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PRESONUS STUDIOLIVE 16.4.2 MIXER

PRESONUS STUDIOLIVE 16.4.2 MIXER

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the ease of analog meets the power of digital.

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 16.4.2, and you see real hardware Mute and Solo buttons, trim controls, and clearly labeled, individual knobs for the semi-parametric EQ and dynamics processing. The master section - complete with Talkback, Monitor, Cue, and a choice of headphone sources - looks just like the master section on an analog board but with far more power and flexibility. Aux sends have their own controls. Every channel has a big, bright meter display.

Bottom line: if you've ever used an analog mixer, you'll be right at home with a StudioLive 16.4.2. And even if you've never used a mixer before, you'll quickly be able to create quality mixes and recordings.

New Virtual StudioLive (Mac/Win) and StudioLive Remote (iPad) let you remote-control StudioLive 16.0.2, 16.4.2, and 24.4.2.

You'll never go back to an old-school analog mixer once you've used StudioLive . With its incredible signal-processing power on every channel, easy store and recall of every setting, and the ability to record it all with just two mouse clicks, you'll get spoiled fast! Easier to use, better sounding, and flawlessly integrated with state-of-the-art software, it delivers the most creative environment possible for both live performance and studio music production.

But StudioLive is not simply a mixer, it's a rapidly growing family of state-of-the-art, integrated hardware-software mixing and recording systems that deliver the features you need for live sound, live recording, and studio recording.

The StudioLive 16.4.2 is a great choice for those who want to mix smaller shows and worship services, and it's a great choice for small club systems, portable churches, small bands, corporate applications, educational institutions, and anywhere you want a rack-mount mixer. It's the perfect hardware core for a project studio. Or daisy-chain two StudioLive 16.4.2s to form a 32x4x2 performance and recording console for mid-sized shows and events.

Here, in one device, are high-headroom XMAX microphone preamplifiers, a built-in FireWire recording and playback interface, more than 90 signal processors, a big library of DSP effects, 6 aux buses, 4 subgroups, extensive LED metering, mixer save and recall, channel-strip save/recall/copy/paste, talkback, and more. Yet despite its many controls and features, it's compact, rack-mountable, and easy to transport.

Build live mixes that glisten with clarity and detail - then record and enhance the performance with the power of StudioLive 16.4.2. Get creative in the studio. Build mixes, loops, sound effects, and more, then bring them out to your show and mix them with the live performance. Process channels using your favorite plug-ins and completely automate your entire performance. StudioLive 16.4.2 revolutionizes music production, opening endless creative possibilities.

Which StudioLive is Best for You?

Your mixing and recording needs aren't necessarily exactly the same as everyone else's. That's why we created a StudioLive family of digital mixers, starting with the StudioLive 16.0.2, 16.4.2 and StudioLive 24.4.2.

Why choose StudioLive 16.4.2 rather than the StudioLive 16.0.2? The StudioLive 16.4.2 has more microphone 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. 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. On the other hand, the StudioLive 16.0.2 is more compact and lighter than the 16.4.2, it's less expensive, and it 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.

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

If StudioLive were an analog console, it would have 4-foot-long channel strips packed with knobs and buttons or it would require a massive outboard rack of expensive signal processors! That's because each channel has its own compressor, limiter, gate, 4-band semi-parametric equalizer, and high-pass filter. In all, we've packed 31 compressors, 31 limiters, 31 gates, 16 high-pass filters, and more, into one remarkable Fat Channel.

Engaged by pressing any Select button, the StudioLive 16.4.2's Fat Channel features extensive EQ and dynamics for every input channel, every aux output (including the two internal FX buses), every subgroup output, and the main outputs.

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, multi-function, 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 stand-alone processor.

You get two programmable, 32-bit, stereo DSP effects engines, loaded with 50 reverbs, delays, and time-based effects 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-school tape effects. All 50 effects have easy-to-use parameter adjustment, tap tempo, store, recall, and Scene selection for ultimate creative flexibility.

The StudioLive 16.4.2 offers a stereo 31-band graphic equalizer on the main bus and 6 mono 31-band graphic EQs on the aux outputs so you can compensate for room acoustics, speaker response, and much more.

All of these features add up to a lot of settings to remember and reset at every performance. That's where the power of digital comes in: StudioLive lets you save all of your digital settings for quick setup and recall. Save Scenes that include every setting on the mixer or save just the Fat Channel settings. Copy-and-paste settings across multiple channels. 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 and can fine-tune Scenes for different songs and call them up instantly. And it lets rank amateur volunteers successfully operate the StudioLive 16.4.2.

