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Presonus 16.0.2 - NEW

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Gary A. Perrett:

--- Quote from: Dave Dermont on April 08, 2011, 09:51:20 pm ---I have been using the 24.4.2 for some time now. I have been waiting until I had some time at the wheel before I wrote anything about it.

I own an original Blue Tube that was sent to me as a review piece that I kept because I liked it so much. I use it like an active DI box on steroids. The (favorable) review never saw the light of day, and the product was discontinued.

The ACP88 is generally hated. It's probably worth the money, but is never anyone's first choice in cheap dynamics processing, even if you do get eight channels in three rack spaces.

FWIW, the MAP on the 16.0.2 is $1.3K

--- End quote ---

Ya, so, what are your thoughts on the 24.4.2?

I have been using the 16.4.2 on a interim house gig in the casino lounge 2-3 nights a week (not my stuff) and I have a pretty good feel for it. I like the pre's, and the EQ, The system is a piece of crap (polishing turds and all) but there are some things I really don't like... but then I haven't had much experience with other digital mixers.

I do like the fact that all the tools are available on every channel, and I feel that I get a better overall sound than with the former analog counterpart (Midas Venice) and all the outboard gear. The comps sound good, and the eq is responsive... but again, I don't have a lot of experience with other digital consoles...

I will say that here at the casino's main room, we get a lot of national acts (both rock and country) that all use the same racks and stacks (EV XLC) but mostly bring their own consoles...and they are usually Avid of one sort or another..(SC48 or Venue) and I can't say I have heard an act that the vocals didn't sound harsh and unforgiving.. nothing even close to warm and natural...or the way they sound on their recorded material...heavily compressed or not. (we won't even get into the rest of the sound)

The kicker was last week when Scott Stapp and Aaron Lewis (solo acts) were in... They used the Midas @ FOH ( yes the very  same one I had in the lounge)and the sound was warm and natural and very pleasing. I thought (my opinion) the sound was far superior to any of the 2 dozen shows I have attended recently.

I guess what I'm getting at is it truly IS the driver...because I can't believe that the Avid consoles are the culprit here...
Best regards

Brad Weber:

--- Quote from: luis Markson on April 08, 2011, 02:55:59 am ---I once spent a day comparing the sonic differences between RME, Motu, Tascam, Digidesign and Mackie USB & Firewire interfaces. The difference from one device to the next was amazing and at the time I put it down to the quality of the D/A conversion. In retrospect I'm sure the differences were as much a product of analogue signal paths, software etc as the D/A.

Undeniably, the RME was quieter, provided a more defined stereo image, was more detailed in transients and seemed to have more depth.

My understanding of Presonus at the time was that it was a low to mid budget brand on par with Tascam, M Audio etc. We didn't bother auditioning any of their units.
--- End quote ---
I find this interesting as although their goals and criteria were probably a bit different and more objective, after researching numerous options, AFMG chose the PreSonus Firebox as the basis for their EASERA Gateway device.

Andrew Watts:

Here's the price

Dave Dermont:

--- Quote from: Andrew Watts on April 15, 2011, 06:46:05 pm ---

Here's the price

--- End quote ---

In reference to my other post in this thread, for those of you who may not know:

MAP stands for Minimum Advertised Price.

Dave Dermont:

--- Quote from: Jon R Smith on April 09, 2011, 01:12:45 am ---
--- Quote from: Dave Dermont on April 08, 2011, 09:51:20 pm ---I have been using the 24.4.2 for some time now. I have been waiting until I had some time at the wheel before I wrote anything about it.

FWIW, the MAP on the 16.0.2 is $1.3K

--- End quote ---

So Dave, what do you think about it? I've using mine for a little over a month now. Like you, waiting and giving it time before I review it.

--- End quote ---

My opinion is generally favorable.

Sure, it's got a few nit-picky things about it I don't care for, but a few other things seem well thought out.

I'd like a real FX return, so output jacks for auxes 11 and 12 would be nice. If not that, a way to soft patch to a channel would work. The easy to reach mute buttons on the FX auxes will just have to do, I guess.

I like how when you link two auxes for stereo, the even numbered aux becomes a pan. This let's you dial up a quick mono mix, and tweak out the stereo spread later. Good for IEM stuff.

A variable HPF is always welcome.

The Input/output/GR input channel metering is nice.

The Gain Reduction meter for the selected channel in the upper right-hand corner seemed weird at first, but I got used to the location pretty fast, so it was not an issue.

As far as there being no recallable head amps, I find charting one knob per channel much easier than charting the entire mixer.

The issue of the muting between scenes WILL be a deal-breaker for a lot of people. Small theater installations immediately come to mind. If this issue can be addressed, the mixer will have a much wider appeal.


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