PreSonus StudioLive 32R
PreSonus·Model StudioLive Series III SE 32R·presonus-studiolive-32r
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the PreSonus StudioLive Series III SE 32R
The PreSonus StudioLive 32R is the flagship R-series rack mixer: 32 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., 64x64 USB, AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. networking, and onboard SD multitrack in 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.. It runs full-band ears from a tablet, feeds broadcast splits over AVB, and records the show without a laptop. The top of the user-requested R-series trio.
The StudioLive 32R is a 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 that earns its space by doing the work of several boxes at once. Thirty-two combo 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., twelve analog auxAn auxiliary mix output — each aux is its own independent blend of the channels, typically one per monitor mix or effects send. outputs, a full AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. network port, and onboard multitrack recording land in a chassis that draws at most 60 watts and weighs under ten pounds. In a monitor rig it can drive twelve mixes straight off the analog outputs while simultaneously streaming split audio to a broadcast truck or a recording rig over AVB — without a laptop in the signal path. That combination of density and flexibility is the whole argument for it.
At load-in, 300mm of depth is shallow enough to fit most standard tour racks without fighting the lids, and the 40-watt idle draw means you're not burning a significant chunk of a conditioner's headroomThe margin between your normal level and where things clip — headroom is what absorbs the snare hit you didn’t see coming.. The EtherCONAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. port is the feature that changes your patching math: a single Cat6Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. run can carry 64 channels bidirectionally to a compatible AVB device, which on a multi-act festival or broadcast show eliminates a lot of analog copper and splitter hardware. The 64×64 USB interface mode is equally useful in rehearsal — plug into a laptop and the whole board becomes a high-channel-count recording interface. Tablet control via the UC Surface app means your ME can walk the stage during soundcheck and pull a monitor mix without a second engineer at the rack.
This unit belongs in a dedicated monitor rack or a compact FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. rack where you need real channel count without a full-size console footprint — touring support acts, corporate AV rigs, fixed installs doubling as broadcast feeds, or a fly-date IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. rig where you're checking two bags and need everything in one box. It is not a surface; there are no faders, no physical mix controls, which means your entire workflow runs through a tablet or laptop. Engineers who prefer hands-on control under pressure, or who work in environments where Wi-Fi or USB connectivity is unreliable, will find that tradeoff uncomfortable. In those cases a compact surface like the StudioLive 32S or a console with a built-in control layer is the more honest tool.
In the rack
- Mount it with the EtherCONAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. port accessible from the rear and run a dedicated Cat6Standard network cable grades. In an audio rig one cheap Cat5e run can replace a 48-channel copper snake; AES50 wants it shielded. cable to your AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. switch before anything else is patched — AVB network configuration has to happen at line checkThe quick pre-show pass confirming every input reaches the console, one line at a time. Not a soundcheck — just does it work., not during the scramble before doors.
- If you're running twelve monitor mixes off the analog auxAn auxiliary mix output — each aux is its own independent blend of the channels, typically one per monitor mix or effects send. outputs, label the rear panel with a P-touch strip at the dock: aux assignment changes between shows and an unlabeled rear panel costs you minutes you don't have at a festival changeover.
- Use the onboard SD recording as a silent backup rather than your primary multitrack — it runs independently of the USB and AVBAudio Video Bridging — open network audio (MOTU, PreSonus) where the switch reserves bandwidth so streams can’t glitch. Milan is its pro profile. streams, so even if your recording laptop drops out, the show is captured.
- At 60 watts max draw, two 32Rs fit comfortably on a single 20-amp circuit with a monitor amp rack — useful to know when you're negotiating power drops with venue electricians on a fly dateA gig you fly to instead of driving — the whole rig has to shrink into checkable cases and carry-ons..
32-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. / 64x64 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 1-32 | COMBO XLR TRS | input | analog audio | 32 |
| Main Out L/R | XLR MALE | output | analog audio | 2 |
| Aux/Monitor Out 1-12 | XLR MALE | output | analog audio | 12 |
| AVB Network | ETHERCON | bidirectional | digital audio | 64 |
| USB (64x64) | USB B | bidirectional | data | — |
- Power (IEC C14)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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