Presonus StudioLive 16 Pro Tools 9 Package  

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130103730282612576
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This recording package includes a PreSonus StudioLive 16.4.2 mixer, AVID Pro Tools 9, a pair of Mackie HR624mk2 Monitors, an Audio-Technica AT4033CL mic, a Musician's Gear tripod stand, and 3 Gear One... Read More

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Overview

This recording package includes a PreSonus StudioLive 16.4.2 mixer, AVID Pro Tools 9, a pair of Mackie HR624mk2 Monitors, an Audio-Technica AT4033CL mic, a Musician's Gear tripod stand, and 3 Gear One XLR cables (20' each).

PreSonus StudioLive 16.4.2
StudioLive is one of the most powerful and flexible 16-channel digital mixers the world has seen. Loaded with 16 high-headroom XMAX microphone preamplifiers, built-in 32x18 FireWire recording and playback engine, Fat-Channel processing with 4-band EQs, compressors, limiters and gates, DSP effects, 6 aux buses, 4 sub-groups, extensive LED metering, mixer save and recall, channel-strip save/recall/copy/paste, talkback, and more, it breaks new boundaries for music performance and production.

Note: Since 5/26/09, you can make your StudioLive 16.4.2 64-bit compatible via a PreSonus web update. There is also a firmware update that includes a new graphic EQ and makes it possible to daisy-chain multiple StudioLive 16.4.2 units or other FireStudio-series interfaces.

Loaded with Racks of Effects
StudioLive is loaded with everything needed for professional live sound production totaling 28 compressors, 28 limiters, 28 gates, 28 high-pass filters, 2 stereo reverb/delays, 2 master stereo limiters and more, saving you loads of money and trips from the trailer during load in/out. All StudioLive digital effects are created and processed with 32-bit floating point precision for maximum sonic performance and enhanced musicality.

Best In Both Worlds
StudioLive seamlessly integrates a professional digital mixer with a complete multi-channel recording system delivering the most creative environment available for both live performance and studio music production. Take your recording studio to the gig, and have your soundman record and even enhance your shows with the power of StudioLive.

StudioLive 16.4.2 gives you ultimate creative control in the studio. Record with or without Fat Channel or DSP effects processing. Create mixes, loops, sound effects and more, then bring them out to your show and mix them with the live performance. Process channels using your favorite plug-ins, and completely automate your entire show using your favorite music recording and production software. StudioLive completely revolutionizes music production, opening endless creative possibilities.

Powerful and Easy Digital Mixing
The StudioLive mixer features the innovative and intuitive QuickTouch design allowing fast access to every parameter, mix, effect, and aux, allowing quick and creative control during music production. Load and save functions are also included to create snapshots of channel settings, save effect settings, totally recalling a mix, and more. All digital mixing and effects processing is done with 32-bit floating point precision for unmatched musicality.

Fat Channel
(EQ, Compressor, Limiter, Gate, on every channel)
The heart of StudioLive is the Fat Channel feature, engaged by pressing any "select" button, and features extensive equalization and dynamics available to every input channel, every aux output, every subgroup output, and main output. High pass filter, and four-band semi-parametric equalization algorithms are based on PreSonus' custom-designed digital EyeQ equalizer, delivering extremely musical results. Also included in the Fat Channel are compressors, limiters and gates modeled after PreSonus' award-winning ACP88 for complete dynamics control.

DSP Effects
Two programmable 32-bit stereo DSP effects engines are loaded in StudioLive with a wide range of reverbs, delays, and time-based effects with easy to use parameter adjustment, tap tempo, store, recall, and scene selection for ultimate creative flexibility.

Load and Save Your Settings
The PreSonus StudioLive allows you to save all of your digital settings for quick setup and recall. Save "scenes" (all settings) including fader levels with LED position matching, channel strips (Fat Channel), and individual DSP effects for ultimate ease, quickness and control.

Professional Sound Quality
StudioLive spares no expense when it comes to sound quality. All digital mixing is done with ultra high headroom 32-bit floating point processing for optimal sonic performance. Analog input and output is converted to digital audio with the highest-quality digital converters available delivering a dynamic range of +118dB for spectacular sonic results and unmatched musicality.

Built-in 32x18 FireWire Recording
StudioLive includes PreSonus' award-winning FireWire technology with JetPLL synchronization delivering 22 channels of recording and 18 channels of simultaneous playback. Each FireWire recording channel can be set to record either pre or post Fat-Channel signal processing giving total flexibility and power. StudioLive can also return 18 FireWire playback channels from your recording and production software for remixing and live performance with pre-recorded tracks, as well as studio mixing using the mixer's internal signal processing and summing algorithms. The StudioLive Mixer is compatible with Mac and Windows audio recording and music production software including Logic, Nuendo, Cubase, Sonar, Digital Performer, Audition and more.

