The most powerful mixer in its class.
The StudioLive® 16 digital console/recorder is by far the most powerful mixer in its class. This third-generation StudioLive mixer is fully recallable, with 17 touch-sensitive, motorized faders and 17 recallable XMAX preamps. Yet despite its extensive features, the StudioLive 16 actually improves upon PreSonus®' legendary ease of use while letting you customize its workflow and operations. The StudioLive sound is better than ever, including all-new Fat Channel processing, re-engineered from the ground up, and vintage-style EQs and compressors. Add built-in AVB networking, onboard multitrack Capture™ recording to SD Card, and a complete suite of software, and you have a mixing and recording powerhouse that's equally formidable in live and studio applications.
Integrated multitrack recording and virtual soundcheck — no computer required.
PreSonus Capture™ recording software is an intuitive, rock-solid multitrack recording application with virtual soundcheck. It’s installed directly into the StudioLive 16 so you can leave your laptop at home. Capture’s one-touch recording makes it easy to record to the StudioLive 16’s onboard SD multitrack recorder. When you're finished recording, open your Capture session in Studio One® for Mac® and Windows® (included), and the entire mix scene will transfer to your Studio One session, including fader levels, Fat Channel settings, and, yes, any drum solos that you may have had to endure that night.
Capture continues to be the most reliable and easiest-to-use live recording software. Now you get all the advantages of Capture without a computer. Record 34 channels direct to SD Card. Get started quickly with one-touch recording: Just put in an SD Card, press Record, and Capture does the rest. If you have time, you can manually name your session and individually record-arm selected channels. It makes recording fast, simple, and hassle-free.
SD Card is a standard format used in many digital cameras, and it’s a great format for live recording. The cards must adhere to strict testing and performance standards. Each SD Card is class rated and must go through rigorous testing to qualify for that rating, so you can trust that the Class 10 U3 SD Card required for recording 34 channels of uncompressed live audio isn’t going to fail. SD Cards are extremely low profile and mount flush with the surface of the mixer, so you’ll never accidentally hit a card and break it—unlike USB thumb drives. SD Cards have no moving parts, so they are more roadworthy and more reliable than hard drives. And since SD Cards are used in so many consumer devices, they’re readily available.
A re-envisioned Fat Channel.
The StudioLive 16’s Fat Channel has received a major overhaul while continuing to offer digital precision with the heart and soul of analog. Our new Fat Channel implements a plug-in-style workflow that features vintage-style EQ and compression options on every channel, from classic tube limiters to passive EQs. And in addition to channel processing, the StudioLive 16 offers 6-band, fully parametric EQ on all mix outputs. Enjoy extensive, studio-style processing when recording on location or running shows on the road!
StudioLive 16’s Fat Channel processing includes an input or output delay, highpass filter, gate, compressor, limiter, and fully parametric EQ on all channels and buses. There are no limitations, no shared resources, no figuring out what processing is available where. You have all of the Fat Channel processing available at all times, with no compromises or caveats, along with a library of professionally crafted, useful presets and the ability to save, selectively recall, and A/B-compare processor settings.
But this next-generation Fat Channel also offers a plug-in-style workflow that’s instantly familiar to any DAW user, with alternative vintage compressor and EQ models available on all channels. The compressors emulate the sound of classic models that would set you back a few grand on eBay. Even cooler, though, the state-space-modeled EQs model the individual components of the original hardware so they sound and behave just like vintage EQs of yesteryear, overflowing with germanium diode mojo.
In addition to Fat Channel processing, the StudioLive 16 offers all-new reverb and delay effects, again including all-old vintage options—in all their plate and tape glory.
Define your own layouts, views, and workflows.
StudioLive 16 goes above and beyond in providing ways to customize things to best fit the way you work. Now you can customize your Fat Channel layout, putting the parameters you care about most right at your fingertips. There are even several workflow options to personalize your mixing experience. For instance, you can control the mixer with a multiple iPads and—optionally—a computer, each running UC Surface with a different view, enabling you to see and touch all of the controls you need at a given time.
Vintage sounds and a plug-in-style workflow are not all that’s new in the redesigned Fat Channel. An entirely new user interface provides intuitive and detailed control not possible with previous Fat Channel layouts. Eight digital scribble strips, encoders, and multicolor buttons, paired with a seven-inch touch screen, deliver detailed information and offer amazingly fast navigation. In addition, StudioLive 16's exclusive, user-customizable User Fat Channel layer puts your eight most important channel-processing elements right on top. With these features, you can quickly breeze through all Fat Channel functions in an intuitive and extremely detailed layout.