We've included a whole library of individual channel settings as starting points for optimizing the sound of instruments, vocals, and spoken word. An AutoStore feature regularly saves your current settings in case the power fails.

Recording made easy.

If you have a computer with 6-pin FireWire, you have a 32-track digital recorder instantly ready to capture your music gig, church service, or presentation. Just two mouse clicks engages Capture recording software. Studio One Artist digital audio workstation lets you edit and enhance to your heart's content.

StudioLive 16.4.2 features a tightly integrated FireWire interface that delivers up to 32 channels of recording and up to 18 channels of simultaneous playback. Each FireWire recording channel can be set to record either pre- or post-Fat Channel signal processing, delivering total flexibility and power.

Because StudioLive 16.4.2 can so easily return FireWire playback channels from your computer, you can pull off nifty tricks. You can soundcheck your band and fine-tune the P.A. in a new venue, even when the band's not there yet. Or create backing tracks at your studio and seamlessly blend them with live performances.

Inside, it's pure PreSonus.

Ease of use and powerful features only count if the audio fidelity is equally impressive. After all, it really comes down to how good those microphone preamps are, how clean the signal path is, and how well the algorithms perform.
That's why you should choose a digital mixer made by PreSonus, a company already famous for its analog microphone preamps, pristine digital interfaces, and well-regarded signal processors.

XMAX Class A preamplifiers deliver more headroom, deeper lows, smoother highs, and a richer overall sound than the preamps found in competing mixers. 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. Synchronization to your computer is stable and robust, thanks to JetPLL synchronization technology, resulting in great stereo separation and clear, transparent audio.

StudioLive expands with your input needs.

Need more than 16 channels for mixing and recording? Daisy-chain two StudioLive 16.4.2s via their FireWire ports to get up to 32 input channels and 8 submix buses. You can still record and can simultaneously control the StudioLive with Virtual StudioLive for Mac and Windows and StudioLive Remote for iPad. If you need more than 16 channels for recording, and you don't need a full channel strip for the additional inputs, you can daisy-chain a StudioLive 16.4.2 with a PreSonus FireStudio Project, FireStudio Tube, or FireStudio Mobile interface. It could not be simpler.

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

We've provided plenty of written material about StudioLive. In addition, our Web site hosts a whole series of instructional videos showing StudioLive mixers in church, club, and project-studio applications. Video blogs go into detail about various powerful StudioLive features. And we regularly add new videos.

Reading about the StudioLive 16.4.2 is a good start but nothing beats actually getting your hands on one, so visit your nearest PreSonus dealer today. 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 audio fidelity. And when you have seen and heard it for yourself, you'll understand why your new mixer should be a StudioLive.

