Vain Audio releases Sentinel distortion plugin for FREE
On November 2, 2025, Vain Audio launched the Sentinel distortion engine, which is available for free download.  The indie dev says the banded distortion plugin is built for violent transformation and precise harmonic distortion. The freeware plugin is available for macOS (Ventura and newer, AU, VST3, CLAP) and Windows (VST3, CLAP).  Vain Audio got straight [...]
View post: Vain Audio releases Sentinel distortion plugin for FREE

Lawmakers say stolen police logins are exposing Flock surveillance cameras to hackersFlock said around 3% of its law enforcement customers do not use multi-factor authentication, potentially exposing dozens of law enforcement agency accounts open to compromise and improper access.

Gibson Generation Group (G3) Mentors the Next Generation of MusiciansAccording to news from Gibson on Monday, "For over 130 years, Gibson has shaped the sound of music across generations. Today, Gibson proudly introduces the Gibson Generation Group (G3) Class of 2027— a global artist development program dedicated to mentoring the next generation of exceptional young musicians."

"Music that inspired generational movements has been written and performed by young artists with their Gibson and Epiphone guitars, and with its artist-first culture, Gibson is dedicated to developing the next generation of music players and creators with the Gibson Generation Group, aka Gibson G3. This curated group of emerging guitarists, songwriters, and music creators will embark on a two-year journey of growth, collaboration, and career-building."

"A powerful two-year mentorship program for emerging musicians, the Gibson Generation Group (G3) fosters a new generation, encouraging them to pursue careers in music. Through one-on-one artist relations support, instrument loans, collaborative social media promotions, and performance opportunities alongside music superstars at festivals and events, G3 members also participate in global marketing campaigns with Gibson and other iconic brands in the music and entertainment industry—launching them onto the worldwide stage."

"Gibson G3 members receive artist development with songwriting and coaching sessions from Gibson artists such as program mentors Emily Wolfe and Toby Lee. They also benefit from career guidance provided by Gibson’s Cultural Influence and Executive Leadership teams. G3 musicians learn to produce high-quality content and build promotional awareness, empowering them to grow a global fanbase reaching hundreds of millions of viewers worldwide."

"Gibson G3 artists remain an enduring part of the Gibson family, with the brand team continuing to support their career growth and champion their success."

“We are honored to welcome this talented group of musicians,” says Jenny Marsh, Global Director of Cultural Influence and Artist Programs at Gibson. “Working with a carefully curated group every two years allows us to build meaningful relationships and provide deep, ongoing support. Our commitment to artist development doesn’t end after the program—we’re here to champion their growth throughout their entire careers.”

“As the global mentor for the Gibson Generation Group, I’m continually inspired by the extraordinary talent and passion these young musicians bring,” adds Emily Wolfe. “It’s a privilege to help guide their artistic journeys and witness the rise of future legends. Gibson’s dedication to nurturing creativity and supporting artists from the very beginning is what makes this program so powerful—and I’m proud to be part of it.”

Stay tuned for updates and behind-the-scenes moments as these rising stars begin their journey and visit Gibson Generation Group (G3) for more information.

Gibson welcomes the Gibson Generation Group Class of 2027:

OLLY PEARSONUnited Kingdom

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"At just 12 years old, Olly Pearson is already making waves in the UK guitar scene. Inspired during lockdown by a neighbor’s driveway performances, Olly began learning guitar with help from his grandad over Zoom. His passion quickly evolved into public performances, starting in Chester in 2022, where his rendition of “Apache” gained over 15 million views on YouTube."

"Since then, Olly has performed solo at guitar shows across the UK and earned multiple endorsements, including Fairclough Guitars, Scan Pro Audio, Patrick Eggle Handmade UK Guitars, and Scott Dixon Guitar Flight Cases. He regularly demonstrates gear live at events and has shared the stage with local rock band The Swillers, highlighting his versatility and stage presence."

"In 2024, Olly was selected as an understudy for an EDF Energy commercial and performed solo at Deva Fest, further solidifying his reputation as a rising star. Now, as a member of the Gibson Generation Group Class of 2027, Olly continues to grow as a performer, creator, and future leader in music."

RUSSELL WATSON

Southern California

RUSSELLWATSON GUITAR.COM | IG

"Russell Watson is a young guitar prodigy from Southern California with a deep love for heavy metal and a mission to heal through music. He began playing guitar at age 8, shortly after the loss of his father to cancer—a moment that sparked his belief in music’s power to heal. Metal became his medicine, his voice, and his connection to something greater, inspiring him to dive into songwriting, composition, drumming, and more."

