Presonus - StudioLive RM16AI

16 channel Digital Rack-Mounted Mixer with Active Intergration

Rack-mount convenience, AI power, and total recall.

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.

 

 

 

 

Complete recallable touch control.

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. 

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®.

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.

 

 

 

The power of Active Integration™.

StudioLive RM-series mixers are based on Active Integration™ (AI), a complete, networked, tightly integrated hardware/software ecosystem in which every touch point in the system interacts to enhance the user experience and solve practical problems in ways not previously possible.

 

Active Integration products combine powerful 32-bit floating-point DSP, wireless and wired networking, and proprietary software to solve real-world problems. PreSonus leads the industry in hardware/software integration, and Active Integration takes this concept to a new level, offering capabilities that have never been available before.

In PreSonus StudioLive RM-series digital mixers, Active Integration technology bridges the gap between the stage and studio. A powerful suite of integrated software makes it easy to mix and record a live performance and then take that mix to the studio, complete with levels, pans, and Fat Channel plug-ins. From there, you can use PreSonus’ Nimbit® distribution and promotion service to share and sell your recordings. The combination of StudioLive RM digital mixers, UC Surface control software, Capture recording application, Studio One DAW, andNimbit publishing provides an end-to-end solution.

StudioLive Active Integration mixers have more than enough DSP to power a deep and clear mix bus, four internal effects buses, and two complete sets of Fat Channel EQ and dynamics settings per channel and bus so you can make quick A/B comparisons—all built on the same 64-bit architecture that makes Studio One® sound so amazing.

With Active Integration, new features and enhancements can be added in future firmware and software updates—and PreSonus has earned a reputation for regularly supplying such updates in its digital products. 

Actively integrated software.

PreSonus StudioLive RM-series mixers are tightly integrated with a suite of free, state-of-the-art software that helps you mix and record better and have more fun doing it. No other mixer near this price class offers comparable software.

The StudioLive RM Software Library comprises the latest version of our tightly integrated software bundle: UC Surface control software for Mac, Windows, and iPad and Capture™multitrack-recording software and Studio One Artist® DAW for Mac and Windows. 

In addition, QMix-AI™ aux-mix control for iPhone®/iPod® touch is available free from the Apple App Store. 

All of these applications are designed to communicate with each other and with the mixer.

 

Capture

Capture™ is the first digital audio multitrack-recording application designed to make live recording quick and easy. With the look and feel of industry-standard digital multitrack hard-disk recorders, it is instantly familiar to every musician and engineer. 

Designed exclusively for StudioLive-series mixers, Capture allows instant setup and recording directly from the mixer with no configuration. It’s also the only application in its class to offer virtual soundcheck, allowing you to use a previous show or rehearsal recording to perform a nearly complete soundcheck at any venue before the band arrives!

 

Studio One

Studio One is a completely modern professional environment for music recording, mixing, mastering, sharing, and collaboration. It’s Internet-savvy and provides a complete solution, from riff to release, combining the features you really need with the ease of use you always dreamed of.

Based on an elegant user interface and a content browser with powerful drag-and-drop functionality, feature-rich Studio One will let you work quickly and stay focused on your inspiration. And with Studio One Professional, you can even master your projects and burn CDs and DVDs—a combination of features available in no other audio recording and production software.

 

QMix-AI

If you have a StudioLive RM-series mixer, your new onstage personal monitoring system is probably already in your pocket. With free PreSonus QMix-AI™ software, up to 14 musicians can simultaneously control their StudioLive™ RM-series mixer’s monitor (aux) mixes using an iPhone® or iPod touch®. Each musician can control one of 16 aux mixes. And QMix-AI is incredibly easy to set up and use.

  

Nimbit

Nimbit is a powerful all-in-one sales, marketing, and promotion service that allows you to share audio content as well as organize, market to, and manage a fan base. Uses can also create a profile, an online store, and promote upcoming events. A Nimbit Free account is included with your StudioLive RM; it includes many of the service’s best features and is comparable to many other paid services. If you want more features, you can add a la carte features or upgrade to a Nimbit Premium account and take advantage of everything Nimbit can do.

