ® StudioLive 32.

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The mixer also offers a 12 VDC. A Solo in Place button is provided. Processing: Fat Channel and Effects The StudioLive 32. and Control Room outputs are balanced ¼” jacks. and the four FX buses have Mute buttons. and aux bus has Solo and Mute buttons. as are the two stereo Aux returns. The Solo and Main bus. The Subgroup. full-featured compressor. subgroup. and a full-range XLR Mono output is provided. The stereo tape sends and returns use RCA jacks. and global EQ on/off. and expander/gate with Key Listen and Key Filter on every channel. a FireWire connection to a computer is not required. Audio Outputs Save Undo Main outputs are on both XLR and balanced ¼” jacks.2AI’s Fat Channel processing section offers a 4-band fully parametric EQ with switchable shelving on the low and high bands. Pre-insert. Six Mute Groups are provided and include All On and All Off buttons. analog direct outputs are provided on DB25 connectors. and Main Digital return can be monitored via the Control Room Outputs.StudioLive 32. The signal can be attenuated to -40 dB and boosted up to +10 dB. limiter with variable threshold. All buttons on the mixing surface glow gently when inactive and brightly when selected for easy viewing in low-light conditions.4. and subgroup. All Main Outputs can be used at the same time and are controlled by the Main bus fader. Aux Send. ® ® ® Muting and Soloing Every channel. ™ June 2013 5 12 OF PG . the mixer can be directly controlled from a laptop or iPad .4. The levels for the XLR Mono output and the stereo XLR and TRS outputs can be adjusted using two volume pots on the back panel. aux. and the Cue bus is switchable between AFL and PFL. Tape Input. individual band on/off switches. A stereo coax S/PDIF digital output is included. BNC lamp socket. and the aux mixes can be controlled from an iPhone or iPod touch .2AI ™ Using either wireless connection.

2AI mixer on the wireless network. thumbwheel. An LCD display gives access to the effects parameters. 32-bit floating-point effects processors—two for delay and two for reverb—that are assigned to dedicated effects buses and come with 50 usereditable factory presets and 49 empty locations for user-created presets.Two complete sets of EQ and dynamicsprocessor settings can be saved for every channel and bus and can be A/B-compared using the Alt button. 3-4. iPad using PreSonus StudioLive On the Me page. and you The StudioLive 32. the Fat Channel provides panning. which provides editor/librarian new network. feedback suppression. and system settings. etc.4. monitor mixes. you can rotate the iPhone to Landview of Fat Channel processing.4. as well as scene recall.2AI mixers. StudioLive -AI bidirectional mixer-control When each iPhone connects to the application. displays the parameters for multiple Unless permissions are set to Wheel channels at once. adjusts the volume of the StudioLive Remote-AI for iPad. postdynamics and fader. the StudioLive 32. all auxes. auxes. With this done. Control talkback on/off and routing linked auxes) for each channel and aux. the musicians select the mixer channels they want to instantly Remote-AI.4. scene store/ recall.4. and so on with the flick of a fingertip.4. channel strip store/recall. network. with access to all of the QMix-AI the Aux sends and internal FX buses. and multiple iPads can control the same StudioLive 32.2AI can be can block access entirely. “Me” channels in relation to the rest of the monitor mix. This section features the same metering modes as the Fat Channel: pre-dynamics and fader.4. settings. Tap for a close-up Only.4. You can also wirelessly controlled from an Apple name the aux mixes. QMix-AI simply reduces StudioLive Remote-AI’s Overview the level of the other mix channels. and any aux bus can be wirelessly controlled from an iPhone or control in their personal monitor mix. subgroup and main assigns. In addition. and a horizontal LED Pan meter displays the pan position for the selected channel or linked channels. and the left and right channels of the Main bus. and In the StudioLive 32.2AI. Mac and Windows that is designed for professional audio engineers. QMix-AI will discover features and enables real-time adjustment all StudioLive AI-series mixers on the of the most commonly used mixer settings. June 2013 The StudioLive 32. the amount of gain reduction. The Fat Channel’s 16-segment.2 system Rational Acoustics’ Smaart Measuresettings. while the GEQ view lets you adjust the Smaart Measurement Technology graphic EQ. You can also set permissions to make The Aux view shows the levels. or the fader settings for a saved scene. you can set permissions so ment Technology is integrated into that users can control FOH. etc. the amount of gain reduction applied to each subgroup and the Main bus. a virtual iPod Touch using PreSonus QMix -AI. When Channel Rename StudioLive 32.2AI digital mixer. The Fat Channel also provides a highpass filter on each channel.2AI has a main metering section featuring 15-segment LED meters that display the levels of the currently selected channel or bus.2AI monitor (aux) mixes using an live events). and navigate between the gate. PreSonus’ Virtual StudioLive-AI remoteor only one aux mix. You can have as much “Me” provides direct wireless control over as you want: If you push “Me” levels past the StudioLive 32.2AI system sound-system optimization functions. assignments. In the StudioLive 32. which provides advanced includes all mixer channels. Metering and Power In addition to the multifunction meters in the Fat Channel. and PreSonus Virtual or have control over all mixes. These meters can also be used to display the output volume of each of the 14 aux sends and four FX buses.4.2AI ™ With free PreSonus QMix AI software. each musician can VSL-AI incorporates Smaart Measurement quickly and easily create an aux mix that Technology . You also can block control/editor/librarian software for access entirely. post-dynamics and fader. aux. the Wheel of Me. the main meter section offers a dedicated Gain Reduction meter for the currently selected channel. channels. available free from the Apple App Store.). when a Select button is fully lighted.4.4.2AI operates on 100-240 VAC and employs a standard IEC power connector. audio analysis. or the fader settings for a saved Scene. the four subgroups. Smaart is a is enabled. In addition. and subset of advanced audio-analysis tools for groups can be renamed remotely. graphic EQ. PreSonus Studio One Artist iPhone or iPod touch . the Fat Channel is active on that channel.4. sends to each aux and effects bus. and Fat Channel processing for engineer. compressor. Unity Gain level. you can set permissions so that each iPhone user can only control one SL Remote-AI: iPad Remote Control specified aux mix (or all mixes) . scape view. 1-2. In this way. StudioLive Remote-AI can control any StudioLive 32. The Fat Channel can be inserted anywhere there is a blue Select button. Hold the iPad in Portrait position to see every parameter for a single channel. ™ ® ® ® ™ ™ ® ® ® ™ ™ ™ ® ® 6 12 PG OF . as well as displaying the boost/cut for each band of the graphic EQ. Channels can be linked in stereo as odd-even pairs (Ch. panyou the designated onstage monitor-mix ning. which provides control of the aux-mix send level and pan position (for EQ. Each musician digital audio workstation (for audio and can control one of 14 different aux mixes MIDI production). aux. and effects bus. Delay and reverb are delivered by four stereo. up to Bundled software includes PreSonus’ ten musicians can Capture multitrack audio-recording apsimultaneously control their StudioLive plication (primarily intended for recording 32. multipurpose LED meters offer 4 modes for visually monitoring the levels of all 24 inputs: post-gain and pre-dynamics and fader. and phase reverse for each channel. Bundled Recording and RemoteControl/Editor/Librarian Software ™ QMix-AI: Wireless AuxMix Control ™ StudioLive 32.

