PRESONUS STUDIOLIVE 24.4.2 User manual

Trouble-
shooting
& Warranty
Technical
Information Tutorials Software
Universal Control,
Capture, and
Studio One Artist
Connecting
to a
Computer
Scenes,
Presets &
System
Menu
Controls Hookup Overview Quick Start:
Level
Setting
StudioLive™24.4.2
Owner’s Manual
www.presonus.com
™

PreSonus StudioLive™24.4.2
2
Quick Start:
Level
Setting
Overview Controls Connecting
to a
Computer
Scenes,
Presets &
System
Menu
Technical
Information
Tutorials Trouble-
shooting
& Warranty
Table of Contents 02Owner’s Manual
3
Quick Start:
Level
Setting
ControlsScenes,
Presets &
System
Menu
TutorialsTechnical
Information
Trouble-
shooting
& Warranty
Software
Universal Control,
Capture, and
Studio One Artist
Hookup
OverviewHookupConnecting
to a
CXomputer
Software
Universal Control,
Capture, and
Studio One Artist
0.1 Important Safety Instructions
0 Mandatory Stu
The exclamation point within an equilateral triangle is intended
to alert the user to the presence of important operating and
maintenance (servicing) instructions in this manual.
The lightning ash with arrowhead symbol within an equilateral
triangle is intended to alert the user to the presence of
uninsulated“dangerous”voltage within the product’s enclosure that may
be of sucient magnitude to constitute a risk of electric shock to humans.
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT
REMOVE THE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER
SERVICING TO QUALIFIED PERSONNEL.
CAUTION: To reduce the risk of electric shock, do not expose this
appliance to rain and moisture.The apparatus shall not be
exposed to dripping or splashing liquids and no object lled with
liquids, such as vases, shall be placed on the apparatus.
CAUTION: These service instructions are for use by qualied
service personnel only.To reduce the risk of electric shock, do not
perform any servicing other than that contained in the operation
instructions. Repairs must be performed by qualied service personnel.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with dry a cloth.
7. Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
8. Do not install near any heat sources, such as radiators, heat registers,
stoves, or other apparatus (including ampliers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-
type plug. A polarized plug has two blades, with one wider than
the other. A grounding-type plug has two blades and a third
grounding prong. The wide blade and the third prong are provided
for your safety. If the provided plug does not t into your outlet,
consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched,
particularly at plugs, convenience receptacles, and
the point where they exit from the apparatus.
11. Use only attachments/accessories specied by PreSonus.
12. Use only with the cart, stand, tripod, bracket, or table
specied by the manufacturer or sold with this apparatus.
When a cart is used, use caution when moving the cart/
apparatus combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. Servicing is required when the apparatus has been damaged in
any way, such as if a power-supply cord or plug is damaged; or
liquid has been spilled, or objects have fallen, into the apparatus;
or if the apparatus has been exposed to rain or moisture, does not
operate normally, or has been dropped. All PreSonus products in
the USA should be serviced at the PreSonus factory in Baton Rouge,
Louisiana. If your StudioLive requires a repair, contact techsupport@
presonus.com to arrange for a return-authorization number.
Customers outside the USA should contact their local distributor. Your
distributor’s contact information is available at www.presonus.com.
15. The apparatus shall be connected to a Mains power outlet
with a protective grounding/earthing connection.
16. Where the Mains plug or an appliance coupler
is used as the disconnect device, the disconnect
device shall remain readily operable.
EU Directives on the Protection of the
Environment and Other Euro Stu
RoHS This product is compliant with the EU Directive 2002/95/
EG for the Restriction of the use of Certain Hazardous Substances in
Electrical and Electronic Equipment. No lead (Pb), cadmium (Cd),
mercury (Hg), hexavalent chromium (Cr+6), PBB or PBDE is intentionally
added to this device. Any traces of impurities of these substances
contained in the parts are below the RoHS specied threshold levels.
REACh This product is compliant with the European Union Directive
EC1907/206 for the Registration, Evaluation, Authorization, and
Restriction of chemicals (REACh) and contains none or less than 0.1% of
the chemicals listed as hazardous chemicals in the REACh regulation.
WEEE As with the disposal of all old electrical and electronic
equipment, this product is not to be treated as
regular household waste. Instead it shall be handed
over to the applicable collection point for the
recycling of electrical and electronic equipment.
CE This product complies with the European Union Council Directives
and Standards relating to electromagnetic compatibility (EMC
Directive 89/336/EEC) and the LowVoltage Directive (73/23/EEC).
0.1 Important Safety Instructions 0.2 Table of Contents
StudioLive 24.4.2
1.0 Quick Start 5
2.0 Overview 7
2.1 Introduction 7
2.2 Summary of StudioLive™ 24.4.2 Hardware
Features 8
2.3 Summary of Capture™ Software Features 9
2.4 Summary of StudioOne™ Artist Software
Features 9
2.5 Summary of Virtual StudioLive™ Software
Features 10
2.6 What is in the Box 11
3.0 Hookup 12
3.1 Rear-Panel Connections 12
3.2 Basic Hookup Diagram 17
3.3 Typical Band Hookup 18
3.4 Typical Church Hookup 20
3.5 Typical Recording Hookup 22
4.0 Controls 24
4.1 The Fat Channel 24
4.1.1 Select Buttons, Meters and the Fat Channel 24
4.1.2 What You Can Process with the Fat Channel
and FireWire Sends 25
4.1.3 Fat Channel: Dynamics Processing and EQ 26
4.1.4 Fat Channel Panning and Stereo Link 35
4.1.5 Fat Channel: Output Assignments 36
4.1.6 Copying, Loading, and Storing Fat Channel
Settings 36
4.2 Metering 37
4.2.1 StudioLive Metering Controls 37
4.3 Input Channel Strip 38
4.3.1 Input Channel Controls 38
4.4 Aux Sends 40
4.4.1 Analog Aux Send Controls 40
4.4.2 Internal Aux Send Controls 42
4.5 Subgroups 43
4.5.1 Subgroup Controls 43
4.6 Main Output Bus 44
4.7 Master Section 45
4.7.1 Aux Inputs A and B 45
4.7.2 Talkback System 45
4.7.3 2 Track In 46
4.7.4 Solo Bus 47
4.7.5 Monitor Bus 48
4.8 Digital Eects | Master Control 49
4.8.1 The Digital FX (Eects) Menu 49
4.8.2 Digital Eects Library 51
5.0 Scenes, Presets, and the
System Menu 52
5.1 Creating and Recalling a Scene 52
5.2 Saving and Loading Channel Presets 55
5.2.1 Channel Presets Library 56
5.3 Graphic Equalizers 57
5.4 System Menu 59
6.0 Connecting to a Computer 62
6.1 System Requirements 62
6.2 Installation for Windows 63
6.3 Installation for Mac OS X 64
6.4 Using the StudioLive as an
Audio Interface 65
6.4.1 Using the StudioLive with Popular Audio
Applications 65
6.4.2 FireWire Sends and Returns 66
6.4.3 Using Plug-In Eects As Inserts 68
6.4.4 Advanced WDM Features (PC only) 69
6.4.5 Conguring the StudioLive For Core Audio
(Mac Only) 70
7.0 Software: Universal Control,
Capture, and Studio One
Artist DAW 72
7.1 Universal Control 72
7.1.1 Universal Control: Launch Window 73
7.2 VSL: Virtual Studio Live 76
7.2.1 VSL: Browser 77
7.2.2 VSL: Overview Tab 80
7.2.3 VSL: Channel Tab 82
7.2.4 Loading Scenes and Presets from VSL 82
7.2.5 VSL: GEQ Tab 84
7.2.6 VSL: Setup Tab 85
7.2.7 Enabling Lockout Mode 86
7.2.8 Remotely Controlling StudioLive with VSL 87
7.3 Capture 88