  • 16 mic/line inputs with high-headroom Class A XMAX microphone preamplifiers
  • 4 subgroups
  • Stereo/mono main out
  • 6 auxiliary mixes
  • 32-in/18-out FireWire digital recording ­interface (24-bit/44.1 kHz and 48 kHz)
  • Studio One Artist Digital Audio Workstation software for Mac and PC
  • Capture 1.1 recording software for Mac and PC
  • Direct recording interface compatible with Logic, Nuendo, Cubase, Sonar , Digital Performer , Ableton Live, and more
  • 16 channel strips
  • Trim control with -20 to +20 dBV line/-15 to +65 dBu microphone gain range (80dB!)
  • +48V phantom power switch for condenser microphones
  • FireWire Input Select
  • 100 mm precision faders
  • Lighted Solo and Mute buttons
  • Access to Fat Channel functions
  • 15-LED ladder metering + clip LED
  • Analog 1/4" insert (rear panel)
  • 4 subgroup buses, each with:
    • Solo
    • Mute
    • Access to Fat Channel functions (except high-pass filter and phase reverse)
  • 6 aux sends, each with
    • Solo
    • Pre/post-fader send
    • Output-level control
    • Access to Fat Channel functions (except phase reverse)
    • Mix and Mix/Pan Fat Channel metering
    • Available sources:  Channels 1-16, FXA Return, FXB Return
  • 2 internal effects sends, each with:
    • Mute
    • Pre/post-fader send
    • Output-level control
    • Access to Fat Channel (except phase reverse)
    • Effects-send Select for Fat Channel metering
    • Mix button for aux-bus mixing and Fat Channel metering
  • Master Section
    • Aux Input A and B
    • Level Control and Select (Fat Channel ­metering) switch
    • Access to all Fat Channel functions (except phase reverse)
    • Talkback System
      • Mic Level control
      • Output Select (   Aux 1-2, 3-4, 5-6, Main)
      • Talk button
      • Rear-panel XLR microphone input with level control and continuous 48V phantom power
    • 2 Track In
      • Level control
      • Tape Input to Mains button
      • FireWire source on/off
    • Solo Bus
      • Cue Mix volume control
      • PFL/AFL and Solo In Place (SIP) buttons
    • Monitor Bus
      • Headphone-output level control
      • Control-room monitor-level control
      • Solo Bus to Monitor button
      • Tape Input to Monitor button
      • Main L/R FireWire Return to Monitor button
      • Main Mix to Monitor button
  • Fat Channel with rotary encoders:
    • Pan with dedicated 15-LED display
    • Stereo link for input channels, aux buses, and subgroups
    • Phase reverse (main channels only)
    • High-pass filter: 6 dB/oct., sweepable from Off to 1 kHz (main channels and aux's only)
    • 4-band semi-parametric equalization
      • Low EQ: sweepable from 36 Hz to 465 Hz, +/-15 dB, switchable shelf or peaking
      • Low Mid EQ: sweepable from 90 Hz to 1.2 kHz, +/-15 dB, switchable 0.55/2.0 Q
      • High Mid EQ: sweepable from 380 Hz to 5 kHz, +/-15 dB, switchable 0.55/2.0 Q
      • High EQ: sweepable from 1.4 kHz to 18 kHz, +/-15 dB, switchable shelf or peaking
    • Gate: Threshold 0 to -84 dB; Rate: 2 to 0.05 sec
    • Compressor: Threshold -56 to 0 dB, Ratio 1:1 to 14:1, Attack 0.2 to 150 ms, Release 40 to 1000 ms, Makeup Gain 0 to 28 dB, Soft Knee switch, Auto Mode with 10 ms Attack and 150 ms Release
    • Limiter: 0 dBFS Threshold, ?:1 Ratio
    • Output Assign: 4 subgroups and main with post-EQ/post-dynamics option
    • All settings can be copied among channels and saved as user presets.
    • 50 channel-strip presets for drums, bass, guitars, keyboards, and vocals
  • 2 internal digital effects-processors, each with 50 customizable reverb and delay presets
    • 31-band graphic equalizers
      • Available on Main Outputs only
    • Scene Store and Recall
    • Global Scene Storage: all current StudioLive settings
      • Up to 80 at a time
    • Automatic Global AutoStore
    • Individual channel-strip Scene storage
      • Up to 48 at a time, plus...
      • 50 factory presets for instruments and vocal
    • Copy and Paste between channels
    • Customizable naming (for example, "Saturday Gig" or "Main Worship Service")
    • Lockout mode to keep inspired amateurs from changing your settings
  • Metering/Displays
    • 16 x 16- LED Fat Channel matrix:
      • Pre-dynamics/pre-fader input
      • Post-dynamics/post-fader output
      • Gain reduction
      • Aux 1-6 and EFX A/B output
      • Fader-position recall
    • 8 x 15-LED main meter bank
      • Selected channel level
      • Selected channel gain reduction
      • Sub buses 1 to 4
      • Main stereo outputs
    • 15-LED horizontal Pan/Balance display
    • 64 x 194 LCD matrix
      • Effects parameters
      • Scene creation, storage, and recall
      • System menus
    • 2-digit Channel Selected display
  • Input/Output
    • 16 main inputs, each with XLR mic, 1/4" line, and 1/4" inserts
    • 2 1/4" stereo (L/R) aux inputs
    • 1 XLR talkback-mic input with phantom power and level control
    • Unbalanced RCA stereo (L/R) tape inputs and outputs
    • XLR stereo (L/R) main outputs with level control
    • 1/4" stereo (L/R) main outputs
    • XLR mono output with level control
    • 1/4" stereo (L/R) control-room outputs
    • 1/4" Headphone output
    • 4 1/4" subgroup outputs
    • 6  1/4" aux outputs
    • 16 pre-insert, balanced direct outputs, Ch. 1-8, 9-16, 17-24 (DB25 sockets)
    • S/PDIF digital out
    • 2 FireWire 400 ports
  • Digitalia
    • High-definition analog-to-digital converters (118 dB dynamic range)
    • Unlimited-headroom, 32-bit floating point, digital mixing and effects processing
    • Internal sample frequency 44.1 kHz and 48 kHz
  • Physical
    • Rugged, non-flex steel chassis
    • 100 mm long-throw faders
    • Military-grade, quick-touch buttons
    • BNC 12V lamp socket
    • Optional dust covers available

Computer system requirements:
Below are the minimum computer-system requirements for your StudioLive 16.4.2.


