Owners Manual

StudioLive 16.0.2

www.presonus.com
Performance and Recording Digital Mixer

Troubleshooting Resources Digital Effects Controls Hookup Getting Started Overview

English
and Warranty Master Control
 Important Safety Instructions

The exclamation point within an equilateral triangle is intended to alert the user 14. Servicing is required when the apparatus has been damaged in any way, such as
to the presence of important operating and maintenance (servicing) instructions if a power-supply cord or plug is damaged; or liquid has been spilled, or objects
in this manual. have fallen, into the apparatus; or if the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped. All PreSonus products
The lightning flash with arrowhead symbol within an equilateral triangle is in the USA should be serviced at the PreSonus factory in Baton Rouge, Louisiana.
intended to alert the user to the presence of uninsulated dangerous voltage If your product requires a repair, contact [email protected] to arrange for a
within the products enclosure that may be of sufficient magnitude to constitute a risk of return-authorization number. Customers outside the USA should contact their local
electric shock to humans. distributor. Your distributors contact information is available at www.presonus.com.

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE THE COVER. 15. The apparatus shall be connected to a Mains power outlet
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED with a protective grounding/earthing connection.
PERSONNEL. 16. Where the Mains plug or an appliance coupler is used as the disconnect
device, the disconnect device shall remain readily operable.
CAUTION: To reduce the risk of electric shock, do not expose this appliance to
rain and moisture. The apparatus shall not be exposed to dripping or splashing
liquids and no object filled with liquids, such as vases, shall be placed on the EU Directives on the Protection of the
apparatus. Environment and Other Euro Stuff
CAUTION: These service instructions are for use by qualified service personnel RoHS This product is compliant with the EU Directive 2011/65/EU for the Restriction
only. To reduce the risk of electric shock, do not perform any servicing other than of the use of Certain Hazardous Substances in Electrical and Electronic Equipment.
that contained in the operation instructions. Repairs must be performed by No lead (Pb), cadmium (Cd), mercury (Hg), hexavalent chromium (Cr+6), PBB
qualified service personnel. or PBDE is intentionally added to this device. Any traces of impurities of these
1. Read these instructions. substances contained in the parts are below the RoHS specified threshold levels.

2. Keep these instructions. REACh This product is compliant with the European Union Directive
EC1907/206 for the Registration, Evaluation, Authorization, and Restriction
3. Heed all warnings.
of chemicals (REACh) and contains none or less than 0.1% of the
4. Follow all instructions. chemicals listed as hazardous chemicals in the REACh regulation.
5. Do not use this apparatus near water. WEEE This symbol on the product or its packaging indicates that this
6. Clean only with dry a cloth. product must not be disposed of with other waste. Instead, it is your
responsibility to dispose of your waste equipment by handing it over to
7. Do not block any ventilation openings. Install in accordance a designated collection point for the recycling of waste electrical and
with the manufacturers instructions. electronic equipment. The separate collection and recycling of your waste
8. Do not install near any heat sources, such as radiators, heat registers, equipment at the time of disposal will help conserve natural resources and
stoves, or other apparatus (including amplifiers) that produce heat. ensure that it is recycled in a manner that protects human health and the environment. For
more information about where you can drop off your waste equipment for recycling, please
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A contact your local city recycling office or the dealer from whom you purchased the product.
polarized plug has two blades, with one wider than the other. A grounding-type
plug has two blades and a third grounding prong. The wide blade and the CE This product complies with the European Union Council Directives
third prong are provided for your safety. If the provided plug does not fit into and Standards relating to electromagnetic compatibility EMC Directive
your outlet, consult an electrician for replacement of the obsolete outlet. (2006/95/EC) and the Low Voltage Directive (2004/108/EC).
10. Protect the power cord from being walked on or pinched, particularly at plugs,
convenience receptacles, and the point where they exit from the apparatus.
11. Use only attachments/accessories specified by PreSonus.
12. Use only with the cart, stand, tripod, bracket, or table
specified by the manufacturer or sold with this apparatus.
When a cart is used, use caution when moving the cart/
apparatus combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms
or when unused for long periods of time.
Table of Contents
4.3 Input Channel Strip 25
1 Overview1
4.3.1 Input Channel Controls25
1.1 Introduction1
4.4 Aux and FX Buses 26
1.2 About This Manual 1 4.4.1 Analog Aux Bus Controls26
1.3 Summary of StudioLive 16.0.2 4.4.2 Internal FX Bus Controls27
Hardware Features 2
4.4.3 Aux and FX Bus Channel
1.4 What is in the Box 3 Sends27
4.4.4 Creating Monitor Mixes29
2 Getting Started4
4.4.5 Creating Internal FX Mixes30
2.1 Level Setting Procedure 4
4.5 MultiModes31
3 Hookup9 4.5.1 MultiMode Controls and the
Buttons that Love Them31
3.1 Rear-Panel Connections 9
4.6 Main Output Bus 32
3.2 Typical Live Band Hookup
Diagram12 4.7 Talkback System 32