orange. so that inexperienced clients can make basic adjustments to the system. June 2013 7 12 OF PG .. allowing you to view the effects of your filters in real-time. and transitioning through green. starting with a dark blue color at lower levels. Give your iPad FOH permission in Virtual StudioLive-AI. and you can launch the Smaart Wizards remotely. time on another. it shows up on the plot. StudioLive 32. You can time-align multiple secondary systems using this tool and the StudioLive mixer’s four subgroup outputs. or quickly ring out floor monitors. This measurement is calculated using Rational Acoustics’ transfer function. This is particularly useful for quickly identifying feedback frequencies—a constant feedback tone stands out vividly as a vertical line—so that you can quash them with StudioLive graphic or parametric EQs. Smaart System Check Wizards Using three Smaart System Check Wizards and a pink-noise generator built into Virtual StudioLive-AI. providing all information necessary to adjust the sound system using the StudioLive’s parametric EQs. Smaart Output Check Wizard The Smaart Output Check (SOC) Wizard helps you to quickly verify that the StudioLive 32. yellow. Basic Analysis takes a single measurement of your system. calculate and set delay-system timing. side and rear) speaker systems with the output of the main front speakers in a front-of-house PA system.2AI users can easily view the frequency-response trace of a venue. simply click the Go Remote button and grab an iPad. with the mic in different positions. The display lets your view five seconds of spectral information so you can view long term trends in your mix or input channel. Advanced Analysis takes three separate measurements. and experienced users can adjust the system quickly and precisely. the software recognizes stereo-linked outputs and treats them accordingly. StudioLive RemoteAI (free from the Apple App Store) will launch at the same step in the Wizard process. The Smaart Room Analysis (SRA) Wizard is an automated process that guides you through the steps of acquiring a frequency-response trace and then overlays the resulting trace on the parametric EQ so you can immediately make adjustments to remove unwanted anomalies in the room.2AI subgroup-output delays. and red with higher levels — eventually showing up as white if the level reaches or exceeds the upper threshold. Smaart’s Spectra RTA and Spectrograph can be viewed on top of each output’s graphic EQ or parametric EQ and is also available on every channel’s parametric EQ so you can analyze a mix. PreSonus has streamlined Smaart’s Response and Locator modules to make it easy to view a PA system’s frequency response. The implementation is accessible and intuitive. and level indicated by colors.g. ™ ™ ™ To use these tools. Since Smaart is integrated into Virtual StudioLive-AI.4. It graphs a continuous series of spectrum measurements with frequency on one axis.2AI system outputs are routed correctly and are passing signal. iPad Remote Control At any step in any of the Wizards. PreSonus offers the PRM1 precision measurement microphone for this purpose but any quality measurement microphone can be used.4. and will generate a more accurate frequencyresponse trace of your system by averaging the measurements together. the wizard will continue to output pink noise through your system while you EQ. a set of proprietary algorithms that compare the signal from a measurement mic to computergenerated pink noise.4. easily spot troubling frequencies on a channel. StudioLive 32. using the StudioLive 32. The SRA Wizard offers two analysis types. This helps you to time-align the outputs of secondary (e. When analysis is complete.Working with Rational Acoustics.4. and you can continue the Wizard wirelessly. When a frequency band in the spectrum is above the lower threshold.2AI ™ The Smaart Spectra Spectrograph The Smaart Spectra Spectrograph shows level versus frequency versus time. you need to connect a measurement microphone to the StudioLive mixer’s Talkback input. Smaart Room Analysis Wizard Smaart System Delay Wizard The Smaart System Delay (SSD) Wizard calculates and sets the correct amount of delay time between two full-range speaker systems. and verify output connectivity.

Please visit http://www.18kHz Fat Channel We’ve finally made a block diagram too large for our printed manuals.5kHz 1.465Hz 90 .5kHz 1.+10 dB FX B Sub4 Level Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 Aux 9 Aux 10 Aux 11 Internal FX Processors Aux 12 Aux 13 Aux 14 33/34 35/36 37/38 39/40 41/42 43/44 45/46 47/48 Gate H. Sub1 Sub2 Sub3 -120 .2kHz 380 .+10 dB Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 Aux 9-14 Aux 9 Aux 10 Aux 11 Aux 12 Aux 13 Aux 14 H.4k .465Hz 90 .465Hz 90 .1. 36 .2AI ™ Gate Compressor Equalizer Limit Limit Level Internal FX Processor [REVERB] FX Return A Dig Out Digital Send TalkBack Mic Digital Send VSL-AI Aux Inputs Router Main Mix L/R Sub Group 1/2 Sub Group 3/4 Aux Send 1/2 Aux Send 3/4 Aux Send 5/6 Aux Send 7/8 Aux Send 9/10 Aux Send 11/12 Gate Fat Channel Sub1 Sub2 Sub3 -120 .4.4k .4k .2kHz 380 . 36 .1.P.+10 dB EFX D Sub4 Level Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 Aux 9 Aux 10 Aux 11 Aux 12 Aux 13 Aux 14 June 2013 8 12 Main Mix L Main Mix R Solo Bus L Solo Bus R Sub Group1 Sub Group2 Sub Group3 Sub Group4 Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 Aux 9 Aux 10 Aux 11 Aux 12 Aux13 Aux 14 EFX A EFX B EFX C EFX D PG OF .+10 dB EFX C Sub4 FX Send C/D Digital Send Level Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 Aux 9 Aux 10 Aux 11 Aux 12 Aux 13 Aux 14 Gate H.P. Compressor Equalizer Limit Limit Level Internal FX Processor [DELAY] FX Return D Dig Out Digital Send 36 .1.465Hz 90 .18kHz Main Mix R Main Mix L Solo Bus L Solo Bus R Sub Group1 Sub Group2 Sub Group3 Sub Group4 Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 Aux 9 Aux 10 Aux 11 Aux 12 Aux13 Aux 14 EFX A EFX B EFX C EFX D StudioLive 32.18kHz Fat Channel Sub1 Sub2 Sub3 -120 .+10 dB Talkback Mic Links to Output Dim Level -14 dB Aux 1-2 Aux 1 Aux 2 Aux 3-8 Level -120 .4k .presonus. Compressor Equalizer Limit Limit Level Internal FX Processor [DELAY] FX Return C Dig Out Digital Send 36 .1.4.5kHz 1.P.2kHz 380 .StudioLive 32. com/products/StudioLive-3242AI/ downloads for the latest block diagram in Adobe PDF format.18kHz Fat Channel Sub1 Sub2 Sub3 -120 .P.2AI Block Diagram Gain Mic -6 + 65 dB A/D INPUT BUFFER + - Level Main A/D -120 .+10 dB FX A Sub4 FX Send A/B Digital Send Level Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 Aux 9 Aux 10 Aux 11 Aux 12 Aux 13 Aux 14 Compressor Equalizer Limit Limit Level Internal FX Processor [REVERB] FX Return B Dig Out Digital Send Aux Send 13/14 FX Send A/B FX Send C/D Aux Return A Aux Return B FX Return A FX Return B FX Return C FX Return D 2 Track L/R TalkBack L/R Solo L/R H.5kHz 1.2kHz 380 .