Are you mixing monitors? Then perhaps you want to set up your workflow options to automatically select and solo your currently selected mix. Working in the studio? Set up solo options to behave like a studio console rather than a live sound mixer. Want to link the mutes across all aux mixes—or just link the main mix mutes? How about globally linking all channel mutes across all buses? These and many more options are available to keep you feeling more warm and fuzzy than the snuggie you got last Christmas.
Customize scenes and presets in new and powerful ways—including your way.
With StudioLive 16, we’ve upped the ante and given you more flexibility when working with scenes and presets. Mixer scenes now include Scene Safe. Similarly, we’ve expanded the concept of Fat Channel presets so that presets have, for practical purposes, become like scenes for individual channels, not only saving input and Fat Channel settings but also aux send and bus assignments. Of course you can also use preset filters to choose what you want to recall.
Creating, saving, and recalling scenes is as easy as ever with the StudioLive 16, and now you can customize scenes even more precisely. You could always decide which settings would be recalled in a global StudioLive scene change. Now, with Scene Safe, a scene change won’t alter the settings on designated “safe” channels. These are invaluable tools, whether you’re mixing for theater, festivals, or houses of worship.
We’ve also significantly enhanced Fat Channel presets so that they now save every setting for a specific mixer channel. Of course the presets still include Fat Channel parameters but they also save send levels, bus assignments, and channel names. It’s like having a scene for each individual channel.
IImagine, for instance, you’re mixing for a praise band that uses different bass players, depending on who is available. Bass Player 1 is an awesome player, and the rest of the band wants to hear her loud and clear in their monitors. Save a preset with her level raised in the aux mixes, and you’re all set. However, to be honest, Bass Player 2 sucks, and the rest of the band would rather hear less of that guy. No problem; you create a preset with less Bass Player 2 in the monitors.
Create buses and groups to suit your workflow with new FlexMixes.
Don’t you hate it when you’re setting up for a show and find you have an unused subgroup—but you’re short one monitor mix? That’s not a problem anymore, thanks to 16 FlexMixes that can be individually designated as aux, subgroup, or matrix mixes. You get a total of 10 FlexMixes on analog outputs, six on XLR connectors, and four on ¼-inch TRS; the other six are routed over USB or AVB. These 16 FlexMixes are in addition to the 4 fixed subgroups that also are available via USB or AVB, giving you a total of 20 mix buses, not counting the main mix, solo, and FX buses. We also provided 24 DCAs so you can more easily and flexibly control groups of channels. These are only a few of the many ways you can customize your StudioLive 16 mixer exactly to your needs and workflow.
Integrated, multiplatform software for flexible control and one-click recording.
PreSonus StudioLive 16 mixers are tightly integrated with an entire suite of state-of-the-art software. Mix wirelessly or over a wired network from anywhere, using UC Surface touch-control software for Mac, Windows, and iPad®. Control your monitor (aux) mixes with QMix-UC. Remote control the mixer’s recallable XMAX preamps and Fat Channel processing with Studio One for low-latency recording with effects. (Reverb-drowned singers: rejoice!) Completely automate virtual soundchecks and record shows with Capture. Save mixer scenes with your live recordings in Capture and edit both in Studio One Artist. StudioLive 16 mixers and software work together to form a cohesive ecosystem that helps you achieve your creative vision.
Network-ready, with a choice of computer recording methods.
Networking isn’t the future of professional audio systems; it’s here now. StudioLive 16 mixers come equipped with an AVB Ethernet connection that enables you to network multiple StudioLive 16 mixers and compatible computers and stream up to 55 channels of audio to and from a Mac or Windows PC. You also get 38x38 recording via USB 2.0, giving you a choice of computer recording methods. Each channel can independently access its analog input or its dedicated digital return from your computer. And recording is simple and easy: Just launch the included, preconfigured Capture software for one-click recording of all channel inputs and your main mix. Or record with the included Studio One Artist DAW—or with any recording software that supports ASIO or Core Audio.
AVB (Audio Video Bridging, also known as Time Sensitive Networking, or TSN) is a collection of IEEE 802.1 networking standards that define a single digital network for transmitting audio, video, and other forms of data via “smart” switches that can process AVB traffic without compromising network integrity. This means you get guaranteed low-latency audio performance regardless of other network traffic.
The StudioLive 16 incorporates second-generation PreSonus AVB networking, enabling complete 55x55 audio networking with Mac and Windows computers. Macs support AVB audio networking natively, so no additional hardware or software is required. If you have an Ethernet jack (or a Thunderbolt-to-Ethernet adapter) and the latest version of macOS®, you’re ready for networked audio between your computer and StudioLive 16 mixer. Third-party network cards and drivers for Windows PCs provide AVB/TSN networking with the StudioLive 16.
Remote mix control available on a plethora of both wired and wireless devices.
