PreSonus FireStudio Tube 16x8 FireWire Recording Interface Review

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(More customer reviews)In an attempt to streamline my home studio a bit and replace a fritzy Alesis IO-14 audio interface (don't buy! bad quality!) I bought the PreSonus FireStudio Tube (PFT) for the higher quality preamps on the two SuperChannels. Moving slowly from a more MIDI/hardware based synth studio, I've started using more softsynths and doing more miked recording (vocals, acoustic guitar, various percussion). BUT, I still have a few analog synths and modules that frequently get pulled into the mix (love that zero-latency!), and I envisioned keeping at least 3 pieces of hardware directly plugged into the 6 line-inputs on the back of the PFT to call up when needed.
In total the PFT has 2 "SuperChannel" inputs (good for mic or instrument level), 8 XLR mic inputs, and 6 quarter-inch/line-in inputs, supposedly good for plugging in line-level devices like synths, drums machines, mixer inputs, etc. To control all those inputs, PreSonus provides some mixing software that decently lets you monitor and adjust input levels where needed.
Soooo...I removed a big mixer that was taking up desk space, screwed the PFT into my rack, and moved the small, 12-unit rack to the desk space formerly occupied by the mixer. I then plugged 3 synths into the PFT and started recording in Sonar.
And THAT'S when I realized something was wrong. I have a Yamaha Motif Rack that I usually use to set-up some basic elements for song writing, and I tried recording the inputs from a keys/drum/bass mix, but the meters barely registered. I thought maybe I had something connected or adjusted incorrectly. I cranked input levels in the PreSonus mixing software, maxed the MIDI-volume to 127 for each of the parts, cranked the master volume on the Motif Rack, and STILL was just barely getting little bumps on the recorded clip graphics.
Frustrated, I decided to hit the PreSonus Forums on the internet and discovered this is a known problem. The line inputs for the PFT are just...incredibly...QUIET! Someone in the forum suggested you have to use pro-level gear that outputs a min of +4db. So I checked my Motif Rack and discovered it outputs at +6db...more than hot enough of a signal. More than a year ago, one of the PreSonus techs stated on the forum he would ask if the problem could be fixed in any of the upgrades, but so far, it hasn't. And the fact it has been a known problem for well over 2 years would indicate they either CAN'T fix it, or have no interest to. Other two suggested work-arounds (from PreSonus techs, no less) were to use the 2 "SuperChannels" on the front of the unit ("but be really careful with your input levels...you could damage the mic-pres" they said) or getting quarter-inch to XLR adapted cables and use the mic-pres on the back of the unit, again suggesting to be VERY careful because they weren't intended for line-input level devices but "should work if the levels were kept low". Lastly, several other users of the device stated if you use a preamp with your hardware (like my powered mixer I had put away), you can drive the levels loud enough to make the line-inputs usable and to more easily record with them. Yeah, getting back out my mixer really helps my whole studio-stream-lining effort, eh?
WTFO? PreSonus' OWN techs are giving scotch tape, work-around solutions to a real problem. Wow...thanks for the massive assist and attentive customer support.
BUT...all in all, the REST of this unit is pretty decent (hey, I'm a fair-minded person!). If you don't need the 6 line-level inputs or you DO have equipment that outputs REALLY hot (my unusually "loudest-of-the-bunch-of-synths" Alesis A6 is the only piece of hardware I've found that pumps enough power to be plugged, unassisted, into the line-ins), then this might work for you. The "SuperChannels" really are super, and best of all, the copy of PreSonus' "StudioOne Artist" DAW software that comes with the device might actually give Sonar a run for its money (for me anyway). But for the money, I've basically bought 2 really good "SuperChannels" and 8 other mic pres I could use should I decide to record an entire band or some drums. I'm not quite sure it was worth it.
Oh yeah...almost forgot to mention...this interface has a history of problems working with Sonar. My experience isn't horrible, but I do have a lot more drop-outs and interruptions than I ever had with the Alesis IO-14. PreSonus Forums suggest the problem lies in using ASIO drivers instead of WDM drivers, but I haven't tested that one.
Pros:
- The super "SuperChannels"...GREAT recording quality
- The "StudioOne Artist" DAW software that looks pretty super as well
Cons:
- The 6, almost-unusable line-level inputs
- No digital input/output
- Occasionally problematic with Sonar
- The price, given the almost unusable line-level inputs and no digital I/O
I have to say my experience with this is disappointing enough, I'm researching a replacement, and will likely sell it if I find something better.
Those are my thoughts...the rest is your call....cheers...
Added to the review on 9 Sept 2010: PreSonus has interestingly wiped all the old entries in their forum. I found none of the previous complaints I'd read about the PFT line-level problem, and even my own question was deleted from the forum. The forum has a new interface, so I'm sure they would probably claim that was the reason the old complaints were deleted.