Equalizer Gate Compressor 36 .2kHz 380 .18kHz Limit Limit H.2kHz 380 .18kHz Limit Limit H.+10 dB Aux 2 RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA Aux 3 Aux 4 Fat Channel From Two Track Digital Input (Main Digital Return 33/34) From Two Track Tape Input Digital Return 33-34 Aux 5 Aux 6 Aux 7 Equalizer Gate Gate Aux 8 Aux 9 36 .5kHz 1.P.465Hz 90 .P.2kHz 380 .P.P. StudioLive 32.5kHz 1.P.4k .1. Equalizer Gate Compressor 36 .18kHz Limit Limit H.2kHz 380 .4k .1.18kHz Equalizer Compressor 36 .+10 dB Gate Gate Compressor Compressor Limit Limit Limit Limit Aux 1 GEQ Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 Aux 9 Aux 10 Aux 11 Aux 12 Aux 13 Aux 14 Aux 4 GEQ Aux 5 GEQ Aux 6 GEQ Aux 7 GEQ Aux 8 GEQ Aux 9 GEQ Aux 10 GEQ Aux 11 GEQ Aux 12 GEQ Aux 13 GEQ D/A -120 .P.4k . 36 .5kHz 1.1.1.4k .1.+10 dB -120 .4k .18kHz Limit Limit H.5kHz 1.1.18kHz Limit Limit Fat Channel H.5kHz 1.4k .+10 dB Aux 9 Aux 8 Aux 7 Aux 6 Aux 5 Aux 4 Aux 3 Aux 2 Aux 1 Aux 14 Aux 13 Aux 12 Aux 11 Aux 10 Left (Mono) A/D Solo Level Tape In Digital Send Pan Subgroup 1-4 Dig Out Digital Send A/D Right -120 .1.5kHz 1.4k .1. Equalizer Gate Fat Channel Compressor 36 .465Hz 90 .+10 dB Monitor Level From Two Track Tape Input -120 .18kHz Aux 6 Limit Aux 7 36 .5kHz 1.4k .5kHz 1.465Hz 90 .1.465Hz 90 . Equalizer Gate Compressor 36 .4k .2kHz 380 .4k .4k . Equalizer Gate Fat Channel Compressor 36 .5kHz 1.18kHz Limit Limit H.2kHz 380 . Equalizer Gate Fat Channel Compressor 36 .P.2kHz 380 .1.465Hz 90 .P.18kHz Limit Limit H.465Hz 90 .2kHz 380 .465Hz 90 . Equalizer Gate Fat Channel Compressor 36 .1.P.4k .2kHz 380 .18kHz Limit 36 .+10 dB Aux 6 Level -120 .5kHz 1.465Hz 90 .+10 dB -120 . Equalizer Gate Fat Channel Compressor 36 .P.1.4k .18kHz Aux Input A EFX D Equalizer Compressor 36 .P.5kHz 1.4k .465Hz 90 .2kHz 380 .18kHz Limit Limit H.1.+10 dB U Aux 7 Aux 9 Aux 6 Aux 5 Aux 4 Aux 3 Aux 2 Aux 1 Aux 8 Aux 13 Aux 12 Aux 10 Aux 11 Aux 14 Pan Level Input Pan Aux Aux 10 Aux 11 Aux 12 Sub 1 Aux Out 10 Aux Out 11 Aux Out 12 Aux 13 Aux Out 13 Aux 14 Aux Out 14 Aux 5 RTA RTA RTA RTA Compressor Compressor RTA RTA ™ RTA RTA Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 RTA RTA RTA 5-8 RTA U RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA Aux 9 Aux 10 Aux 11 Aux 12 Aux 13 Aux 14 Master Bus Dig Out Digital S AUX 9-14 Links to Ou - .18kHz Aux 14 GEQ Aux 14 Main Mix L Main Mix R Solo Bus L Solo Bus R Sub Group1 Sub Group2 Sub Group3 Sub Group4 Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 AuxLevel 8 Aux 1 Aux 9 Aux 2 Aux 10 Aux 3 Aux 11 Aux 12 Aux 4 Aux13 Aux 5 Aux 14 Aux 6 EFX A Aux 7 EFX B Aux 8 EFX C Aux 9 EFX D Aux 10 Aux 6 Aux 11 Solo Bus L Aux 7 Aux 2 Aux 3 Aux 13 RTA RTA Aux Return B Dig Out Digital Send Aux 14 Aux 4 Aux 9 Cue Level Tape Input Sub 3 A/D INPUT BUFFER -120 .P.18kHz Limit Limit H.2kHz 380 .2AI Block Diagram Equalizer 36 . 36 .+10 dB Output Level Post Aux 1 Pan -120 .P.1.18kHz Aux Bus Output Pre 1 Fat Channel StudioLive 32.5kHz 1.+10 dB Aux 3 Aux Return B Dig Out Digital Send Aux 4 Aux 5 Channel Meter -120 .18kHz H. Equalizer Gate Compressor Limit Limit H. Equalizer Gate Compressor 36 .1.465Hz 90 .Pan enabled Sub Group3 Right Link Mode .2kHz 380 .465Hz 90 .4k .P.18kHz Aux 8 Limit 36 .5kHz 1.2kHz 380 .1.465Hz 90 .18kHz Delay Compressor Sub 1 Sub 2 Sub 3 Sub 4 D/A Delay 36 .1.2kHz 380 .5kHz 1. Equalizer Gate Compressor Limit Limit H.1.18kHz Aux 9 Limit Main L/R GEQ Aux 10 Aux 11 Monitor Level Phones Level -120 .4k . Equalizer Gate Fat Channel Compressor 36 .465Hz 90 .465Hz 90 .465Hz 90 . Equalizer Gate Compressor 36 .2kHz 380 .5kHz 1.P.5kHz 1. Equalizer Gate Fat Channel Compressor 36 .2kHz 380 .P.5kHz 1.+10 dB Link Mode .465Hz 90 .465Hz 90 .4k .18kHz Limit Limit H.4k .465Hz 90 .Pan enabled - Left Phones Level Phones Output + Aux Bus Output Pre 2 Mono Output Tape Output + - Channel Insert + + - PG OF + A/D 36 .5kHz 1.5kHz 1.4k .1.1.5kHz 1.465Hz 90 .2kHz 380 .4k .465Hz 90 .P.18kHz Limit Limit H.4k .18kHz Limit Limit H.2kHz 380 .P.4k .2kHz 380 .1.1.2kHz 380 .18kHz Limit Limit H.5kHz 1.s 1-32 Master Bus Dig Out Digital Send Input Digital Send 1-32 Main Mix L Main Mix R Solo Bus L Solo Bus R Sub Group1 Sub Group2 Sub Group3 Sub Group4 Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 Aux 9 Aux 10 Aux 11 Aux 12 Aux13 Aux 14 EFX A EFX B EFX C EFX D 65 dB +20 dB Output Channel Meter RTA RTA Master Meter TalkBack Mic to Main Channel Insert RTA Main Mix L Phase RTA RTA RTA GEQ On/Off Main L/R GEQ U RTA Equalizer Limit BALANCE LINE DRIVERS A/D INPUT BUFFER Gate Gate Compressor Left Compressor Equalizer Limit Limit H.4k .+10 dB Level Pre1/ Pre2 Aux Bus Output Pre 2 -120 .5kHz 1.P.2kHz 380 .1.1.1.+10 dB Fat Channel Fat Channel TalkBack Mic to Aux Bus Fat Channel Fat Channel Fat Channel Fat Channel Fat Channel Fat Channel Equalizer Compressor 36 .5kHz 1.465Hz 90 .5kHz 1.+10 dB Level Aux 1 -120 .5kHz 1.1.4k .18kHz Limit Limit H.