With Active Integration, all parts speak the same language

All of the applications in the StudioLive RM Software Library are on the same software platform and support the new capabilities introduced with Active Integration™ technology. This enables them to interact in several powerful and useful ways—and it enables us to add more such capabilities in the future.

For example, you can save and load StudioLive RM mixer scenes with Capture™ and then open the Capture Session in Studio One; the Studio One mixer is set to match your StudioLive RM mix scene, including fader values, mutes, pan, and FX send mixes. Fat Channel settings are loaded into Studio One’s Fat Channel Native Effects™ plug-in. You can also share presets between the Studio One Fat Channel plug-in and UC Surface. Channel names entered in UC Surface, Capture, or QMix-AI are broadcast throughout the network, so you only have to name a channel once—and you can name it from anywhere.

And that’s just what you can do today—there’s more to come!

 

 

 

Wi-Fi and wired networking.

PreSonus StudioLive™ RM-series digital mixers’ Active Integration™ technology includes powerful real-time, direct, wired and Wi-Fi remote control over a variety of features, using free Mac®, Windows®, and iOS® software. 

It’s easy to create a StudioLive RM-series wireless network! 

Creating a wireless network may be new to you but no worries: We made it easy to connect your StudioLive RM mixer to a wireless network.

If you connect a wireless router to your StudioLive RM mixer with an Ethernet cable, the system assumes (just like Mac OS X and Windows) that you have permission to be on that network, and your mixer automatically connects to it. If you want to go wireless, you can scan for available wireless networks and scroll through them by name. If you name your wireless network “StudioLive,” your mixer will even connect automatically.

You never have to create an IP address or enter a subnet mask, or even know what those are. 

Bottom line: If you’ve ever connected your computer, iPad, or iPhone to a wireless network, you already know how to connect your StudioLive RM mixer to the network. 

That said, we understand that corporate, educational, and government environments require secured, firewalled networks, which requires some expertise. We gave you that capability, too: The networking backbone of PreSonus AI technology is registered with IANA (Internet Assigned Numbers Authority). Simply open port 47809 to let AI control network traffic through. 

 

Upgradeable networking and recording connections.

Like all StudioLive mixers, every RM-series mixer integrates a multi-channel recording interface. A pair of FireWire S800 ports let you connect the StudioLive RM mixer to a Mac or Windows PC for recording. The integrated recording interface can send up to 54 audio streams to a computer and return up to 34 playback streams.

Every StudioLive RM-series mixer offers a special USB 2.0 port with an included USB wireless (Wi-Fi) LAN adapter for connection to your wireless router. A standard Ethernet port provides a hard-wired connection to your wireless router. So you have two different ways to connect to a router and can use whichever works best for the gig. 

But you aren’t limited to FireWire and standard Ethernet. The FireWire S800 and Ethernet ports come preinstalled on a card that can be replaced with optional Dante, AVB, or Thunderbolt cards so you can use the latest technology. A standard Ethernet port provides a hard-wired connection to your wireless router. So you have two different ways to connect to a router and can use whichever works best for the gig.

 

 

 

A gigantic console in a few rack spaces.

If a StudioLive RM mixer were an analog console, it would have 4-foot-long channel strips packed with knobs and buttons or it would require a massive outboard rack of expensive signal processors! Instead, all that processing fits in three (RM16AI) or four (RM32AI) rack spaces under software control.

Each StudioLive RM mixer channel and bus has its own studio-grade compressor, limiter, gate/expander, and 4-band parametric equalizer. Each input channel, aux and FX bus also has a highpass filter, and input channels have polarity invert. 

It all is part of a remarkable processing and routing section known as the Fat Channel.

Unlike most competing digital mixers, there are no limitations or compromises, no shared resources, no figuring out what processing is available where. You have all of the processing available at all times.