"Russell is deeply rooted in the metal community and spends hours each day practicing, exploring new sounds, and writing original music. While he respects the greats, he believes in breaking rules to find what feels right—channeling raw emotion and soul into every riff. His influences span legends like Dimebag Darrell, Randy Rhoads, Jimi Hendrix, and Eddie Van Halen, as well as modern icons like Zakk Wylde, Mark Morton, and Kirk Hammett."

"Living on a ranch with his mom and surrounded by animals and nature, Russell finds inspiration everywhere. He has homeschooled to balance his education with his musical journey and travels to perform and connect with fellow artists. With a foundation in metal and a love for grunge and blues, Russell is determined to keep rock music alive and authentic—one powerful note at a time."

LUDOVICK TSHISWAKA

Brazil

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"Ludovick Tshiswaka is a remarkable 13-year-old multi-instrumentalist whose musical identity is deeply rooted in his Brazilian and Congolese heritage. Immersed in music from birth, Ludovick began playing drums at age 2 and quickly expanded his talents to guitar, keyboard, melodica, ukulele, percussion, and cajón. Largely self-taught after learning foundational concepts from his father, Ludovick’s primary focus is the bass guitar, which he began playing at age 7."

"His natural versatility and soulful groove have shaped his unique sound across bass, guitar, and keyboards. Beyond performance, Ludovick is a skilled composer and producer, with a deep understanding of musical structure and expression. His passion for music is matched by his dedication to preserving its cultural roots while pushing creative boundaries."

"At just 10 years old, Ludovick contributed guitar work to Thalles Roberto’s Grammy-winning DVD Deixai Vir (2022), marking a major milestone in his professional career. He has since toured Brazil with Roberto and earned praise from legendary guitarist Tom Morello. With a growing presence in both live performance and production, Ludovick continues to build an impressive trajectory as one of the most exciting young artists in music today."

MELIS OGUT

Istanbul, Türkiye

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"Melis Ogut is a 16-year-old guitarist and artist from Istanbul whose passion for music began at an early age. She started playing guitar around age 9 and quickly devoted herself to the instrument, developing a distinctive style that blends blues rock with jazz fusion. Her expressive playing and creative approach reflect the depth of her musical influences, which include Joe Bonamassa, Eric Gales, Stevie Ray Vaughan, Marcus King, Mike Stern, and the Brecker Brothers."

"Melis aspires to continue her musical education in the United States, with dreams of attending renowned institutions like Berklee College of Music or the New School of Jazz. Her ultimate goal is to form her own band, write original music, and become a touring artist known for her soulful sound and dynamic performances."

"In addition to music, Melis is passionate about art and fashion, which she seamlessly integrates into her personal style—a vibrant mix of vintage and glam. She believes that music, art, and fashion are deeply interconnected, each inspiring the other and contributing to a richer creative expression. Melis is a bold and multidimensional artist with a clear vision and a bright future ahead."

ZIXUAN “ANGELA” LI

Beijing, China

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"Zixuan Li is a gifted young musician from Beijing, China, born in 2014. From an early age, she displayed an extraordinary passion for music, beginning piano lessons at age four and picking up the ukulele just months later. Before turning five, she had already composed several original songs, displaying a natural talent for melody and expression."

"At age five, Zixuan Li began learning guitar under the guidance of her father, and by age 10, she composed her first original fingerstyle piece, titled Memory. Her primary focus is fingerstyle guitar, and her dedication has led to numerous accolades and high-profile performances. She won first place in national guitar competitions hosted by Japanese masters Masaaki Kishibe (2022) and Kotaro Oshio (2024) and has performed on major stages, including CCTV’s Super Baby, the Viper Room in L.A., and concerts alongside renowned artists such as Jeong Seong-ha and Masaaki Kishibe."

"In August 2025, Zixuan Li won the national championship in the Primary School Group C (Guitar Major) at the Central Conservatory of Music’s Yangyin Showcase, earning an invitation to perform at the prestigious Zhizhen Award Concert. With her growing list of accomplishments and a deep love for music, Zixuan Li is quickly emerging as one of China’s most promising young musical talents."