02 Table of Contents PreSonus StudioLive™24.4.2
4
Quick Start:
Level
Setting
Overview Controls Connecting
to a
Computer
Scenes,
Presets &
System
Menu
Technical
Information
Tutorials Trouble-
shooting
& Warranty
Owner’s Manual
5
OverviewControlsScenes,
Presets &
System
Menu
Connecting
to a
computer
TutorialsTechnical
Information
Trouble-
shooting
& Warranty
Quick Start: Level Setting 1
Software
Universal Control,
Capture, and
Studio One Artist
Hookup
Hookup Quick Start:
Level
SettIng
Software
Universal Control,
Capture, and
Studio One Artist
1.0 Quick Start
Before you begin, there are a few general rules of
thumb that we recommend you follow:
tAlways turn the Main fader and both the Monitor and Phones knobs
in the Monitor section down before making connections. Before
plugging or unplugging a microphone while other channels are
active, mute the channel to which you are connecting.
tYour faders should be set on or near the“U” mark whenever possible. The“U”
indicates unity gain, meaning the signal is neither boosted nor attenuated. If the
main output of your StudioLive is too high or too low when your faders are at or
near unity, you can use the output-level knob on the rear panel of the StudioLive
to adjust the level up or down until you have achieved the optimal volume.
tDo not allow your inputs to clip.Watch the level meters; when the LEDs near
the Clip mark, the top LED will illuminate, indicating that the analog-to-digital
converters are in danger of being overdriven. Overdriving the converters
will cause digital distortion, which sounds terrible. The XMAX™ preamps
in your StudioLive provide plenty of headroom; take advantage of it.
tYour P.A. and studio equipment should be powered on in the following order:
A. Sound sources (keyboards, direct boxes, microphones,
etc.) connected to the StudioLive inputs
B. StudioLive 24.4.2
C. Computer (if applicable)
D. Power ampliers or powered monitors
When it’s time to power down, your system should
be turned o in the reverse order.
Now that you know what not to do, let’s get some audio going!
2
2
1
1. Grab a microphone and a mic cable and plug them
into the StudioLive’s Channel 1 mic input.
2. Connect the Main Outs (TRS or XLR) of your Studio Live
to your power amplier or powered monitors.
7.0 Software: Universal Control,
Capture, and Studio One
Artist DAW Continued
7.3.1 What is Capture? 88
7.3.2 Start Page 89
7.3.3 The Session Page 90
7.3.4 The Edit Window 92
7.3.5 Getting Started in Capture 93
7.3.6 Recording in Capture 96
7.3.7 Editing in Capture 97
7.3.8 Capture Session Navigation 100
7.3.9 Mixing in Capture 101
7.3.10 Capture Key Commands 106
7.3.11 Capture Applications and Scenarios 108
7.4 Studio One Artist Quick Start 112
7.4.1 Installation and Authorization 112
7.4.2 Enabling the Audio Driver 115
7.4.3 Conguring Your MIDI Devices 115
7.4.4 Creating a New Song 118
7.4.5 Creating Audio Tracks 120
7.4.6 Creating MIDI Tracks 121
7.4.7 Adding Virtual Instruments and Plug-in Eects
to Your Song 122
8.0 Tutorials 125
8.1 Microphone Types 125
8.1.1 Condenser 125
8.1.2 Dynamic 125
8.1.3 USB Microphones and Other Types 125
8.1.4 Microphone Placement 126
8.2 A Brief Tutorial on Dynamics Processing 129
8.2.1 Common Questions Regarding Dynamics
Processing 129
8.2.2 Types of Dynamic Processing 130
8.2.3 Compression Settings: Some Starting
Points 135
8.2.4 Corresponding Frequencies for Equal-Tempered
Scale 137
8.3 Equalizers 138
8.3.1 What is an EQ? 138
8.3.2 Equalization Settings: How to Find the Best
and Leave the Rest 140
8.3.3 General EQ Suggestions 143
8.4 Subgroup Mixing 146
8.4.1 Instrument Groups 146
8.4.2 Eects Group 147
8.5 Aux Bus Mixing 149
8.5.1 Monitor Mixing 149
8.5.2 Eects Processing 150
8.6 Digital Eects 152
8.6.1 Reverb 152
8.6.2 Delay 153
8.7 Level-Setting Procedure in Detail 153
8.8 The Solo Bus 154
8.8.1 Using the Solo Bus for Monitoring 154
8.8.2 Destructive Soloing 155
8.8.3 Using Solo in Place (SIP) to Set Up a Mix 155
8.9 Cascading Two StudioLive 24.4.2s 156
8.9.1 Conguring Multiple Units 156
8.9.2 Aux Mixing with Cascaded Mixers 157
8.9.3 Internal Eects Buses 157
8.9.4 Subgroups: To Merge or Not to Merge 158
8.9.5 Scene Store and Recall 158
8.9.6 Copy and Load 158
8.9.7 Local Versus Merged Buses and Inputs 159
9.0 Technical Information 160
9.1 Specications 160
9.2 Channel Presets 164
9.3 Digital Eects Library 165
9.4 Block Diagram 166
10.0 Troubleshooting and
Warranty 170
10.1 Troubleshooting 170
10.2 PreSonus StudioLive 24.4.2
Limited Warranty 172

PreSonus StudioLive™24.4.2
6
Overview Controls Connecting
to a
Computer
Scenes,
Presets &
System
Menu
Technical
Information
Tutorials Trouble-
shooting
& Warranty
Quick Start:
Level
Setting
1 Quick Start: Level Setting Owner’s Manual
7
Quick Start:
Level
Setting
ControlsScenes,
Presets &
System
Menu
TutorialsTechnical
Information
Trouble-
shooting
& Warranty
Overview
Overview 2
7
Software
Universal Control,
Capture, and
Studio One Artist
Hookup
HookupConnecting
to a
Computer
Software
Universal Control,
Capture, and
Studio One Artist
Introduction 2.1
3. If you’re using passive speakers, connect them to
your power amplier using speaker cable.
4. Bring down all the faders on your StudioLive to the ∞setting.
Make sure that the Trim knob on Channel 1 is all the way counter-clockwise.
5. Plug your StudioLive into a power outlet and turn it on.
6. If your microphone requires phantom power, engage the 48V button on Channel
1 of your StudioLive.
7. Turn on your amplier or powered monitors.
8. Press the Input button in the Meter section.
9. Speak or sing into your microphone at about the same
volume as during the upcoming performance.
Turn the trim knob on Channel 1 clockwise while watching the
rst meter in the Fat Channel. Adjust the Channel 1 trim knob
until a little more than half of the green LEDs are lighting up. The
red LED at the top of the meter should never light up!
10. Press the Select button on Channel 1 and move the Channel 1 fader up until it
reaches "U" (unity gain).
11. Press the Main button in the Assign section of the Fat Channel so that it is
illuminated. This routes the channel to the main output bus.
12. Bring up the Main fader until you can comfortably listen
to your microphone through your speakers.
13. With Channel 1 selected, you can use the Fat Channel
to add dynamics processing and EQ.
For more detailed level-setting procedures and
techniques, refer to Section 8.7 on page 144.
10
4
13
9
6
11
8
5
12
2.0 Overview
2.1 Introduction
Thank you for purchasing the PreSonus StudioLive™ 24.4.2. PreSonus Audio
Electronics has designed the StudioLive utilizing high-grade components to
ensure optimum performance that will last a lifetime. Loaded with 24 high-
headroom, XMAX™ microphone preampliers; a built-in 32x26 FireWire recording
and playback engine; Fat Channel processing with 4-band EQs, compressors,
limiters, and expander/gates; DSP eects; 10 aux buses; 4 subgroups; extensive
LED metering; mixer save/recall; channel-strip save/recall/copy/paste;
talkback; and more, StudioLive breaks new boundaries for music performance
and production. All you need is a compatible computer with a FireWire
connection, a few microphones and cables, speakers, and your instruments,
and you are ready to record in the studio or in front of a live audience!
We encourage you to contact us at 1+225-216-7887 (in the U.S. Central
Time Zone) with any questions or comments you may have regarding the
PreSonus StudioLive. PreSonus Audio Electronics is committed to constant
product improvement, and we value your suggestions highly. We believe
the best way to achieve our goal of constant product improvement is by
listening to the real experts, our valued customers. We appreciate the
support you have shown us through the purchase of this product.
We suggest that you use this manual to familiarize yourself with
the features, applications, and correct connection procedures for
your StudioLive before trying to connect it to a computer. This will
help you avoid problems during installation and setup.

