Watch this space for the full review.<\/p>\n\n\n\n
In the meantime, here are some of the features that have been introduced for this iteration of the StudioLive mixing consoles.<\/p>\n\n\n\n
Seamless compatibility with Studio One Pro and leading DAWs
Bluetooth input for easy break music playback or quick reference mixes
Pristine Studio Sound on Stage
33 XMAX-Remote preamps for transparent analog tone and digital recall
32-bit floating-point DSP processing
115 dB A\/D\u2013D\/A converters with ultra-low jitter clocking
Expanded Routing and I\/O
16 FlexMixes configurable as auxes, subgroups, or matrix mixes
AVB networking with StudioLive Stage Boxes and Milan-compatible gear
Four dedicated effects buses, four subgroups, and 24 DCAs
Advanced Fat Channel Processing
Dynamic Fat Channel design with 8 scribble strip displays for fast visual access and customization
All 7 EQs and 8 Compressors from the Fat Channel Collection included
Modeled after iconic hardware: Brit Comp, FC-670, Tube EQ, and more
Extended reverb parameters: Diffusion, Predelay, Room Size, and advanced damping
Metro™ Remote Access and Universal Control
Control every aspect of your mix remotely\u2014from routing to effects
Provide technical support and reconfiguration remotely
Use QMix\u00ae-UC for personal monitor mixing from mobile devices
Mixing Comfort and Control
33 touch-sensitive motorized faders deliver smooth automation and tactile mixing
Ergonomic flat screen and redesigned fader caps for maximum visibility and comfort<\/p>\n\n\n\n
FlexMixes and Buses<\/strong>\u00a0offer a nearly infinite mix configuration equipped with an arsenal of studio quality audio processors and effects. <\/p>\n\n\n\n The mixers\u2019\u00a0Integrated Recording<\/strong>\u00a0offers an unique 64×64 bidirectional audio interface that makes recording individual channels and routing to plug-in racks effortless.\u00a0 <\/p>\n\n\n\n Flexible Routing<\/strong>\u00a0offers any of four available sources to be patched to any channel and switched at the press of a button. <\/p>\n\n\n\n With\u00a0Customized Configurations and User Settings,\u00a0<\/strong>users cancreate a custom fader layout with the user layer for fast access to critical channels.\u00a0 <\/p>\n\n\n\n StudioLive Series III SE offers ultra-clean\u00a0Pristine Sound Quality<\/strong>\u00a0with PreSonus\u2019 XMAX-Remote preamps Studio-grade 32-bit floating-point DSP, 115 dB A\/D-D\/A converters and low-jitter clocking ensuring best-in-class dynamic range.<\/p>\n\n\n\n In great news for existing StudioLive owners a free update brings the new software features to previous models in the StudioLive family. Visit www.presonus.com to download the update for your console.<\/p>\n","protected":false},"excerpt":{"rendered":" Watch this space for the full review. In the meantime, here are some of the features that have been introduced for this iteration of the StudioLive mixing consoles. Seamless compatibility with Studio One Pro and leading DAWsBluetooth input for easy break music playback or quick reference mixesPristine Studio Sound on Stage33 XMAX-Remote preamps for transparent analog tone and digital recall32-bit… Read more →<\/a><\/p>\n","protected":false},"author":1,"featured_media":712,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-711","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mixing-console-reviews","xfolkentry"],"jetpack_featured_media_url":"https:\/\/www.theaudiomagazine.com\/wp-content\/uploads\/2025\/08\/SE32.png","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/posts\/711","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=711"}],"version-history":[{"count":1,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/posts\/711\/revisions"}],"predecessor-version":[{"id":713,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/posts\/711\/revisions\/713"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=\/wp\/v2\/media\/712"}],"wp:attachment":[{"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=711"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=711"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theaudiomagazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=711"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}