In addition to the AVB recording connection, StudioLive 16 consoles sport a 1 Gb Ethernet port that can connect to a wireless router or directly to a computer, providing remote control of virtually all features. Mix wirelessly or over a wired network from anywhere using UC Surface for Mac®, Windows®, and iPad®. Even add a second—or third, or even fourth!—screen for fast workflow. Musicians can control their monitor mixes onstage with QMix® UC for iPhone®, iPod® touch, or Android™ device without the need for large monitor networks. Go wireless, wired, or both.
Extensive connections for flexible signal flow.
The back panel of a StudioLive 16 console sports all of the connections you need for live sound and studio production. With flexible connectivity, superior audio quality, the ability to customize for your workflow, and powerful processing, mixing, and routing capabilities, you’ll create your mixes in whatever manner works best for you. We just provide the tools.
Connect a StudioLive 16 mixer, and you’ll instantly hear details and an open high end you’d expect to find only in an expensive studio console. We built our reputation designing great-sounding analog circuits, including our famous XMAX solid-state, Class A preamps, and we put all of that experience into designing the StudioLive 16. We didn’t cut corners on components, and we just say “No!” to noisy, crosstalk-y ribbon cables. As a result, the StudioLive 16 delivers the high-end audio quality you need to preserve your hard-earned reputation for producing great-sounding mixes and recordings.
We start with a great microphone preamplifier, arguably the most important stage of any device that accepts a microphone. A good preamp boosts the level to almost 400 times that of the original signal. 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 microphone you plug into it.
XMAX preamplifiers are built with three key elements:
- 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.
- 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.
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.
The XMAX preamps in StudioLive 16 consoles offer another advantage: They are recallable. In 1995, PreSonus patented digital control over analog circuits with our first studio product. Building on this legacy, we created a separate digital volume-control circuit ahead of our analog XMAX preamp design, providing the convenience of digital recall without sacrificing fidelity. So StudioLive 16 preamps can be remote-controlled with UC Surface software or with Studio One Artist, and when you load a StudioLive 16 mixer scene, the preamp trim values are recalled along with the other settings.
Now includes Studio Magic plug-in suite.
This suite of plug-ins brings extended sonic functionality into Studio One. Cherry-picked from the first names in virtual instruments and effects, each one brings a different flavor of practical magic to your songs. These plug-ins aren't gimmicky one-trick ponies — these are real-deal workhorses that you'll find yourself relying on for countless mixes.
SPL Attacker is a micro-plug-in that employs the same Differential Envelope processing technique as SPL’s famed Transient Designer. Using SPL Attacker, all attack events can be amplified, regardless of their signal level. By focusing on the initial transient instead of specific frequencies, SPL Attacker amplifies just the attack curves of a sound event. This allows instruments to be mixed at lower levels, which opens up space in the mix, while the relationship between tracks is preserved.
Mäag Audio EQ2 delivers the sound of the Mäag Audio EQ2 two-band hardware equalizer. Mäag Audio’s EQ design allows for exceptionally low phase shift across all EQ adjustments, which helps maintain the integrity of your mix’s original sound while enhancing the very high “air” frequencies. An input attenuator lets you normalize levels after applying EQ.
Lexicon’s MPX-i Reverb delivers seven classic Lexicon plate, hall, chamber, and room reverbs. A streamlined interface and 25 versatile, finely crafted presets enable you to quickly get the sound you want. Input and output metering let you monitor levels at a glance.
The Eventide H910 plug-in is a faithful re-creation of the classic H910 Harmonizer, which offered unique combinations of pitch shifting, modulation, and delay. Use pitch changing to create specific musical intervals and perfect harmonies, spread guitars, fatten snares, apply subtle organic detuning to synths, and add slap-back delays to vocals.
Also from Eventide comes the 2016 Stereo Room, which delivers a natural, yet distinctive-sounding reverb that can be lush or subtle. Derived from Eventide’s SP2016 hardware processor, its simple, intuitive controls allow you to fine tune your virtual space, from a dark hallway to a bright studio vocal room. Use multiple instances to bring out the character of different parts of a track.
The Brainworx bx_opto compressor combines the best aspects and anomalies from several legendary, light-dependent compressor circuits. The result is a powerful dynamics processor, teeming with character and delivering sounds that can’t be achieved with analog optical compressors.
Completing the Studio Magic bundle is Arturia’s Analog Lab Lite, a “Greatest Hits” collection of physically modeled—not sampled—classic analog synths, organs, string machines, and pianos from Arturia’s V-Collection of virtual instruments. Enjoy models of iconic instruments from Oberheim, Roland, Sequential Circuits, ARP, Hammond, Fender, Wurlitzer, Moog, and Vox.