PreSonus StudioLive™24.4.2
8
Quick Start:
Level
Setting
Controls Connecting
to a
Computer
Scenes,
Presets &
System
Menu
Technical
Information
Tutorials Trouble-
shooting
& Warranty
Overview
2 Overview
8
Owner’s Manual
9
Quick Start:
Level
Setting
ControlsScenes,
Presets &
System
Menu
TutorialsTechnical
Information
Trouble-
shooting
& Warranty
Overview
Overview 2
9
Software
Universal Control,
Capture, and
Studio One Artist
Hookup
HookupConnecting
to a
Computer
Software
Universal Control,
Capture, and
Studio One Artist
2.2 Summary of StudioLive 24.4.2 hardware features Summary of Capture software features 2.3
Thank you, once again, for buying our product. We are
condent that you will enjoy your StudioLive!
The StudioLive™ 24.4.2 performance and recording digital mixer is a fully
loaded professional digital mixer, combined with a complete 32x26 FireWire
recording system. Racks of processing eects—including compressor, limiter,
gate, four-band parametric EQ, reverb and delay—are available on every
input channel, subgroup, aux, and main mix, delivering total control in a
compact, rugged steel chassis. The StudioLive 24.4.2 includes Capture™, a
fully integrated live recording software by PreSonus,allowing you to record
every performance and rehearsal with a few clicks of your mouse.
Intuitive, exible, and powerful, StudioLive revolutionizes music
production, opening endless creative possibilities.
2.2 Summary of StudioLive 24.4.2 hardware features
t24-bit/48 kHz sampling rate
t24 Class A XMAX microphone preampliers
t24 line-level inputs
t10 auxiliary buses
t4 subgroups
tHigh-denition analog-to-digital converters (118 dB dynamic range)
tUnlimited-headroom, 32-bit oating-point, digital mixing and eects processing
t32x26 FireWire digital recording interface with two FireWire 400 (IEEE 1394) ports
tScene automation with load/save/recall of all settings
tFat Channel with:
tHigh-pass lter
tCompressor
tLimiter
tExpander/Gate
t4-band fully parametric EQ
tPan
tLoad/save
t2 master DSP eects (reverb and delay with Load and Save)
t100 mm long-throw faders
tMilitary-grade quick-touch buttons
tFast-acting LED meters
tTalkback communication system
tRugged steel chassis
tPreSonus Capture™ multitrack-recording software
tCompatible with Cubase, Digital Performer, Logic,
Nuendo, Sonar, Studio One, and others
tPC and Mac® compatible
2.3 Summary of Capture™ software features
Included with your StudioLive is Capture, a digital-audio multitracking
application designed to make recording quick and easy to set up and
operate. Perfect for live recording and for mixing your audio in real time to a
stereo audio le, Capture software was designed to interface perfectly with
StudioLive 24.4.2, allowing instant setup and recording of performances.
In addition to recording the 24 channels of the StudioLive 24.4.2, Capture
also allows you to record a single stereo track from the StudioLive’s main
output, one pair of subgroup outputs, or a pair of aux sends, giving you
the option to record your main mix or create a separate recording mix.
You can arm all 26 tracks to record with the click of a single button.
Please consult the Capture user manual for complete instructions.
t26x26 multitrack recording application
tRecord with two mouse clicks
tEssential editing suite (copy, cut, paste, splice, resize)
tPeak LED-style meter bridge with clip indicators
tMarker placement and recall
tExport between marker
tRecord stereo mix from StudioLive mixer
tImport/export .wav, .ai, or OpenTL les
2.4 Summary of StudioOne™ Artist software features
All PreSonus audio interfaces include PreSonus Studio One Artist recording
software, which comes with over 4 GB of plug-ins, loops, and samples, giving
you everything you need for music recording and production. The Studio
One Artist Quick Start Guide is located in Section 4.1 of this manual. You will
nd a complete user manual on the Studio One Artist installation DVD.
tUnlimited track count, inserts, and sends
t20 high-quality native plug-ins: amp modeling (Ampire), delay (Analog Delay,
Beat Delay), distortions (Redlight Dist), dynamics processing (Channel Strip,
Compressor, Gate, Expander, Limiter,Tricomp), equalizer (Channel Strip, Pro EQ),
modulation (Autolter, Chorus, Flange, Phaser, X-Trem), reverb (MixVerb, Room
Reverb), and utility (Binaural Pan, Mixtool, Phase Meter, Spectrum Meter, Tuner)
tOver 4 GB of loops, samples, and instruments, featuring: Presence
virtual sample player, Impact virtual drum machine, SampleOne virtual
sampler, Mojito virtual analog-modeled subtractive synthesizer
tInnovative and intuitive MIDI mapping
tPowerful drag-and-drop functionality for faster workow
tMac OS X® and Windows® compatible

