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Where is the Serial Number on my new SL24.4.2?
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studio911
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Joined: 10/02/2011 23:02:56
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PS - and look at the picture at the top of this page. Even the guy working behind the console in the picture is pissed. He must be looking for the serial number as well. LOL
funkafize
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studio911 wrote: "Man we need to get this new Presonus Studiolive console as a controller"


Reading this got me a bit worried that your engineers are making presumptions about the SL24. This console IS NOT a midi controller, and DOES NOT have motorised faders.

StudioLive 16.4.2 (Firmware 1.13, Build 159)
Universal Control (Version 1.2.2715, UC Driver Version 3.5.5.10705, SVN:2715)
Capture (Version 1.1.112213, Built on May 4th 2010)
Studio One Pro (Version 1.6.0.13233)

QSC HPR 122i(x2), 153i(x2), 181i(x2)

Macbook Pro early 2009 15.4"
http://www.everymac.com/systems/appl...ody-specs.html
Mac OS X 10.6.7 (10J869)
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studio911
Prenoob

Joined: 10/02/2011 23:02:56
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Yes we know about the non motorized faders, and are ok with that (however when I play on the desk, I will miss that) and it is to be fully functional with Pro Tools 9. In fact I spoke with someone who is currently using it in his studio as a controller w/ PT9, and he loves it.

hsfinlayson
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Joined: 20/04/2009 10:02:12
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Location: Boston area
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funkafize wrote:
studio911 wrote: "Man we need to get this new Presonus Studiolive console as a controller"


Reading this got me a bit worried that your engineers are making presumptions about the SL24. This console IS NOT a midi controller, and DOES NOT have motorised faders.



I was JUST going to respond to this as-well...
Not only does it not have motorized faders, but it will NOT control your DAW in any way whatsoever.
That is not what this board is.
"I'll procrastinate later"
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hsfinlayson
Presonic
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studio911 wrote:Yes we know about the non motorized faders, and are ok with that (however when I play on the desk, I will miss that) and it is to be fully functional with Pro Tools 9. In fact I spoke with someone who is currently using it in his studio as a controller w/ PT9, and he loves it.



????

Really...? Maybe I'm missing something (sincerely, not being sarcastic).
I didn't think the SL-Series mixers could "control" ANYTHING... or even TALK to any application other than VSL.

I might be wrong.
"I'll procrastinate later"
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hsfinlayson
Presonic
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Studio911,
RE: FireWire adoption... keep in mind this board has been available for OVER 2 years now, and I'm sure was in development for years BEFORE that... when FireWire wasn't as clearly going to be "phased-out" of the computer industry.

If I had to guess... (and it IS just a guess)... PreSonus is probably JUST as bummed about the inevitable abandonment of the FireWire protocol/usage in computers. But having said that... it's NOT dead yet, and the board has been doing some great things for the 2+ years it's been out there... and will continue to do so.

Who knows what the next generation digital console will use for interconnectivity...? LightPipe? (One can hope) But they need to be SURE that whatever they choose will be adopted by the industry, be reliable and be AROUND for some time. FireWire has been around in decent amounts since about 2000... that's at least 10 years of a solid run.

Looking forward to the next generation of consoles.
"I'll procrastinate later"
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MikeRivers
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Joined: 28/07/2010 15:44:52
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studio911 wrote:I got some sleep, and I am ready to start new. And per the one comment above, I just did say to my wife that "I am sure this problem will be resolved, and after it is, this console will kick butt". So I agree, I think my rant involved a bunch of frustration.

A good night's sleep works wonders when you're frustrated.