Because StudioLive RM mixers have so much processing power and blazing-fast RAM, you can create two complete sets of EQ and dynamics-processor settings for every channel and bus and then make quick A/B comparisons at the touch of a button in UC Surface. Does the guitar player use a Strat for some songs and Les Paul for others? Don’t use up two channels; create two completely different Fat Channel settings for each guitar and access them with the touch of a button before he has the next guitar strapped on.

It’s like having two complete channel strips on every input and output—but simpler and more efficient!

 

Fat is beautiful.

Engaged by touching any Select button in UC Surface, the StudioLive RM-series Fat Channel section delivers a compressor, limiter, gate/expander, and four-band fully parametric EQ on every channel and mix bus. You also get a highpass filter on every channel and aux bus, a lowpass filter on the main mono/center bus, and polarity invert for each channel—not to mention routing, panning, and scene and setting store and recall.

To let you get the most from all of this processing power without descending into menu purgatory, we designed UC Surface with an intuitive graphic interface. It’s easy to instantly access any function and get clear, visible feedback so you know at a glance which channel or bus you’re processing. Type in values or adjust them with a graphic display in an easy-to-use parameter box. You’ll love how quickly you can work!

Plenty of graphic EQs, too!

You get graphic EQ on 12 aux buses and the main left, right, and mono/center channels—with two settings for each, all at the same time, without compromising other resources. Each graphic EQ has an A/B option, so you can, for example, boost the bass for a rock band and then switch over to a “smiley face” for intermission program music. 

 

 

 

Effects you'd expect from a $600 stand-alone processor. Or four.

Two 32-bit stereo effects engines on dedicated buses, loaded with reverbs so rich and detailed that you feel like you're there. Two more with delay effects that you can really use. Use all four without compromising other resources.

Some of our competitors include a lot more than 50 digital effects. But frankly, many of their “effects” are so weird that they aren’t good for much more than a hearty chuckle or the most drunken karaoke party in history.

Instead, we armed StudioLive-series mixers with an essential library of serious, down-to-earth reverbs and delays, created by seasoned sound professionals. Each is useful, practical, and very rich, thanks to 32-bit floating-point processing and exquisite algorithms. None of them sound like a dog gargling—unless you want them to, since all 50 preset effects have easy-to-use parameter adjustments, tap tempo, store, and recall for ultimate creative flexibility.

 


AMBIENCE
  • Natural
  • Lively
LARGE HALL
  • Church
  • Cathedral
  • Gymnasium
  • Arena
SMALL ROOM
  • Closet
  • Studio A
  • Studio B
  • Bedroom
PLATE
  • Shimmer
  • Thick
  • Drums
  • Vox
BRIGHT ROOM
  • Kitchen
  • Tile Floors
  • Tile Bathroom
  • Concrete Floors
MONO DELAY
  • M: Short Slap
  • M: Long Slap
  • M: Triplet
  • M: Triplet
SMALL HALL
  • Radio Booth
  • Small Club
  • Big Club
FILTER DELAY
  • Analog Slap
  • Analog Trip
  • Analog 8th
BRIGHT HALL
  • Brick House
  • Linoleum Room
  • Tile Room
STEREO DELAY
  • Slap Quick
  • Long Slap
  • Spacey
  • Long Tail
  • ST: Triplet
WARM HALL
  • Log Cabin
  • Wood Floors
  • Brick Club
  • High Ceilings
PING PONG DELAY
  • Quick
  • Slap
  • Spacey
  • Trip
  • Purple Rain
GATED HALL
  • GateVerb Short
  • GateVerb Med
  • GateVerb Long
  • GateVerb Extreme
 

 

Dedicated I/O.

View the front of a StudioLive RM-series rack-mount mixer, and you’ll see a straightforward jackfield with XLR channel inputs, XLR mix outputs, and other important connections.

 

The sound is pure PreSonus.

Of course, getting a great-sounding mix depends partly on your skill, assisted by StudioLive RM-series mixer’s ease of use, features, and integrated software. But you also need great microphone preamps and converters, a clean signal path, and well-written algorithms that perform at a high level.

