PreSonus StudioLive 24R
PreSonus·Model StudioLive Series III 24R·presonus-studiolive-24r
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the PreSonus StudioLive Series III 24R
The PreSonus StudioLive 24R gives a monitor rig 24 recallable XLMAX preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds. and full Series III DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. in two rack spaces, doubling as an AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. stage boxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. and 26x26 USB interface. It is the mid-size R-series pick for bands running their own ears with UC Surface or Earmix personal mixers downstream. Requested by users.
The StudioLive 24R is PreSonus's mid-size answer to the question every self-contained touring band eventually asks: can the mixer live in the rack instead of on a desk? In two rack unitsThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one., it fits 24 recallable XLMAX preampsThe gain stage that lifts a mic’s tiny signal up to line level — the first thing a signal hits, and a big part of how a console sounds., the full Series III DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. engine — including Fat Channel processing on every input — and enough output routing to run a complete IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. or wedgeA floor monitor speaker angled up at the performer — the thing IEMs replace, and the thing you fall back on when they die. rig without an outboard stage boxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized.. The 10 analog auxAn auxiliary mix output — each aux is its own independent blend of the channels, typically one per monitor mix or effects send. outputs are the headline here: that's enough discrete monitor mixes to cover a typical small-to-mid-size stage, all patched directly from the back of the rack.
At load-in, 300mm of depth is something to plan around — this isn't a shallow unit, so measure your road case before assuming it fits. The 2UThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. footprint and 4.5 kg weight make it genuinely portable, and 40 watts idle draw means it lives comfortably on a single circuit alongside your wireless and IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. gear. The AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. EtherConAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. port is the unit's real multiplier: run a Cat6Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. to a compatible AVB stage boxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. or a second 24R and you're extending the system without adding analog snakeA multicore cable bundling many channels into one stage-to-console run. A sub-snake collects one corner of the stage into a drop box. runs. The 26x26 USB interface means the same box handles virtual soundcheckPlaying a recorded show back through the console as if the band were on stage — dial in mixes before anyone plugs in. without a separate audio interface in the chain.
This unit earns its place in a band-run IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rig or a small production company's rental inventory, especially if the workflow lives inside UC Surface or PreSonus's Earmix 16M personal monitor system. If you need a front-of-houseFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. surface with faders under your hands, this isn't it — the 24R is designed to be controlled remotely from a tablet or laptop, and that's a workflow shift some engineers won't want to make. Acts that need more than 10 discrete analog outputs before AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. expansion, or engineers who need compatibility with non-PreSonus AVB ecosystems, should look elsewhere.
In the rack
- Patch your AuxAn auxiliary mix output — each aux is its own independent blend of the channels, typically one per monitor mix or effects send./Monitor outs 1–10 in a fixed, labeled order on a TTTiny Telephone — the slim bantam plug pro patch bays use to fit 48+ points into a single rack space. or XLRThe standard 3-pin locking connector for mics and balanced line signals — pin 1 is the shield, pins 2 and 3 carry the balanced pair. panel so that any sub out covers the same wedgeA floor monitor speaker angled up at the performer — the thing IEMs replace, and the thing you fall back on when they die. or IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. transmitter every show — the preset recall is only as fast as your analog patch is consistent.
- Use the USB 26x26 interface for virtual soundcheckPlaying a recorded show back through the console as if the band were on stage — dial in mixes before anyone plugs in. by recording a full multitrack rehearsal, then play it back through the same inputs at load-in; no sound source needed on stage, and scene recall can be verified before the band arrives.
- If you're adding Earmix 16M personal mixers downstream, budget your AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. bandwidth before load-in — plan the device count and channel routing in UC Surface at home so there are no surprises when the network comes up in a new room.
- Verify rack depth with your case builder before ordering: 300mm plus IECThe standard three-prong appliance power inlet on rack gear — the kettle lead. C13/C14 in spec-sheet speak. cable clearance at the rear typically requires at least 380–400mm of interior case depth to close the lid cleanly.
24-ch 2UThe standard slice of rack height: 1U = 1.75″. A 3U box takes three slices; half-rack gear pairs two units side by side in one. rack mixer / stage boxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. / 26x26 USB interface (AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile.).
I/O Ports (6)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Mic/Line 1-24 | COMBO XLR TRS | input | analog audio | 24 |
| Main Out L/R | XLR MALE | output | analog audio | 2 |
| Aux/Monitor Out 1-10 | XLR MALE | output | analog audio | 10 |
| AVB Network | ETHERCON | bidirectional | digital audio | 32 |
| USB (26x26) | USB B | bidirectional | data | — |
- Power (IEC C14)
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Rack space, watts, weight and every connector, side by side.
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