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on Wednesday, 1 Apr 2015
- What does this mean?
The Presonus Studiolive 16.0.2 is a compact digital mixing console with an impressively small physical footprint. With 16 analog inputs, recording via firewire, complete built in EQ, compression and effects and a tactile, well-laid-out control interface, the StudioLive 16.0.2 accomplishes what most other mixers of this size cannot: flexibility and powerful routing and recording possibilities without sacrificing portability.
What Presonus say about the StudioLive 16.0.2Mixing Console:
Our StudioLive 24.4.2 and 16.4.2 changed the game, offering amazing performance and ease of use for a great price. Now we've packed the same audio quality, performance, seamlessly integrated software (including remote control) into a smaller, even more affordable package.
Small size. Bigger possibilities.
In a "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.
More than a mixer: an integrated system
The 16.0.2 integrates a 16x16 FireWire interface and comes with Capture, Studio One Artist recording and production software, and Virtual StudioLive, bidirectional control software.
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.
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.
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.
8 mono mic/line channel inputs, each with:
- High-headroom Class A XMAX mic preamplifier
- XLR mic and balanced 1/4" line inputs
- 60 mm precision fader
4 stereo line channel inputs, with:
- High-headroom Class A XMAX mic preamplifier (Ch. 9, 11, 13, and 15)
- XLR mic inputs (Ch. 9, 11, 13, and 15)
- Balanced 1/4" line inputs (Ch. 9-16)
- Unbalanced RCA line inputs (Ch. 13-16)
- 60 mm precision fader (4 stereo)
- 4 Auxiliary buses (pre/post-fader send)
- 2 Internal FX buses
- 2 stereo 32-bit digital effects processors with customizable reverb and delay presets
- Fat Channel signal processing on all channels and buses, with:
- 3-band semi-parametric EQ (individual band on/off)
- Full-featured compressor
- Standard downward expander
- Phase reverse (12 mic preamplifiers only)
- Pan with dedicated 15-LED display
- Stereo link for input channels and aux buses
- High-pass filter
- One 31-band stereo graphic EQ (on main outputs only)
- 16-in/16-out FireWire recording interface (24-bit/44.1 kHz and 48 kHz)
- Compatible with most audio software via ASIO, Windows Audio, Core Audio
Scene store and recall
- Settings can be copied among channels and buses and saved as user presets.
Software bundle for Mac and Windows includes
- PreSonus Studio One Artist digital audio workstation
- PreSonus Capture live-recording software
- PreSonus Universal Control with Virtual StudioLive bidirectional mixer-control software
- Lockout mode protects your settings from meddlers and accidents
MIDI Control Mode provides control over:
- Scene and FX Preset recall
- Main Volume, FXA, and FXB output levels
- FXA and FXB assign/unassign to Mains
Computer system requirements
- Windows 7, Vista, XP (32-bit and 64-bit)
- Intel Pentium 4 1.6 GHz processor or AMD Athlon 64 (Turion) (2.5 GHz or faster recommended)
- 1 GB RAM (2 GB or more recommended)
- Mac OS X 10.5.2 or later (32-bit and 64-bit)
- PowerPC G4 1.25 GHz or Intel Core Solo 1.5 GHz processor (2 GHz or faster recommended)
- 1 GB RAM (2 GB or more recommended)
Windows and Macintosh Systems
- IEEE 1394 FireWire 400 Port
- Internet connection recommended
- DVD-ROM drive
- Internal or external 7200 RPM storage drive 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.
- Type: XLR Female, Balanced
- Frequency Response to Direct Output (at unity gain): 20 Hz-40 kHz, 0 / -0.5 dBu
- Frequency Response to Main Output (at unity gain): 20 Hz-20 kHz, +/- 0.5 dBu
- Input Impedance (Balanced): 1 k
- THD to Direct Output (1 kHz at unity gain): <0.005%, +4 dBu, 20 Hz-20 kHz, unity gain, unwtd
- THD to Main Output (1 kHz at unity gain): 0.005%, +4 dBu, 20 Hz-20 kHz, unity gain, unwtd
- EIN to Direct Output: +125 dB unwtd, +130 dB A-wtd
- S/N Ratio to Direct Output (Ref = +4 dB, 20 kHz BW, unity gain, A-wtd): -97 dB
- S/N Ratio to Main Output (Ref = +4 dB, 20 kHz BW, unity gain, A-wtd): -94 dB
- Common Mode Rejection Ratio (1 kHz at unity gain): +65 dB
- Gain Control Range (+/- 1 dB): -16 dB to +67 dB
- Maximum Input Level (unity gain): +16 dBu
- Phantom Power (+/- 2 VDC): +48 VDC
Line Inputs, Balanced
- Type: 1/4" TRS Female, balanced mono
- Frequency Response to Direct Outputs (at unity gain): 10 Hz-40 kHz, 0 / -0.5 dBu
- Frequency Response to Main Outputs (at unity gain): 20 Hz-20 kHz, 0/-0.5 dBu
- Input Impedance: 10 k
- THD to Direct Output (1 kHz at unity gain): <0.0007%, +4 dBu, 20 Hz-20 kHz, unity gain, unwtd
- THD to Main Output (1 kHz at unity gain): <0.005%, +4 dBu, 20 Hz-20 kHz, unity gain, unwtd
- S/N Ratio to Direct Output (Ref = +4 dBu, 20 kHz BW, unity gain, A-wtd): -105 dB
- S/N Ratio to Main Output (Ref = +4 dBu, 20 kHz BW, unity gain, A-wtd): -94 dB