Windows
  • 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)
Macintosh
  • 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.

Microphone Preamp 1-16 (XLR Balanced)
Type XLR Female, Balanced
Frequency Response to Direct Output 20 Hz to 40 kHz +/-0.5 dBu
Frequency Response to Main Output 20 Hz to 20 kHz +/-0.5 dBu
Input Impedance (Balanced) 1 k?
THD to Direct Output < 0.005%, +4 dBu, 20-20 kHz, unity gain, unwtd
THD to Main Output) <0.005%, +4 dBu, 20-20 kHz, unity gain, unwtd
EIN to Direct Output +125 dB unwtd, +130 dB A-wtd
S/N Ratio to Direct Output -97 dB
S/N Ratio to Main Output -94 dB
Common Mode Rejection Ratio +65 dB
Gain Control Range -16 dB to +67 dB (+/- 1 dB)
Maximum Input Level (unity gain) +16 dBu
Phantom Power +48 VDC
Line Inputs
Type 1/4" TRS Female, balanced mono
Frequency Response to Direct Outputs 10-40 kHz, 0 / -0.5 dBu
Frequency Response to Main Outputs 20-20 kHz, +/-0.5 dBu
Input Impedance

10 k?

THD to Direct Output <0.0007%, +4 dBu, 20-20 kHz, unity gain, unwtd
THD to Main Output <0.005%, +4 dBu, 20-20 kHz, unity gain, unwtd
S/N Ratio to Direct Output -105 dB
S/N Ratio to Main Output -94 dB
Gain Control Range -20 dB to +20 dB (1/4 dB)
Maximum Input level (unity gain) +22 dBu
Tape Inputs
Type 1/4" TRS Female, balanced mono
Maximum Input Level +10 dBu

Auxiliary Inputs

Type 1/4" TRS Female, balanced (2 stereo pairs)
Maximum Input Level +22 dBu
Main Outputs
Type Male, balanced (stereo pair); 1/4" TRS Female, balanced (stereo pair); XLR Male, balanced (mono)
Rated Output Level +24 dBu
Output Impedance 100?
Aux Outputs
Type 1/4" TRS Female, balanced (mono)
Rated Output Level +18 dBu
Output Impedance 100?

Subgroup Outputs

Type 1/4" TRS Female, balanced (mono)
Rated Output Level +18 dBu
Output Impedance 100?
Tape Outputs
Type RCA Female, unbalanced (stereo pair)
Rated Output Level +18 dBu
Output Impedance 100?
Control Room Outputs
Type 1/4" TRS Female, balanced (stereo pair)
Rated Output Level +18 dBu
Output Impedance 100?

System Crosstalk

Input to Output -90 dBu
Adjacent Channels -87 dBu
Noise Gate / Expander
Threshold Range -84 dB to 0 dB
Attack Time 0.5 ms
Release Time 0.05s to 2s
Expander Attenuation Range 2:1
Noise Gate Attenuation Range ?
Compressor
  Threshold Range -56 dB to 0 dB
  Ratio 1:1 to 14:1
  Attack Time 0.2 ms to 150 ms
  Release Time 40 ms to 1000 ms
  Auto Attack and Release Attack = 10 ms, Release = 150 ms
  Curve Types hard and soft knee
EQ
  Type 2nd-order shelving filter (Q = 0.55)
  Low (Lowpass or Bandpass) 36 to 465 Hz, +/-15 dB
  Low Mid 90 Hz to 1.2 kHz, +/-15 dB
  High Mid 380 Hz to 5 kHz, +/-15 dB
  High (Highpass or Bandpass) 1.4 kHz to 18 kHz, +/-15 dB
Digital Audio
  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
  Reference Level for 0 dBFS -18 dBu
Clock
  Jitter <20 ps rms (20 Hz - 20 kHz)
  Jitter Attenuation >60 dB (1 ns in ? 1 ps out)
Power/Environmental
  Connector IEC
  Input-Voltage Range 100 to 240V, 50-60 Hz
  Power Requirements (continuous) 100W
  Temperature Range 0 - 40 degrees Celsius
Physical
  Length 22.35 inches (568.06 mm)
  Width (chassis only) 17.22 inches (437.40 mm)
  Width (with rack ears) 19 inches (482.60 mm)
Maximum Height 6.90 inches (175.26 mm)
*Please see complete mechanical drawings when building a custom rack, desk or case.
Weight 23 lbs.
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PRESONUS

Presonus warrants its products to be free from defects for 1 year from the date of purchase.

FOR SUPPORT WITH YOUR PRODUCT CONTACT:
225-216-7887