+10 dB Aux 12 9 12 Aux 13 AUX 1-4 Aux 14 + Tape In To Control Room Digital Return 33/34To Control Room + Sub 2 - Aux 8 - Aux 12 + Aux 14 - Solo Bus R Aux 13 + Aux 12 - Aux 1 Aux 11 Aux 1-14 Dig Out Digital Send + - Fat Channel Fat Channel Fat Channel Fat Channel Fat Channel Fat Channel Main Mix L Main Mix R Solo Bus L Solo Bus R Sub Group1 D/A OUTPUT BUFFER Sub Group2 Aux 1 Sub Group3Aux Out 1 Sub Group4 Aux 1 Aux 2 Aux Out 2 Aux 2 Aux 3 Aux 3 Aux Out 3 Aux 4 Aux 5 Aux 4 Aux Out 4 Aux 6 Aux 7 Aux 5 Aux Out 5 Aux 8 Aux 9 Aux 10 Aux 6 Aux Out 6 Aux 11 Aux 12 Aux 7 Aux Out 7 Aux13 Aux 14 Aux 8 Aux Out 8 EFX A EFX B Aux 9 Aux Out 9 EFX C EFX D Links to Output Dim Level -14 dB + Aux 3 GEQ + + + + + + - RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA Aux 2 GEQ RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA RTA GEQ On/Off Aux Output Levels 1-14 -120 .P.18kHz Solo Bus Digital Send Gate Aux 10 Gate Aux 11 Limit Gate Aux 12 Gate Aux 13 TalkBack Mic to Main Compressor Compressor Aux 14 Compressor Tape In Digital Send Level Fat Channel Fat Channel Equalizer Equalizer Aux 1 -120 .4k .4k .465Hz 90 .465Hz 90 .5kHz 1.5kHz 1.P.465Hz 90 .2kHz 380 .1.465Hz 90 . Equalizer Gate Fat Channel Compressor 36 .2kHz 380 .2kHz 380 .Pan enabled Aux 7 Aux Return A Dig Out Digital Send Aux 8 Aux 9 AUX 1-4 Aux 10 5-8 AUX 9-14 Aux 11 Aux 12 Sub Group4 Sub Group3 Sub Group2 Sub Group1 Main Mix L Main Mix R Aux 13 Link Mode .P.4.P.18kHz 36 .Pan enabled Link Mode .1.1.Pan enabled Aux 1 Aux 2 Aux 3 Aux 4 TalkBack Mic to Aux Bus RTA Aux Return A Dig Out Digital Send Aux 5 Aux 6 Aux 7 Aux 8 Aux Input B A/D INPUT BUFFER Left (Mono) Level Pan Aux 9 Aux 10 Aux 11 Aux 12 Aux 13 Aux 14 Right -120 .18kHz A/D INPUT BUFFER Limit Limit Aux Input A Aux 8 Aux 9 Aux 7 Aux 6 Aux 5 Aux 4 Aux 3 Aux 2 Aux 1 Aux 12 Aux 11 Aux 10 A/D INPUT BUFFER Level -120 .465Hz 90 .2kHz 380 .P.2kHz 380 .4k .18kHz Limit Limit H.P. Aux 11 Aux Input B Left (Mono) Aux 12 A/D INPUT BUFFER Gate Aux 13 Sub Meter Aux 14 EFX A RTA RTA Right Gate Compressor Compressor Equalizer Limit Limit Equalizer Gate EFX B RTA RTA RTA + RTA RTA Gate Limit Limit Delay Delay + U Left (Mono) EFX C RTA Gate 36 .5kHz 1.465Hz 90 .1.P.465Hz 90 .4k .4k .4k .+10 dB EFX A Aux 14 Aux 13 Aux 12 Aux 11 EFX D EFX C Aux 9 Aux 8 Aux 7 Aux 6 Aux 5 Aux 4 Aux 3 Aux 2 Aux 1 Aux 10 EFX B Aux 2 Aux 13 Aux 11 Level Aux 9 Aux 8 Aux 7 Aux 6 Aux 5 Aux 4 Aux 3 Aux 2 Aux 1 Aux 12 Aux 14 Aux 10 -120 .465Hz 90 .5kHz 1. Equalizer Gate Compressor 36 .18kHz Limit Limit H.+10 dB Aux 10 Left 2 .4k .465Hz 90 .5kHz 1.465Hz 90 .1.1.4k .1.465Hz 90 . Equalizer Gate Compressor 36 .P.18kHz Limit Limit H.P.2kHz 380 .18kHz Equalizer Compressor 36 .2kHz 380 .5kHz 1. Equalizer Gate Fat Channel Compressor 36 . Equalizer Gate Fat Channel Compressor 36 .18kHz Limit Limit H.465Hz 90 .2kHz 380 .18kHz Main Mix R D/A - Pan Main Output Output Level Attenution 0 to -40 dB Right Gain Control Room Output A/D Sub Group1 Sub Group2 Sub Group3 Sub Group4 Sub Out 1 Sub Out 2 Sub Out 3 Sub Out 4 Tape In To Control Room Digital Return 33/34To Control Room Aux 14 Aux 13 RTA RTA Pan Level Level -120 .5kHz 1.5kHz 1.Track-In Level Sub 4 Gate A/D Right -120 .2kHz 380 .1.+10 dB Links to Output Dim Level -14 dB - Aux Bus Output Pre 1 Sub Group1 Sub Group2 Left + Input Channels 1-32 Mic -6 + 65 dB Line -20 +20 dB Link Mode .18kHz Limit Limit H.465Hz 90 .4k . Equalizer Gate Fat Channel Compressor 36 .5kHz 1. Fat Channel 36 .+10 dB - A/D INPUT BUFFER Post Link Mode .2kHz 380 .18kHz 36 .4k .+10 dB + - A/D A/D INPUT BUFFER Aux 2 D/A Right Aux 3 Phase Aux 4 Digital Send 1-32 Aux 5 + From Two Track Digital Input (Main Digital Return 33/34) Tape Input Right Aux 6 Aux 7 D/A -120 .18kHz Fat Channel H.4.2kHz 380 .465Hz 90 .18kHz H.4k .Track-In Level Fat Channel Fat Channel -120 .1.2kHz 380 .1.2kHz 380 .4k . Equalizer Gate Fat Channel Compressor 36 .5kHz 1.465Hz 90 .4k .1. U RTA + + - Line Input Direct Output Mic 48V Input Fat Channel Fat Channel Mic Pre D/A OUTPUT BUFFER Digital Return 1-32 Solo Bus L Solo Bus R Mono Output Level - Cue Level Solo Bus Digital Send -120 .1.2kHz 380 .4k .P.P.5kHz 1.2kHz 380 .4k .2kHz 380 .4k .18kHz Limit Limit H.+10 dB + - Digital Return 33-34 Aux 8 RTA Aux 9 Right Aux 10 H.Pan enabled Sub Group4 D/A OUTPUT BUFFER - Pre1/ Pre2 Pan Left Level Aux 1 -120 . Equalizer Gate Compressor 36 . Equalizer Gate Compressor 36 .5kHz 1.2kHz 380 .5kHz 1.2kHz 380 .465Hz 90 .5kHz 1.+10 dB + Equalizer Equalizer + A/D - - - - - - - - + RTA RTA - A/D + Fat Channel Fat Channel - 2 .2kHz 380 .2AI Mix L Mix R o Bus L Bus R roup1 roup2 roup3 roup4 Aux 1 Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8 Aux 9 Aux 10 Aux 11 Aux 12 Aux13 Aux 14 EFX A EFX B EFX C EFX D June 2013 Aux 2 Equalizer Aux 3 Equalizer GEQ On/Off Aux 4 Limit Limit Limit Limit Aux 5 36 .18kHz Limit Limit H. Equalizer Gate Compressor 36 .5kHz 1.465Hz 90 .1.465Hz 90 .465Hz 90 .+10 dB H.18kHz Limit Limit Fat Channel H.1.