The StudioLive’s XMAX™ Class A preamplifiers deliver more headroom, deeper lows, smoother highs, and a richer overall sound than the preamps found in competing mixers. High-headroom, 32-bit floating-point processing is used for all digital mixing. The Burr-Brown digital converters on every input and output are state-of-the art, with 118 dB dynamic range.

Recallable Preamps

Until now, recallable mic preamps meant using a cheap integrated circuit that compromised sound quality in favor of digital recall. We didn’t want to change the sound of our superb Class A preamps, so we came up with a separate digital volume-control circuit ahead of the analog preamp. Voila! Digital recall of quality analog mic preamps!

 

MAX Headroom

At PreSonus, we know that the mic preamplifier is a key component in the sonic quality of a recording. StudioLive AI-series mixers include custom-designed, high-voltage, discrete, XMAX Class A microphone preamplifiers that are suitable for use with all types of microphones.

The job of a microphone preamplifier in a digital mixer is to boost a microphone-level signal to line level before conversion to the digital domain. A good preamp boosts the level to almost 400 times that of the original signal, making the preamp one of the most important stages in an interface. A cheap, off-the-shelf, op-amp-type mic preamp delivers thin, noisy, harsh results.

But with XMAX preamps, the sonic quality is limited only by the microphones you plug into them.

XMAX preamplifiers are built with three key elements:

  • High Voltage. The XMAX preamplifier runs on power rails of 30V. Most off-the-shelf, op-amp-based designs run on power rails of 10V to 18V. Higher-voltage power rails deliver more headroom, deeper lows, smoother highs, and a richer overall sound.
  • Discrete components—not op-amps. We only use genuine transistors, resistors, and capacitors. Op-amps add noise, coloration, and harshness to a signal. Our discrete design delivers ultra-low noise and transparency.
  • Class A. Class A circuits have no crossover distortion and deliver purer, clearer, and more musical results than the Class AB designs that are found in many preamps.


The net result of the XMAX preamp design is high headroom, low noise, wide dynamic range, extended frequency response, and—most important—musicality and transparency, with smooth highs, solid deep lows, and everything in between.

 

Jet-powered synchronization

The StudioLive RM mixer’s synchronization to your computer is stable and robust, thanks to JetPLL™ synchronization technology. JetPLL™ incorporates noise shaping to virtually remove all audio-band jitter, ensuring near-perfect clock performance and optimal converter performance when networking two or more digital-audio devices.

JetPLL quickly locks to any digital format through a wide range of frequencies and is extremely robust and tolerant of wide variations in clock frequencies.

As a result, you’ll experience better stereo separation and clearer, more transparent audio.


 

 

Complete store and recall—instantly.

With UC Surface, it’s very quick and easy to save all of your StudioLive RM settings for quick setup and recall—unlike some digital mixers.

Two factors work against getting that Perfect Mix with an analog mixer. First, the Perfect Mix can be hard to reproduce a week, day, or hour after you perfect it. And second, a good mix should be dynamic: levels, effects, and EQ should be tailored to each song or segment of the show, service, or presentation. This adds up to a lot of settings to remember and reset at every performance.

That's where the power of digital comes in: UC Surface battle-ready software lets you save all of your digital settings for quick setup and recall. Unlike some digital mixers and their associated software, StudioLive RM-series mixers with tightly integrated UC Surface make it fast and easy.

With UC Surface, you can save and name scenes that include every setting on the mixer—or save just the Fat Channel settings. Copy-and-paste settings across multiple channels and buses. Save individual DSP effects for ultimate ease, speed, and control. 

In short, you’ll love the fast, intuitive workflow offered by UC Surface’s straightforward, clearly marked controls; Windows 8 and iPad touchscreen support; and drag-and-drop implementation.

 

Make the scene—instantly!

UC Surface makes saving and recalling scenes even faster and more convenient with eight user-assignable Quick Scenes that allow you to create a scene without storing it to permanent memory and giving it a name. This is especially useful when mixing multiple bands that you might not ever mix again—and to keep important stored scenes at your fingertips.

