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Presonus StudioLive RM32AI Rackmount Digital Mixer

Product Code PRSLRM32AI
Manufacturer PreSonus

Buy this from the A.C. Audio Online Store. Request more information or contact us now for purchasing information.

Description

Based on the StudioLive™ AI-series mix engine and controlled with battle-ready UC Surface software for Mac®, Windows®, and iOS®, the StudioLive RM32AI and RM16AI 32-channel, 25-bus rack-mount Active Integration™ digital mixers are scalable, compact, and 100 percent recallable.

​Like all StudioLive Active Integration mixers, the RM series delivers unrivaled sound quality, XMAX™ Class A solid-state preamps, amazing DSP performance, direct Wi-Fi and wired LAN communication, fast and intuitive workflow, an onboard FireWire S800 interface, and a tightly integrated software suite for Mac®, Windows®, and iOS®, creating a streamlined working environment for both live and studio use.

We offer two StudioLive RM models. The RM32AI has 32 mic inputs and 16 Mix outputs and mounts in four rack spaces; the RM16AI has 16 mic inputs and 8 Mix outputs and mounts in three rack spaces. Otherwise, the two mixers are identical in every respect.

PreSonus® UC Surface control software for Mac, Windows, and iPad was carefully designed for intuitive and quick performance in a live mixing environment (but also serves well in the studio). It lets you take advantage of large-format Windows 8 touch computers.  And it gives you the big-mixer power of Filter DCAs.

When you’re mixing a live show, and the heat is on, you don’t have time to search for controls and meters, as you must do with most digital mixers. You never have that problem with a StudioLive RM-series mixer because every control you need to mix a show is under your fingers in PreSonus UC Surface remote-control software for Mac, Windows, and iPad®.

Battle-ready software

We call UC Surface “battle-ready” because some live gigs seem like a war zone, with danger at every turn. UC Surface has your back, enabling you to accomplish your mission quickly and confidently. UC Surface is extremely reliable, and its layout provides quick, intuitive access to everything you need during a show or studio session.

The software is the same on Mac, Windows, and iPad, so you only need to learn one app, regardless of platform. And it supports iPad and Windows 8 touchscreens (not included), taking full advantage of these intuitive multi-touch interface technologies. You can control your StudioLive RM mixer with your laptop, with or without touchscreen, or with your iPad, or any combination.

In UC Surface, you always know what each button, fader, and parameter box controls and which parameter each meter displays. Virtual faders and meters are clearly marked. Each parameter is controlled by a clearly labeled button or a parameter box that enables you to type in a value or adjust the parameter in a graphic display. And UC Surface’s well-planned layout enables you to manage everything you need at the same time.

You always have full use of all 25 dedicated mix buses (16 aux buses, 4 internal effects buses, the stereo mains, the mono/center main, and the stereo Solo bus), along with the tape return and digital return.

To further enhance your workflow, you can assign Channel Types. Channel Types will set a default channel name that can be customized, along with a channel icon for quick identification. Channel types will also setup unique channel filters for your presets, making it easy to find and audition Fat Channel settings designed specifically for that channel type.

Filter DCAs revolutionize your workflow.

Managing a mix with 32 channels and multiple effects returns can be a daunting task. Big, mega-expensive mixers have addressed the problem of managing complex mixes with population/view groups that reduce the channels you’re viewing at one time and DCAs that allow you to control a group of channels.

We’ve combined the best parts of these solutions—and removed the strict limits to the number of groups—by introducing Channel Types and Filter DCAs. With these tools, you don’t have to juggle multiple features or make critical decisions about which channels are most important.

With Filter DCAs, you can control and navigate your mix with finesse and precision. Start by choosing Channel Types, which assign an icon and name to a channel (kick, snare, guitar, and so on) so you can quickly identify what’s on each channel. UC Surface uses this information to create Filter DCAs automatically (Drums, Guitars, etc.). With this done for you, you can focus on setting up your mix. You can also create your own Filter DCAs with one or more input channels, effects returns, the tape inputs, and the digital returns.

A Filter DCA can contain any combination of the available input channels and effects returns, and you can create as many Filter DCA groups as you need—far more than with the population groups and DCAs offered by competitors. You can include the same channel in lots of different Filter DCAs, thereby slicing and dicing the mix in various creative ways.

Filter DCAs also work independently on each mix giving you control of the same group on the main mix or any aux mix. Say you want to turn up all the drums in the main mix and then turn them all down in the bass player’s aux mix; you can do it with ease thanks to Filter DCAs.