Integrated Multi-Track Recording Software”CAPTURE
StudioLive 16.4.2 also ships complete with CAPTURE multi-track recording software so you can effortlessly record your shows right out of the box. CAPTURE software was designed to interface with StudioLive 16.4.2 perfectly to allow instant setup and recording of performances. With the look and feel of industry standard digital multi-track hard disk recorders, CAPTURE software is instantly familiar to every musician and engineer. StudioLive HDR software gives you full editing capability as well as export to WAV file formats for compatibility with ProTools, Cubase, Nuendo, Logic, Sonar and all other recording and music production software. Or you can play back your recorded tracks into StudioLive 16.4.2 via FireWire and mix your tracks with the mixing power and capabilities of the PreSonus StudioLive 16.4.2, then record the final mix back to CAPTURE.

XMAX Class A Preamplifiers
StudioLive includes sixteen custom-designed high-voltage, discrete, XMAX Class A microphone preamplifiers for all types of microphones. The job of a microphone preamplifier is to boost microphone level signals to line level so that the signal can be converted from analog to digital. This mic-to-line boost is generally a preamplification of over 400 times the voltage of the original mic level signal. This preamplification stage is one of the most important stages that the signal will go through before being converted to digital, and is why a high performance preamplifier is important to achieving great results.

All XMAX preamplifiers are built with the same three elements:
¢ High Voltage”The XMAX preamplifier runs on power rails of 30V. Most off the shelf op amp-based designs run on power rails of 10V to 18V. Higher voltage power rails deliver more headroom, deeper lows, smoother highs and an overall fuller sound. .

¢ Discrete”No op amps. Only transistors, resistors and capacitors. Op amps add noise, coloration and harshness to a signal. Discrete designs deliver ultra low noise and transparency.

¢ Class A”When a circuit is running in Class A mode the circuit is always in an "on" state operating at its optimal voltage requirements. Class A mode has zero crossover distortion and delivers purer, clearer and more musical sonics than class A/B designs which are found in most op-amp circuits.

The net result of the XMAX preamp design is high headroom, low noise, wide dynamic range and wide frequency range, and most importantly, musicality and transparency”smooth highs, solid deep lows, and everything in between.

VSL Control Software
The optional PreSonus Virtual StudioLive software for Mac and Windows, which is offered as a free download, provides bidirectional control of the StudioLive 16.4.2 digital mixer. Now you can see and control the most-used mixer parameters onscreen, including channel, subgroup, aux send, and main levels, as well as Fat Channel, effects, and graphic EQ settings.

Control the mixer with a mouse or watch VSL update when you adjust the hardware. Drag Fat Channel presets onto all 16 channels in seconds. Mute or solo every channel with a sweep of the mouse. Apply a new Scene to the whole mixer just by dragging it on VSL from a list you see at all times, or collect and trade Scenes with other StudioLive users.

To top it off, you can use low-cost third-party software to control VSL”and therefore, your StudioLive mixer”from an iPhone, iPad, laptop, or any other device that supports VNC remote control of your computer. Now you can walk around the venue and tweak the mix, in real time, from any location, fixing monitor mixes from the stage and eliminating sonic problems on the spot.
Pro Tools 9 Software
Pro Tools 9 redefines one of the world's most popular, most advanced music and audio production platform with a completely re-architected, open version of Pro Tools software, giving you what many users of past versions have asked for”and so much more.

Work with an audio interface”or without. Create bigger, better-sounding mixes with more tracks, Automatic Delay Compensation, and other pro features”all included as standard. Open your workflow to projects created in other audio and video software”and to the entire Avid Artist Series and Pro Series (formerly Euphonix) console/controller line. With Pro Tools 9, you can compose, record, sequence, edit, and mix the way you want in more ways than ever.

Capture Your Creativity
Work the way you want
With Pro Tools 9, you get more recording flexibility than ever. Connect mics and instruments and get multitrack audio recording capabilities when you pair Pro Tools software with your favorite Avid audio interface or third-party Core Audio- or ASIO-compatible interface. Record virtual instrument performances through a MIDI keyboard or controller, or record and create music and audio with just your computer and the software alone for ultimate portability.

Capture high-quality sound
Whether you're tracking vocals, guitars, voiceovers, sound effects, or an orchestra, or recording virtual instrument performances, enjoy great-sounding audio without compromise. Capture high-resolution audio”up to 24-bit/192kHz”when you use an Avid or third-party audio interface with Pro Tools software. And get best-in-class sound with the included groundbreaking virtual instruments.