PreSonus StudioLive™24.4.2
10
Quick Start:
Level
Setting
Controls Connecting
to a
Computer
Scenes,
Presets &
System
Menu
Technical
Information
Tutorials Trouble-
shooting
& Warranty
Overview
2 Overview
10
Owner’s Manual
11
Quick Start:
Level
Setting
ControlsScenes,
Presets &
System
Menu
TutorialsTechnical
Information
Trouble-
shooting
& Warranty
Overview
Overview 2
11
Software
Universal Control,
Capture, and
Studio One Artist
Hookup
HookupConnecting
to a
Computer
Software
Universal Control,
Capture, and
Studio One Artist
2.5 Summary of Virtual StudioLive software features What is in the box 2.6
2.5 Summary of Virtual StudioLive software features
The Virtual StudioLive application is completely integrated with
your StudioLive 24.4.2. VSL is a highly advanced editor/librarian and
control panel. Because of the continuous bidirectional communication
between your StudioLive and VSL, whatever you do on the StudioLive‘s
control surface will be reected in VSL and vice versa.
tEasy drag-and-drop workow
tDrag presets directly to channels
tDrag parts of presets directly to components in the Fat Channel
tAdjust the Fat Channel gate, compressor, and EQ plus the graphic EQ and eects
tQuickly drop entire Scenes to the mixer for instant recall
of all channel, eects, and graphic EQ settings
tLoad eects quickly by simply dragging presets into the GUI
tMakes StudioLive as easy to use as Studio One
tUse the mouse to quickly assign channels to multiple buses, mute, solo, etc.
tTimestamped backups of the entire board
tPreset Management
tStore and organize presets on your computer, then
transfer them to your mixer for that night’s gig
tCreate presets on the road, store them to the mixer, then drag them to
your preset pool the next time you’re connected to the computer
tReorder presets in mixer memory; easily order presets
to best t your workow for the gig
tShare presets with friends; drag presets out of the browser and
email, IM, or disk-swap presets with other StudioLive owners
tMixer Overview
tSee all of the most-used parameters on the mixer at once
tSee the state of all Fat Channel settings at once
tSee all aux mixes at once
tSee the current eects and parameter settings
tSee graphic equalizer settings
2.6 What is in the box
In addition to this manual, your StudioLive package contains the following:
tPreSonus StudioLive 24.4.2 digital recording and
performance mixer
t6’(1.8 m) 6-pin-to-6-pin FireWire 400 cable
t6' (1.8 m) 6-pin-to-9-pin FireWire 400-to-800 cable
tIEC power cord
tStudioLive Software Library containing
tPreSonus StudioLive Artist program DVD plus gigabytes of third-party content
tPreSonus Capture™ CD with demo Sessions
tPreSonus Virtual StudioLive and Universal Control CD

PreSonus StudioLive™24.4.2
12
Quick Start:
Level
Setting
Overview Controls Connecting
to a
Computer
Scenes,
Presets &
System
Menu
Technical
Information
Tutorials Trouble-
shooting
& Warranty
3 Hookup
12
Owner’s Manual
13
Quick Start:
Level
Setting
OverviewControlsScenes,
Presets &
System
Menu
TutorialsTechnical
Information
Trouble-
shooting
& Warranty
Hookup
Hookup 3
13
Software
Universal Control,
Capture, and
Studio One Artist
Hookup
Connecting
to a
Computer
Software
Universal Control,
Capture, and
Studio One Artist
Rear Panel Connections 3.13.1 Rear Panel Connections
3.0 Hookup
3.1 Rear-Panel Connections
Microphone Inputs. Your StudioLive is equipped with 24 PreSonus XMAX
microphone preampliers for use with all types of microphones. (A 25th XMAX
preamp serves the talkback section.) The PreSonus preamplier has a Class A input
buer, followed by a dual-servo gain stage. This arrangement results in ultra-low
noise and wide gain control, allowing you to boost signals without increasing
unwanted background noise.
48-volt Phantom Power. The StudioLive provides 48V phantom power for the
microphone input on each channel. This feature can be individually enabled for
each channel using buttons on the top panel.
WARNING: Phantom power is only required for condenser microphones and
can severely damage dynamic mics, especially ribbon mics. Therefore, switch
phantom power o for all channels where it is not required.
XLR connector wiring for phantom power:
Pin 1 = GND
Pin 2 = +48V
Pin 3 = +48V
Line-level Input. Each channel of the StudioLive has a 1/4-inch, balanced TRS
connection for line-level input. When these inputs are engaged, the microphone-
preamp circuit is bypassed. Typical examples of line-level connections are
synthesizer outputs, CD/DVD-player outputs, and (with exceptions) signal-
processor inputs and outputs.
Please note: As with any mixer, plugging in a microphone or a line-level
input device, or turning phantom power on or o, will create a momentary
spike in the audio output of your StudioLive. Because of this, it is highly
recommended that you mute or turn down the channel trim before changing
connections or turning phantom power on or o. This simple step will add years to
life of your audio equipment.
Insert. Each channel of the StudioLive has a direct-insert point. These unbalanced,
1/4-inch connectors can be used to connect external processors (such as
compressors, EQs, de-essers, and lters) to your StudioLive’s preamps and line
inputs. The insert’s send is after the channel’s gain control but before the digital
bus. The return goes straight to the digital bus. So if you insert a de-esser on your
vocalist’s channel, you will be sending an unprocessed, amplied signal to the
de-esser; the processed signal returned to the StudioLive will then be routed to the
digital bus, where it can be sent through the Fat Channel, Aux and FX buses, etc.
tInsert connector wiring:
tTip = send (output to inserted device)
tRing = return (input from inserted device)
tSleeve = common ground
Aux Inputs. The StudioLive oers two auxiliary inputs, which are generally used as
eects returns. In Section 8.5.2, we discuss using an aux bus to send several
channels to an external eects processor; the aux inputs can be used to return the
processed signal to the mixer. Each input is balanced stereo. The left input is
normalled to the right input, so if you are returning a mono signal to the mix,
connect it to the left input, and the signal will be routed to both sides of the mix.
Subgroup Outputs. These are balanced mono outputs for each subgroup.
Aux Outputs. The StudioLive is equipped with six
auxiliary outputs. In Section 8.5, we discuss in detail
how to create aux mixes for monitoring and eects
processing. Aux mixes are routed to these outputs.
Talkback Mic Input. The StudioLive does not have an onboard talkback mic; an
external mic must be used. Phantom power is always enabled on this microphone
preamp, so either a dynamic or a condenser microphone can be used. This is the
same high-quality XMAX preamp that is featured on Channels 1 through 24, and
the talkback can be used as an extra input when using the StudioLive as an audio
interface. See Section 6.4.2 for details.
Tip
(Return)
Tip
(Send)
Tomixer
channel
insert
From
processor
input
To
processor
input
Tip
(Out)
Ring (In)
Ring
(Return)
Tip
(Send)

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Rear Panel Connrections 3.1
3 Hookup
3.1 Rear Panel Connections
Talkback Mic Level. This is the trim control for your talkback microphone. It
adjusts the gain of the talkback input.
Mono Output. This balanced output carries a mono, summed version of the stereo
signal from the main bus.
Mono Output Level. This knob controls the maximum level of the Mono Output
signal. The signal can be attenuated to -80 dB and boosted up to +6 dB.
Main Output. The StudioLive features both XLR and TRS main outputs. These
outputs are parallel to each other and to the mono output.
Main Output Level. This knob controls the maximum output level of the XLR and
TRS main outputs. The signal can be attenuated to -40 dB and boosted up to 0 dB.
Tape In/Out. The StudioLive is equipped with stereo RCA (coaxial) inputs and
outputs that can be used to connect a tape deck, CD player, or other consumer
device. The tape-input level is controlled by the 2Track In knob on the top panel.
The main bus is routed post-fader to the tape output.
CR Output. These are the balanced control-room outputs. The level is controlled by
the Monitor knob in the Monitor section on the top panel.
Pre-Insert Balanced Direct Outputs. These are the
balanced, direct analog outputs for the 24 channels.
The DB25 connectors divide the channels into three
groups of eight. Balanced DB25 fan-out snakes can be
obtained in various congurations at most recording
and live-sound retailers.
Common fan-outs are DB25 to (8) XLRM and DB25 to (8) TRS. These outputs are
post-gain, pre-insert, and pre-A/D converter. Only the microphone preamps and
line-level inputs are available through the direct outputs. The FireWire returns
cannot be patched to the direct outputs. (See Section 6.4.2 for more information.)
DB25 pin-outs
H = Hot
C = Cold
G = Ground
FireWire Ports. There are two standard 6-pin FireWire 400 ports on the back of the
StudioLive. Either port can be used to connect your StudioLive to a FireWire port
on your computer. If your computer has a 4-pin connector (commonly found on
laptops), you will need to purchase a 4-to-6-pin adaptor or cable. These adaptors
and cables can be found at your local computer supply store. Use the second
FireWire port to connect additional FireWire devices (such as external hard drives)
to your computer or to daisy-chain an additional StudioLive mixer. You can connect
two StudioLive 24.4.2 mixers to create a standalone, large-format mixing console.

