List price: $5,719.95
Just over a year ago CPM reviewed PreSonus’ StudioLive 32 digital console, which at the time was the largest offering in the PreSonus audio console lineup. At the time of that review we were impressed with the capabilities that PreSonus was able to put into the StudioLive 32 package, while also being able to offer it at such a competitive price. It is now a little over a year later and PreSonus has done it again with its next offering—the StudioLive 64S digital console. This console doubles the channel count of the 32, adds in some impressive processing capability, and is priced to be an incredible value.
The goods
The new console, which retains the same frame size as the StudioLive 32, adds its additional channels by increasing the internal horsepower and making use of outboard I/O via an easy-to-use AVB networking capability. The desk is powered by PreSonus’ new quad-core Flex DSP Engine to give it the extra processing power necessary for its higher channel count and to power some other processing goodness.The console has 33 touch-sensitive motorized faders that have a great feel and are configurable through the use of user-specified layering. Each one has a programmable scribble strip that reflects fader assignments and channel parameters. The console also makes use of an easy-to-read touch screen for overall control and a dedicated control section that is used to gain access to the console’s FAT channel functionality (more on that later). LEDs and back-lit buttons are bright enough to get your attention, and the rotary encoders feel like they are in it for the long haul. Overall, the console has a very solid feel and quickly gets out of the way as you get accustomed to the workflow, which is generally well thought out and contains all of the tools that you would expect, including a generous 24 DCAs.
It’s a fully capable and self-sufficient audio ecosystem that can support both your live sound reinforcement and audio production needs at a very cost-conscious price point.
The console supports up to 32 inputs locally (on the back panel) with all other inputs sourced via the AVB network or the console’s USB/SD interfaces. The AVB-based inputs can be a combination of PreSonus’ NSB stage boxes (two NSB 16.8 boxes were used for this review) or other StudioLive mixers such as the company’s RM rack mount series. It should also be noted that the console has a 64x64 channel USB interface that allows you to route anything available to the console to a digital audio workstation (DAW) for recording or playback, and the provided SD card interface allows for recording and virtual sound check, as well. The combinations of audio routing are almost endless. While we’re on the topic of audio I/O and routing, the console also supports the integration of PreSonus’ personal monitoring systems, the EarMix 16, by routing audio to the personal monitor mixers for use on stage or wherever you may need them. This system is quite flexible. Along with supporting 64 inputs, the console also has 32 FlexMixes that are individually settable to be aux, subgroup, or matrix mixes, and are configurable in any combination without the need to consider how much processing power is getting used. Simply select the combination of bus types that you need and keep on trucking. There are eight effects racks for use in the system, each with their own dedicated sends and returns. Available effects are made up of a wide array of verbs, delays, chorus and flangers, many of which are DSP-powered emulations of classical effects and vintage sounds. Old School is here again.
Management of channel and mix bus processing are handled through PreSonus’ FAT Channel, where they provide all of the expected tools for processing an audio signal. The FAT channel controls are found in the dedicated channel section of the desk. Here, a user can access gain, HPF (high-pass filter), Q, Gate/Expander, Comps, and level sends for any channel or mix bus that has been selected. Anyone who has used a PreSonus console in the recent past will be familiar with this structure, since PreSonus uses its FAT channel construct across its family of products, making it easy for users to transition across the lineup.
There’s more
What is especially notable with the StudioLive 64S is the amount of processing power available. State space-modeled plug-ins for compressors and EQs in the FAT channel allow for the selection of different compressor and EQ types for each input and mix bus. The default models that come pre-installed on the console allow for emulations of traditional compressor topologies, such as tube- and FET-based compressors, whereas emulations for EQ include both passive/vintage models and a standard EQ.
It’s a very easy desk to step up to and start mixing.
Furthermore, this capability has been built into the console with a plug-in architecture. If you need (or more likely want) more emulations than are pre-installed, PreSonus has additional plug-ins that you can purchase for download and install. It should be pointed out, however, that the pre-installed processors are quite capable. The tube-based compressor model that’s included handled some challenging vocals incredibly well when we were testing it. Ultimately, the console supports 526 processors that can all be used simultaneously, allowing it to handle most any situation encountered in the average church production. It even allows for sidechain assignments for channel gates and compressors.
PreSonus continues its theme of tight integration across its product line with the 64S by supporting a multitude of interoperability options. The 64S works with PreSonus’ UC control software, allowing remote control of the desk via multiple instances of tablet, PC and mobile devices, simultaneously. This allows engineers to freely roam around the room as they see fit while others can be adjusting their monitor mixes or tweaking feeds as necessary. Alternatively, a single engineer could use multiple devices to show different views of their current mix setup. All of the major platforms are supported to include Mac, PC, iOS and Android.
PreSonus continues to demonstrate its seriousness in providing highly capable gear at very obtainable costs.
Additionally, the 64S is integrated with PreSonus’ Capture software (a quick-use capture and playback solution for virtual soundcheck) and with PreSonus’ Studio One DAW, its fully featured DAW solution. With the Studio One integration, the control capabilities are bidirectional where the desk not only controls the DAW, but the DAW has the ability to control the desk through the manipulation of mic pre’s and FAT channel controls. And if you don’t use Studio One, no need to feel left out, the 64S also supports Human User Interface (HUI) and Multipoint Control Unit (MCU).
Hands on
With all of that functionality on the table the big question that remains is how is it to work with? And the answer to that question is “quite good.” The two areas that users will likely spend the most time getting used to are the AVB device management and bus routing. The former took a bit of reading in the manual and the latter a little extra playing around time. Everything else on this desk was quite intuitive and didn’t even require opening of the manual (though we always recommend curling up with documentation to maximize your knowledge of the system).
It’s a fully capable and self-sufficient audio ecosystem that can support both your live sound reinforcement and audio production needs at a very cost-conscious price point.
The desk sounded great and, as you would expect, it didn’t come with any bad habits. The effects provided some pretty satisfying environmental vibes and the channel processing (especially the plug-in modeling) proved to be quite capable—even with very dynamic content. Workflow considerations were obviously something that PreSonus took its time to think through as the price point will end up attracting many different types of users.
In addition, it was a very easy desk to step up to and start mixing with. Once we started working a mix, things came together smoothly. Navigating the processors and inputs quickly became second nature. During the review the only two things that we felt were missing were a quicker method of scrolling through the input options on the management screen and some form of multi-band processing. While we acknowledge that the latter might be asking a bit much considering the already amazing capability and price point, it’s just about the only thing that we could really think of that a 64-channel console would regularly make use of that wasn’t already present—which is amazing when you consider what that statement says about what PreSonus has done with the 64S.As mentioned in CPM’s First Impression article published on churchproduction.com earlier this year, PreSonus has effectively blurred the lines between hardware mixers, networked audio devices, computers and software. The company has created a fully capable and self-sufficient audio ecosystem that can support both your live sound reinforcement and audio production needs, simultaneously, at a very cost-conscious price point.
In the end, the StudioLive 64S is a super solid desk. PreSonus continues to demonstrate its seriousness in providing highly capable gear at very obtainable costs, which should resonate with churches who, as a rule, are constantly balancing the competing priorities of ministry, production quality and budget.
Well done, PreSonus.
