of user requested updates and upgrades are embedded in the new firmware, and not surprisingly for this customer-oriented brand, available for the previous Series III mixers as well.
Getting the console out of its rather large box was interesting and, while a bit of a challenge, was worth the effort because the extra packaging insured the mixer arrived intact and free of damage. Once connected to power and brought online with the rest of the sound system, it became patently obvious this mixer isn’ t posturing for position, it is at home here. I still have my original StudioLive 16:4:2 Series I console and while the new one keeps its general familial appearance, it is an entirely new world order beneath the skin. The Series III SE is as quiet as anything on the market under $ 15,000 and feels as solid as the $ 100,000 Rivage I mix on every week. There are some evident compromises, with a single screen instead of two or three, its size being merely adequate but not mesmerizing, the adjustment controls feel mid-tier; they are solid, but not exquisitely so. However, when contrasted with its meager asking price of $ 3,500, everything about the
Series III SE becomes a bargain, from the rigid chassis to the newly flush visual display.
In use the console proved its mettle, working wonders with a rather complex FOH mix incorporating multiple vocalists engaged in harmonies, a full drum kit, bass, electric, acoustic, keys, and percussion. A highly useful function of these mixers is their ability to parse out monitor mixes for each player with dedicated functions for their station while granting the engineer the ability to block off certain controls an errant musician could use to create havoc. A 34-track virtual soundcheck function is available, though the run-and-gun nature of this particular show did not allow time for it, but the SD card recording worked as simply as possible and delivered excellent results.
The biggest area of concern on a console is the tone, timbre, and quality of its mic preamplifiers. On a $ 20,000 desk, pouring money into the pre-amp design and components is an easy decision. However, a $ 3,500 console doesn’ t afford such luxuries, meaning the component choice and implementation must be precise to be useful. PreSonus is known for solid, but not amazing mic pre- amps, but, though the standard XMAX units on this mixer don’ t claim to be new, they sounded more open than I recalled from previous experiences with XMAX. Perhaps it is a function of the improvements in other sections of the console or better use of the available horsepower under the hood, but there is a definite increase in performance in the Series III SE mic pre-amps. When combining dozens of sources, the mix on a budget mixer can feel tight or constrained, but this console’ s mix felt open, alive, and full of energy. It truly punches far above its weight class.
For fans of the Louisiana brand, the good news is PreSonus has kept its“ charme” as it migrates into the FMIC universe. For engineers unaccustomed to what a $ 3,500 mixer can achieve, the Series III SE is a lesson in what is possible when you pay attention to the details. Chapeau felicitations, PreSonus!
$ 3,499.99 www. PreSonus. com
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