JAYDEN ENGLISH

Seattle, WA

JAYDEN ENGLISH | IG | FB | TT

"Jayden English is a rising guitarist and vocalist from the Seattle area, born in 2014. From the moment she could make a sound, music has been her passion. She picked up the guitar at age 8 and quickly began channeling her love for rock through influences like Nirvana and KISS, later expanding her musical palette to include legends such as Randy Rhoads, Eddie Van Halen, Fleetwood Mac, Halestorm, and more."

"In 2024, Jayden took a major step in her musical journey by attending the Women’s Rock 'n' Roll Fantasy Camp, where she performed alongside iconic artists including Nancy Wilson, Lita Ford, Nita Strauss, Sheila E., and Rhonda Smith at renowned venues like Lucky Strike and the Viper Room in Los Angeles. These experiences helped shape her confidence and stage presence, and she continues to grow as both a performer and songwriter."

"Jayden is deeply grateful for the mentors and supporters who have guided her path, including Amanda Peters, Randy Hansen, Britt Lightning, Bella Perron, Rudy Sarzo, Moa Munoz, Liv Slingerland, Samantha Maloney, and Bob Daisley. With her powerful voice, dynamic guitar skills, and unwavering passion, Jayden is poised to inspire a new generation of rock fans."

SAWYER LEE

Nashville, TN

IG

"Sawyer Lee is an eleven-year-old guitarist from Nashville, Tennessee. Sawyer first picked up a guitar at just five years old, and it's been his constant companion ever since. By age six, he was already rocking his first stage performance. Sawyer's first love is rock 'n' roll, with legendary bands like The Allman Brothers and Lynyrd Skynyrd inspiring his sound."

"You'll often catch him at open mics, jamming with local musicians, or performing alongside his favorite band, The Hippies and Cowboys. When he's not playing music, Sawyer is front row at concerts, soaking up every riff and solo from his guitar heroes. For him, the best part of playing guitar is connecting with new friends and celebrating his love of music with them. Driven by a passion to learn and grow, Sawyer is always exploring new styles and techniques. The stage feels like home, and he's excited for every opportunity to perform. Right now, he's hard at work writing original music, with plans to release his debut song next year."

ZACH KRYS

Miami, FL

ZACH KRYS.COM | IG

"Miami raised Zach Krys’ musical journey began at age seven, inspired by his first musical love, The Beatles. That spark grew into a deep passion and a near-encyclopedic knowledge of music across genres. At 13 years old, he is a rocker and metalhead at heart, while always curious to explore his musical vocabulary. Zach loves being on stage, where his energy and connection with the audience truly shine."

"When Zach was eight years old, his uncle Sebastian gifted him a Gibson Firebird, a defining moment that changed everything and fueled his dedication to the guitar. Since then, Zach has devoted countless hours to mastering his playing, performing, and sharing his love of music. Influenced by icons such as Eddie Van Halen, Randy Rhoads, Zakk Wylde, Jimmy Page, and Slash, Zach has crafted a distinctive sound that reflects both his heroes and his own creative voice."

"Zach's love for performing has taken him to some incredible stages and experiences at such a young age. He has earned a coveted spot in the Florida All-State Jazz Band and proudly has performed the National Anthem at the Miami Heat. Zach has had the opportunity to play throughout Miami including the Montreux Jazz Festival, MODA Miami and at Los Producers during the Latin Grammys."

"For Zach Krys, Gibson isn't just a guitar brand, it's part of his musical identity and he is honored to be a member of the 2027 Gibson Generation Group (G3)."The post Gibson Generation Group (G3) Mentors the Next Generation of Musicians first appeared on Music Connection Magazine.

Print-and-Clamp: Rubber Band PCB Stand Slides into DutyWhen it comes to soldering on a PCB it almost always helps to have some way to hold the board off your workbench, allowing leads to pass though with out making it unstable and keeping it level while working with tiny components. This project sent in by [Mel] was born out of necessity he was going to be teaching a soldering class and needed a way to keep boards in place, and so designed this Print-in-place PCB holder.
While there are certainly a long list of products designed to serve this function [Mel] took advantage of some idle 3D printers to turn out PCB stands that require no assembly, just the addition of a rubber band and they are ready for use. Part of the challenge of print in place 3D prints is dialing in the tolerances of your design and printer, and for this [Mel] printed some smaller slider mechanisms that were quick to print and iterate with until he was happy and could start turning out the larger design using those values.
The full PCB holder includes 3 independent sliders allowing for boards of all shapes and sizes to be held. To tension the board mounts there is a slow lower down on the uprights to allow for a rubber band to be added pulling all three towards the center. Finally [Mel] included small trays between the 3 sliders to give you a convenient place to components are you assemble your board. The 3D print falls are all available for download and [Mel] also included the small slider as a 3D print for you to check your printer tollerances before you run off the final design. Thanks [Mel] for sending in your soldering tool design, it’s a great addition to some of our other soldering assistant devices we’ve featured.

