PreSonus StudioLive
™
24.4.2
56
Quick Start:
Level
Setting
Overview Controls Technical
Information
Tutorials Trouble-
shooting
& Warranty
Scenes,
Presets &
System
Menu
Connecting
to a
Computer
Owner’s Manual
57
Quick Start:
Level
Setting
OverviewControlsTutorialsTechnical
Information
Trouble-
shooting
& Warranty
Scenes,
Presets &
System
Menu
Software
Universal Control,
Capture, and
Studio One Artist
Hookup
Hookup
Software
Universal Control,
Capture, and
Studio One Artist
Connecting
to a
Computer
Graphic Equalizers 5.3
Scene, Presets, and the System Menu 5
5.2 Channel Presets Library
5 Scenes, Presets, and the System Menu
5.2.1 Channel Presets Library
Your StudioLive comes with 50 Fat Channel presets custom designed by
professional PreSonus users. These presets can be altered, renamed and
overwritten; however, there are 50 additional empty storage locations
for you to build your own custom library of channel strip settings.
01 DRM: Kick 1
02 DRM: Kick 2
03 DRM: Kick Funk 1
04 DRM: Kick Funk 2
05 DRM: Kick Hip-Hop
06 DRM: Kick Jazz
07 DRM: Snare 1
08 DRM: Fat Snare
09 DRM: Snare Crackalak
10 DRM: Snare Snappy
11 DRM: Toms Mid
12 DRM: Toms Low
13 DRM: Toms High
14 DRM: Overhead Rock
15 DRM: Overhead Jazz
16 DRM: High Hat
17 BAS: Electric 1
18 BAS: Electric 2
19 BAS: Slap
20 BAS: Upright
21 GTR: Rock 1
22 GTR: Rock 2
23 GTR: Funk
24 GTR: Metal
25 GTR: Jazz
26 GTR: Acoustic
27 GTR: Acoustic Strumming
28 GTR: Acoustic Fingerstyle
29 KEY: Piano Bright
30 KEY: Piano Warm
31 KEY: Piano Jazz
32 KEY: Piano Electric
33 KEY: Piano Electric 2
34 KEY: Vibes
35 HRN: Trumpet
36 HRN: Trombone
37 HRN: Sax
38 HRN: Sax Solo
39 PRC: Congas
40 PRC: Bongos
41 PRC: Cowbell
42 PRC: Tambourine
43 VOX: Male 1
44 VOX: Male 2
45 VOX: Male 3
46 VOX: Female 1
47 VOX: Female 2
48 VOX: Female 3
49 VOX: Speech 1
50 VOX: Speech 2
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5.3 Graphic Equalizers
The StudioLive 24.4.2 features 4 stereo (dual mono), 31-band, 1/3 octave
graphic EQs that can be inserted on the Main output bus, the Subgroups,
or any of the Auxes. When the GEQ button is enabled, the meters and
encoders of the Fat Channel become the controls for the Graphic EQ. As you
touch a knob, you will notice that its band number, frequency, and gain are
displayed in the System Menu. The 31 bands range from 20 Hz to 20 kHz.
If these were analog graphic equalizers, each would look like this:
The frequency for each band is xed. Bands 5-28 are controlled by encoders 1-24,
respectively. When Band 4 or 29 is selected in the Show Band eld in the GEQ
menu, the meters will ip. You will notice that all meters have one LED illuminated
to display the current gain position for each band, and the meter for the selected
band in the Show Band eld is inverted, meaning that all LEDs will be illuminated
except the LED displaying the current gain position for that band. The band does
not have to be selected in the Show Band eld for its encoder to be active. All
encoders are active so you can make changes to 24 of the 31 bands at one time.
The StudioLive Graphic EQ features an innovative design that sets it
apart from traditional graphic EQs. Traditionally, a 31-band graphic EQ
uses 31 second-order shelving lters with xed frequencies in order to
simulate a curve set by the user via 31 front-panel sliders. A well designed
graphic EQ creates an output frequency responses that corresponds as
closely as possible to the curve displayed graphically by the sliders.
In an analog EQ, this is achieved by carefully choosing the bandwidth of the lter
and deciding how or if it varies with the gain and how the lters are summed
or cascaded. In general, narrower bandwidth signies a higher quality EQ But
in traditional graphic EQ designs, the center frequency of each band is xed.
PreSonus took a dierent approach with the StudioLive. The StudioLive Graphic
EQ is a pool of shelving lters from which coecients like cuto frequency,
bandwidth, and gain are extracted through a process of curve-tting The curve
entered by the user is rst oversampled. The system then works with an internal
curve made up of 128 bands to nd coecients for the rst shelving lter
that, when subtracted from the user’s curve, will produce the attest possible
response: 0 dB. The resulting response is then used to nd coecients for the
second shelving lter through the same optimization process. Coecients
for all available shelving lters are found through a recursive process
Unlike conventional designs, the frequency and bandwidth of the “bands”
depends on the curve entered by the user. This allows for much tighter matching
of that curve. Because of this innovative design, the accuracy of the StudioLive
EQ might feel “wrong” at rst. The curve tting process is capable of very steep
transitions and, unlike conventional analog graphic EQs, what you see is what
you get. With a carefully drawn, smooth curve the StudioLive EQ will have almost
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