Nail the right performance
Let your spontaneity shine. Use Loop recording to record multiple takes of a performance on the same track, one after the other, to keep things flowing when you're in the zone”great for guitar solos or voiceovers. You can also create complex drum tracks using it with MIDI Merge, enabling you to build up tracks by merging new beats into the same region with each recording pass.

Punch your way to perfection
Nobodys perfect, but with Pro Tools 9 you can create seamless performances with nondestructive QuickPunch or TrackPunch. Quickly fix mistakes in audio tracks as Pro Tools punches in and out of record mode, replacing the questionable section as you perform with the playback. For easier file management (and the truly confident) use DestructivePunch to maintain a single audio file”no matter how many punches you do.

Slow down and record comfortably
Having trouble keeping up? With Pro Tools, you can pull off technically challenging parts by slowing down the session tempo, recording the performance at a more comfortable pace, and playing it back at normal speed”Elastic Time and Pitch will keep things in tune. You can also create interesting effects recording at normal speed and then playing back at different speeds.

Stretch your creativity with Elastic Time and Pitch

Freely experiment without the time or effort investment. With Elastic Time, you can change the tempo or timing of any music or sound file”or an entire composition”on the fly, without cutting up a single sample of audio. With Elastic Pitch, you can fix wrong notes, create harmonies, and transpose regions”in real time”without altering the tempo.

Make changes on-the-fly
Forget having to manually stop and restart playback to make changes to your mix or configuration”instead, you can make many common changes on the fly in Pro Tools 9 during playback. Create and edit regions, add or remove tracks, copy inserts and sends, change I/O routing, and more”all changes will dynamically update in real time.

Craft sound with precision
Shape and fine-tune your audio, instrument, and MIDI tracks with professional, sample-accurate audio editing tools. Create a flawless performance by comping together tracks from multiple takes. Get more flexibility when importing tracks with the full Import Session Data dialog. Speed up editing with the Smart Tool. Place sounds perfectly in sync with picture. Smooth transitions with crossfades. Everything you need to perfect your tracks is available right from within a single Edit window.

Get where you need to go fast
Instantly navigate to one or more sections within your session to speed up your editing and mixing workflow. Simply set location markers at specific points in the timeline, edit selections, or even a set of track display settings, and you can quickly recall each specific location at any time with a simple keyboard shortcut, ensuring Pro Tools keeps up with your pace.

Join groups for easy editing and rearranging
Easily rearrange songs, edit loops, and make global changes across multiple tracks in one fell swoop by grouping audio and/or MIDI regions together as a Region Group. For more complex sessions with lots of automation, create VCA groups in Pro Tools HD software or Pro Tools 9 with the Complete Production Toolkit 2 option, giving you another level of gain control over groups that already have automation.

Snoop out grooves with multitrack Beat Detective
Start things off on the right beat with Beat Detective, a powerful tool that enables you to analyze and adjust timing across multiple tracks. Quickly tighten up uneven drum performances. Change up the feel or groove of a beat, and keep your rhythm section "in the pocket" by extracting the timing and groove from a drumbeat and applying that groove template to the bass part.

Unrivaled Audio Mixing
Achieve the best mixes possible automatically
Get great-sounding, phase-accurate mixes with Automatic Delay Compensation (ADC). Mix in stereo or up to 7.1 surround (with Pro Tools HD 9 or Pro Tools 9 and the Complete Production Toolkit 2 option). And automate every element in the Pro Tools environment (rather than "riding the faders" in real time) to add life and ensure the best mix”from track volumes, mute, and panning, to every plug-in parameter.

Get the sounds you want with Pro Tools plug-ins
Create better sounding mixes using the collection of included sound-processing, effects, and instrument plug-ins”you can insert up to 10 plug-ins per track. And expand your creative palette with plug-ins from Avid and our Pro Tools Development Partners for almost anything you can imagine”from instruments to EQs, compressors, reverbs, amp emulators, noise reducers, surround encoding, and more.

Grab control of your mix
You can use a mouse to make changes one at a time, or mix faster and easier using a hardware control surface. Get unrivaled, fully integrated, hands-on Pro Tools control with a choice of Avid control surfaces to fit your needs and budget, including ICON consoles and C|24; full EUCON integration with MC Mix, MC Control, MC Pro, System 5-MC, System 5, and more; and third-party control surfaces.

Make Music
No instrument? No problem
Easily create parts for practically any musical instrument using great-sounding virtual instruments, a MIDI keyboard/controller or your mouse, and the built-in Pro Tools MIDI Editor. Get started with the included virtual instruments and audio loops, and expand your arsenal with virtual instruments from Avid and third-party audio designers.

Get inspired with full MIDI and compositional tools
Take your songwriting from sketchpad to final production. Assign key signatures, create and move notes, transpose pitches, build dynamics, rearrange sections, and sculpt every note to perfection in the MIDI Editor. You can also view all MIDI parameters simultaneously for easier editing. and make your mixes shine by adding effects and automation.