3 things you might have missed from Universal’s Q3 earnings callMusic fans want to see AI improve their listening experience, not replace human artists, UMG's research found
Source

Native Instruments Maschine 3.4 arrives The latest update for Native Instruments’ all-in-one production platform has arrived, delivering an array of new features that focus on its modulation capabilities.

Bunker Samples Iremia Swells CollectionNow available as a stand-alone library, this collection includes all solo string swells originally released as part of the Iremia series. Each swell is a mini performance that begins from nothing, crescendoes to a medium intensity peak over a set length, before fading back to nothing over the same length. They are great at chordal playing and designed to add emotion and humanity to your music. The collection contains: Solo violin, viola and cello. 3 types of swells: normale, con sordino and con sordino tremolo 4 lengths for each swell: 4, 3, 2 and 1 second. Time Machine Pro patches that lets the user change the length of any swell. 5 microphone positions, including the Iremia signature inside and super close perspectives. Owners of the swells collection have an upgrade path to the full version of any Iremia title (which includes the swells but also sustains, textures and crossfade patches), so you will not be paying for the same samples twice. The Iremia Swells Collection require the full version of Native Instruments Kontakt 6.7.1 or later. Read More

Rhodes V-Pan Vibrato Stereo Panning Plugin is Available for FREE Download
You can currently nab Rhodes’ V-Pan Vari-Pan effect plugin (normally $39.95) for free download by signing up for the Rhodes newsletter.  The plugin replicates the Vari-Pan vibrato stereo panning circuit of Rhodes’ flagship MK8 e-piano. The V-Pan is suitable for adding swirling, ethereal textures to various sources, with Rhodes suggesting pairing it with synth, keyboard, [...]
View post: Rhodes V-Pan Vibrato Stereo Panning Plugin is Available for FREE Download

The SDS-3 was the predecessor of the world’s first fully electronic drum kit – Behringer has just launched its own versionIt was first revealed two years ago that German audio giant Behringer was working on a clone of the classic Simmons SDS-3 drum synthesizer. Now, it’s available for preorder.
Based on the original circuitry of the Simmons SDS-3 – the debut product from British designer Dave Simmons which arrived in 1978 – the Behringer SDS-3 features four fully independent drum channels, as well as a fifth, dedicated special FX channel for adding “motion, grit and sonic character” to your synthesized percussion.

READ MORE: Slower Fragment: e-instruments’ new plugin brings half-speed tape magic – for free

The Behringer SDS-3 features 57 onboard controls, with each of the four independent drum voices featuring a noise generator and self-oscillating diode ladder filter. These, along with the base array of drum sounds on offer, mean all the snares, kicks, hi-hats and cymbals you’ll be looking to create are covered.
Importantly, the SDS-3 is built for comprehensive compatibility with real drum sets; audio from a drum kit, for example, can be used to trigger the SDS-3 via 3.5mm TS jacks. The unit also boasts MIDI and USB connectivity.

There’s also pitch controls for each voice – one which tweaks the pitch of the tone generator and also serves as a low-pass filter for the noise generator – as well as pitch bend and decay controls.
An LFO is assigned to the pitch of each drum voice, offering square and sine waves, and audio-rate modulation via a Run Time effect, which introduces continuous modulation to your sound, instead of being re-triggered with each drum hit.
The original Simmons SDS-3 served as a predecessor to the SDS-5, the world’s first fully electronic drum kit. Instantly identifiable via its classic hexagonal pads, the SDS-3 found fans in a number of high-profile artists. Including Queen and Depeche Mode. The Behringer SDS-3 does away with the drum pads, and arrives in a more Eurorack-friendly chassis.
“In today’s synth landscape, the original machine is somewhat of a unicorn, but that isn’t going to stop us. We want to bring back this classic and a fun, unique way to add percussion to your songs,” says Behringer.
The SDS-3 is available to preorder now, priced at $249. Learn more at Behringer.
The post The SDS-3 was the predecessor of the world’s first fully electronic drum kit – Behringer has just launched its own version appeared first on MusicTech.