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The FireStudio Tube is a world-class 24-bit/96k professional FireWire recording system loaded with the perfect combination of inputs and outputs for bands, producers, musicians and engineers to produce commercial-quality recordings.

Two SuperChannels - Tube Preamplifiers with LimiterThe front panel of the FireStudio Tube is loaded with two “SuperChannels” featuring class A vacuum tube microphone and instrument preamplifiers along with full-featured analog limiters.The tube preamplifiers use a high gain, military grade 12AX7 tube for maximum gain, low noise and high headroom. Neutrik combo connectors allow both XLR microphone input and hi-Z instrument input. Preamp controls include preamp gain and tube drive to achieve a wide range of sounds from smooth, clean and clear, to warm tube saturation. An 80Hz high pass filter is also located on the front panel to remove room rumble and unwanted lows.


Analog Dual Domain Limiters On BoardThe FireStudio Tube’s Limiter features a VCA-based ultra fast Dual Domain RMS and peak detection circuit used in the award-winning DigiMax 96K, delivering the most musical limiter available. The Analog Dual Domain Limiters in the SuperChannel are located after the preamplifier and BEFORE the analog to digital converter in the signal path. This allows you to maintain high resolution recording levels without clipping, allowing you to keep the vocals up front, the kick and snare consistent, and the bass solid and punchy. Controls for the limiter include Threshold and Gain make-up as well as a Limiter in/out button. Fast-acting LED metering on the front panel displays preamp input and limiter gain reduction for the two tube SuperChannels.

Perfect I/O for Music ProductionThe FireStudio Tube delivers all the analog I/O needed for professional recording sessions, featuring sixteen analog inputs including two tube SuperChannels on the front panel, eight class A award-winning XMAX microphone preamplifiers and six balanced TRS line inputs on the rear panel. Outputs include six balanced TRS outputs and PreSonus’ signature ultra loud and clear headphone output that “goes to 11”. MIDI I/O is also included on the rear panel for MIDI instruments, keyboards and controllers. The FireStudio Tube’s combination of microphone, instrument and line inputs is perfect for a band to simultaneously record drums, bass, guitar, vocals and keyboards without any additional preamplifiers.
DSP Mixer/RouterThe FireStudio Tube includes PreSonus’ 16x8 FireControl mixer/router delivering up to four zero-latency custom monitor mixes easily and quickly.
8 XMAX Class A PreamplifiersThe FireStudio Tube includes eight custom-designed high-voltage, discrete, XMAX Class A microphone preamplifiers for all types of microphones. Many other companies offering recording interfaces add the cheapest possible microphone preamplifier as an afterthought to the interface. PreSonus knows that the preamplifier is a key component in the sonic quality of a recording. The job of a microphone preamplifier is to boost microphone level signals to line level so that the signal can be converted from analog to digital. This mic to line boost is generally a preamplification of over 400 times the voltage of the original mic level signal. This preamplification stage is one of the most important stages that the signal will go through before converted to digital, and is why a high performance preamplifier is important to achieving great results. A cheap "off the shelf op-amp" type mic preamp that is found in most interfaces translates into thin, noisy and harsh results.
All XMAX preamplifiers are built with the same three 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 an overall fuller sound.