Notate music with the Sibelius Score Editor
Compose and print professional music scores using the Sibelius Score Editor, which offers a wide range of standard notation tools. Generate ideas quickly with realtime note placement and editing, and change the meter, key signature, and more on-the-fly. Add chord symbols and diagrams. Transcribe MIDI parts in real time. Even export sessions as Sibelius (.sib) files for further finessing in Sibelius.

Work and collaborate on music from other audio apps
Collaboration has never been easier. With Pro Tools, you can exchange sessions with any Pro Tools user or studio. But you can also edit, remix, or even revisit projects created in other audio software”such as Logic, Cubase, Digital Performer, Sonar, Live, Reason, and other third-party apps”right in Pro Tools using built-in OMF/AAF/MXF interchange support, ReWire compatibility, or MP3 export.

Create, Edit, and Mix Audio for Post
Streamline the audio/video workflow
Work faster and easier with video using professional tools”now included as standard. Easily import and export projects to and from Pro Tools through built-in OMF/AAF/MXF interchange support. Keep track of all project assets and create and share custom catalogs with the robust DigiBase Pro file management. You can seamlessly move and share projects between the editorial and mix stage, with full compatibility, using a single automation system.

Create and cut sound to picture
With Pro Tools, you can create, edit, and mix audio to picture, with sample-accurate precision, using the built-in Time Code Ruler and support for one or up to 64 video tracks. Clean up production sound, and create sound effects and elements that define (or defy) reality. Record voiceovers, Foley, and ADR with perfect-frame accuracy. Easily execute and play back edits nondestructively using single-key edit commands.

Mix stereo and surround
Easily create larger-than-life mixes that move across the stereo field using advanced automation and variable stereo pan depths

Integrate directly into the Avid video workflow
Speed up workflow efficiency and eliminate the need for rendering effects, transcoding video, or copying Avid video files for audio post. With the Video Satellite option, you can instantly open and play Avid HD or SD video sequences in sync with your Pro Tools session (Pro Tools HD only). And because all video playback is offloaded onto a separate but synced computer, you maintain full Pro Tools audio track counts and processing power.

Mackie HR62mk2 Studio Monitors
The Mackie HR624mk2 high-resolution Active Studio Reference Monitor is the perfect alternative when space is limited. The HR624mk2 monitor offers the same design as the Mackie HR824mk2 in a more compact package. The new Zero Edge Baffle minimizes diffraction for a crystal clear audio image of your mix, and controls sound waves for wide, even dispersion. The Mackie HR624mk2 monitor's Acoustic Space, LF roll-off and HF controls let you easily tailor the sound to suit your space and your taste. Thanks to remarkably linear frequency response, with the HR624mk2 monitor, you always get accurate mix translation. Combine all this with superior bass extension, and the Mackie HR624mk2 monitor makes your studio's sweet spot a full-on sweet zone.

AT4033/CL Condenser Mic
The Audio-Technica AT4033CL Large Diaphragm Condenser Mic uses transformerless circuitry to virtually eliminate low-frequency distortion and enhance the capture of high-speed transients. An 80Hz high-pass filter easily switches between flat frequency response and a low-end roll-off that diminishes ambient noise and popping with closely-miked vocals. Requires 48V phantom power. Includes AT8449 shockmount.

MS-220 Tripod Mic Stand with Fixed Boom
The MS-220 Tripod Microphone Stand has a thread adapter and tubular legs. Its adjustable height from floor to top thread is 35" to 61-7/8". The 30-1/4" fixed boom is not adjustable.