In addition. The mixer shall permit settings to be copied between channels. A horizontal LED Pan meter shall be provided that shall display the pan position for the selected channel or linked channels. GENERAL CONFIGURATION. and saved to and from onboard memory. ring=right. The mixer shall have a Talkback mic section that shall include a rotary level control. -9. using a button-type switch. 10. subgroup. The interface shall support digital audio with up to 24-bit bit depth and (selectable) 44. turn aux bus master out metering on/off. The mixer shall provide digital memory (storage) for the status of all digital mixer parameters but not for the status of the analog channel trims. In addition to the controls listed in section 2 (MIXER INPUTS). and shall be switchable between hard and soft knee.4 kHz to 18 kHz. 9-16. post-dynamics. The High Mid EQ shall have a sweepable center frequency from 380 Hz to 5 kHz. a Mute switch. and shall include 32 analog Send/Return channel inserts. The Main and Subgroup meters shall be calibrated so that a 0 dBu signal at the Main or Subgroup output shall be indicated as 0 dB on the meters. and turn fader-recall (Locate) metering on/off. The mixer shall include an Ethernet control port and a dedicated USB 2. switchable gate/expander. the mixer shall be capable of being networked to a Mac or Windows computer and to an iOS device by any of the following methods: •A wired Ethernet connection between the mixer and a Mac or Windows computer. 4 Subgroup outputs. This section also shall include a Tap button. BUNDLED SOFTWARE. four buttons that assign the Talkback mic to Aux Sends 1-2. -60. 1 BNC socket. shall include an Auto Attack and Release feature. accepting nominal levels from -10 dBV to +4 dBu. 0. with an output impedance of 100Ω.2_AE. •A wired Ethernet connection between the mixer and a Wi-Fi-capable router that is networked wirelessly to a Mac or Windows computer and/or an iOS device. The four-band parametric EQ shall be a second-order shelving filter. the primary purpose of which is setting tempo for the delay effects described in Section 7 (EFFECTS AND GRAPHIC EQ).0 control port that accepts an included USB Wi-Fi LAN adapter.2AI Architect & ­Engineering Specifications Also available as a Word document: PreSonus_StudioLive_32. a button switch that shall toggle between After-Fader Listen (AFL) and Pre-Fader Listen (PFL). METERING. forming 2 stereo pairs. post-gain and pre-dynamics. Phantom power shall be individually enabled/disabled for each channel via a button-type switch.5A for fitting an external lamp (not included). The mixer shall include four stereo. using balanced ¼” TRS phone jacks. 12. These controls shall include a rotary Value encoder. and 7-14 and to the Main bus. OTHER OUTPUTS: Channels 1-32 shall include pre-insert. channels 1-2. the gain reduction for all 32 inputs. 1 stereo pair of Control Room outputs. as described in Section 1 (GENERAL CONFIGURATION) and Section 2 (MIXER INPUTS). channels 1–32. using ¼” TRS phone jacks (tip=send. EFFECTS AND GRAPHIC EQ. -30. 4. sleeve=ground). The mixer shall provide one 15-segment LED meter to display the gain reduction for the currently selected channel. NETWORKING FEATURES. and a Solo-In-Place (SIP) mode. and 50 presets for instruments and vocals. 1 Main mix mono output. The mixer shall be a digital mixer and shall accommodate 32 line and/or 32 microphone signals. -10. DYNAMICS PROCESSING. Each channel shall include one XMAX™ Class A solid-state microphone preamplifier. and with an output impedance of 100Ω. -38. and a Select switch for controlling the Fat Channel processing section for the selected Aux Send. compressor. which shall be engaged using a button switch. delivering nominal levels from -10 dBV to +4 dBu and a maximum output of +24 dBu. Ratio. System. -10. Main bus. Key Listen. -40. The mixer shall be capable of placement on a table and shall be fitted with 1 rocker-type Power switch. Memory shall also be provided for effects settings. balanced. Page Up and Page Down buttons. post-EQ. 2 stereo pairs of Aux Return inputs.) to be linked in stereo. -30. delivering a maximum output level of +18 dBu and nominal levels from -10 dBV to +4 dBu. and main L/R FireWire returns shall each be assignable to the Monitor bus using dedicated button-type switches. Button switches shall be provided that turn PFL input metering on/off. MEMORY AND GENERAL SETTINGS. -20. MULTIPURPOSE METERING: Multipurpose metering shall be provided in the Fat Channel section (described in Section 5. each with labeled points at -60. and Scene. Store.doc 1. loaded. These packages shall include: •A multitrack audio-recording application primarily intended for recording live events. -40. -6. -5. -50. and Release parameters. June 2013 using an unbalanced ¼” TRS phone jack (tip=left. and two FireWire S800 ports that can connect to a Mac or Windows PC for recording and control and to act as a pass-through for attaching an external storage drive. delivering a maximum output level of +18 dBu and nominal levels from -10 dBV to +4 dBu. The mixer shall be able to store two complete sets of Fat Channel EQ and dynamics-processor settings for every channel and bus. The High band shall have a sweepable frequency from 1. and +10 dB. delivering nominal levels from -10 dBV to +4 dBu. The Low Mid band shall have a sweepable center frequency from 90 Hz to 1. and 4 mono 100 mm Subgroup faders. • A wireless connection between the mixer’s Wi-Fi LAN adapter and a Wi-Fi-capable router that is networked wirelessly to a Mac or Windows computer and/or an iOS device. accepting nominal levels from -10 dBV to +4 dBu and maximum input levels of +18 dBu. Each channel shall have a dedicated. -18. pan.StudioLive 32. with an additional point labeled “OL” (Overload). 