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3.1 Rear Panel Connections
S/PDIF Output. By default, the S/PDIF output receives the same signal as the main
outputs, so no activation is necessary. However, any buses that can be routed to
the auxiliary FireWire returns can be routed to the S/PDIF output, either through
the System menu in the Digital Eects | Master Control section, or in the StudioLive
Control Panel. (See Sections 5.4 and 7.2.5 for more information.) Because the
StudioLive cannot be synced externally, you will need to use it as the master clock
and set your S/PDIF-equipped device to receive word clock externally via S/PDIF.
Please consult the documentation for your external digital device for instructions.
2 Amp Fuse. This is the StudioLive’s fuse housing. Your StudioLive uses a 5 mm x 20
mm, 250 VAC, fast-acting fuse.
Power-adapter Input. This is where you plug in the provided IEC power cable.
Power Switch. Push the top part of the switch ( | ) to turn on your StudioLive. Push
the bottom part of the switch ( O ) to turn it o.
3.2 Basic Hookup Diagram
Vocal Mic
Vocal Monitor
Bass
Bass Monitor
Bass D.I.
Drum Monitor
Drum kit
Keyboards
Monitor
Keyboard
Guitar Amp
Guitar Monitor
Main P.A.

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Typical Band Hookup 3.33.3 Typical Band Hookup
3.3 Typical Band Hookup
Mac or PC running Universal Control
with VSL, Capture or Studio One Artist Vocal Mic
Vocal Monitor Vocal Mic Vocal Monitor Vocal Mic Vocal Monitor
Horn
Horn Monitor
Bass
Bass Monitor
Bass D.I.
Guitar Amp
Guitar
Monitor
DrumMonitor
Drumkit
Keyboards
Monitor
Guitar Amp
Guitar
Monitor
Guitar
Mic
Guitar
Monitor
Main P.A.

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Mac or PC running Universal Control
with VSL, Capture or Studio One Artist
Crying Room
Foyer or Overow Room
Vocal Mic
Vocal Monitor Vocal Mic Vocal Monitor Vocal Mic Vocal Monitor Vocal Mic Vocal Monitor
Horn
Horn Monitor
Bass
Bass Monitor
Bass D.I.
Guitar Monitor
DrumMonitor
Electronic Drumkit
Keyboard
Monitor
Keyboard
Guitar Amp
Guitar
Monitor
Guitar
Monitor
Guitar
Main P.A.
Typical Church Hookup 3.43.4 Typical Church Hookup
3.4 Typical Church Hookup

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Typical Recording Hookup 3.53.5 Typical Recording Hookup
3.5 Typical Recording Hookup
Mac or PC running Universal Control
with VSL, Capture or Studio One Artist
PreSonus HP60 Headphone Distribution
PreSonus HP60 Headphone Distribution
PreSonus HP60 Headphone Distribution
Condensor Mic
Vocal Headphones
Bass
Bass
Headphones
Bass D.I.
Guitar Amp
Guitar
Headphones
Guitar
Headphones
DrumHeadphones
Drumkit
Guitar Amp
Reference Monitors

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The Fat Channel 4.14.1 The Fat Channel
4.0 Controls
4.1 The Fat Channel
The heart of the StudioLive is the revolutionary Fat Channel.The Fat Channel
makes dynamics, routing, and panning for every input and output on the
StudioLive available at the touch of a Select button. The 24 multipurpose
knobs and meters located in the Fat Channel control nearly every adjustment
you will need to make on your StudioLive. From the Fat Channel, you can:
tAdd dynamics processing and EQ to every input and output
tCreate sends and effects mixes for all 10 analog aux
sends and both internal effects buses
tAssign subgroup and main routing
tMeter inputs, post-dynamics-processing outputs,
and gain reduction for all 24 channels
tMeter aux-send outputs
tCopy, save, and load mix scenes
tRecall your fader position for stored mixes
4.1.1 Select Buttons, Meters and the Fat Channel
Select Buttons. All around the StudioLive, you will see Select buttons. There is a
Select button on each of the 24 inputs, each of the 10 analog aux sends, both of
the internal eects buses, each of the 4 subgroups, the 2 auxiliary inputs, and the
Main output bus. Each of these buttons serves exactly the same purpose: to access
the Fat Channel parameters for its channel or bus.
Selected Channel Display. In the lower right corner of the Fat Channel, you will
nd an LED readout. The currently selected channel will always be displayed here.
(Numbers 1-24 indicate one of the 24 input channels is selected, S1-S4 indicates
Subgroups 1-4, MA indicates the Main bus, A1-A10 indicates Aux 1-10, A11 and A12
indicate EFX A and EFX B, and F1 and F2 indicate Aux inputs A and B.)
Selected Channel Meters. In addition, two meters—part of a set of seven meters
located in the top right section of the mixer—are dedicated to displaying
information about the currently selected channel. The meter on the far left of this
section displays the pre-fader input level for the selected channel. The meter to the
right of it displays the gain reduction for the selected channel. It is important to
mention that these meters are only active when one of the 24 input channels or an
aux bus is selected.
It should be noted that while the noise gate, compressor, EQ, and limiter are
available on every input and bus, the high-pass lter is only available on the inputs,
10 auxes, and 2 internal FX buses, and the phase reverse is only available on the
24 inputs. In addition, other inputs and buses without Select buttons are available
to route to the auxiliary FireWire returns. (See Section 6.4.2 for more details.)
4.1.2 What You Can Process with the Fat Channel and FireWire Sends.
The following table provides a quick guide to the processing
that is available for each bus in the StudioLive:
Bus Phase
Reverse
High-Pass
Filter
Noise Gate Compressor EQ Limiter FireWire
Send
Inputs (Ch 1-24)
Subgroups
Main Out L/R
Aux Sends 1-10
Internal FX Sends A & B
External FX Returns A & B
Tape Input
Talkback Mic
Solo Bus
Monitor Bus