Previously I had everything in place and running smooth (was running a system using a Mackie D8B, which by the way I have 2 of that are brand new condition I want to unload cheap) . Anyway, my engineers convinced me its time to go to Pro Tools. Well, I agreed, and with that change also came "Lets re-do the live room and re-treat it a bit to tweak it to sound even better" well that cost serious $$$,,,,then "Man a couple new Grace and Focusrite MIc Pres added would be nice" so more $$$, then "Man we need to get this new Presonus Studiolive console as a controller",,,,and it went on and on. lol Anyway, I got everything as requested,


Can I work in your studio? I love spending other people's money. You have some pretty good gear, though going with Pro Tools is, I think, a good decision decision.

Once you get the StudioLive up and running, I'd be very curious as to how it fits in with your workflow compared with the Mackie d8b (and I might want to take one of those d8bs off you hands). The d8b was designed from the ground up as a studio console. The StudioLive was designed, as its name implies, to be at home both in the studio and in live work. When I had one in for review, I felt that it was much better suited for live work and lacked a lot of what I want as a studio console, which is why I wasn't enthusiastic enough to buy one for my own studio. It sounds just fine, but just good sound isn't all I want for my studio console. It has to truly be the centerpiece in terms of control and interfacing (both hardware and human) and the StudioLive didn't go far enough for me. Did your engineers consider the Allen & Heath ZED-R16? If that one had a meter bridge, I might have kept it after doing the review, and I'm very tempted by its new big brother, the GS-R24, but I have a hard time justifying its $8,000 or so price tag for the amount of work I do nowadays.

I guess if I wanted to complain, I would ask why any company would use or require a firewire interface anyway on todays technology in the first place? I think firewire is not only something you cannot count on as stable 100% of the time, but its also yesterdays technology>?>?

That's a good point. At CES this year, I was fishing around to try to get a sense of how much longer Firewire would be with us. After all, it was really only popular (I'm talking millions popular) when DV cameras were popular. It was fast enough to stream digital video in real time, which is what you need to do in order to transfer a file from a DV camera to a computer for editing. USB1.1 wasn't fast enough, and USB2 hadn't been invented yet. There were also some Firewire external disk cases, but nowadays the only ones you can find are from companies like Glyph who are small enough to continue to support legacy customers.

And that's where Firewire for audio comes in. Small companies. PreSonus may be a pretty big player in the home studio market, but they're not Sony or Panasonic, so what they want doesn't control what the chip makers make, or don't make. While some new computers are starting to come with USB3 ports, they're still not all that common. And as far as audio goes, USB2 is in the same boat, developer-wise, as Firewire - there's no Windows class-compliant driver, so everybody has to write his own. Some are indeed better than others.

The computer industry moves very fast. They sell a huge number of products, and most of the customers consider the products (computers) to be essentially disposable. If your computer employs technology that becomes obsolete in 3 years, that's no big deal because you're probably going to replace that computer in 2 years anyway, or give it to the kids, or a charity. By the time it's 5 years old, you can't even give it away. But audio gear, and the people who buy it, is different. Your d8b console was designed nearly 15 years ago. It doesn't have Firewire or USB, but it has (if you have the right I/O cards) analog, ADAT optical, and AES/EBU I/O, all of which are still viable standards, are still well supported, and don't depend on the whims of chip and computer makers to survive. It has a PC motherboard in it, which, with some adaptation, you can still replace today. So when a console manufacturer wants to build in a multi-channel computer interface, Firewire still seems like a pretty good bet, at least right now.

But console manufacturers can't control what the chip makers make. Their best bet is to make a lifetime buy when they find a Firewire chip that they like. That's not too hard to do if their estimate of the product life and how many they'll sell is good. But that's only one half of the interface. It would be great if PreSounus encouraged their dealers to initially stock, say, two each tested-and-approved PCI, CardBus, and ExpressCard Firewire interfaces for every 10 consoles they ordered, and offer every StudioLive customer a suitable Firewire host card, or at least have it available if what the customer had in his own computer didn't work. But I expect that there would be some backlash both from the customers ("why do I have to buy something special??" ) and from the makers of Firewire cards ("Why didn't you test and recommend our card??"). So there you are, alone in the jungle, with only Tech Support to help you find your way.

