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Meet the StudioLive 16.0.2!

Our first-generation StudioLive™ 24.4.2 and 16.4.2 changed the game, offering amazing performance and ease of use for a great price. So we packed the same audio quality, performance, and seamlessly integrated software (including remote control) into a smaller, even more affordable package: the StudioLive 16.0.2.  It's far more powerful than its size might lead you to believe. Furthermore, it's amazingly lightweight and offers MIDI control—unique in the StudioLive line. It's easy to love this portable powerhouse. 

Small size. Bigger possibilities.

In a “footprint” of less than 2 square feet (0.19 sq. meters), 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. (It has a total of 13 Class A mic preamps, including the Talkback input.)

At PreSonus, we know that the mic preamplifier is a key component in the sonic quality of a recording. The StudioLive includes custom-designed, high-voltage, discrete, XMAX Class A microphone preamplifiers that are suitable for use with all types of microphones.

The job of a microphone preamplifier in a digital mixer is to boost a microphone-level signal to line level before conversion to the digital domain. A good preamp boosts the level to almost 400 times that of the original signal, making the preamp one of the most important stages in an interface. 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 what microphone you plug into it.

XMAX preamplifiers are built with three key 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 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.
  • 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.

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.

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.

Superb sound from the interface experts.

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 processors.

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.

See it. Touch it. Change it. The ease of analog meets the power of digital.

Among the employees of PreSonus, there are more band members than you can shake a mic stand at. All of us have lived with conventional mixers for years. And many of us have struggled with the less-than-intuitive interfaces of earlier digital mixers — bank switching, layers, nested menus, etc.

So when we designed StudioLive, one of our primary goals was to provide a familiar interface that would keep all critical controls visible and accessible —not buried inside multiple menus.

Sit 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 and flexibility.

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 recordings.

More than a mixer: an integrated system.

The StudioLive™ 16.0.2 integrates a 16x16 FireWire interface (fully compatible with Apple's Thunderbolt™to FireWire Adapter) and comes with Capture™, Studio One Artist™ recording and production software, and Virtual StudioLive (VSL) bidirectional control software. VSL, in turn, incorporates Smaart Measurement Technology™, which makes it easy to analyze and fine-tune your main mix.

Moreover, you can control virtually the entire mixer from an iPad® using PreSonus StudioLive Remote, and you can control the aux (monitor) mixes from an iPhone® or iPod touch® using PreSonus QMix™. Both are free downloads from the Apple App Store.

Because of our powerful, integrated, free software, StudioLive digital mixers can do far more than their competition.

There are five parts to this unique system:

  • Virtual StudioLive with Smaart for laptop control, editor/librarian functions, and sound-system analysis and correction
  • StudioLive Remote for iPad remote control (available free from the Apple App Store)
  • QMix™ for iPhone and iPod touch remote control (available free from the Apple App Store)
  • Capture™ for two-click multi-track recording and playback
  • Studio One Artist Digital Audio Workstation for enhancing your recordings (and for direct recording from StudioLive 16.0.2 or any compatible interface)

Virtual StudioLive: The magic of computer control.

Written exclusively for StudioLive mixers, Virtual StudioLive (VSL) provides a complete visual representation of the mixer, allowing you to control the features with a mouse, trackpad, or trackball on a FireWire-equipped Mac® or PC (or Thunderbolt with Thunderbolt to FireWire Adapter). Add third-party VPN software, and you can even control StudioLive mixers over the Internet—ideal for contractors. To get a competing mixer with computer control even close to this complete, you'd have to pay several times as much.

Learn more about Virtual StudioLive.

Even better: wireless control!

You’re mixing a live show with an old-skool mixer—make that any mixer other than StudioLive—and you need to check the sound underneath the balcony—or in the balcony, for that matter. Or you’re sound-checking and want to hear the stage monitors for yourself. If you can’t leave the mixing station, you have to rely on someone else’s ears. If you don’t have a reliable crew, you don’t have a chance.

You can say goodbye to that problem if you use a 16.0.2 and an Apple iPad! With StudioLive Remote for iPad—available free from the Apple App Store—you have complete, real-time, wireless remote control over Virtual StudioLive, which in turn offers real-time control over the StudioLive mixer. As long as you have a wireless connection between your iPad and computer (and are connected via FireWire to the 16.0.2), you are in control of the console.

Learn more about StudioLive Remote.

Yet even better: control of monitor mixes from iPhones and iPod touches!

We've given you a lot of sonic control with the StudioLive, Virtual StudioLive, and StudioLive Remote. It's only fair that we help you give the band control of their sound, too. With PreSonus' free QMix™, each band member can control their own StudioLive aux (monitor) mix from an iPhone® or iPod® touch. QMix lets you adjust a single aux mix per iPhone. Select inputs and levels for your custom monitor mix, and then use the Wheel of Me to get, well… “more me”… quickly during performances.

You can even set permissions to ensure that the bass player, always the practical joker, can't mess with the hot-tempered lead singer's monitor mix. Otherwise, that bass player is going to get in trouble someday. We're just sayin'….