All of your Filter DCAs consolidate into one Filter DCA Masters view that even fits on an iPad, where you can mix the groups. Want to drill down? Just touch a button to access and adjust the mix of the channels within a Filter DCA group. Then exit right back to the Masters view. With your selection of Filter DCAs and the Masters view, you can create your own custom layer that puts exactly the channels and groups you need under your fingers.

This is going to change the way you mix!

Specifications

Microphone Preamp

Input Type XLR Female, balanced, locking
Frequency Response to Direct Output (at unity gain) 20-40 kHz, ±0.5 dBu
Frequency Response to Main Output (at unity gain) 20-20 kHz, ±0.5 dBu
Input Impedance 1 kΩ
THD to Main Output (1 kHz at unity gain) 0.005%, +4 dBu, 20-20 kHz, unity gain, unwtd
S/N Ratio to Main Output (Ref = +4 dB, 20 kHz BW, unity gain, A-wtd) 94 dB
Common Mode Rejection Ratio (1 kHz at unity gain) 65 dB
Gain Control Range (±1 dB) 0 dB to +65 dB
Maximum Input Level (unity gain) +22 dBu
Phantom Power (±2 VDC) 48 VDC, switchable per channel

Tape Inputs

Type RCA Female, unbalanced (stereo pair)
Maximum Input Level +12 dBu

Main Outputs

Type XLR Male, balanced
Rated Output Level +24 dBu
Output Impedance 100Ω

Mix Outputs

Type XLR Male, balanced
Rated Output Level +24 dBu
Output Impedance 100Ω

Headphone Output

Type ¼” TRS Female, active stereo
Maximum Output 120 mW/ch. @ 60Ω load
Frequency Response 20 Hz – 20 kHz (± 0.5 dB)
THD+N 0.01%, 1 kHz, max gain, 20 Hz BW, unwtd
S/N Ratio 96 dB, 1 kHz, max gain, 20 Hz BW, unwtd

System Crosstalk

Input to Output -90 dB (Ref = +4 dBu 20 Hz-20 kHz, unwtd)
Adjacent Channels -87 dB (Ref = +4 dBu 20 Hz-20 kHz, unwtd)

Noise Gate / Expander

Threshold Range -84 dB to 0 dB
Attack Time 0.02s to 500 ms / 0.5 ms
Release Time 0.05s to 2s
Expander Attenuation Range 2:1 (fixed)
Noise Gate Attenuation Range -84 to 0 dB
Key Filter 2nd-order, resonant bypass; Q=0.7
Key Listen Off, 40 Hz to 16 kHz

Compressor

Threshold Range -56 dB to 0 dB
Ratio 1:1 to 14:1
Attack Time 0.2 ms to 150 ms
Release Time 40 ms to 1,000 ms
Auto Attack and Release Attack = 10 ms, Release = 150 ms
Curve Types hard and soft knee

Limiter

Threshold -56 dB to 0 dB / -28 dBFS
Ratio ∞:1
Attack 20 ms
Hold 10 ms
Release 20 ms

Parametric EQ

Type 2nd-order shelving filter
Low (Lowpass or Bandpass) 36 to 465 Hz, ±15 dB
Low Mid (Bandpass) 90 Hz to 1.2 kHz, ±15 dB
High Mid (Bandpass) 380 Hz to 5 kHz, ±15 dB
High (Highpass or Bandpass) 1.4 kHz to 18 kHz, ±15 dB
Q (sweepable for each band) 0.1 to 4 / Low Q= 0.55, Hi Q=2.0

Graphic EQ

31-Band 1/3-Octave Controls Center frequencies (Hz): 20, 25, 32, 40, 50, 63, 80, 100, 125, 160, 200, 250, 320, 400, 500, 640, 800, 1k, 1.3k, 1.6k, 2k, 2.5k, 3.2k, 4k, 5k, 6.4k, 8k, 10k, 13k, 16k, 20k. Each band has a constant Q.
Gain/Attenuation ±15 dB

Digital Audio

ADC Dynamic Range 118 dB (A-wtd, 48 kHz)
DAC Dynamic Range 118 dB (A-wtd, 48 kHz)
FireWire S800, 800 Mb/s
S/PDIF Output RCA Female
Internal Processing 32-bit, floating point
Sampling Rate 44.1, 48, 88.2, 96 kHz
A/D/A Bit Depth 24
Reference Level for 0 dBFS +18 dBu

Clock

Type JetPLL™
Jitter <20 ps RMS (20 Hz - 20 kHz)
Jitter Attenuation >60 dB (1 ns in, 1 ps out)

Power/Environmental

Connector IEC
Input-Voltage Range 90 to 240 VAC
Power Requirements (continuous) 200W
Recommended Ambient Operating Temperature 0˚ to 40˚ Celsius / 32˚ to 104˚ Fahrenheit

Physical

Rackspaces 4U
Height 7” (17.78 cm)
Width 19” (48.26 cm)
Depth 10.5” (26.67 cm)
Weight 22 lbs. (9.98 kg)
As a commitment to constant improvement, PreSonus Audio Electronics, Inc., reserves the right to change any specification stated herein, at any time, without notification.