14 Aux Send outputs using balanced ¼” TRS phone jacks. 14 Aux Send outputs. and with a maximum output level of 150 mW. two of which shall be dedicated to reverb effects and two dedicated to delay effects. 11. delivering a maximum output level of +18 dBu and nominal levels from -10 dBV to +4 dBu. The limiter shall have a sweepable Threshold. with an output impedance of 100Ω. -20. +5. using balanced ¼” TRS phone jacks. These 5 faders shall be marked at ∞. The Fat Channel also shall include eight Quick Scene buttons for creating and recalling a scene without storing it to permanent memory and giving it a name. A “GEQ” switch shall display the Graphic EQ menu on the LCD screen. ±15 dB and shall be switchable between shelf and peaking. 1 stereo Headphones output. Thirty-two balanced line inputs shall be wired using ¼” TRS phone jacks and shall accept nominal levels from -10 dBV to +4 dBu and maximum input levels of +22 dBu. and Gain. -50. and the Main bus shall be routed to a section called the “Fat Channel” when their associated Select buttons are pressed. MAIN OUTPUTS: The mixer’s Main mix-bus stereo outputs shall be fitted in three ways: Using balanced XLR jacks. a separate switch shall allow the entire parametric EQ to be enabled/disabled. turn gain-reduction metering on/off. an Output level control that employs a rotary encoder. this meter shall have labeled points at -21. 32 channel Direct Outputs. and it shall include a rear-panel rotary level control. and +10 dB. and using unbalanced RCA-type phono jacks (labeled Tape Out). and +10 dB. The Headphone output level and Control Room output level shall be controllable with dedicated rotary encoders. and auxiliary bus shall have a Solo switch and a Mute switch. mono microphone input. The mixer shall provide a built-in computer interface for recording and playing back audio. ™ The mixer shall enable storage of up to 80 global scenes. pre-EQ. 3. and Recall buttons. and aux buses. ±15 dB. CHANNELS 1–32: Each channel shall include an electrically balanced. •A digital audio workstation application that enables record- StudioLive 32. -10. The Tape Input source shall be switchable between the analog Tape Input and the Digital (FireWire) Input. these 6 meters shall be 15-segment LED meters. ±1 dB. and 1 stereo Headphones output. 2. and -2 dB. OTHER INPUTS: The mixer shall include 4 balanced Aux Return inputs. -12. 1/3-octave graphic equalizers with curve-fitting algorithm. the Fat Channel shall enable signals to be assigned to the subgroups and Main bus and shall enable adjacent odd-even channels (e. 3-6. The Main mix-bus Mono output shall be fitted with one balanced XLR jack. the levels of all 32 inputs. -30. MIXER OUTPUTS. limiter. The mixer shall have 1 stereo 100 mm fader for the Main bus. -20. and -2 dB. -50. The Tape Input. Release. -15. delivering and accepting nominal levels from -10 dBV to +4 dBu and maximum input levels of +18 dBu. 0. each of which shall have a pre/post switch. and four-band fully parametric equalizer (EQ). and postfader.4. each providing up to 10 dB gain. AND BUS ASSIGNMENT) that shall display the levels of all 32 inputs. 0. Previous and Next buttons. using a button-type switch. using an XLR-3-F-type connector. The Low band shall have a sweepable frequency from 36 Hz to 465 Hz.g. delivering a maximum output of +24 dBu. 17-24. All input channels. delivering a maximum output of +24 dBu. providing 12 VDC at 0. 2 stereo pairs of Main mix outputs. a Talkback microphone input that shall include one XMAX™ Class A solid-state microphone preamplifier with 48V phantom power always present. 1 stereo S/PDIF coaxial digital output. MIXER OUTPUT SECTION. 1 stereo pair of RCA-type phono Tape inputs. turn post-fader output metering on/off. The mixer shall ship with at least three software packages for Mac and Windows computers. this meter shall have labeled points at -72. etc.2 kHz. accepting nominal levels from -30 dBu to +16 dBu via a rotary Trim control. The mixer shall also include 8 dual-mono (16 channels).1 or 48 kHz sample rate. A set of six assignable mute groups with All On and All Off buttons shall mute any combination of channels. using unbalanced RCA-type phono jacks. Each channel. The effects library and effects parameters shall be accessed using an FX button. ±15 dB. Solo bus. DYNAMICS PROCESSING. -24. -60. 9. subgroups. -30. 