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4.1.3 Fat Channel: Dynamics Processing and EQ
The main function of the Fat Channel is to provide dynamics processing and ltering for every
input and output on the StudioLive. The rotary encoders work in conjunction with the meters
directly above them to adjust the dynamics processing and EQ. The Fat Channel’s processing
section consists of ve parts: High-Pass lter, Noise Gate, Compressor, Limiter, and parametric
EQ. Each can be turned on or o and controlled separately. The signal ows as follows:
The Pan control for each input or output bus is set on the Fat Channel.
Phase Reverses the Phase of
Reverse the Selected Channel.
Button
Push this button to invert the phase of
the selected channel’s signal (that is,
to alter the phase by 180°). The button
will illuminate, indicating that the
phase reverse is active. The Phase
Reverse button can be used to correct
audio signals that are out of phase
and cancelling/reinforcing each other.
Phase reverse is only available on
the 24 channels of the input bus.
High Pass Adjusts the High Pass Filter.
Filter
The High Pass Filter section consists of
an encoder and a meter. You will
notice that the there is a frequency
range to the left of the meter. The
high-pass lter’s threshold can be set
from 24 Hz to 1 kHz. When the meter
is set to its lowest point, the lter is
o.
Remember that all frequencies
below a high-pass lter’s
threshold are attenuated. See
Section 8.3.1 for more details.
The slope of the High Pass
Filter is -6dB/octave.
The high-pass lter is available
on the 16 channels of the input
bus, the 6 Auxes, both internal
FX buses, and both FX returns.
Fat Channel Gate Section
Gate On/O Turns the Gate On and O for the
Button Selected Channel.
This button engages and disengages
the gate for the selected channel. It
will illuminate to indicate that the
gate has been enabled.
The gate is available for all input and
output buses.
Gate Key Enables Key Listen in the Solo Bus.
Listen
Button
This button engages and disengages
the Key Listen function in the solo
bus. It will illuminate to indicate that
the Key Listen is active. When Key
Listen is enabled, and the Selected
channel is soloed, you will be able to
monitor what is being removed by
the gate, using the Control Room
outputs.
Gate Turns the Noise Gate into an
Expander Expander.
Button
The StudioLive allows you to choose
between an expander and a noise
gate for each channel or output. By
default, the Expander button will be
enabled.
In practice, expanders and noise
gates are used almost identically.
The main dierence is that an
expander is smoother and more
gradual, so that it is easier to set the
attack and release times correctly.
Gate Key Sets and Displays the Frequency at
Filter Which the Gate Will Open.
This encoder sets, and the meter
displays, the frequency at which the
gate will open. Setting a specic
frequency, in addition to a specic
decibel level, provides more sonic
shaping.
A properly set Key Filter on a gate can
greatly improve the overall sound
quality of a mix. For example, if you
are miking a bass amp and are picking
up a bit of the kick drum from that
mic, setting the gate to open at the
frequency of the kick drum, combined
with a fast attack and release, can
tighten the rhythm section. Increase
the release time to loosen the feel.
Gate Sets and Displays theThreshold of
Threshold the Gate for the Selected Channel.
This encoder sets, and the meter
displays, the gate threshold for the
selected channel. The threshold
determines the level at which the
gate will open. Essentially, all signals
above the threshold setting are
passed through unaected. You can
set the threshold from 0 to -56 dB.
Fat Channel 4.14.1 The Fat Channel

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Gate Range Sets and Displays the Range
of the Gate.
This encoder sets, and the meter
displays, the amount of gain
reduction that the gate will produce.
The range goes from 0 to -86 dB.
Gate Attack Sets and Displays the Gate Attack
Setting for the Selected Channel.
This encoder sets, and the meter
displays, the rate at which the gate
opens on the selected channel or
output.- You can set the attack time
from 0.2 to 150 ms.
A fast attack rate is crucial for
percussive instruments. Slow-rising
signals such as vocals and bass guitar
require a slower attack; with these
signals, a faster attack can cause an
audible click. All gates have the ability
to click when opening but a properly
set gate will never click.
Compressor Turns the Compressor On and O for
On/O the Selected Channel or Output Bus.
This button engages or
disengages the compressor
for the selected channel or
output bus. It will illuminate
to indicate that the
compressor has been
enabled.
The compressor is available for
all input and output buses.
Soft Knee / Engages Soft-Knee
Toggle Compression.
Button
In normal operating mode, the
compressor is set for hard-knee
compression, meaning that the gain
reduction applied to the signal occurs
as soon as the signal exceeds the level
set by the threshold. When the Soft
Knee button is engaged, the onset of
gain reduction occurs gradually after
the signal has exceeded the threshold.
Auto Mode Enables Automatic Attack
Button and Release Mode.
When Auto mode is active, the Attack
and Release controls become
inoperative, and a preprogrammed
attack and release curve is used. In
this mode, the attack is set to 10 ms,
and the release is set to 150 ms. All
other compressor parameters can still
be adjusted manually.
Fat Channel Compressor Section
Compressor Sets and Displays theThreshold of
Threshold the Compressor for the Selected
Channel or Output Bus.
This encoder sets, and the meter
displays, the compressor threshold for
the selected channel or output bus.
When the signal’s amplitude (level)
exceeds the threshold setting, the
compressor engages. Turning the
knob counterclockwise lowers the
threshold so that compression begins
at a lower amplitude. The threshold
can be set from -56 to 0 dB.
Compression Sets and Displays the Compression
Ratio Ratio for the Selected Input Channel
or Output Bus.
This encoder sets, and the meter
displays, the compression ratio (or
slope) for the selected channel or
output bus. The ratio sets the
compression slope, which is a
function of the output level versus the
input level. For example, if you have
the ratio set to 2:1, any signal levels
above the threshold setting will be
compressed at a ratio of 2:1. This
means that for every 2 dB of level
increase above the threshold, the
compressor’s output will only increase
1 dB. The ratio can be set from 1:1 to
14:1.
Gate Release Sets and Displays the Rate at Which
the Gate Closes on the Selected
Channel.
This encoder sets, and the meter
displays, the rate at which the gate for
the selected channel closes. The rate
can be set from 2 to 0.05 seconds.
Gate-release times should typically
be set so that the natural decay of the
instrument or vocal being gated is not
aected. Shorter release times help to
clean up the noise in a signal but may
cause “chattering“ with percussive
instruments. Longer release times
usually eliminate chattering and
should be set by listening carefully for
the most natural release of the signal.
Fat Channel 4.14.1 The Fat Channel

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Compressor Sets and Displays the Compressor
Attack Attack Setting for the Selected Input
Channel or Output Bus.
This encoder sets, and the meter
displays, the compressor’s attack
setting for the selected channel or
output bus. Attack sets the speed at
which the compressor acts on the
input signal. A slow attack time (fully
clockwise) allows the beginning
component of a signal (commonly
referred to as the initial transient) to
pass through, uncompressed,
whereas a fast attack time (fully
counterclockwise) triggers
compression immediately when a
signal exceeds the threshold.You can
set the attack from 0.2 to 150
milliseconds.
Compressor Sets and Displays the Compressor
Release Release Setting for the Selected
Input Channel or Output Bus.
This encoder sets, and the meter
displays, the release setting of the
compressor for the selected channel
or output bus. Release sets the length
of time the compressor takes to
return the gain reduction back to zero
(no gain reduction) after crossing
below the compression threshold.
Release can be set from 40 to 1,000
milliseconds.
Very short release times can produce
a choppy or “jittery” sound, especially
when compressing instruments
that have a lot of low-frequency
components, such as bass guitar.
Very long release times can result in
an overcompressed, or “squashed,”
sound. All ranges of release can be
useful, however, and you should
experiment to become familiar
with dierent sonic possibilities.
Equalizer Turns the Equalizer On and O for
On/O the Selected Channel or Output Bus.
Button
This button engages or
disengages the equalizer for
the selected channel or
output bus. It will illuminate
to indicate that the equalizer
has been enabled.
The equalizer is available for
all input and output buses.
Low EQ Activates Control for the Low Band
On/O EQ for the Selected Input or Output
Button Bus.
This button actives control of the
equalizer’s Low band for the selected
channel or bus. The button will
illuminate to indicate control is active.
The Low EQ band is available for
all input and output buses.
Low EQ Sets and Displays the Center
Frequency Frequency of the Low EQ Band.
Control
This encoder sets, and the meter
displays, the center frequency of the
equalizer’s Low band. The center
frequency is the middle of the
passband (the mean) between the
lower and upper cuto frequencies
that dene the limits of the band.
You can adjust the center frequency
from 30 to 555 Hz.
Compressor Sets and Displays the Amount of
Makeup Gain Makeup Gain for the Compressor on
the Selected Input Channel or
Output Bus.
This encoder sets, and the meter
displays, the makeup-gain setting of
the compressor for the selected
channel or output bus. When
compressing a signal, gain reduction
usually results in an overall
attenuation of level. The gain control
allows you to restore this loss in level
and readjust the volume to the
precompression level (if desired).You
can adjust Makeup Gain from 0 dB (no
gain adjustment) to +28 dB.
Fat Channel Equalization Section
Low EQ Q Sets and Displays the Q of the Low
Control Frequency Band.
This encoder sets, and the meter
displays, the Q for the Low band.
The Q is the ratio of the center
frequency to the bandwidth. When
the center frequency is constant, the
bandwidth is inversely proportional
to the Q, so as you raise the Q, you
narrow the bandwidth.
Low EQ Gain Sets and Displays the Gain
Control Attenuation or Boost of the Center
Frequency.
This encoder sets, and the meter
displays, the gain cut or boost at the
center frequency for the Low band.
The level of the center frequency can
be set between -15 and +15 dB.
Fat Channel 4.14.1 The Fat Channel