This means that for fixed applications like clubs, churches, and auditoriums, you can always count on the same sound and can fine-tune scenes for different songs and call them up instantly. And it lets rank amateur volunteers successfully operate a StudioLive RM-series mixer. 

 

“WOW! How did you get that snare to sound so good?”

Don’t tell them it was one of the 50 StudioLive Fat Channel channel presets.

StudioLive’s Fat Channel lets you apply the equivalent of a six-foot rack of signal processors to every input. If you’re an experienced sound person, you’ll love all the options. But if you’re new to pro audio, gating, compression, limiting, semi-parametric equalization, and so on, can seem pretty complicated—which is why we’ve built in 50 excellent preset starting points for optimizing the sound of instruments, vocals, and spoken word. 

Before we released the first StudioLive mixer, we sent some out to professional sound mixers and engineers, let them tweak to their heart’s content under actual live and studio conditions, and then stored the results in factory presets. You get the benefit of their years of experience at making drums, percussion, guitars, keyboards, horns, vocals, and spoken word sound their best.

With StudioLive RM-series mixers and UC Surface, these presets, as well as your custom settings, can be organized and browsed by category so you can quickly find your favorite vocal preset without scrolling through horn and guitar presets. An AutoStore feature regularly saves your current settings in case the power fails.

And of course you can alter, rename, and generally customize each preset and save it in any of 50 empty storage locations. 

With the RM-series mixers, we’ve also added a new Audition mode for presets. Turn on Audition, and you can instantly hear the preset as you select it from the list. Once you find the preset you like, feel free to tweak the settings; when you load the preset into the channel, it will load with your tweaks. If you decide not to load a preset, just turn Audition off, and the Fat Channel will return to its current settings.

 

A sampling of the presets:

 

DRUMS
  • Kick, Funk, Jazz,
  • Fat Snare and Snare Crackalak
  • Toms Low and Hi Overhead
  • Rock
  • and 9 more
HORNS
  • Trumpet
  • Trombone
  • Sax
  • Solo Sax
BASS
  • Electric 1, 2
  • Slap
  • Upright
PERCUSSION
  • Congas
  • Bongos
  • and more
GUITAR
  • Rock 1, 2
  • Funk
  • Metal
  • Acoustic
  • and 3 more
VOICE
  • 3 male presets
  • 2 female presets
  • 2 spoken-word presets
KEYBOARDS
  • Bright Piano
  • Warm Piano
  • Jazz Piano
  • and 3 more
 

 

 

Safe, sane, and secure.

Powerful networking and wireless remote control is great—but what if someone tries to hack into your Wi-Fi system and take control of the show or that jokester bass player tries to use his iPhone to mess with the lead singer’s monitor mix?

If you’ve mixed many shows, you know that securing the mixing station can be crucial when you step away for any reason. Securing your wireless remote control system is an even bigger issue because a hacker could be anywhere in the venue. That’s why StudioLive RM-series mixers with UC Surface software have security features that effectively protect the entire system—in addition to whatever protection your wireless router affords. UC Surface lets you set permissions that determine which features can be controlled from each iPad or laptop on the network.

With UC Surface, you can decide whether a given Mac, PC, or iPad can have full access or limited access to all or just to one aux mix. When using QMix-AI for iPhone/iPod touch, you can enable each device to control an entire aux mix or just the Wheel of Me. The rhythm guitarist is quite capable of creating a good monitor mix, so allow him to do it. But that lead guitarist is sure to mess up his monitor mix and then complain that he can’t hear—so build a monitor mix for him and just let him use the Wheel of Me to get “more me.” You also can assign specific iPhones/iPod touches to control a specific aux bus, which means that jokester bass player can control his own mix but can’t mess with the singer’s mix.

Here’s the best part: You can completely block any iOS device from accessing the network entirely, even if someone has the router password. That hacker who wanted to take over the show and managed to break through your router’s firewall? Foiled! 