Discrete - No op amps. Only transistors, resistors and capacitors. Op amps add noise, coloration and harshness to a signal. Discrete designs deliver ultra low noise and transparency.

Class A - When a circuit is running in Class A mode the circuit is always in an "on" state operating at its optimal voltage requirements. Class A mode has zero crossover distortion and delivers purer, clearer and more musical sonics than class A/B designs which are found in most op-amp circuits.

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

Digital Converters and JetPLL SyncThe FireStudio Tube touts A/D/A converters with a dynamic range of over 114dB for unbelievable clarity as well as synchronization using patented JetPLL™ jitter reduction technology. JetPLL™ incorporates noise shaping to virtually remove all audio band jitter. JetPLL™ ensures the highest converter performance possible, resulting in better stereo separation and clearer more transparent audio. JetPLL™ delivers ultra-fast locking to any digital format through a wide range of frequencies and is extremely robust and tolerant of wide variations in clock frequencies. JetPLL™ ensures near perfect clock performance when networking audio devices, thus creating the most stable and robust synchronization to the computer.
ProPak Software Suite (ver. 4) Included
Cubase LE 4 48-track music recording and production software
Cubase LE 4 Demystified by PreSonus - DVD tutorial video
Amplitube Duo - Virtal Guitar Amplifier
Ampeg SVX UNO LE - Virtal Bass Amplifier
EZ Drummer Lite - Virtual drummer plug-in
Track Plug LE - EQ and Compressor plug-in
MasterVerb LE - Reverb plug-in
PreSonus EyeQ - EQ and spectral analysis plug-in
Sony Acid Express - Loop creation software
Martin Atkins Beat Fetish - Loop library
Pluggo Jr. – Average Injector, Chamberverb, Feedback Network, Filter Taps, Generic Effect, HF Ring Mod, Jet, Limi, Nebula, Resonation, Resosweep, Spectral Filter.
Discrete Drums Sampler– over 1GB of drum loops and drum samples
Twiddly bits – 100 MIDI drum loops created by real drummers

Computer System RequirementsBelow are the minimum computer system requirements for your FireStudio Tube.
Windows
OS: Microsoft Windows XP and Windows Vista
CPU/Clock: or Athlon 900MHz (1.5 GHz or higher recommended)
Memory(RAM): 1 GB (more recommended)
Macintosh
OS: MacOS X 10.4.x or later (10.5 supported with driver update)
CPU/Clock: PowerPC G4/Dual 1 GHZ or faster, all Intel-based Mac models.
Memory(RAM): 1 GB (more recommended)
Windows and Macintosh Systems
IEEE 1394 FireWire 400 Port
Internet connection
DVD-ROM drive
Internal or external 7200RPM storage drive is highly recommended
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) that you might experience while monitoring audio or MIDI signals.
Monitor resolution for both PC and Macintosh should be no lower than 1024x768 pixels.

Microphone Preamp 1-8 (XLR Balanced)TypeXLRFemale BalancedFrequency Response (±0.5 dB)20 Hz to 50 kHzFrequency Response (±3.0 dB)20 Hz to 150 kHzInput Impedance (Balanced)1600 OhmTHD+N(unwtd, 1kHz @ +4 dBu Output, Unity Gain< 0.0003%EIN(unwtd, 55dBGain, 150 Ω Input, 20Hz to 22kHz-126 dBuS/NRatio (Unity Gain, unwtd, Ref. = +4 dBu, 20Hz to 22 kHz> 101dBCommon Mode Rejection Ratio (1 kHz, 55 dB Gain)> 55dBGain Control Range (± 1dB)-4 dB to 50dBMaximum Input Level (Unity Gain, 1 kHz @0.5% THD+N)+14 dBuPhantom Power (±2 VDC)+48 VDC

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