2 Weeks To Get Artist Accounts Ready For Spotify Wrapped 2025There are less than two weeks left to get Artist accounts ready for Spotify Wrapped 2025. Fortunately, Hypebot makes it easy with a checklist and tips from Spotify to help musicians get ready.
The post 2 Weeks To Get Artist Accounts Ready For Spotify Wrapped 2025 appeared first on Hypebot.

How Artists Level Up in 2025 Using DSP FeaturesHere are the top features on streaming platforms that artists and A&R reps are using to level up independent musician visibility.
The post How Artists Level Up in 2025 Using DSP Features appeared first on Hypebot.

Heritage Audio release HA-81A EQ plug-in Heritage Audio's latest software release sees the HA-81A EQ become the latest of their units to be treated to a virtual counterpart. 

Modular, AI-powered Sound Blaster Re:Imagine lets you build your dream audio hub — and it’s already 10x past its Kickstarter goalCreative Technology is bringing back the Sound Blaster name – but not as a sound card. The company has launched a new Kickstarter for Sound Blaster Re:Imagine, a modular audio hub that merges retro-inspired design with modern creator workflows.

READ MORE: The Antelope Audio Discrete 8 Oryx is an interface designed to be the “new heartbeat of your studio”

At its core, the Sound Blaster Re:Imagine is designed to connect just about everything. PCs, gaming consoles, tablets, microphones, headphones, speakers, even instruments – all route through a single hub, where any input can be sent to any output with a simple tap.
What makes Re:Imagine stand out, though, is its magnetic modular design. The base unit can be customised with magnetically attached modules – think sliders, knobs, quick keys, or even smart displays – so you can rebuild your setup on the fly. Each control is also fully programmable, allowing users to create macros for everything from muting a call to triggering a software code compile or activating any Matter-enabled smart home device.
Credit: Creative Technology
Under the hood, Re:Imagine runs on an octa-core ARM processor with 8GB of RAM and 16GB of flash storage (expandable via microSD). It supports Wi-Fi and Bluetooth, and can operate either as a standalone Linux-based system or as a PC-tethered audio hub. Audio is handled by a studio-grade 32-bit/384kHz DAC and amplifier, with enough power to drive anything from professional headphones to full-sized desktop speakers.
And in true Sound Blaster fashion, there’s a playful side too. The Re:Imagine comes with AI-powered versions of Dr. Sbaitso and the Sound Blaster Parrot, plus a built-in AI DJ that generates music based on your chosen theme, along with retro DOS-style games and visualisers.
“The original Sound Blaster changed the way millions experienced sound,” says Darran Nathan, VP of Operations & Products at Creative Technology. “With Sound Blaster Re:Imagine, we set out to reimagine what a Sound Blaster can be: not just a sound card, but a modular hub, a control deck, and a creative playground with endless possibilities. We are making the Sound Blaster relevant again, for today’s generation, in today’s multi-device world.”
The Sound Blaster Re:Imagine is available now on Kickstarter, with early backer pricing starting at $329 for the horizontal base unit and four included modules (3-inch smart screen, 4-button pad, dual slider and knob).
The post Modular, AI-powered Sound Blaster Re:Imagine lets you build your dream audio hub — and it’s already 10x past its Kickstarter goal appeared first on MusicTech.

Slower Fragment: e-instruments’ new plugin brings half-speed tape magic – for freee-instruments has unveiled Slower Fragment, a free virtual instrument that delivers the “evocative warmth and warped textures” of half-speed tape recordings.
As the name suggests, Slower Fragment offers a curated taste of e-instruments’ full Slower plugin – which features 230 presets built from 65 sound sources. Sounds recorded on four distinct tape machines have been pitched down an octave, resulting in a rich palette of lush harmonics, lo-fi grit, and atmospheric color, perfect for adding depth and character to any project.