Features
  • Includes:
  • PreSonus StudioLive 16.4.2 mixer
  • AVID Pro Tools 9
  • Pair of Mackie HR624mk2 Monitors
  • Audio-Technica AT4033CL mic
  • Musician's Gear tripod stand
  • 3 Gear One XLR cables (20' each)
  • PreSonus StudioLive 16 Pro Tools 9
  • 16 inputs, 6 auxiliary mixes, 4 subgroups
  • 16 class A XMAX microphone preamplifiers
  • Hi-Definition analog to digital converters (118dB dynamic range)
  • Unlimited headroom 32-bit floating point digital mixing and effects processing
  • Internal sample frequency 44.1kHz and 48kHz
  • 22x18 FireWire digital recording interface
  • Compact 19" rack-mountable rugged steel chassis
  • Fat Channel Select:
  • High Pass Filter
  • Compressor
  • Limiter
  • Gate
  • 4-band semi parametric EQ
  • Pan
  • Load/Save/Copy/Paste
  • 2 Master DSP Effects (reverbs, delays, time-based effect, with load/save)
  • Load/Save Mixer "Scenes" ” all settings including fader levels with LED position matching
  • 100mm long throw faders
  • Military grade quick touch push buttons
  • Fast-acting LED meters
  • Talkback communication system
  • CAPTURE integrated live recording software included
  • Mac and Windows compatible
  • Direct recording interface compatible with Logic, Nuendo, Cubase, Sonar, Digital Performer and more
  • Optional VSL Control Software
  • 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, compressor, and EQ plus the graphic EQ and effects
  • Quickly drop entire Scenes to the mixer to instantly load all channel, effects, and graphic EQ settings
  • Load effects quickly by simply dragging presets into the GUI
  • Use the mouse to quickly assign channels to multiple buses, mute, solo, etc.
  • Store and organize presets on your computer, then transfer them to your mixer for that night's gig
  • Create 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
  • Reorder presets in mixer memory and in the software to best fit your workflow for each gig
  • Share presets with friends; drag presets out of the browser and email, IM, or disk-swap presets with other StudioLive owners
  • See all of the most-used parameters on the mixer at once
  • See the state of all Fat Channel settings at once
  • See all aux mixes at once
  • See the current effects and other parameter settings
  • View and graphically edit all parametric EQ and compression curves
  • View and graphically edit all graphic equalizer settings
  • Do time-stamped backups of the entire mixer
  • Remote control the mixer from an iPhone, iPad, laptop, or other device using third-party VNC software
  • Pro Tools 9 Software
  • New Features in Pro Tools 9
  • Pro Tools 9.0 provides a single, unified installer for Pro Tools and Pro Tools HD
  • New Pro Tools 9.0 PACE copy protection with iLok USB key
  • Pro Tools Audio Engine
  • Support for Core Audio hardware (including Mac built-in audio) with supported Core Audio drivers installed
  • Support for ASIO hardware with supported ASIO drivers installed
  • New Pro Tools Playback Engine settings:
  • Current Engine setting for selecting which audio engine to use
  • Pro Tools Aggregate I/O option for using
  • the built in audio on Mac
  • Delay Compensation settings for all versions of Pro Tools
  • New Pro Tools Hardware settings:
  • Ability to select Core Audio and ASIO interfaces
  • Launch Setup Application command for Core Audio and ASIO audio interfaces
  • Mixing and Recording
  • Increased number of audio and MIDI tracks
  • Increased number of internal mix busses
  • New Track and Send Output selector commands for faster, simplified signal routing and mixer configuration Multiple Stereo Pan Depth options
  • 7.1 and 7.0 standard HD surround formats (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only)
  • Support for EUCON for controlling Pro Tools with EUCON-aware control surfaces
  • Import and Export Options for All Pro Tools Systems
  • Advanced Import Session Data (formerly Pro Tools HD only, or Pro Tools LE with DV Toolkit 2 or Complete Production Toolkit only)
  • Import AAF and OMF sequences (formerly with the DigiTranslator 2.0 option only)
  • New AAF import features and enhancements:
  • Ability to import stereo AAF audio tracks
  • Ability to import RTAS plug-in data from AAF sequences
  • New Locators To Import setting for importing locators from Media Composer“generated AAF sequences
  • Export AAF and OMF sequences (formerly with the DigiTranslator 2.0 option only)
  • Avid Interplay Support with Mac
  • Ability to check data into and out of Avid Interplay directly with the Interplay Access browser
  • Export MP3 (formerly with the MP3 Export option only)
  • Export Session as Text (formerly Pro Tools HD only)
  • I/O Setup Improvements
  • Session and System settings
  • Output and internal mix busses
  • Ability to Import I/O Settings by page
  • Overlapping Paths
  • Improved session interchange
  • Advanced DigiBase Features
  • Advanced search features
  • DigiBase Catalogs
  • Editing Features
  • Auto-Scrolling tracks in the Mix and Edit windows
  • Advanced Beat Detective features:
  • Separate multiple tracks
  • Collection mode
  • Delay Compensation
  • Delay Compensation option
