PreSonus introduces the StudioLive AR22: ‘a musician’s mixer’ that also records
Designed for live and studio use, it lets you record to SD card and contains an audio interface
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PreSonus has added another mixer to the StudioLive AR range that it launched in 2016: the AR22. Billed, like its stablemates, as a “musician’s mixer”, this features analogue and digital connections and is designed for live and studio use.
As its name suggests, this is a 22-channel mixer, and one that comes with a 24-bit/96kHz USB 2.0 audio interface built in so that that you can hook it straight up to a computer. You can also capture a two-track mix on an SD card, while playback of up to 32GB of MP3 or WAV files from an SD card is supported, too.
On the input side, there are 16 Class A mic preamps and 26 analogue line inputs. Each of the 12 mono channels and four stereo channels has a 60mm fader, a low-cut filter and mute, pan and solo with prefader listen. Each mono channel has a 3-band parametric EQ with sweepable mid band, while channels 1 to 4 have inserts for adding external processors. Each of the four stereo channels provides a single mic input, plus balanced 1/4-inch left and right line inputs and a basic three-band, semi-parametric EQ. There’s also a global phantom power option for condenser mics.
Another highlight is the PreSonus Super Channel, which enables you to play back audio from four stereo sources simultaneously.
The AR22 ships with PreSonus’s Capture live recording software, and the Studio One 3 Artist DAW. You also get the Studio Magic Plug-in Suite, which includes seven plugins in VST/AU/AAX formats.
You can expect to see the StudioLive AR22 USB mixer in stores in the fourth quarter of this year priced at $800. Find out more on the PreSonus website.
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I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.
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