Presonus Studiolive 24 vs. GL4-32

[waynehoskins]

Hey all, been a while.

I'm getting ready to mix The Full Monty at a local theatre and have a console dilemma. The theatre has 22 wireless to use, and that looks like exactly the right number for vocals, and then there's the orchestra. They have a 24-channel Crappy Mackie and no outboard, so here goes.

My friend Les (another Les) and I have a GL4/832 at our shop that's gone out on one whole gig in the last two years. I had been planning on using that for the main console and our GL3/416 as a sidecar to mix the orchestra. We've got enough outboard to round it out -- 6 channels of 166A, an ACP88, a tray of dbx 903s, etc. -- and I'd thought to look into doing MIDI mute automation on the GL4.

But then Les thought about buying a Studiolive 24. It looks like an excellent bang for the buck, seems to have just about everything I'd need on the main console for this show, as well as be more practical than the GL4 and rack of outboard for the church rock-and-roll gigs we do. It looks like a decent contender. It has scene store/recall without flying faders; I wonder if I could just make it do mute automation?

The theatre doesn't have a whole lot of space at FOH, so compactness matters to a degree. I took the tour before I got the script, so I haven't had the chance to actually size it up to the GL4 plus the GL3 plus at least one rack of outboard, but I know it'd be a tight fit. The Studiolive, containing all that outboard and most features of the large console, in basically a two-foot-square package with a control surface that looks comfortable to me, the analog guy, is sure tempting.

So, all things being equal, what are your recommendations?

 

[MisterTim]

It has scene store/recall without flying faders; I wonder if I could just make it do mute automation?

Related:

I mentioned this is really an analog mixing console combined with digital technology--unlike other digital consoles, the Presonus StudioLive does not have flying faders. WHAT? Listen--flying faders is great when you have a mixing console with dozens of inputs where you have a limited amount of faders to control a maximum amount of inputs, but the design of the StudioLive was to have a single fader per input channel--the way it works on an analog mixer, which is how most are used to working within a console environment. And frankly when you add motorized faders to a console, it’s going to add quite a bit to the over-all price tag and the bottom-line cost of the product. In the design of the StudioLive, Presonus wanted to make sure this was a console that offered the best possible sound with the most real-world features at a price that was fair and highly competitive. In the end, I feel they made the best choice because the StudioLive is made for simplicity---not for complexity.

Just treat it like an analog board, or something. =]

I have yet to hear any serious gripes about the Studiolive, in fact I've heard nothing but freaking awesome stuff. I have yet to get my hands on one, but I think it's a good choice.

 

[waynehoskins]

Since I'm an analog guy, I think I'd get along well with it.

Our other option would be to save up some more money and get an LS9, which is the most intuitive compact digital console I've worked on so far (having never used the SL24, of course). I hate menus and having to look at the screen. But an LS9/32 is of course more than twice as much money, and the few additional features like flying faders (necessary of course with layers) and another 8 channels don't really seem to make it worthwhile.

I should add that with any of the console choices -- GL4/832, SL24, or LS9/32, I'll still have to have a sidecar for the orchestra, most likely our GL3/16 with a small rack of outboard. With space being what it is, it'll be a more comfortable fit with a compact digital main console and the GL3 and its rack than with both analog boards.

 

[MisterTim]

I should add that with any of the console choices -- GL4/832, SL24, or LS9/32, I'll still have to have a sidecar for the orchestra, most likely our GL3/16 with a small rack of outboard. With space being what it is, it'll be a more comfortable fit with a compact digital main console and the GL3 and its rack than with both analog boards.

So, you just answered your own question, right?

 

[TimmyP1955]

They are both good boards (though I prefer the EQ of the Allen & Heath to that of the Soundcraft). I like having the SL's built-in toys and better EQ. However I would not choose either for a theater application. For this you want flying faders so you can write scenes and recall them during the show (we had about 143 scenes in The Man Who Came to Dinner, and about 70 in Hello Dolly). It's more work in the beginning, but makes running the show SO much easier (you can also MIDI the sound, lights, and soundFX together if you want to get fancy). So you want an LS9-32, or an LS9-16/O1V96 with a preamp or two.

Yes, you could do mutes-only on the SL, but if you moved a fader during a scene, it might be a bit of a bother the next scene time. On the LS9, we recall-safe everything on the channels but the faders. This way, if we tweak an EQ or a comp during the show, it will stay that way. Otherwise, we'd have to save that change to every scene. I don't think the SL has recall safe. I'm not sure about the O1V96. (Here's our starter LS9-32 file if you want to have a look in Studio Manager: TP Audio's LS9 Console File )

Hmmmm - Using mutes instead of fader moves would save wear & tear on the faders, but it's nice having the faders down on the channels that are not live in the present scene.

 

[gizm770o]

I'm a huge fan of Allen and Heath gear, especially the GL line. Love my GL2800, but ive also used a couple GL2400s and GL2s. They're great desks. I do also like the LS9, but personally I prefer mixing on analog desks, as long as I have access to some decent compressors. I do like Presonus gear, having done a lot of work with the FP10 and a FireStudio, but I'm not sold on the SL24. If I'm using a digital console I want a true digital console. I'd go with the A&H. They're great, reliable desks that are laid out well and are easy to use.