About a year ago, I had a hands-on introduction to the wonders of PreSonus’ Active Integration technology when I reviewed the StudioLive 32.4.2AI digital console (FRONT of HOUSE, Nov. 2013). The system — with iPad control via the Universal Control-AI app — was one of the easiest digital console interfaces I had ever encountered. It was quite literally play and go, right from the start, quickly accessing the power of the system with hardly a need to consult the manual at all.
Now, with the introduction of the $1,399/street StudioLive RM16AI (16x8x3) and $1,999 RM32AI 32x16x3 rackmount mixers, PreSonus ups the ante with two new systems that are controlled by the familiar UC-AI app, but with added support for both Mac and PC computers but also optimized for live sound mixing using iPad and Windows 8 touch screens.
Housed in either a 4- or 3-rackspace chassis, the mixers feature 32/16 inputs — each having digitally recallable XMAX Class-A preamps (all with switchable phase and phantom power, remote gain/trim adjust) and simple assignment to the main stereo and mono outputs.
The front panel has XLRs for all the channel inputs (plus an additional stereo RCA “tape” play input); 16 or 8 line-level outputs on XLRs that are fixed to the aux buses; an LED strip indicating either signal presence/clipping on each channel or phantom power on/off status; a headphone jack with level control (switchable to either the main L/R bus or to solo); a USB port for Wi-Fi connections; and XLRs with level pots for the main L/R and mono outputs. Also on the front is a bicolor LED that glows to indicate power on and/or network connection status. Essentially all audio connections are via XLRs — no 1/4-inch or combo connectors — and no insert jacks are provided.
Rounding out the front is a small illuminated red “mute all” button that mutes all inputs and outputs; it’s a sort of “panic” button I always thought should be an essential feature on any Wi-Fi controlled mixer. Not that I would ever want to use such a thing, but there are times, including emergency situations where such a feature could be indispensible. To avoid any accidents, “mute all” does not engage without a second button press to engage the mute.
The rear panel is much simpler, with eight-channel D25-sub connector(s) that mirror the front XLR aux output jacks; MIDI in/out (not currently implemented, but reserved for a future firmware update); power switch and IEC 100 to 230 VAC input for worldwide operation. An accessory card slot accepts optional I/O cards and is fitted with an included card that features: a coaxial S/PDIF RCA jack assignable to any output; an RJ-45 Ethernet port for connection to a wired LAN network; and two FireWire s800 ports for computer or hard drive connections. FireWire 800 is not quite universal, but adapters to Thunderbolt are readily accessible. PreSonus has also recently announced AVB and Dante support in upcoming option card releases.
Equally important to the RM-Series is what’s not visible from the outside, such as the fact that the architecture of both the RM16AI and RM32AI have 32 internal channels and 25 buses; a 52 x 34 recording interface via FireWire 800 and full 96 kHz operation.
Included is a package containing a USB Wi-Fi dongle , FireWire 800 cable , Ethernet cable, QuickStart Guide, and an authorization card for downloading: UC-Surface mix-control application, QMix AI personal monitor control, Capture multi-track recording/virtual sound check, Studio One Artist DAW and a publishing/marketing account on Nimbit. iOS users can download the UC-Surface and QMix-AI apps from the Apple App store.
Getting Started
Once you unpacked, downloaded and installed what you need, setup is fairly straightforward and outlined in the manual, but you’ll probably also require a Wi-Fi router. I used an inexpensive, off-the-shelf ASUS router and StudioLive mixers are configured to automatically connect to a wireless network and the manual outlines a number of scenarios for connecting to a wired or wireless network, with or without recording directly to your PC or Mac. For control, I used a both an iPad and a Sony Vaio SOSVT21217CXB multi-touch PC with a 21.5-inch display, running on Windows 8.
The combination of the three (iPad, multi-touch PC and the RM16 I tested) proved to be an incredibly powerful and easy-to-use system. The slick incorporation of the multi-touch using a 21.5-inch screen offers fast navigation and operation. In fact, after using the multi-touch, you really don’t want to go back to using a mouse — ever — and the large screen size affords a wide view of nearly the entire console surface in a way that an iPad can’t match. (See Fig. 1) That said, an iPad is definitely more portable and I’m not sure I’d want to lug a 21.5-inch multi-touch (however cool) up to the balcony to check coverage.
Most operations — such as the channel assignment screen (probably the easiest I’ve ever encountered) — are simple to navigate. Meanwhile the ability to store and remotely tweak preamp settings is a powerful function, and the same applies to loading mute groups and scenes.
The drag/drop operations and fast access to the large Fat Channel (as seen in the top of Fig. 1) allow some very quick-paced changes, which is ideal for the live environment. Thankfully, there are no onscreen rotary controls — everything is grab and drag for tweaking parameters or settings, again all leading to speed and a pleasant mix experience. Familiar to all PreSonus console users, the Fat Channel itself offers 4-band parametric EQ, compressor, limiter and gating to all inputs and buses (all outputs also offer 31-band graphic EQ as well) and every parameter can be saved and stored for later recall.
Speaking of the Fat Channel, the mixer allows storing two different settings for each input, as “A” and “B,” and bring either up with a virtual button press, so for example you have one compressor/EQ setup on a vocalists channel for ballads, another for rockers and instantly recall what you need at that moment.
Another much-appreciated touch includes an audition mode where the user can quickly (there’s that speed word again) flip through stored presets, both factory and user-defined, try it on a channel and either load it or change to another preset — all in a matter of seconds.
The Sound
The quality of the audio throughout is first rate, thanks in no small part to the recallable XMAX Class-A preamps (no issues with headroom here!), the 32-bit floating-point Burr-Brown ADC’s and the 96 kHz operation. The four programmable onboard DSP effects engines — two with reverbs and two with delay programs, all add to the party. If you need more, you could to outboard via an aux bus and return old-style into an input or tap into Studio One’s plug-in collection via the FireWire bus. But my guess is that most users will do fine with the available internal offerings from the RM-series.
The Score
Clearly there’s a lot here and I could spend the next 20 pages getting deeper into the possibilities of this versatile system. But for me, the bottom line here is that the RM mixers are affordable, with a solid build, great sound and an overflowing feature set with more to come, such as AVB integration. Unfortunately, my experience with this system left me with an seemingly incurable addiction for multi-touch, and it’s hard to break that habit.
At a Glance
The “No Surface” Console
The RM-Series mixers break through the touch barrier with a compact, affordable rig that can double as a stage box (no snakes required), while offering a versatile, flexible merging of hardware and software control to form a powerful mix solution.
PreSonus RM-Series
PROS — Affordable. Great sound. Well-designed and fast GUI. Solid construction.
CONS — No insert jacks. FireWire 800 interfacing not favored by some users. Multi-touch control can be addicting.
STREET PRICES
• RM16AI, $1,399
• RM32AI, $1,999
Manufacturer: PreSonus
More Info: www.presonus.com
