Presonus’s StudioLive 24.4.2 and 16.4.2 changed the game,
offering amazing performance and ease of use for a great price. Now Presonus has
packed the same audio quality, performance, seamlessly integrated software
(including remote control) into a smaller, even more affordable
Small size. Bigger possibilities.
“footprint” of less than 2 square feet (0.19 m2), the compact, 16-channel
StudioLive 16.0.2 offers 8 mono input channels and 4 stereo channels and
provides 12 XMAX Class A solid-state mic preamps. (Well, okay, it actually has
13 XMAX preamps; the Talkback input has one, too.)
But don't let its size
fool you; the 16.0.2 is jam-packed with features and processing power, employs
the same workflow and easy-to-use mixing-surface design as the bigger StudioLive
boards, and sounds every bit as good, with the same high-definition,
wide-dynamic-range, digital converters.
The ease of analog meets
the power of digital.
When Presonus designed StudioLive, one of the
primary goals was to provide a familiar interface that would keep all critical
controls visible and accessible — not buried inside multiple menus.
down at a StudioLive 16.0.2, and you see easily accessed, color-coded function
buttons for Mute and Solo; rotary trim controls; and clearly labeled, individual
knobs for EQ and dynamics processing. Aux sends have their own physical
controls. Every channel has a big, bright meter display. The master section
comes complete with Talkback, Monitor, Cue, and a choice of control-room sources
— looks just like the master section on an analog board but with far more power
Bottom line: If you’ve ever used an analog mixer, you’ll
be right at home with a 16.0.2. And even if you’ve never used a mixer before,
you’ll quickly be able to create professional mixes and
XMAX Class A Preamplifiers
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
Discrete components — not op-amps. Presonus only use genuine
transistors, resistors, and capacitors for ultra-low noise and transparency.
Op-amps add noise, coloration, and harshness to a signal.
circuitry. Class A circuits have no crossover distortion and deliver purer,
clearer, and more musical results than the Class AB designs that are found in
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.
All of that is before the StudioLive even begins
to color and process the original signal. StudioLive's Fat-Channel processing
has made a major splash in the pro audio industry, garnering universal acclaim
for its ease of use, exacting audio integrity and ultimate musicality. With
4-band EQs, compressors, limiters and gates, DSP effects, 6 aux buses, 4
sub-groups, extensive LED metering, mixer save and recall, channel-strip
save/recall/copy/paste, talkback, and more, the StudioLive breaks new boundaries
for music performance and production.
Ease of use and powerful features only count if the sound
quality is equally impressive. After all, it really comes down to how clean the
signal path is and how well the mixing algorithms perform.
That’s why you
should choose a digital mixer made by PreSonus, a company already famous for its
analog mic preamps, pristine digital interfaces, and well-regarded signal
Ultra-high-headroom, 32-bit floating-point processing is used
for all digital mixing. All analog inputs and outputs use the highest-quality
digital converters available, with +118 dB dynamic range, for spectacular sonic
results and unmatched musicality.
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.
console in a small package — thanks to the Fat Channel
StudioLive 16.0.2 may be compact, but its Fat Channel is loaded with a high-pass
filter on every channel and aux (22 total), phase reverse for each channel strip
(12), and a gate, compressor, limiter, and 3-band parametric EQ for every
channel, aux output, FX bus, and main output (24 of each!).
pressing any Select button, the Fat Channel features extensive equalization and
dynamics processing for every input channel, every aux output, the FX outputs,
and the main outputs. The high-pass filter and EQ algorithms deliver extremely
musical results. Also included in the Fat Channel are limiters, plus compressors
and a downward expander, providing extensive dynamics control.
To let you
get the most from all of this processing power without descending into menu
purgatory, Presonus designed the Fat Channel with clearly labeled, physical
knobs; an ingenious, multifunction, 16-ladder LED display; an ingenious,
multifunction, 16-ladder LED display; an in-your-face Selected Channel display;
and even a separate horizontal pan display. It’s easy to instantly access any
function and get clear, visible feedback.
Not just effects. Effects you’d
expect from a $600 standalone processor. You get two programmable, 32-bit
floating point, stereo DSP effects engines, loaded with 50 reverb, delay, and
time-based effects presets that you can really use.
The reverbs are so
rich and detailed that you feel like you’re there. Delays are precise. Slap echo
sounds like old-skool tape effects. All 50 effects have easy-to-use parameter
adjustment, tap tempo, and store and recall selection for the ultimate in
The StudioLive 16.0.2 also sports a stereo 31-band
graphic equalizer on the main outputs, so you can compensate for room acoustics
and speaker response.
Whether StudioLive’s dozens of signal processors
and 50 DSP effect presets were on gigundo channel strips, in a whopping rack of
outboard gear, or neatly condensed into the Fat Channel, they have a lot of
settings to remember and reset at every performance. That’s where the power of
digital comes in: StudioLive never forgets.
What was then is now:
complete store and recall.
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. StudioLive solves this problem by
letting you save all of your digital settings for quick setup and
The 16.0.2's Fat Channel is well stocked with compressors,
limiters, gates, phase reverse, high-pass filters, and 3-band semi-parametric
EQ. Two stereo, 32-bit floating-point effects processors deliver delay and
StudioLive solves the problem getting of a Perfect Mix by
letting you save all of your digital settings for quick setup and
Save Scenes that include every setting on the mixer. Save just
the Fat Channel settings. Copy-and-paste settings across multiple channels and
buses. Save individual DSP effects for ultimate ease, speed, and
This means that for fixed applications like clubs, churches, and
auditoriums, you can always count on the same sound. It means that you can
fine-tune Scenes for different songs and call them up instantly. And it lets
rank amateur volunteers run the StudioLive and achieve pro-quality
Presonus has included a whole library of individual channel
settings (sample listing) as starting points for optimizing the sound of
instruments, vocals, and spoken word. And an Automatic AutoStore feature
regularly saves your current settings in case the power fails.
course you can store an unlimited number of settings and scenes on your laptop
with the included Virtual StudioLive software.
compact mixer with MIDI control from a footpedal. Being able to control
the 16.0.2 from an iPad or iPhone is cool — unless you hands are busy playing
your instrument. What if you want to change from lots of reverb to a little bit
of delay? What if you just need more volume through your P.A.? What if you want
to change the mix for a solo?
A glance at the StudioLive 16.0.2 rear
panel reveals that "Junior" offers something the two bigger boards don't: MIDI
In and Out. You can recall Scenes from a DAW using MIDI Program Changes, control
the main output volume and effects level, and even mute effects between songs —
all thanks to the magic of MIDI control.
Use a MIDI footpedal (or DAW) to
Main Output Volume
Effects A and B Output Volume
Effects A and
Effects A and B Assign to Mains
Effects Mute between
Think of the possibilities for making your
performances more exciting and varied — all without needing a separate