- Gain Control Range (+/- 1 dB): -20 dB to +20 dB
- Maximum Input level (unity gain): +22 dBu
Line Inputs, Unbalanced
- Type: RCA Female, unbalanced (stereo pair)
- Maximum Input Level: +22 dBu
- Type: XLR Male, balanced (stereo pair); 1/4" TRS Female, balanced (stereo pair)
- Rated Output Level: +24 dBu
- Output Impedance: 100
- Type: 1/4" TRS Female, balanced (mono)
- Rated Output Level: +18 dBu
- Output Impedance: 100
- Type: 1/4" TRS Female, balanced (stereo pair)
- Rated Output Level: +18 dBu
- Output Impedance: 100
- Input to Output (Ref = +4 dBu, 20 Hz-20 kHz, unwtd): -90 dBu
- Adjacent Channels (Ref = +4 dBu, 20 Hz-20 kHz, unwtd): -87 dBu
Noise Gate (Expander)
- Threshold Range: -84 dB to 0 dB
- Attack Time: Adaptive (0.2 - 2.5 ms)
- Release Time: 70 ms
- Expander Attenuation Range: 2:1
- Threshold Range: -56 dB to 0 dB
- Ratio: 1:1 to 14:1
- Response Time (Attack/Release: 0.2 ms / 1.0 s ("Tight") to 180 ms/1.0 s ("Smooth")
- Auto Attack and Release: Attack = 10 ms, Release = 150 ms
- Curve Types: hard and soft knee
- Type: 2nd-order shelving filter (Q = 0.55)
- Low (Low-pass or Bandpass): 36 to 465 Hz, +/-15 dB
- Mid: 260 Hz to 3.5 kHz, +/-15 dB
- High (High-pass or Bandpass): 1.4 kHz to 18 kHz, +/-15 dB
- ADC Dynamic Range (A-wtd, 48 kHz): 118 dB
- DAC Dynamic Range (A-wtd, 48 kHz): 118 dB
- FireWire: S400, 400 Mb/s
- Internal Processing: 32-bit, floating point
- Sampling Rate: 44.1, 48 kHz
- A/D/A Bit Depth: 24 bits
- Reference Level for 0 dBFS: -18 dBu
- Jitter: <20 ps rms (20 Hz - 20 kHz)
- Jitter Attenuation: >60 dB (1 ns in 1 ps out)
- Connector: IEC
- Input-Voltage Range: 100 to 240 VAC (factory-configured for country of destination)
- Power Requirements (continuous): 100W
- Length: 15.56 inches (397 mm)
- Width: 16 inches (106) mm
- Maximum Height: 5.5 inches (140 mm)
- Weight: 20 Lbs.
Anonymous review via Feefo | Purchase date: 30 December 2014
So far so good, great sound, a little disappointed that I had to purchase an Apple adaptor to be able to connect to 'newer Thunderbolt iMac and there's no DAW fader support. (Which seems odd because the Studiolive does send fader information?) The great bundle of software included makes up for this shortcoming. (Did I mention that the pre amps sound great?!)
Anonymous review via Feefo | Purchase date: 23 June 2014
Excellent service. Regular customer.
Ben | Purchase date: 30 September 2012
First of all, let's look at all of the other mixing desks out there. What features do they have and which of these features are useful to you? Do you need to open a song a locate the faders to their original position to carry on mixing? Do you need a separate compressor, high pass filter, limiter, eq, phase reverse or phantom power on each channel? Hmm..well maybe this mixer is for you. I needed a mixer where I could record my band and mix it without the use of any other equipment except my laptop and Logic 9. It's got 12 channels of pure XLR, so that's drums sorted. Input 1 = Bass drum. 2 = Snare drum Top. 3 = Snare drum bottom (phase reverse). 4 = Tom 1. 5 = Tom 2. 6 = Floor Tom. 7 = Hi hat. 8 = Overhead L. 9 = Overhead R. 10 = Room mic (close). 11 = Room mic (far). 12 = Spot mic e.g. ride bell. Record all these clean into Logic 9 etc and then send the wave recordings back ready for some mixing and FAT channeling. Then when you've got your drums recorded, allocate the mixing desk to Input 1 = Bass drum. 2 = Snare drum. 3&4 (stereo linked) = Toms 5&6(stereo linked)=Rest of kit. Now you have 7,8,9,10,11 & 12 for your bass, guitars and vocals or whatever else you need to. Basically, for the price....yes, this is the dogs and I live all the buttons anyway, it's all about feel. The only other desk which I think competes is the Mackie D8B, but you need a separate computer, it's heavy and bulky, you need a separate audio interface to link up 1/4" jacks and ADATS to make it a 16 channel mixer etc... so looking at ALL the pro's and con's this mixer is the only mixer I've bought and the best purchase I have made.
Susie | Purchase date: 13 September 2012
This mixing desk completely suits my purpose. It is easy to use and has transformed the function of my music studio. I have several appliances playing through the mixer plus some excellent new studio speakers - this was a first rate purchase.
Iain | Purchase date: 20 June 2012
Debating whether to get this or a slightly dumber Tascam, went for this, and have been really pleased with the choice. The Fat Channel concept is very intuitive and the level of complexity is just right - it's not one of those devices where you get list and wonder what's going on. If you want more, go for the 16.4.2
The Integration with the Mac is very good and I am just scratching the surface of saving different scenes and settings. And you really can control it remotely with an iPad or iPhone. So much potential, feels like good value.
Sufficiently advanced technology...