7. subgroups. The Fat Channel also shall provide button switches that enable channel settings to be copied. each channel shall accept an input signal from the digital return bus. -40. providing up to 10 dB gain. The mixer shall have a Monitor bus that feeds the Control Room and Headphone outputs. Gain attenuation shall be ±15 dB. and 25-32). The mixer shall provide one 15-segment LED meter to display the level of the currently selected channel. with an output impedance of 100Ω. ±15 dB and shall be switchable between shelf and peaking.4. plus a rear-panel rotary level control. AND BUS ASSIGNMENT. and shall be entirely self-contained. 32-bit effects processors. The compressor shall have sweepable Threshold. and 1 stereo pair of Tape Input jacks.4. The mixer shall include 4 Subgroup outputs. using balanced ¼” TRS phone jacks. The Fat Channel shall provide the following digital signal-processing: highpass filter and polarity invert (input channels only). The mixer shall have a Solo bus that shall include a rotary Cue Mix volume control. or the aux sends. 48 channel-strip scenes. using ¼” TRS phone jacks. +5. MIXER INPUTS. analog Direct Outputs. 1 stereo pair of RCA-type phono Tape outputs. The mixer shall include an expansion-card slot that accepts optional I/O and networking cards. -15. providing fast access to the GEQ settings. the mixer shall include 14 sets of Aux Send controls. 31-band. 5. 8. Attack. an FX button for accessing the effects. 3-4. AUDIO INTERFACE. delivering nominal levels from -10 dBV to +4 dBu. -6. In addition. The gate/expander shall include Key Filter. ring=return. Output level for both the XLR and TRS Main mix-bus outputs shall be controllable using a single rear-panel knob. -5. 1 3-pin IEC power receptacle that accepts 100-240 VAC. aux sends. Threshold. The mixer shall include a Digital Effects | Master Control section that includes an LCD display and controls that provide access to systems settings and the graphic equalizer and that enables store and recall of mixer scenes and Fat Channel and effects settings.. The interface shall enable 48 audio streams to be sent to a Mac or PC computer and 34 streams to be returned from the computer to the mixer via FireWire S800. MAIN METERING: The mixer shall provide individual level meters for the left and right channels of the Main bus and for each of the four subgroups. PARAMETRIC EQ. with an output impedance of 100Ω. -10. Range. an Alt button shall enable A/B-comparison between the two sets for a given channel or bus. sleeve=ground). The input of each channel shall be switchable between the analog inputs and the digital (FireWire or optional Thunderbolt or Dante) input. using four sub-DB25 jacks (channels 1-8. the subgroups.2AI 10 12 OF PG . with an additional point labeled “OL” (Overload). Attack. The Tape Input level shall be controllable using a rotary encoder. the gain levels for each band of any of the 31-band graphic EQs. 100 mm level-control fader with marked increments at ∞. or the fader settings for a saved scene. The graphic EQs shall be assignable to the Main mix bus. 1 stereo pair of Control Room outputs. AUXILIARY SEND SECTION. a Solo switch.1 to 4 and shall be individually switchable on/off. Each channel shall include a pre-fader Insert point. PARAMETRIC EQ. 6. and a latching Talkback (Talk) on/off button. Each band shall have a sweepable Q ranging from 0. Using either of these connections. and pre-fader. the output volume of each of the 14 aux sends. and shall include an onboard library of effects presets. Options shall include a Thunderbolt-FireWire S800-S/PDIF Out card and an Ethernet/ Dante-FireWire S800-S/PDIF Out card.

007%.02” (17. unwtd S/N Ratio to Direct Output (Ref = +4 dBu. 800Mb/s Internal Processing 32-bit.5 dBu Input Impedance 10 kΩ THD to Direct Output (1 kHz at unity gain) <0. The mixer shall weigh 50 lbs.and scene-management features. 31. 20-20 kHz. unity gain. unbalanced (stereo pair) Maximum Input Level +22 dBu Auxiliary Inputs Type ¼” TRS Female.4. The software shall also incorporate Smaart audio analysis and correction technology.2 kHz. The mixer shall be made of steel. unity gain. balanced (mono) Rated Output Level +18 dBu Output Impedance 100Ω Tape Outputs Type RCA Female.5 dBu Input Impedance 1 kΩ THD to Direct Output (1 kHz at unity gain) 0. Hi Q=2. using dedicated applications when networked via Wi-Fi (802. 20-20 kHz. silver. with an aluminum armrest. and shall be painted gray. unwtd) -87 dB Noise Gate / Expander Threshold Range -84 dB to 0 dB Attack Time 0. 20-20 kHz. +4 dBu.20 kHz) Jitter Attenuation >60 dB (1 ns in. balanced mono Frequency Response to Direct Outputs (at unity gain) 10-40 kHz. ±0.13 cm) in length. A-wtd) 105 dB S/N Ratio to Main Output (Ref = +4 dB. •A bidirectional mixer-control/editor/librarian application that provides preset. and sets permissions for optional iOS wireless-control apps. 48 kHz) 118 dB DAC Dynamic Range (A-wtd.7 Key Listen Off.000 ms Auto Attack and Release Attack = 10 ms.05s to 2s Expander Attenuation Range 2:1 (fixed) Noise Gate Attenuation Range -84 to 0 dB Key Filter 2nd-order.005%. unwtd THD to Main Output (1 kHz at unity gain) <0.5 dBu Frequency Response to Main Outputs (at unity gain) 20-20 kHz.31” (54. XLR Male. unwtd) -90 dB Adjacent Channels (Ref = +4 dBu 20-20 kHz.68 kg).82 cm) in depth. ±15 dB Q (sweepable for each band) 0. ±0. balanced (mono) Rated Output Level +24 dBu Output Impedance 100Ω Aux Outputs Type ¼” TRS Female.55. 