Learn more about QMix.

Recording made easy with Capture™.

Check out our competition, and you’ll discover that their “recording” capabilities amount to stereo-only or just four channels — or require expensive add-ons.

With the StudioLive 16.0.2, if you have a laptop, you have a multitrack digital recorder instantly ready to capture your gig, church service, or presentation.

Just two mouse clicks engages Capture recording software. When you install it on your laptop, it automatically “maps” to the outputs of the 16.0.2 to automatically record all 16 input channels.


Recording with Capture

Because StudioLive 16.0.2 can so easily return playback channels from your computer, you can pull off nifty tricks. You can “virtually” soundcheck your band and fine-tune the P.A. and monitors in a new venue, even when the band’s not there yet. (The drummer got stuck in traffic again.) Or create backing tracks at your studio and seamlessly blend them with live performances.

Here’s a particularly cool feature: Capture lets you insert markers during a live recording — between songs or parts of a worship service or presentation—with a single mouse-click. Later, when you are ready to edit the performance, you can export each region you have marked as a separate file, using a single command. This saves hours and hours of work!

And Capture can run simultaneously with Virtual StudioLive and SL Remote, so you can personally soundcheck every part of the stage and house.

Studio One® Artist — A serious digital audio workstation.

Once you’re recorded studio tracks or a live multi-track performance, it’s time to finish it with effects and a good mix (not to mention editing out that huge burst of feedback during the third song).

Studio One is a groundbreaking music-creation and -production application for Mac OS X and Windows 7/8/10 that makes audio recording and MIDI sequencing ridiculously simple right out of the box.

Studio One changes the rules of the game with fresh code, innovative drag-and-drop features, advanced MIDI mapping, auto-configuration with your StudioLive 16.0.2, insanely good audio quality, unlimited tracks and plug-ins per track, and a powerful, inventive Start page. Studio One Artist also comes with a Native Effects™ 32-bit effects library, complete with dynamics processors, reverbs, modulation effects, amp simulators, and more. And with Studio One's free Nimbit® extension, you can immediately start selling your music.

Learn more about Studio One.

130 quality signal processors at your fingertips.

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 reverb effects.

A gigantic console in a small package — thanks to the Fat Channel.

The 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!).

Engaged by 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, we designed the Fat Channel with clearly labeled, physical knobs; 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 StudioLive 16.0.2’s fifty practical 32-bit digital effects

Some of our competitors include a lot more than 50 digital effects. But frankly, many of their “effects” are so weird that they aren’t good for much more than a hearty chuckle or the most drunken karaoke party in history.

Instead, we armed StudioLive with an essential library of serious, down-to-earth reverbs and delays, created by seasoned sound professionals. Each is useful, practical, and very rich, thanks to 32-bit floating-point processing and exquisite algorithms. None of them sound like a dog gargling—unless you want them to, since each has multiple adjustable parameters.

  • Natural
  • Lively

  • Closet
  • Studio A
  • Studio B
  • Bedroom

  • Kitchen
  • Tile Floors
  • Tile Bathroom
  • Concrete Floors

  • Radio Booth
  • Small Club
  • Big Club

  • Brick House
  • Linoleum Room
  • Tile Room

  • Log Cabin
  • Wood Floors
  • Brick Club
  • High Ceilings

  • GateVerb Short
  • GateVerb Med
  • GateVerb Long
  • GateVerb Extreme

  • Church
  • Cathedral
  • Gymnasium
  • Arena

  • Shimmer
  • Thick
  • Drums
  • Vox

  • M: Short Slap
  • M: Long Slap
  • M: Triplet
  • M: Triplet

  • Analog Slap
  • Analog Trip
  • Analog 8th

  • Slap Quick
  • Long Slap
  • Spacey
  • Long Tail
  • ST: Triplet

  • Quick
  • Slap
  • Spacey
  • Trip
  • Purple Rain 

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 creative flexibility.

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 our 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.

Our first compact mixer with MIDI control from a footpedal.

Moreover, a glance at the 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.

StudioLive 16.0.2 MIDI features

Being able to control the 16.0.2 from an iPad®, iPhone®, or iPod touch® is cool — unless your 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.

Use a MIDI footpedal (or DAW) to control:

  • Main Output Volume
  • Effects A and B Output Volume
  • Effects A and B Setting
  • Effects A and B Assign to Mains
  • Effects Mute between Songs
  • Scene switching

Think of the possibilities for making your performances more exciting and varied — all without needing a separate soundperson. You can even automate these features with a DAW!

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 recall.

Powerful store and recall made easy.

StudioLive solves the problem getting of a Perfect Mix by letting you save all of your digital settings for quick setup and recall. 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 control.

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 sound.

We’ve included a whole library of individual channel settings 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.

And of course you can store an unlimited number of settings and scenes on your laptop with <Virtual StudioLive>.

“WOW! How did you get that snare to sound so good?”

Don’t tell them it was one of the 50 StudioLive Fat Channel channel presets.