  • Delay Compensation Engine
  • Delay Compensation view
  • Low Latency Monitoring During Recording
  • Delay Compensation on Auxiliary Input tracks
  • Delay Compensation for MIDI
  • H/W Insert Delay (Compensation)
  • Time Code and Synchronization Features
  • Timebase Rulers:
  • Time Code Ruler
  • Secondary Time Code Ruler
  • Feet+Frames
  • Ability to set Time Code and Feet+Frame rates
  • Ability to redefine Time Code Position
  • Ability to redefine Current Feet+Frames Position
  • Use Subframes option for Go To command
  • Pull Up and Pull Down commands:
  • Audio Rate Pull Up/Down
  • Video Rate Pull Up/Down
  • PRE Support
  • Mic Pre Peripherals
  • Mic Pre I/O Setup
  • Mic PRE view
  • Mic Preamp window
  • Plug-in and Software Options
  • Complete Production Toolkit 2
  • Supported Tracks
  • 96 voices (simultaneous audio playback)
  • 32 audio record (simultaneous)
  • 64 instruments
  • 512 MIDI
  • 160 Aux tracks
  • 256 Busses
  • 1 Video
  • Audio Production
  • Automatic Delay Compensation (ADC)
  • Beat Detective (multitrack)
  • AAF/OMF/MXF file interchange
  • Core Audio/ASIO support (up to 32 channels)
  • MP3 export
  • Plug-in support: RTAS/AudioSuite
  • Destructive Record
  • QuickPunch
  • Audio Post
  • Time Code Ruler
  • Variable stereo pan depths
  • Surround mixing (stereo only)
  • Virtual Instruments and audio content
  • Big Fish Audio 8GB sound library
  • Boom drum machine and sequencer
  • DB-33 tonewheel organ emulator with rotating speaker simulation
  • Mini Grand acoustic grand piano
  • Vacuum monophonic vacuum tube synthesizer
  • Xpand!2 multitimbral synth and sample workstation
  • Sound-processing, effects, and utility plug-ins
  • 1-Band EQ III
  • 4-Band EQ III
  • 7-Band EQ III
  • AIR Chorus
  • AIR Distortion
  • AIR Dynamic Delay
  • AIR Enhancer
  • AIR Ensemble
  • AIR Filter Gate
  • AIR Flanger
  • AIR Frequency Shifter
  • AIR FuzzWah
  • AIR KillEQ
  • AIR Lo-Fi
  • AIR MultiChorus
  • AIR Multi-Delay
  • AIR Nonlinear Reverb
  • AIR Phaser
  • AIR Reverb
  • AIR Spring Reverb
  • AIR StereoWidth
  • AIR Talkbox
  • AIR Vintage Filter
  • BF76 Compressor 1176 emulator
  • BF Essential Clip Remover
  • BF Essential Correlation Meter phase fixer
  • BF Essential Meter Bridge VU metering
  • BF Essential Noise Meter
  • Chorus
  • Click
  • Compressor/Limiter
  • D-Verb reverb and ambience
  • DC Offset Removal
  • De-Esser
  • Delay
  • DigiReWire
  • Dither
  • Duplicate
  • Eleven Free (guitar amp emulator based on Eleven)
  • Expander/Gate
  • Extra Long Delay II
  • Flanger
  • Gain
  • Invert
  • Lo-Fi retro processing
  • Long Delay II
  • Maxim sound maximizer
  • Medium Delay II
  • Multi-Tap Delay
  • Normalize
  • Ping-Pong Delay
  • Pitch
  • Pitch Shift
  • POWr Dither
  • Recti-Fi harmonic synthesis
  • Reverse
  • SansAmp tube amp simulator
  • Sci-Fi ring modulator
  • Signal Generator
  • Short Delay II
  • Slap Delay II
  • Time Compression Expansion
  • Time Shift time/pitch stretching
  • TL AutoPan panning effects
  • TL InTune digital tuner
  • TL MasterMeter oversampling meter
  • TL Metro versatile metronome
  • Trim
  • Vari-Fi speed shifter
  • Hardware Interface Support
  • Pro Tools Mbox
  • Mbox (3rd gen.) / Mbox 2
  • Mbox Mini (3rd gen.) / Mbox 2 Mini
  • Mbox Pro (3rd gen.) / Mbox 2 Pro
  • 003/Digi 002
  • 003 / Digi 002
  • 003
  • 003 Rack
  • 003 Rack+
  • Digi 002
  • Digi 002 Rack
  • Eleven Rack
  • Any 3rd-party Core Audio- or ASIO-compatible interface
  • Console and Control Surface Support
  • C|24
  • Command|8
  • EUCON-enabled MC Mix
  • ICON D-Control ES
  • Any 3rd-party analog or digital surface that supports the HUI protocol
  • Mackie HR624mk2 Studio Monitors
  • High-resolution Active studio reference monitor
  • Ultra-linear frequency response for accurate mix translation
  • 6.7" high-precision, low-distortion LF transducer
  • 1" titanium dome, ferrofluid cooled tweeter
  • Optimized Waveguide for wide, even sweet zone
  • Twin FR Series amps - 100W for LF / 40W for HF
  • Cast aluminum Zero Edge Baffle minimizes diffraction
  • Full internal damping eliminates midrange artifacts
  • Passive radiator provides tight, articulate bass extension down to 45Hz
  • Acoustic Space, LF roll-off, and HF controls
  • Balanced XLR, TRS, and unbalanced RCA inputs
  • OmniMount ready for easy wall/ceiling placement
  • THX pm3 certified for surround sound applications
  • Perfect for High-Definition audio, cinema and gaming systems
  • Audio-Technica AT4033/CL Condenser Mic
  • Cardioid pattern
  • Frequency response 30-20,000Hz
  • Low frequency roll-off: 80Hz, 12dB/octave
  • Maximum input sound level: 145dB SPL, 1kHz @1% distortion; 155dB SPL, with 10dB pad (nominal)
  • Noise 17dB SPL
  • Dynamic range (typical) 128dB, 1kHz at max SPL
Specifications
  • PreSonus StudiLive 16.4.2 mixer
    Mac Systems
    Computer: Avid-qualified Apple computer
    System Software: Snow Leopard: Mac OS X 10.6.2, 10.6.3, or 10.6.4 (32 or 64-bit)*
    Total System RAM: 2GB minimum, 4GB or more recommended
    *Pro Tools 9 has not been qualified with Mac OS X 10.6.5 (released November 10, 2010)