3.3 Typical Recording Hookup 4.8 Solo Bus 33

Diagram13 4.8.1 Solo Bus Controls33
4.8.2 Using the Solo Bus for
4 Controls14 Monitoring34
4.1 The Fat Channel 14 4.8.3 Using Solo in Place (SIP) to
Set Up a Mix35
4.1.1 Select Buttons, Meters and
the Fat Channel14 4.9 Monitor Bus 36
4.1.2 Fat Channel
Processing Guide15 5 Digital Effects |
Master Control38
4.1.3 Fat Channel: Dynamics
Processing and EQ15 5.1 The Digital FX (Effects) Menu 38
4.1.4 Fat Channel Panning and 5.1.1 Creating FX Presets39
Stereo Link20
5.1.2 Reverb and its Parameters40
4.1.5 Fat Channel: Digital Out20
5.1.3 Delay and its Parameters41
4.1.6 Copying Fat Channel
5.1.4 Digital Effects Preset
Settings21
Library42
4.1.7 Loading Fat Channel
5.1.5 Digital Effects Types43
Presets21
4.1.8 Saving Fat Channel 5.2 Scenes44
Presets22 5.2.1 S1: Zero Out (Board Reset)44
4.1.9 Channel Presets Library23 5.2.2 Creating a Scene45

4.2 Metering24 5.2.3 Scene Recall45

4.2.1 StudioLive Metering 5.2.4 Fader Locate47
Controls24
5.2.5 AutoStore47
5.3 Graphic Equalizer 48
5.3.1 The Graphic EQ Menu and
Controls49
5.3.2 Saving and Loading GEQ
Presets50

5.4 System Menu 50

5.5 Using MIDI Control Mode to

Remote-Control StudioLive 52
5.5.1 Recalling Scenes and FX Presets
Remotely53
5.5.2 Using Control Change Messages
to Control Volume and FX
Assignments53
5.5.3 Controlling the StudioLive 16.0.2
with a Behringer FCB101054
5.5.4 Controlling the StudioLive 16.0.2
with a Roland FC-30057

6 Resources60
6.1 Stereo Microphone Placement 60

6.2 EQ Frequency Guides 63

6.3 Technical Specifications 65

6.4 StudioLive 16.0.2 Block Diagram 68

6.5 StudioLive 16.0.2 Recall Sheet 70

7 Troubleshooting
and Warranty71
7.1 Trouble Shooting 71

7.2 PreSonus Limited Warranty 72

 StudioLive 16.0.2 Owners Manual

1 Overview

Overview
Overview
1.1 Introduction

Getting Started
Hookup
Controls
Thank you for purchasing the PreSonus StudioLive 16.0.2 Performance and
Recording Digital Mixer. PreSonus Audio Electronics has designed the StudioLive
utilizing high-grade components to ensure optimum performance that will last a

Master Control
Digital Effects
lifetime. Loaded with 12 high-headroom, XMAX microphone preamplifiers; a built-
in 16x16 FireWire recording and playback engine; MIDI I/O; Fat Channel processing
with 3-band semi-parametric EQs, compressors, limiters, and downward expanders;
reverb and delay effects; 4 aux buses; extensive LED metering; mixer save/recall;
channel-strip save/recall/copy/paste; talkback; and more, StudioLive breaks new
boundaries for music performance and production. All you need is a computer
with a FireWire connection, a few microphones and cables, speakers, and your

Resources
instruments, and you are ready to record in the studio or in front of a live audience!
We encourage you to contact us with questions or comments regarding
this product. PreSonus Audio Electronics is committed to constant
product improvement, and we value your suggestions highly. We believe
the best way to achieve our goal of constant product improvement is by

Troubleshooting
listening to the real experts: our valued customers. We appreciate the

and Warranty
support you have shown us through the purchase of this product.
For technical support, please see Section 7.1: Troubleshooting.

