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dtdfedoras
Published on 02/20/10 at 04:13
hello all
I said I'll take the advice as and when the discovery of this machine
I have therefore taken the plunge, I bought the presonus 16-4-2 after having long hesitated because not easy to leave my analog consoles that sounded great. Also I do not like the sound yamaha so I opted for the presonus also this week I'll do a real comparison between StudioLive 01V96 V2 and a friend will lend me
the program is 16 XLR microphone inputs in any two outputs with the master hand to gain control of outputs via rotary volume pot from -20 to +10 db, the same thing on the mono output except that the mono output does not linear fader in front, 4 subgroups that can be injected back into the master (main), 6 with the symbol jack outputs, two multi effects, two feedback effects which can swing in subgroups or in the hand (or both) and of course the full range of I / O firewire that I will test later
on each track, gain, 48v, with switch inputs physical or firewire input, then compressor, limiter, noise gate, high-pass filter (20Hz to 1kHz), 4-band EQ (bass lower midrange, upper midrange and treble) all with adjusting the frequency and Q factor adjustment (there are only two settings, a priori factor Q via the software but physically it looks much more complete)
no automation, but a snapshot of the faders is possible.
ENOOOORRMME The strength of this console is the "fat channel" not need to watch the screen for the settings in 4h way up so you master all the stupid .... it's really fabulous, selecting the runway can see the VU meters on all settings of the track
Another huge highlight is provided to each of the same fat channel that so many classic tracks same as above ie for each and the effects start in the sections was
compressor, limiter, noise gate, high-pass filter (20Hz to 1kHz), 4-band EQ (bass lower midrange, upper midrange and treble) all with adjustable on the frequency and Q factor adjustment (there are only two priori settings of Q)
we therefore have the opportunity to make an adjustment for equalizing the facade of a singer and make him a different EQ for his feedback I know it already exists on the yamaha but here I am talking to owners of analog must use 2 EQs.
each effect can then be injected into the 6 to the sub groups, or the master hand and is the only negative point for the console to re-inject it in to be fiddling a little while on the new 24-4 from the same brand to each flatly its injection effect da, s to the rotary volume pot with good but once you understand it's easy
48KHz sampling in
UTILIZATION
super simple - simple manual arch - arch usual functions easy with the fat channel - all this for 10 without hesitation!
SOUNDS
I know starting tomorrow because I'll test it on stage
OVERALL OPINION
I use it for 24hrs so I'll come back before I had a very good analog whose excellent soundcraft k1, GB4, mixwizzard
I said I'll take the advice as and when the discovery of this machine
I have therefore taken the plunge, I bought the presonus 16-4-2 after having long hesitated because not easy to leave my analog consoles that sounded great. Also I do not like the sound yamaha so I opted for the presonus also this week I'll do a real comparison between StudioLive 01V96 V2 and a friend will lend me
the program is 16 XLR microphone inputs in any two outputs with the master hand to gain control of outputs via rotary volume pot from -20 to +10 db, the same thing on the mono output except that the mono output does not linear fader in front, 4 subgroups that can be injected back into the master (main), 6 with the symbol jack outputs, two multi effects, two feedback effects which can swing in subgroups or in the hand (or both) and of course the full range of I / O firewire that I will test later
on each track, gain, 48v, with switch inputs physical or firewire input, then compressor, limiter, noise gate, high-pass filter (20Hz to 1kHz), 4-band EQ (bass lower midrange, upper midrange and treble) all with adjusting the frequency and Q factor adjustment (there are only two settings, a priori factor Q via the software but physically it looks much more complete)
no automation, but a snapshot of the faders is possible.
ENOOOORRMME The strength of this console is the "fat channel" not need to watch the screen for the settings in 4h way up so you master all the stupid .... it's really fabulous, selecting the runway can see the VU meters on all settings of the track
Another huge highlight is provided to each of the same fat channel that so many classic tracks same as above ie for each and the effects start in the sections was
compressor, limiter, noise gate, high-pass filter (20Hz to 1kHz), 4-band EQ (bass lower midrange, upper midrange and treble) all with adjustable on the frequency and Q factor adjustment (there are only two priori settings of Q)
we therefore have the opportunity to make an adjustment for equalizing the facade of a singer and make him a different EQ for his feedback I know it already exists on the yamaha but here I am talking to owners of analog must use 2 EQs.
each effect can then be injected into the 6 to the sub groups, or the master hand and is the only negative point for the console to re-inject it in to be fiddling a little while on the new 24-4 from the same brand to each flatly its injection effect da, s to the rotary volume pot with good but once you understand it's easy
48KHz sampling in
UTILIZATION
super simple - simple manual arch - arch usual functions easy with the fat channel - all this for 10 without hesitation!
SOUNDS
I know starting tomorrow because I'll test it on stage
OVERALL OPINION
I use it for 24hrs so I'll come back before I had a very good analog whose excellent soundcraft k1, GB4, mixwizzard