    Windows Systems
    Computer: Avid-qualified Windows-based computer
    System Software: Windows 7 Home Premium, Professional, or Ultimate (32 or 64-bit)
    Total System RAM: 2GB minimum, 4GB or more recommended

    Additional Requirements
    Avid Audio Interfaces and Peripherals
    Audio Drive Requirements: One or More Hard Disk Drives Dedicated for Audio Record and Playback
    System Hard Drive: Minimum 15GB free space on startup drive required for Pro Tools installation
    Graphics Card: Dedicated Graphics Card highly recommended
    Video Peripherals
    Third Party Audio Interfaces

    Pro Tools 9 Software
    Mac Systems
    Computer: Avid-qualified Apple computer
    System Software: Snow Leopard: Mac OS X 10.6.2, 10.6.3, or 10.6.4 (32 or 64-bit)*
    Total System RAM: 2GB minimum, 4GB or more recommended
    *Pro Tools 9 has not been qualified with Mac OS X 10.6.5 (released November 10, 2010)

    Windows Systems
    Computer: Avid-qualified Windows-based computer
    System Software: Windows 7 Home Premium, Professional, or Ultimate (32 or 64-bit)
    Total System RAM: 2GB minimum, 4GB or more recommended

    Additional Requirements
    Avid Audio Interfaces and Peripherals
    Audio Drive Requirements: One or More Hard Disk Drives Dedicated for Audio Record and Playback
    System Hard Drive: Minimum 15GB free space on startup drive required for Pro Tools installation
    Graphics Card: Dedicated Graphics Card highly recommended
    Video Peripherals
    Third Party Audio Interfaces

    Mackie HR62mk2 Studio Monitors
    Acoustic Section
    Free-Field Frequency Response: &plsumn;1.5dB, 49Hz to 20kHz
    Lower cutoff frequency: -3dB @ 45Hz
    Upper cutoff frequency: -3dB @ 22kHz
    Sound Pressure Level at 1 meter, -7.5dBu into balanced input: 100dB SPL @ 1m
    Maximum peak SPL per pair: 115dB SPL @ 1m
    Maximum short term SPL on axis, half space 80Hz to 2.5kHz: 106dB SPL @ 1m
    Residual noise (maximum gain, 600Î source, 20Hz-20kHz bandwidth): < 8dB SPL @ 1m

    Rated Line Input Voltage and Power:
    (Power consumption):
    Standby mode: 12 watts
    Quiescent (idle): 20 watts
    Musical Program, Loud mix: 105 watts
    Both channels driven into resistive loading to 1% clipping
    (LF 86W/4Î, HF 38W/8Î): 255 watts

    US: 120 VAC, 60Hz
    Rated Power (For UL-6500, CSA-E65-94, EN-60065): 130 watts

    Amplifier Section
    (Low-frequency power amplifier)
    Rated Power (at 1kHz with 1% THD): 100 watts
    Rated Load Impedance: 4 ohms
    Rated THD (1W to -1dB of rated power): 0.1 %
    Slew Rate: 15V/S
    Distortion (THD, SMPTE IMD, DIM 100): < 0.035%

    Signal-to-Noise
    (20Hz-20kHz, unweighted, referenced to 100W into 4Î): > 101dB
    Cooling: Convection
    Design: Monolithic IC, Class AB, Parametric Servo Feedback

    (High-frequency power amplifler)
    Rated Power(at 1kHz with 1% THD): 40 watts
    Rated Load Impedance: 6 ohms
    Rated THD (1W to -1dB of rated power): 0.1 %
    Slew Rate: 15V/S
    Distortion (THD, SMPTE IMD, DIM 100): < 0.035%
    Signal-to-Noise (20Hz-20kHz, unweighted, referenced to 40W into 8Î): > 93dB
    Cooling: Convection
    Design: Monolithic IC, Conventional Class AB