Let me know how you like the StudioLive compared to the d8b. Most people here are using it either for live work or in a personal studio. That's different from working in a studio with an engineer and control room, and doing all your mixing "in the box."
Visit http://mikeriversaudio.wordpress.com for some useful audio info
"It's much easier to look for a magic solution than it is to adapt to reality." - Allan Sloan
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studio911
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Joined: 10/02/2011 23:02:56
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Thanks Mike for the insight. I also think the Studiolive would make an awesome live board. Full of features and seems easy enough to navitage around.

One other thing I found that I should have maybe researched prior with this board, is that you cannot have a line into both youe Mic inputs as well as your Line Inputs at the same time (not to run signal obviously at the same time, but in order to use patchbays). My tracking room has prewired wall plates, and I wanted them into a patchbay, then out into the console, as well as be able to go directly into the console thru a patchbay. I assumed (and we know what happens then) that there would be a switch on each channel strip that allows you to change between Mic in and Line in, but there isnt. Soon as you plug the one in, it cancels the other.

The console seems to have "decent" mic pres on it, and I would have liked the option to use either or, on any channel, utilizing a patchbay.

So, we are learning as we go. All in all, I cannot complain for the amount of options and features this console DOES have, for its price. I too didnt want to spend 8K on a console. (I did actually build this studio as a HOBBY for me and my at the time band, but then the phone started ringing, and now its turned into a business. I guess I am still in that "Do I want to spend the money and make it a full time thing, or keep it affordable, if thats even possible, and keep it a hobby?)

I will keep you posted as this unfolds with this console. and as for the Mackie D8B, I have 2 consoles that come with the CPU's and all card slots filled (Word Clock, ADAT outs, ect) One system has the Version 3 OS, and the other has the Version 5. Make me an offer on either, or both, as I want them gone. The engineers want 2 more AKG 414XLS Mics. LOL

Thanks again
MikeRivers
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studio911 wrote:
One other thing I found that I should have maybe researched prior with this board, is that you cannot have a line into both youe Mic inputs as well as your Line Inputs at the same time

Yes, that was a big one for me, and the Allen & Heath ZED-R16 is about like that. On the ZED, you can plug both in and they'll sum at their relative levels, sort of, but even when isolated by an attenuator, you don't want 30 feet of cable to the patchbay hanging on your mic line, and vice versa. But I guess they don't make these small format digital consoles for people with patchbays because "all" the processing you'll ever need is built right into the console. And they're pretty much right when it comes to the sort of live shows you'd do with a console like this, where the artist wants a certain effect or can benefit from some compression, but isn't really picky about getting his or her personal sound.

There's nothing complicated about a mic/line switch, but since your low level mic signal passes through it, and it sees the phantom powering voltage, it has to be a high quality switch so as not to add noise. And then you need the space to mount it, the legend on the panel, and the paragraph in the instruction manual about what it's for.

as for the Mackie D8B, I have 2 consoles that come with the CPU's and all card slots filled (Word Clock, ADAT outs, ect) One system has the Version 3 OS, and the other has the Version 5. Make me an offer on either, or both, as I want them gone. The engineers want 2 more AKG 414XLS Mics.


That's tempting. Assuming that you're who I think you are (Carlisle PA) you're close enough so I could pick one up. I've been writing about the d8b on the Mackie forum for more than ten years (I wrote the Version 2 to Version 3 Transition Guide) yet I've never owned one myself. I never really warmed up to it while I was at Mackie though I certainly used one plenty (I had one at my desk), but when I see what alternatives we have today, it's been looking pretty darn good. And a 414XLS is only about a grand. I'll cogitate over it.
Visit http://mikeriversaudio.wordpress.com for some useful audio info
"It's much easier to look for a magic solution than it is to adapt to reality." - Allan Sloan
[WWW]
 
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