READ MORE: How William Carkeet recorded an organ in a derelict Primark store, then turned it into a plugin

Slower Fragment includes six carefully crafted presets taken from the full Slower library, each designed to highlight a different tonal palette. From tape-worn pianos and evolving string textures to airy winds and gritty synths, the presets provide both immediate inspiration and a foundation for further exploration.
Users can tweak the sound on the fly using three macro controls, shaping multiple parameters simultaneously such as saturation, delay, space, wobble, and reverse textures.
The instrument draws its character from real pitched-down tape recordings captured across four different machines: Studio (Studer A812, Revox PR99), Portable (Uher 4400 Report), Cassette (Tascam Portastudio 424 mkiii), and Dictaphone (Sony M650v). Each tape machine imparts its own sonic flavour, from clean, harmonic-rich lows to lo-fi, nostalgic crunch, giving producers a rich set of textures to play with.
Slower Fragment is compatible with Native Instruments KONTAKT and the free KONTAKT Player 7.10.2, including NKS 2 support, making it straightforward to integrate into any modern workflow.
For those who want to dig deeper, the full version of Slower – priced at €149 – expands the possibilities dramatically, offering 230 presets across 65 sound sources, extended modulation and FX controls, and a wide range of tape-based sound-shaping options.

Slower Fragment is available now as a free download from e-instruments.
The post Slower Fragment: e-instruments’ new plugin brings half-speed tape magic – for free appeared first on MusicTech.

Is PreSonus’ StudioLive Series III SE 24 the most flexible digital mixer on the market?£2,649, presonus.com
PreSonus’ StudioLive Series III family of digital mixers wraps the elements of a contemporary digital recording system into a device that rekindles hands-on mixing, reminiscent of working on the classic analogue desks of old.

READ MORE: Tascam Model 2400 review: A satisfying throwback with modern flair

As someone who cut their teeth in analogue studios, StudioLive’s potential intrigues me greatly, so I grab a newly released SE 24 model to put through its paces.
Image: Press
The ins and outs of the PreSonus SE 24
The StudioLive Series III SE 24 is the middle of three new additions to the PreSonus range, sitting between the smaller SE 16 and larger SE 32. Contrary to convention, the numeric portion of the naming isn’t a measure of the number of channels handled by each model, but rather a count of the number of faders they possess (although not including the master fader).
SE 24 contains far too many channels and busses to dedicate a fader to each, so its myriad mix elements are arranged into fader layers and, where necessary, pages within those layers.
For example, the first page of the Inputs layer arrays inputs 1-24 across the faders. Tapping the Next button opens the second page showing inputs 25-32, returns for the four onboard effects processors, the two auxiliary inputs, the anachronistically-named ‘tape’ input, plus the talkback mic input.
This would rapidly become confusing if it weren’t for the small, bright scribble strip displays, located above each fader, which show the name, number and pan position (when relevant) of the assigned channel or buss. A glance is all it takes to know exactly what’s assigned where.
All faders are motorised and have a 100 mm throw that allows detailed control. Although not the smoothest-feeling faders I’ve ever come across, they aren’t at all bad and, given SE 24’s price, I’d have been (pleasantly) surprised if they had been any smoother. However, I do notice that the faders don’t always return to quite the same position they were set at. Thankfully, this doesn’t affect the actual volume being output by a channel, and the inaccuracy is small enough that it shouldn’t cause any noticeable volume jumps when you next adjust the fader.
Faders are accompanied by a rudimentary three-stage level meter, mute and solo buttons, and a Select button that activates a channel for editing via the Fat Channel Control panel, and causes its settings to be shown in the mixer’s large touchscreen display.
Image: Press
What’s a Fat Channel?
Fat Channel is the name given to SE 24’s virtual channel strip. On input channels, it determines source selection, input gain, auxiliary and FX sends, panning, routing, and so on. It also provides a four-band parametric EQ, a gate/expander, a compressor with a choice of 11 vintage and modern models, and a limiter.
Output busses also have a Fat Channel, although this differs slightly from the Input version: no gain or gate, there’s an output delay of up to 170ms (useful in live mixing), six rather than four EQ bands, and a graphic EQ. Having this degree of control over sending busses is uncommon, but the ability to EQ and process cue mixes, effect returns and subgroups is undeniably useful.
On the upper portion of the mixer’s panel lies a cluster of buttons and knobs, the Fat Channel Control panel, that provides hands-on control over most aspects of the currently selected channel strip. Once you get used to the layout here, it really does start to feel like working on a classic console – just select a channel and start tweaking.
That said, not every Fat Channel parameter has a dedicated control; the gate/expander and compressor only have dedicated controls for their threshold levels, for example. Parameters without dedicated controls can only be edited with the help of the touchscreen, but this is still a largely hands-on affair: touch an on-screen parameter to select it, then turn the ‘Touch & Turn’ rotary, located just below the screen, to modify the value. A decent compromise, I’d say.
The stack of Mix Select buttons, located to the left of the desk, switches the faders from controlling channel volumes in the main left/right mix buss to controlling channel volumes within any of 16 ‘FlexMixes’. These are busses that connect to SE 24’s physical outputs, and the name reflects that they can be configured to operate as pre- or post-fader auxiliary sends, subgroups, or pre- or post-fader matrix mixes (a form of ad-hoc auxiliary buss used in live scenarios). Although functionally quite similar, the flexibility this allows is nonetheless impressive.
Image: Press
How well does the SE 24 work as a recording console?
Connecting SE 24 to a computer via its USB2 socket turns the mixer into an audio interface with a whopping 64 channels of inputs/outputs between mixer and host. USB send busses can be fed from any input channel, either pre or post the Fat Channel processors, or from any sending buss, by which I mean auxiliary sends, submixes, and such.
In standard operating mode, the USB returns are available as channel sources, making it possible to use SE 24 as a classic inline studio mixer: Configure the input channel, route it to a track in your DAW for recording, then flip the channel to USB input mode to mix, monitor and add effects to the track’s playback. Alternatively, if you prefer mixing entirely within your DAW, SE 24 can switch to a mode where USB returns are routed directly to the desk’s physical outputs.
SE 24’s etherCON-style RJ45 socket provides a further 64 channels of I/O via an AVB (Audio Video Bridging) network. These work similarly to the USB I/O but, as a technology that’s most commonly associated with live mixing in larger venues and installations, I won’t say more about this here.
The mixer’s second RJ45 port is a standard ethernet port for passing control signals to and from the mixer via a LAN. Not only does this allow the mixer to be remote controlled from external computers or devices, it also allows SE 24 to become a capable hardware controller for your DAW. This supports Studio One DAW Control (unsurprisingly), HUI and MCU protocols. Disappointingly, though, PreSonus has chosen to only provide an MCU profile for Logic and seemingly has no plans to develop profiles for other MCU-compatible DAWs.
Of course, not everyone likes working in a DAW, but SE 24 has this covered too. You see, as well as being used to store mixer projects, scenes and presets, SE 24’s SD card slot doubles as a 34-track recorder. This is only a basic capture and playback system, but as such it feels exactly like an old-school setup of a mixer and multitrack tape recorder. It’s also perfect for capturing live performances or for location recording, and if you then wish to develop and/or mix those recordings on a computer, you can open SE 24’s session files directly in PreSonus Studio One.