Compare Models

 

RM32AI

RM16AI

32.4.2AI

24.4.2AI

16.4.2AI

Mixing Surface Software Software Hardware and software Hardware and software Hardware and software
Mixer Channels 32 32 32 24 16
Mic Inputs 32 16 32 24 16
Preamp Type Recallable XMAX™ Class A Recallable XMAX™ Class A XMAX™ Class A XMAX™ Class A XMAX™ Class A
Line Inputs - - 32 (TRS) 24 (TRS) 16 (TRS)
Analog Inserts - - 32 24 16
Stereo Aux Inputs - - 2 2 2
Tape Input Yes Yes Yes Yes Yes
Tape Output - - Yes Yes Yes
Talkback Input - - Yes Yes Yes
Total Mix Buses 25 25 24 20 16
Main L/R Bus Yes Yes Yes Yes Yes
Main Mono Bus Yes Yes Yes Yes Yes
LCR Mode Yes Yes - - -
Aux Mixes 16 16 14 10 6
Analog Aux Outputs 16 (XLR) 8 (XLR) 14 (TRS) 10 (TRS) 6 (TRS)
Direct Outputs - - Yes Yes Yes
Control Room Outputs - - Yes Yes Yes
Subgroups Subgroup Assign mode for Aux mixes coming in Q1 2015 Subgroup Assign mode for Aux mixes coming in Q1 2015 4 4 4
Dual A/B Fat Channel on all Inputs and Outputs Yes Yes Yes Yes Yes
FX Buses and Processors 4 4 4 4 4
GEQ 15 15 16 12 8
Mute Groups 8 8 6 6 (via VSL-AI) 6 (via VSL-AI)
Quick Scenes 8 8 6 6 (via VSL-AI) 6 (via VSL-AI)
Filter Groups Yes Yes Coming in Q1 2015 Coming in Q1 2015 Coming in Q1 2015
Digital IO 52x34 52x34 48x34 40x26 32x18
MIDI IO Yes Yes - - -
Cascading Coming in Q1 2015 Coming in Q1 2015 Yes Yes Yes
Option Cards Dante and AVB coming Q2 2015 Dante and AVB coming Q2 2015 Dante and AVB coming Q2 2015 Dante and AVB coming Q2 2015 Dante and AVB coming Q2 2015
Bundled Software* UC Surface, Capture™, Studio One® Artist, QMix™-AI UC Surface, Capture™, Studio One® Artist, QMix™-AI VSL-AI, Capture™, Studio One® Artist, QMix™-AI, SL Remote AI VSL-AI, Capture™, Studio One® Artist, QMix™-AI, SL Remote AI VSL-AI, Capture™, Studio One® Artist, QMix™-AI, SL Remote AI
Integrates Smaart® Audio Analysis Coming in Q1 2015 Coming in Q1 2015 Yes Yes Yes

System Requirements

Below are the minimum computer-system requirements for UC Surface.

Mac

  • Mac® OS X 10.8.5 or later
  • Intel® Core ™ Duo processor (Intel Core 2 Duo or Core i3 or better recommended)
  • 4 GB RAM (more recommended)

Windows

  • Windows 7x 64/x86 SP1 or Windows 8/8.1 x64/x86 or Windows 10 x64/x86
  • Intel® Core™ 2 processor (Intel® Core™ i3 processor or better recommended)
  • 4 GB RAM (8 GB or more recommended)

Mac and Windows Systems

  • S800 FireWire (IEEE 1394b) harbor
  • Ethernet recommended
  • Internet connection recommended
  • DVD-ROM drive
  • Internal or external 7200 RPM storage drive highly recommended
  • Monitor with 1280x800 resolution
  • The minimum system requirements for DAWs May Differ --other than Studio One® .
  • Please check the requirements for your DAW of choice with ict manufacturer.
Note that the speed of your processor, amount of RAM and size and speed of your hard drive will affect the overall performance of your recording system Greatly. Also, a More Powerful system (faster processor with more RAM) will allow for lower latency (signal delay) than you might experience while monitoring audio or MIDI signals. Monitor resolution for Both Mac and PC shoulds be no lower than 1280x800 pixels.

Video

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