And if that bass player doesn’t toe the line, he’s going to lose his access privileges and live with the monitor mix you build for him.

 

 

 Which StudioLive RM for You?

That depends on how many inputs and outputs you need. We currently make two models, the StudioLive RM16AI and RM32AI. The only differences are the number of channel inputs and Mix outputs, channel activity LEDs, and DB25 connectors that mirror the Mix outputs. Otherwise, the two models are identical.

 
Specifications

Computer system requirements:

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

Apple iPad

  • iPad Air, iPad mini with Retina display, iPad (4th generation), iPad mini, iPad (3rd generation), or iPad 2
  • iOS 7.03 or later

Mac

  • Mac® OS X 10.8 64-bit or later
  • Intel® Core 2 Duo processor (Intel Core i3 or faster recommended)
  • 4 GB RAM (8 GB or more recommended)

Windows

  • Windows® 7 x64/x86 SP1, Windows 8 x64/x86
  • Intel Core 2 Duo processor (Intel Core i3 or faster recommended)
  • 4 GB RAM (8 GB or more recommended)

Mac and Windows Systems

  • Wired or wireless network connection
  • Internet connection
  • For Capture and Studio One:
    • FireWire S800 (IEEE 1394b) port
    • Internal or external 7200 RPM storage drive highly recommended
    • Monitor with 1280x800 resolution

 

Note that the speed of your processor, amount of RAM and size and speed of your hard drive will greatly affect the overall performance of your recording system. 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. 


 

RM16AI

RM32AI

Microphone Preamp

   

Input Type

XLR Female, balanced, locking

XLR Female, balanced, locking

Frequency Response to Direct Output (at unity gain)

20-40 kHz, ±0.5 dBu

20-40 kHz, ±0.5 dBu

Frequency Response to Main Output (at unity gain)

20-20 kHz, ±0.5 dBu

20-20 kHz, ±0.5 dBu

Input Impedance

1 kΩ

1 kΩ

THD to Main Output (1 kHz at unity gain)

0.005%, +4 dBu, 20-20 kHz, unity gain, unwtd

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

94 dB

Common Mode Rejection Ratio (1 kHz at unity gain)

65 dB

65 dB

Gain Control Range (±1 dB)

0 dB to +65 dB

0 dB to +65 dB

Maximum Input Level (unity gain)

+22 dBu

+22 dBu

Phantom Power (±2 VDC)

48 VDC, switchable per channel

48 VDC, switchable per channel

Tape Inputs

   

Type

RCA Female, unbalanced (stereo pair)

RCA Female, unbalanced (stereo pair)

Maximum Input Level

+12 dBu

+12 dBu

Main Outputs

   

Type

XLR Male, balanced

XLR Male, balanced

Rated Output Level

+24 dBu

+24 dBu

Output Impedance

100Ω

100Ω

Mix Outputs

   

Type

XLR Male, balanced

XLR Male, balanced

Rated Output Level

+24 dBu

+24 dBu

Output Impedance

100Ω

100Ω

Headphone Output

   

Type

¼” TRS Female, active stereo

¼” TRS Female, active stereo

Maximum Output

120 mW/ch. @ 60Ω load

120 mW/ch. @ 60Ω load

Frequency Response

20 Hz – 20 kHz (± 0.5 dB)

20 Hz – 20 kHz (± 0.5 dB)

THD+N

0.01%, 1 kHz, max gain, 20 Hz BW, unwtd

0.01%, 1 kHz, max gain, 20 Hz BW, unwtd

S/N Ratio

96 dB, 1 kHz, max gain, 20 Hz BW, unwtd

96 dB, 1 kHz, max gain, 20 Hz BW, unwtd

System Crosstalk

   

Input to Output

-90 dB (Ref = +4 dBu 20-20 kHz, unwtd)

-90 dB (Ref = +4 dBu 20-20 kHz, unwtd)

Adjacent Channels

-87 dB (Ref = +4 dBu 20-20 kHz, unwtd)