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Low Shelf Turns on the Low Shelving EQ for the
EQ Button Selected Input or Output Bus.
When the Shelf button is not
engaged, the Low band is parametric.
Enabling the Shelf button turns the
Low band into a low-shelving EQ that
alters, by a xed amount, a band of
low frequencies at and below a
user-selected shelving frequency.
A Low Shelving EQ is like a bass-
control knob on a stereo. In this
mode, the Center Frequency control
selects the shelving frequency.
Low-Mid EQ Activates Controls for the Low-Mid
On/O EQ for the Selected Input or
Button Output Bus.
This button actives the controls for
the equalizer’s Low-Mid band for the
selected input or output. The button
will illuminate to indicate control is
active.
The Low-Mid EQ is available for
all input and output buses.
Low-Mid EQ Sets and Displays the Center
Frequency Frequency of the Low-Mid EQ.
Control
This encoder sets, and the meter
displays, the center frequency for the
Low-Mid band. You can adjust the
center frequency from 75 Hz to 1.2
kHz.
High-Mid EQ Sets and Displays the Center
Frequency Frequency of the High-Mid EQ.
Control
This encoder sets, and the meter
displays, the center frequency of the
High Mid band. You can adjust the Q
from 380 Hz to 5 kHz.
High-Mid EQ Sets and Displays the Q of the High
Q Control Mid Frequency Band.
This encoder sets, and the meter
displays, the Q for the High-Mid
band. The Q is the ratio of the center
frequency to the bandwidth. When
the center frequency is constant, the
bandwidth is inversely proportional
to the Q, so as you raise the Q, you
narrow the bandwidth.
Low-Mid EQ Sets and Displays the Q of the Low-
Q Control Mid Frequency Band.
This encoder sets, and the meter
displays, the Q for the Low-Mid band.
The Q is the ratio of the center
frequency to the bandwidth. When
the center frequency is constant, the
bandwidth is inversely proportional
to the Q, so as you raise the Q, you
narrow the bandwidth.
Low-Mid EQ Sets and Displays the Gain
Gain Control Attenuation or Boost of the Center
Frequency for the Low-Mid Band.
This encoder sets, and the meter
displays, the Gain cut or boost at the
center frequency of the Low-Mid
band. The level of the center
frequency can be set between -15
and +15 dB.
High-Mid EQ Activates Controls for the High-Mid
On/O EQ for the Selected Input or Output
Button Bus.
This button actives the control for
the High-Mid band for the selected
input or output. The button will
illuminate to indicate that the
control is active.
The High-Mid EQ is available for
all input and output buses.
High-Mid EQ Sets and Displays the Gain
Gain Control Attenuation or Boost at the
Center Frequency.
This encoder sets, and the meter
displays, the gain cut or boost at the
center frequency of the High-Mid
band. The level of the center
frequency can be set between -15
and +15 dB.
High EQ Activates Control for the High EQ
On/O for the Selected Input or Output Bus.
Button
This button actives control of the
High band for the selected channel
or bus. The button will illuminate to
indicate control is active.
The High EQ band is available
for all input and output buses.
High EQ Sets and Displays the Center
Frequency Frequency of the High EQ.
Control
This encoder sets, and the meter
displays, the center frequency of the
High band. You can adjust the center
frequency from 1.4 to 18 kHz.
Fat Channel 4.14.1 The Fat Channel

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High EQ Q Sets and Displays the Q of the High
Control Frequency Band.
This encoder sets, and the meter
displays, the Q for the High band.
The Q is the ratio of the center
frequency to the bandwidth. When
the center frequency is constant, the
bandwidth is inversely proportional
to the Q, so as you raise the Q, you
narrow the bandwidth.
High EQ Gain Sets and Displays the Gain
Control Attenuation or Boost at the Center
Frequency of the High Frequency
Band.
This encoder sets, and the meter
displays, the gain cut or boost at the
center frequency of the High EQ
band. The level of the center
frequency can be set between -15
and +15 dB.
Limiter Turns on the Limiter for the Selected
On/O Input Channel or Output Bus.
When the limiter is engaged the
button will illuminate. The threshold
for the limiter is set to 0 dBFS. The
Ratio is ∞:1.
High Turns on the High Shelving EQ for
Shelving EQ the Selected Input or Output Bus.
Button
When the Shelf button is not
engaged, the High band is a
parametric EQ. Enabling the Shelf
button turns the High band into a
high shelving EQ that alters, by a
xed amount, a band of low
frequencies at and above a user-
selected shelving frequency.
A high shelving EQ is like a treble-
control knob on a stereo. In this
mode, the Center Frequency control
selects the shelving frequency.
Fat Channel Limiter Section
Limiter Sets and Displays the Threshold of
Threshold the Limiter for the Selected Channel
Control or Output Bus.
This encoder sets, and the meter
displays, the threshold of the limiter
for the selected channel or output
bus. When the signal’s amplitude
(level) exceeds the threshold setting,
the limiter is engaged. Turning the
knob counterclockwise lowers the
threshold, so limiting begins at a
lower amplitude. The threshold can
be set from -56 to 0 dB.
4.1.4 Fat Channel Panning and Stereo Link
The Pan Control for each Input or Output bus is set on
the Fat Channel. The LED display shows the Pan
setting, and the encoder to the right of the display
controls panning for the selected input or output bus.
When two channels are linked as stereo pair, the LED
display will automatically change to stereo pan.
Stereo linking is done within the Fat Channel. Input channels, aux buses, and
subgroups can be linked to create a stereo pair. The stereo pairs are predened and
cannot be changed. They are as follows:
Channels 1 and 2
Channels 3 and 4
Channels 5 and 6
Channels 7 and 8
Channels 9 and 10
Channels 11 and 12
Channels 13 and 14
Channels 15 and 16
Channels 17 and 18
Channels 19 and 20
Channels 21 and 22
Channels 23 and 24
Aux 1 and Aux 2
Aux 3 and Aux 4
Aux 5 and Aux 6
Aux 7 and Aux 8
Aux 9 and Aux 10
Subgroups 1 and 2
Subgroups 3 and 4
A stereo link can be enabled when either channel in the pair is selected.
When the Stereo Link button is illuminated, all dynamics settings, subgroup
assignments, and main assignments are pasted to the other channel in the pair.
Note that this is a nondestructive paste; when the Link button is disengaged,
the other channel‘s previous settings will be restored. For instance, if Channel 8
is selected when the Stereo Link button is engaged, all of Channel 8’s settings
will be copied onto Channel 7. If Channel 7 is selected when the Stereo Link
button is engaged, Channel 7’s settings will be copied onto Channel 8.
Note: See Also Graphic Equalizers, Section 5.3
Fat Channel 4.14.1 The Fat Channel