1.2 About This Manual

We suggest that you use this manual to familiarize yourself with the features,
applications, and connection procedures for your StudioLive before trying to
connect it to your computer. This will help you avoid problems during installation
and setup. This manual covers hardware functions for the StudioLive 16.0.2. A
separate manual, also included with your StudioLive mixer, covers the StudioLive
Software Library and connecting and using your StudioLive with a computer.
Throughout this manual you will find Power User Tips. These tips provide mix
tricks that are unique to the StudioLive as well as explanations for various
audio terms. In addition to the Power User Tips, you will find an assortment
of audio tutorials at the back of this manual. These tutorials cover everything
from microphone placement to equalizer and compression-setting suggestions
and are included to help you get the most from your StudioLive mixer.
Thank you, once again, for buying our product. We are
confident that you will enjoy your StudioLive!

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 1.3 Summary of StudioLive 16.0.2 Hardware Features

1.3 Summary of StudioLive 16.0.2 Hardware Features

Overview
Overview

24-bit/48 kHz sampling rate

12 Class A XMAX microphone preamplifiers
16 line-level inputs
4 auxiliary buses
Getting Started

High-definition analog-to-digital converters (118 dB dynamic range)

Unlimited-headroom, 32-bit floating-point, digital mixing and effects processing
16x16 FireWire digital recording interface with two FireWire 400 (IEEE 1394) ports
Scene automation with load/save/recall of all settings
Fat Channel with:
High-pass filter
Hookup

Compressor
Limiter
Downward expander
3-band semi-parametric EQ
Controls

Pan, phantom power, polarity invert, load/save presets

Master effects processors (reverb and delay with Load and Save)
MIDI control over: Scene and FX Recall, FX to Main
assign, Main Output, and FX Return Level
Master Control
Digital Effects

60 mm faders
Military-grade quick-touch buttons
Fast-acting LED meters
Talkback communication system
Rugged steel chassis
Resources

Compatible with Cubase, Digital Performer, Logic,

Nuendo, Sonar, Studio One, and others
Windows and Mac compatible
Powerful StudioLive software library includes:
Troubleshooting

Virtual StudioLive (VSL) advanced editor/librarian/control

and Warranty

StudioLive Remote (SL Remote) remote control

app for iPad (free from Apple App Store)
QMix remote aux-mix app for iPhone/iPod
touch (free from Apple App Store)
Capture integrated multitrack-recording software
Studio One Artist digital audio workstation with more
than 6 GB of plug-ins, loops, and sounds

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 StudioLive 16.0.2 Owners Manual

1.4 What is in the Box

Overview
Overview
Your StudioLive package contains the following:

Getting Started
Hookup
PreSonus StudioLive 16.0.2 digital recording and performance mixer
6 (1.8 m) 6-pin-to-6-pin FireWire 400 cable

Controls
6 (1.8 m) 6-pin-to-9-pin FireWire 400-to-800 cable

Master Control
Digital Effects
IEC power cord

StudioLive Software Library containing:

Resources
PreSonus Studio One Artist program DVD plus
gigabytes of third-party content
PreSonus Capture CD with demo sessions
PreSonus Universal Control/Virtual StudioLive CD

Troubleshooting
and Warranty
StudioLive Software Library Manual

3
 2.1 Level Setting Procedure

2 Getting Started
Overview

Before you begin, here are a few general rules of thumb:

Always turn the Main fader and both the Monitor and Phones knobs
in the Monitor section down before making connections.
Before plugging or unplugging a microphone while other channels
Getting
Getting STarted

are active, mute the channel to which you are connecting.

Your faders should be set on or near the U mark whenever possible.
Started

The U indicates unity gain, meaning the signal is neither boosted

nor attenuated. If the main output of your StudioLive is too high or
too low when your faders are at or near unity, you can use the main
output-level knob on the rear panel of the StudioLive to adjust the
level up or down until you have achieved the optimal volume.
Hookup

Do not allow your inputs to clip. Watch the level meters; when the LEDs near
the Clip mark, the top LED will illuminate, indicating that the analog-to-digital
converters are in danger of being overdriven. Overdriving the converters
will cause digital distortion, which sounds terrible. The XMAX preamps
in your StudioLive provide plenty of headroom; take advantage of it.
Controls

Your P.A. and studio equipment should be powered on in the following order:
1. Sound sources (keyboards, direct boxes, microphones,
etc.) connected to the StudioLive inputs
2. StudioLive mixer
Master Control
Digital Effects

3. Computer (if applicable)

4. Power amplifiers or powered monitors
When its time to power down, your system should be turned off in the reverse
order. Now that you know what not to do, lets get some audio going!