StudioLive’s Fat Channel lets you apply the equivalent of a six-foot rack of signal processors to every input. If you’re an experienced sound person, you’ll love all the options. But if you’re new to pro audio, gating, compression, limiting, semi-parametric equalization, and so on, can seem pretty complicated—which is why we’ve built in 50 excellent preset starting points.

Before we released the StudioLive, we sent some out to professional sound mixers and engineers, let them tweak to their heart’s content under actual live and studio conditions, and then stored the results in factory presets. You get the benefit of their years of experience at making drums, percussion, guitars, keyboards, horns, vocals, and spoken word sound their best.

And of course you can alter, rename, and generally customize each preset and save it in any of 50 empty storage locations. Here’s a sample:

  • Kick, Funk, Jazz,
  • Fat Snare and Snare Crackalak
  • Toms Low and Hi Overhead
  • Rock
  • and 9 more

  • Electric 1, 2
  • Slap
  • Upright

  • Rock 1, 2
  • Funk
  • Metal
  • Acoustic
  • and 3 more

  • Bright Piano
  • Warm Piano
  • Jazz Piano
  • and 3 more

  • Trumpet
  • Trombone
  • Sax
  • Solo Sax

  • Congas
  • Bongos
  • and more

  • 3 male presets
  • 2 female presets
  • 2 spoken-word presets


A Smaart addition to your system.

Building a great mix is the goal of every front-of-house engineer. Fortunately, it’s a lot easier with the StudioLive 16.0.2 mixer because the included VSL control/editor/librarian software incorporates Rational Acoustics’ Smaart Measurement Technology™ Spectra™ module.

Spectra includes both an RTA and Spectrograph that overlays the Main bus' graphic EQ. This makes fine-tuning your mix easier because you can see what your ears are hearing. Need to figure out what frequency is making your kick drum sound like a kickball? Using the StudioLive’s Solo In Place feature, you can view the frequency response of just that channel.

Best of all, you don’t need an engineering degree to use VSL with Smaart! Learn more about Smaart.

Which StudioLive is best for you?

Why choose the StudioLive 16.0.2 rather than the StudioLive 16.4.2, 24.4.2, or 32.4.2AI? The StudioLive 16.0.2 is much lighter and more compact than the other models, and it's considerably less expensive. And although you cannot cascade two 16.0.2s to make a larger system, as you can with the larger models, you can cascade a 16.0.2 with any FireStudio-series interface for additional recording inputs.

The StudioLive 16.0.2 also has a very cool feature that the larger StudioLives don't offer: MIDI control over main output level, effects levels and routing, and Scene change.

On the other hand, the StudioLive 16.4.2, 24.4.2, and 32.4.2AI do have considerably more features.

The StudioLive 16.4.2 has more mic preamps, more FireWire streams, more graphic EQs, longer-throw faders, more bands of semi-parametric EQ, and more meters than the StudioLive 16.0.2, and it can be rack-mounted without requiring an adapter. It has digital outs and analog direct outs, and you can daisy-chain two 16.4.2s to create a larger system; the 16.0.2 does not have these features. The 16.4.2, 24.4.2, and 32.4.2AI also can use the Smaart System Check Wizards in VSL; the 16.0.2 has the Smaart RTA and Spectrograph but not the System Check Wizards.

Perhaps the acts and events you mix require lots of monitor mixes, so you need more than the six auxiliary buses in the StudioLive 16.4.2, and you want fully parametric EQ, rather than semi-parametric. You could use an enhanced gate with Key Listen and Key Filter features, and a Threshold control on the limiter would be handy. A stereo graphic EQ on the mains is mandatory but you also want graphic EQ on the subgroups and auxes at times—four dual-mono, 31-band graphic EQs would do the job nicely. No problem! You get all of these enhancements and more with the 24-channel, 10-aux, StudioLive 24.4.2.

The StudioLive 32.4.2AI is the new top-of-the-line. In addition to providing more channels and aux buses than the other models, it has much more computing power and offers additional features, such as Quick Scenes, and the ability to store and A/B two complete Fat Channel settings for each channel and bus. It also provides direct wireless connectivity via an included USB LAN adapter and has an I/O-card slot that accepts optional Thunderbolt and Ethernet-AVB cards, so if you want the latest in connectivity, the StudioLive 32.4.2AI is the way to go.

You’ve read the book. Now see the movies.

Go to the Media tab on the upper section of this page and watch the assortment of StudioLive 16.0.2 videos. Better yet, locate your nearest PreSonus StudioLive 16.0.2 dealer.

Because nothing beats actually getting your hands on a StudioLive digital mixer. You’ll see what we mean about intuitive ease-of-use. You’ll hear what we mean about Class A preamps, rich DSP effects, and overall sound quality. You'll come to believe in StudioLive family values. And you'll understand why StudioLive is the most exciting small-format digital mixer on the planet.

First United Methodist

For First United Methodist, PreSonus StudioLive is the Common Thread With a history dating back more tha a century, First... read more



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