Should I buy the new PreSonus StudioLive?
My biggest reservation about SE 24 is that it only operates at 44.1 kHz or 48 kHz sample rates. The latter is adequate for most uses, and supporting higher sample rates would doubtless have the knock-on effect of reducing SE 24’s dizzyingly generous channel, buss and input/output count. But nevertheless, it’s a long time since I’ve come across a new digital audio device that can’t run at at least 96 kHz.
But there’s much more that impresses me, primarily how startlingly flexible SE 24 is. Received wisdom says that different applications require different types of mixing desks, but PreSonus has utterly ignored this and shown that, in the modern digital era, there are no such constraints; one mixing desk can fulfil any and all use cases so long as it’s designed to do so.
I’m also impressed by the price. Yes, at approaching £3,000 SE 24 isn’t an impulse buy, but replicating its I/O count and functionality with audio interfaces, DAW controllers and software would cost at least as much, if not more, and wouldn’t offer anything like the same degree of streamlined integration.
So, if you work with bands, have a complex setup involving many different synths, effects and other sources, or just have a desire to rekindle the hands-on workflows of old, then you need to take a serious look at SE 24 – it could be everything you’ve been wishing for.
Key features

16 XLR mic inputs
16 combo mic/line inputs via Talkback mic input
2 stereo TRS jack aux. inputs
Stereo RCA unbalanced ‘Tape’ input
Main left/right analogue XLR output with level trim
Mono sum output 2 XLRs with level trim
Stereo TRS jack monitor output
Headphone output
AES/EBU digital output
12 balanced XLR line outputs
4 balanced TRS jack line outputs
4 balanced subgroup TRS jack outputs
Stereo RCA unbalanced ‘Tape’ output
USB2 host connector
RJ45 network socket for control interface
etherCON style RJ45 for AVB (Audio Video Bridging) networking
64 USB I/O channels
64 AVB I/O channels
44.1 kHz or 48 kHz sample rate
24-bit converters, 32-bit floating point internal processing

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