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PreSonus StudioLive 24.4.2 vs. Behringer X32: Navigating EQ
John Mills, Vice President of Morris Light & Sound, brings us a step-by-step comparison of wrangling your EQ settings on both the PreSonus StudioLive 24.4.2 and the Behringer X32.
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Presonus Studiolive 24.4.2 - NAMM 2010
Following up on the runaway success of its StudioLive 16.4.2 digital mixer, PreSonus announced a new member of the family: the StudioLive 24.4.2. Like its 16-channel sibling, the 24-channel StudioLive 24.4.2 is designed for both studio recording and live sound, without compromising the requirements ...
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Derek Sherinian and PreSonus StudioLive 24
A Derek Sherinian interview . Derek talks about his PreSonus StudioLive 24.
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NAMM2012 -L'Angelus - PreSonus - Performance 12
L'Angelus - PreSonus - NAMM 2012 - Performance 12
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Presonus Monitor Station overview
Presonus Monitor Station overview
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PreSonus Monitor Station - 123rd AES
PreSonus Monitor Station demonstration at the 123rd AES New York
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PreSonus StudioLive 24.4.2 vs. Behringer X32: Signal Routing
John Mills, Vice President of Morris Light & Sound, brings us a step-by-step comparison of signal routing on the PreSonus StudioLive 24.4.2 and the Behringer X32.
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PreSonus StudioLive 24.4.2 - Winter Namm 2010
Following up on the runaway success of its StudioLive 16.4.2 digital mixer, PreSonus announced a new member of the family: the StudioLive 24.4.2. Like its 16-channel sibling, the 24-channel StudioLive 24.4.2 is designed for both studio recording and live sound, without compromising the requirements ...
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PreSonus StudioLive 24.4.2 - Winter Namm 2010
Following up on the runaway success of its StudioLive 16.4.2 digital mixer, PreSonus announced a new member of the family: the StudioLive 24.4.2. Like its 16-channel sibling, the 24-channel StudioLive 24.4.2 is designed for both studio recording and live sound, without compromising the requirements ...
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PreSonus LIVE: Briana Tyson and a whole lot of ADL 600 and ADL 700 Preamps.
We flew Briana in to Baton Rouge, assembled a killer band, and had them track a few songs using Rick's monster rack of ADL 600 and ADL 700 preamps—because we can. EVERY channel of audio in this production was run through the ADLs. How do you think it sounds?
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