-87 dB (Ref = +4 dBu 20-20 kHz, unwtd)

Noise Gate / Expander

   

Threshold Range

-84 dB to 0 dB

-84 dB to 0 dB

Attack Time

0.02s to 500 ms / 0.5 ms

0.02s to 500 ms / 0.5 ms

Release Time

0.05s to 2s

0.05s to 2s

Expander Attenuation Range

2:1 (fixed)

2:1 (fixed)

Noise Gate Attenuation Range

-84 to 0 dB

-84 to 0 dB

Key Filter

2nd-order, resonant bypass; Q=0.7

2nd-order, resonant bypass; Q=0.7

Key Listen

Off, 40 Hz to 16 kHz

Off, 40 Hz to 16 kHz

Compressor

   

Threshold Range

-56 dB to 0 dB

-56 dB to 0 dB

Ratio

1:1 to 14:1

1:1 to 14:1

Attack Time

0.2 ms to 150 ms

0.2 ms to 150 ms

Release Time

40 ms to 1,000 ms

40 ms to 1,000 ms

Auto Attack and Release

Attack = 10 ms, Release = 150 ms

Attack = 10 ms, Release = 150 ms

Curve Types

hard and soft knee

hard and soft knee

Limiter

   

Threshold

-56 dB to 0 dB / -28 dBFS

-56 dB to 0 dB / -28 dBFS

Ratio

∞:1

∞:1

Attack

20 ms

20 ms

Hold

10 ms

10 ms

Release

20 ms

20 ms

Parametric EQ

   

Type

2nd-order shelving filter

2nd-order shelving filter

Low (Lowpass or Bandpass)

36 to 465 Hz, ±15 dB

36 to 465 Hz, ±15 dB

Low Mid (Bandpass)

90 Hz to 1.2 kHz, ±15 dB

90 Hz to 1.2 kHz, ±15 dB

High Mid (Bandpass)

380 Hz to 5 kHz, ±15 dB

380 Hz to 5 kHz, ±15 dB

High (Highpass or Bandpass)

1.4 kHz to 18 kHz, ±15 dB

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

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.

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

±15 dB

Digital Audio

   

ADC Dynamic Range

118 dB (A-wtd, 48 kHz)

118 dB (A-wtd, 48 kHz)

DAC Dynamic Range

118 dB (A-wtd, 48 kHz)

118 dB (A-wtd, 48 kHz)

FireWire

S800, 800 Mb/s

S800, 800 Mb/s

S/PDIF Output

RCA Female

RCA Female

Internal Processing

32-bit, floating point

32-bit, floating point

Sampling Rate

44.1, 48, 88.2, 96 kHz

44.1, 48, 88.2, 96 kHz

A/D/A Bit Depth

24

24

Reference Level for 0 dBFS

+18 dBu

+18 dBu

Clock

   

Type

JetPLL™

JetPLL™

Jitter

<20 ps RMS (20 Hz - 20 kHz)

<20 ps RMS (20 Hz - 20 kHz)

Jitter Attenuation

>60 dB (1 ns in, 1 ps out)

>60 dB (1 ns in, 1 ps out)

Power/Environmental

   

Connector

IEC

IEC

Input-Voltage Range

90 to 240 VAC

90 to 240 VAC

Power Requirements (continuous)

200W

200W

Recommended Ambient Operating Temperature

0˚ to 40˚ Celsius / 32˚ to 104˚ Fahrenheit

0˚ to 40˚ Celsius / 32˚ to 104˚ Fahrenheit

Physical

   

Height

5.25” (13.34 cm)

7” (17.78 cm)

Width

19” (48.26 cm)

19” (48.26 cm)

Depth

10.5” (26.67 cm)

10.5” (26.67 cm)

Weight

19 lbs. (8.62 kg)

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.

Downloads
RM series brochure
Presonus_rm_series_brochure_en.pdf (2014/10/07)
RM mixer applications
Presonus RM Applications 5-16-15 rk10 (2015/06/01)