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Metering 4.24.1 The Fat Channel
Because the settings are copied nondestructively, it is possible to A/B
dynamics settings with the touch of two buttons. Whichever channel
is selected when the Link button is engaged will be the Link Master.
When either channel in the stereo link is selected, both channels‘
Select buttons will illuminate, but the Link Master‘s ID number will be
displayed in the Selected Channel LED read-out in the Fat Channel.
4.1.5 Fat Channel: Output Assignments
Output assignments are set within the Fat
Channel. It should be noted that the StudioLive
will prevent you from creating a feedback loop.
Subgroups can only be assigned to the main outs, and the ten aux
sends cannot be assigned to a subgroup or to the main outputs.
Any channel on the input bus can be assigned to any or all of the
subgroup outputs, as well as to the main outputs. This includes the 24
main inputs and the 2 auxiliary inputs. The internal eects returns can also
be assigned to any or all of the subgroups and to the main outputs.
The Fat Channel also gives you the option of sending just the unprocessed audio to
your computer or including the Fat Channel settings in the recorded signal. When
the Dig Out button is enabled, the signal being sent to the FireWire bus is post-EQ
and post-dynamics processing; the button will illuminate to indicate this signal
ow. When the button is disabled, the signal being sent to the FireWire bus is
pre-Fat Channel. The Dig Out button is only available when one of the 24 channel
inputs is selected. The subgroups, main output, aux bus, aux inputs, and internal
eects returns automatically send their signals post-Fat Channel dynamics and EQ.
All FireWire sends are pre-fader except for the subgroups and the main outputs. For
more information on using your StudioLive as an audio interface, please consult
Section 6.
4.1.6 Copying, Loading, and Storing Fat Channel Settings
Every setting in the Fat Channel can be copied from one to channel to
another and can be saved and stored as a user preset to be recalled later.
Press the Copy button to copy the settings on the selected channel or bus. Every
Select button on the StudioLive except the button for the currently selected
channel will begin to ash. The Select button for the selected channel will not
illuminate. You can copy a Fat Channel setting from any channel or bus to any
combination of channels and buses.
The Load button will also start to ash.
To paste the current channel’s Fat Channel setting to another channel or bus,
simply press that channel’s Select button. It will stop ashing and illuminate. After
you have selected every channel to which you want the settings pasted, press the
Load button. The StudioLive will return to its normal state, indicating that the Fat
Channel settings have been successfully pasted.
The Load button can also be used to recall saved settings and
presets. For complete recall instructions, see Section 5.2.
You can save your Fat Channel settings for future use. To store the currently
selected channel’s Fat Channel settings, press the Save button. For complete
channel-preset storage instructions, see Section 5.2.
4.2 Metering
Th
The StudioLive oers exible metering at the touch of a button. The 24 meters in
the Fat Channel section can monitor:
tAll 24 inputs, post-gain and pre-dynamics, pre-EQ, and pre-fader
tAll 24 inputs, post-dynamics, post-EQ, and post-fader
tThe gain reduction for all 24 inputs
tThe output volume of each of the 10 aux sends
tThe output volume of both of the internal eects buses
Finally, the meters can be used to recall the fader settings for a saved Scene.
4.2.1 StudioLive Metering Controls
The Meters section of the StudioLive is located below the System
section. Each of these buttons are toggle switches; you turn them on
and o by pressing them. The meter state can also be changed by
pressing another button in the Meter section, or any Select button on
the StudioLive, or a Mix or Mix/Pan button in the Aux section.
It is important to mention that the meters simply overlay the selected Fat Channel
state. For instance, if you have Channel 16 selected and then press the Output
button in the Meter section, the knobs and buttons in the Fat Channel section
will still be active, and any changes made will be applied, but the changes will
not be displayed in the Meter section. The advantage of this is that you can make
adjustments in the Fat Channel, press a Meter button, and monitor your entire mix,
then press the same button to return to setting up your Fat Channel selection.
Input Metering Button Turns PFL Input Metering On and O.
Switches the meters to display the pre-dynamics, pre-fader level of the input bus.
Meters are one to one (Meter 1 shows the level of Channel 1, etc.).
Output Metering Button Turns Post-Fader Output Metering On and O.
Switches the meters to display the post-dynamics, post-fader level of the Input bus.
Meters are one to one (Meter 1 shows the level of Channel 1, etc.).

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Input Channel Strip 4.34.3 Input Channel Strip
Gain Reduction Turns Gain Reduction Metering On and O.
Metering Button.
Displays the gain reduction of the input bus. Meters have a one-to-one relationship
with channels (that is, Meter 1 shows the gain reduction of Channel 1 and so on).
Aux Metering Button Turns Aux Bus Master Out Metering On and O.
Displays the output level of each of the aux sends.
Meters 1, 3, 5, 7, 9, 11, 13, 15, 17, and 19 display the
output levels of Aux Sends 1-10, respectively.
Meters 21 and 23 display the output level of EFX A and EFX B.
Fader Locate Button Turns Fader-Recall Metering On and O.
Displays the fader position of the stored scene. When recalling a fader position,
adjust the fader until only the center LED is visible in its meter.
4.3 Input Channel Strip
The StudioLive is equipped with all of the standard input controls of an
analog mixer. In addition, the StudioLive provides the added exibility
of routing a playback stream from your audio-recording software to the
mixer via the FireWire bus, just as if it were an analog input. This lets you
incorporate digital audio tracks into the main mix as well as inserting
plug-in eects and software instruments from your audio program.
4.3.1 Input Channel Controls
Trim Control Adjusts the Input Gain Level.
The Trim control adjusts the gain of the channel’s analog input.
It is very important to properly adjust this control in order to minimize noise and
avoid overload distortion Follow the Quick Start level-setting instructions on
page 5 before operating a channel.
Phantom Power Button Turns Phantom Power On/O.
The StudioLive is equipped with individual phantom power for every microphone
input. The 48V button will illuminate when phantom power is activated. For more
information on phantom power and the microphones that require it, please review
Section 8.1.
FireWire Input Turns FireWire Playback Streaming On/O.
Select Switch
The FireWire Input button routes a playback stream
from your audio software to the StudioLive’s channel
inputs, where it is routed and processed the same way
as analog input signals. For example, if you want a
particular recorded track to play back on mixer
channel 3, simply route that track in your audio
software to StudioLive Output 3. This button can also
be used to insert a plug-in eect into the mix. For
more information on this feature, please review
Section 6.4.2.
Do not engage this button when your StudioLive is not connected and
synced to a computer, as it will mute the analog input globally.
Input-Channel Select Enables Fat Channel Processing and Routing.
Button
As previously described in Section 4.1.1, the Select
button routes its channel through the Fat Channel,
allowing you to add dynamics processing, EQ, and
panning; assign the output routing; and more.
Solo Button Turns Soloing On and O.
This button will solo its channel to the main outputs
or to the monitor outputs, depending on whether PFL
or SIP is selected in the Solo bus section. Please review
Section 8.8 for details.
When a Solo button is enable, that channel
or bus will automatically be selected, and
its Select button will illuminate.
Mute Button Turns Muting On and O.
This button mutes its channel. It will illuminate red
when the channel is muted. When a mute button is
engaged, its channel will be muted in all of its
assigned outputs (Subgroups, Mains, and Aux Sends).