40 Hz to 16 kHz Compressor Threshold Range -56 dB to 0 dB Ratio 1:1 to 14:1 Attack Time 0. and its Aux buses shall be controllable from an Apple iPhone or iPod touch . 20 kHz BW.22 cm) in width. A-wtd) 94 dB Common Mode Rejection Ratio (1 kHz at unity gain) 65 dB Gain Control Range (±1 dB) -15 dB to +65 dB Maximum Input Level (unity gain) +22 dBu Phantom Power (±2 VDC) 48 VDC Line Inputs Type ¼” TRS Female. and playback of both MIDI data and audio.ing. •The mixer shall also be wirelessly controllable from an Apple iPad . ±15 dB High (Highpass or Bandpass) 1.5 ms Release Time 0. unity gain. +4 dBu. balanced (stereo pair). +4 dBu. Q=0. 1 ps out) Power Connector IEC Input-Voltage Range 90 to 240 VAC Power Requirements (continuous) 200W Operating Temperature Recommended Ambient Operating Temperature 0˚ to 40˚ Celsius / 32˚ to 104˚ Fahrenheit StudioLive 32. 20-20 kHz.2 ms to 150 ms Release Time 40 ms to 1. 48 kHz A/D/A Bit Depth 24 Reference Level for 0 dBFS -18 dBu Clock Jitter <20 ps RMS (20 Hz . ¼” TRS Female. unity gain. enables real-time adjustment of the most commonly used mixer settings.58” (80. In addition to specifications already cited. A-wtd) 94 dB Gain Control Range (±1 dB) -20 dB to +20 dB Maximum Input level (unity gain) +22 dBu ® ® ® Tape Inputs Type RCA Female. ±15 dB Low Mid (Bandpass) 90 Hz to 1. 14. balanced (stereo pair) Rated Output Level 18 dBu Output Impedance 100Ω System Cross Talk Input to Output (Ref = +4 dBu 20-20 kHz. +4 dBu.2AI ™ The mixer shall be a PreSonus StudioLive 32.02s to 500 ms / 0. unity gain. 20 kHz BW. resonant bypass. the mixer shall meet or exceed the following specifications: Microphone Preamp Input Type Female. unity gain. ±15 dB High Mid (Bandpass) 380 Hz to 5 kHz. balanced (mono) Rated Output Level +18 dBu Output Impedance 100Ω Subgroup Outputs Type ¼” TRS Female. unwtd EIN to Direct Output 125 dB unwtd. balanced (2 stereo pairs) Maximum Input Level +22 dBu Main Outputs Type XLR Male. 48 kHz) 118 dB FireWire S800. ±0.11) directly to the mixer using a router or to a networked computer running VSL.1.4 kHz to 18 kHz. 13. Dimensions of the mixer shall be 21.4. PHYSICAL CONFIGURATION.1 to 4 / Low Q= 0. and 7. 20 kHz BW. 130 dB A-wtd S/N Ratio to Direct Output (Ref = +4 dB. 20 kHz BW. SPECIFICATIONS. floating point Sampling Rate 44. and blue with black-and-white graphics. unity gain.007%. unwtd THD to Main Output (1 kHz at unity gain) 0. A-wtd) 105 dB S/N Ratio to Main Output (Ref = +4 dBu. unbalanced (stereo pair) Rated Output Level +18 dBu Output Impedance 100Ω Control Room Outputs Type ¼” TRS Female.5 dBu Frequency Response to Main Output (at unity gain) 20-20 kHz. balanced Frequency Response to Direct Output (at unity gain) 20-40 kHz. ™ ® June 2013 11 12 OF PG . 0 oz (22. balanced (stereo pair).0 Graphic EQ 31-Band 1/3rd Octave Controls Curve-fitting algorithm Gain/Attenuation ±15 dB Digital Audio ADC Dynamic Range (A-wtd.2AI. ±0. editing. unity gain. Release = 150 ms Curve Types hard and soft knee Limiter Threshold -56 dB to 0 dB / -28 dBFS Ratio ∞:1 Attack 20 ms Hold 10 ms Release 20 ms Parametric EQ Type 2nd-order shelving filter Low (Lowpass or Bandpass) 36 to 465 Hz.005%.

166in] 568. StudioLive.25mm [8.40mm [31.50mm [0.50mm [0. All Rights Reserved.4.364 in] 762.152in] 17. QMix.doc StudioLive 24.0.2AI This data sheet: PreSonus_StudioLive_32.presonus.217in] 172.805in] 807.20mm [30.364in] .008in] 47.805in] 568.4.StudioLive 32.152in] 17.4.008in] 47.4.364in] ® ® ® ® RELATED PRESONUS PRODUCTS Capture Recording Software (Mac and Windows ) QMix -AI Aux Send Control App (iPhone /iPod touch) PRM1 Precision Reference Microphone StudioLive 32.2AI.4. Windows is a registered trademark of Microsoft.787in] 568.67mm [7.199in] PG 359.2AI ™ TOP VIEW 802.50° 5. Capture is a trademark of PreSonus Software Ltd.06mm [22.06mm [22.dxf A&E Specs: PreSonus_StudioLive_32.81mm [14.2 Digital Mixer StudioLive 16.06mm [22.com www. Studio One is a registered trademark of PreSonus Software Ltd.20mm [31.4.4.217in] 172.84mm [6.com/support/downloads/ StudioLive-32.2AI.presonus.67mm [7.98mm [1.364 in] 762. Inc.889in] 181.com June 2013 12 12 OF 208.98mm [1.4. LA 70806 tel 225-216-7887 fax 225-926-8347 support@presonus.2 Digital Mixer StudioLive Remote-AI Editor/Librarian/Control App (iPad ) Studio One Artist DAW (Mac and Windows ) Universal Control/Virtual StudioLive -AI Control Software (Mac and Windows ) ™ ™ ™ ™ ® ® ® ® ™ ® ® 568. All specifications are subject to change. Baton Rouge.889in] RESOU RCES @www.50° 5. 7257 Florida Blvd.84mm [6.pdf CAD drawings: PreSonus_StudioLive_32.2AI_AE. Mac is a registered trademark of Apple.583in] RIGHT VIEW 181. and XMAX are trademarks of PreSonus Audio Electronics.20mm [30.06mm [22.2 Canvas Dust Cover ® ™ ™ ©2013 PreSonus Audio Electronics and PreSonus Software Ltd.2 Digital Mixer StudioLive 16.