    System Specifications
    Input Type: Balanced Differential (XLR and 1/4" TRS), Unbalanced (RCA)
    Input Impedance: 20 kÎ Balanced, 10 kÎ Unbalanced
    Input Protection: RFI and Level Protected
    Maximum Input Level: +20dBu
    Low Frequency Filter: 80Hz, 2nd Order, Butterworth
    HF Equalization: Shelving ±2dB @ 10kHz
    Acoustic Space: (A position) -4dB @ 50Hz, shelving, (B position) -2dB @ 50Hz, shelving, (C position) Flat

    (Compressor)
    Independent high- and low-frequency overload detection
    Enclosure Alignment: 6th Order
    Over Excursion Prevention: 2nd Order High-Pass Filter
    Low Line Voltage Shut Down: 60% of Nominal Line
    Thermal Protection: Amplifier Shut-Down, Auto Reset
    Muting: 5 seconds at turn-on
    Signal Sense Threshold: -74dBu (0.155 mV)
    Driver Protection: Independent LF and HF Detection, Overall Compression

    Transducers
    Low-frequency driver:
    Diameter: 6.7 inches (170mm)
    Sensitivity (2.83V, 1m): 89dB SPL
    Nominal Impedance: 4 Î
    Voice Coil Diameter: 1.25" (32mm)
    Power Handling (Long Term/Program): 50/150 watts
    Frequency Range: 45Hz to 6kHz
    Frame: Die-cast magnesium
    Magnet: Ferrite
    Fully shielded: Ferrite opposing magnet
    High-frequency driver: Sensitivity (2.83V, 1m): 91dB SPL
    Nominal Impedance: 6Î
    Power Handling (Long Term/Program): 20/50 watts
    Frequency Range: 1.6kHz to 22kHz
    Diaphragm/Suspension: Titanium with polymer suspension
    Voice Coil Diameter: 1.0" (25.4mm)
    Magnet: Neodymium
    Bucking Magnet: Ferrite opposing magnet

    Passive Radiator: 6" x 9" (152mm x 228mm) mass-loaded elliptical flat piston with variable thickness filleted-edge rubber surround
    Crossover Type: Modified Linkwitz-Riley, 24dB/octave @ 3kHz

    Enclosure
    Materials and Construction:
    3/4" (19mm) thick MDF cabinet construction with internal bracing to add to cabinet stiffness
    Piano-black gloss finish
    Die-cast aluminum exponential wave guide for controlled, wide dispersion from high-frequency driver and Zero Edge Baffle to minimize diffraction around the cabinet edges
    Open cell adiabatic "foam fill" acoustical damping material absorbs internal reflections, preventing delayed sound coloration
    Flush-mount connector system allows monitor to be placed against a wall without need for connector clearance

    Physical Properties
    Height: 13.1"/33.3cm
    Width: 8.6"/21.9cm
    Depth Enclosure: 10.3"/26.2cm
    Depth Overall: 12.6"/31.9 cm
    Internal Volume: 0.29 cubic feet (8.2 liters)
    Weight: 23.4lb./10.6kg

    Audio-Technica AT4033/CL Condenser Mic
    ELEMENT Fixed-charge back plate, permanently polarized condenser
    POLAR PATTERN Cardioid
    FREQUENCY RESPONSE 30-20,000 Hz
    LOW FREQUENCY ROLL-OFF 80 Hz, 12 dB/octave
    OPEN CIRCUIT SENSITIVITY -32 dB (25.1 mV) re 1V at 1 Pa
    IMPEDANCE 100 ohms
    MAXIMUM INPUT SOUND LEVEL 145 dB SPL, 1 kHz at 1% T.H.D.;
    155 dB SPL, with 10 dB pad (nominal)
    NOISE 17 dB SPL
    DYNAMIC RANGE (typical) 128 dB, 1 kHz at Max SPL
    SIGNAL-TO-NOISE RATIO 77 dB, 1 kHz at 1 Pa
    PHANTOM POWER REQUIREMENTS 48V DC, 3.2 mA typical
    SWITCHES Flat, roll-off;
    10 dB pad (nominal)
    WEIGHT 13.4 oz (380 g)
    DIMENSIONS 6.69" (170.0 mm) long,
    2.10" (53.4 mm) maximum body diameter
    OUTPUT CONNECTOR Integral 3-pin XLRM-type
    ACCESSORIES FURNISHED AT8449 shock mount for 5/8"-27 threaded stands; microphone dust cover; protective carrying case
    AUDIO-TECHNICA CASE STYLE R1

Warranty
MANUFACTURER'S WARRANTY
One year parts and labor warranty.


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