2.1 Level Setting Procedure

Resources

1. Grab a microphone and a mic cable and plug them into the
StudioLives Channel 1 mic input.
Troubleshooting
and Warranty

4
 StudioLive 16.0.2 Owners Manual

2. Connect the Main outs (TRS or XLR) of your StudioLive to

Overview
your power amplifier or powered monitors.

Getting Started
Getting Started
3. If youre using passive speakers, connect them to your power

Hookup
amplifier using speaker cable.

Controls
Master Control
Digital Effects
4. Bring down all the faders on your StudioLive to the setting.

Resources
Troubleshooting
and Warranty
5. Make sure that the Mic/Line knob on Channel 1
is all the way counter-clockwise.

5
 2.1 Level Setting Procedure

6. Plug your StudioLive into a power outlet and turn it on.

Overview
Getting
Getting STarted
Hookup Started

7. If your microphone requires phantom power, engage the 48V

button on Channel 1 of your StudioLive.
Controls
Master Control
Digital Effects

8. Turn on your amplifier or powered monitors.

Resources
Troubleshooting
and Warranty

6
 StudioLive 16.0.2 Owners Manual

9. Press the Input button in the Meter section.

Overview
Getting Started
Getting
Hookup Started
10. Speak or sing into your microphone at approximately the
same volume you expect during the performance.

Controls
Master Control
Digital Effects
11. Turn the trim knob on Channel 1 clockwise while watching
the first meter in the Fat Channel.

Resources
Troubleshooting
and Warranty
12. Adjust the Channel 1 trim knob until a little more than half
of the green LEDs are lit. The red LED at the top of the meter
should never light up.

7
 2.1 Level Setting Procedure

13. Press the Select button on Channel 1 and raise the Channel 1
Overview

fader until it reaches U (unity gain).

Getting
Getting STarted
Hookup Started

14. Bring up the Main fader until you can comfortably listen to
your microphone through your speakers.
Controls
Master Control
Digital Effects

15. With Channel 1 selected, you can use the Fat

Channel to add dynamics processing and EQ.
Resources
Troubleshooting
and Warranty

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 StudioLive 16.0.2 Owners Manual

3 Hookup

Overview
3.1 Rear-Panel Connections

Getting Started
Microphone Inputs. Your StudioLive is equipped with 12 PreSonus XMAX
microphone preamplifiers for use with all types of microphones. The XMAX
preamplifier has a Class A input buffer, followed by a dual-servo gain stage. This
arrangement results in ultra-low noise and wide gain control, allowing you to boost

Hookup
signals without increasing unwanted background noise.

48-volt Phantom Power. The StudioLive provides 48V phantom power for the
microphone input on each channel. This feature can be individually enabled for each

Controls
channel using the 48V button in the Fat Channel. See Section 4.1 for details.
WARNING: Phantom power is required for condenser microphones but can
severely damage dynamic mics, especially ribbon mics. Therefore, switch
phantom power off for all channels where it is not required.
Power User Tip: Dynamic microphones and ribbon microphones are generally

Master Control
Digital Effects
lower-output devices and require no external power source. The most important thing
to note about ribbon microphones is that they very rarely require phantom power.
In fact, unless a ribbon microphone calls specifically for phantom power, sending
phantom power to it can cause severe damage probably beyond repair. Condenser
microphones are generally more sensitive than dynamic and ribbon microphones
and typically require external +48V phantom power. Always review your microphones
documentation to ascertain the manufacturers recommended operating practices.

Resources
XLR connector wiring for phantom power:
Pin 1 = GND Pin 2 = +48V Pin 3 = +48V
Line-level Input. Each channel of the StudioLive has a inch, balanced TRS
connection for line-level input. When these inputs are engaged, the microphone-

Troubleshooting
preamp circuit is bypassed. Typical examples of line-level connections are synthesizer

and Warranty
outputs, CD/DVD-player outputs, and (with exceptions) signal-processor outputs.
Note: As with any mixer, plugging in a microphone or a line-level input device, or
turning phantom power on or off, will create a momentary spike in the audio
output of your StudioLive. Because of this, it is highly recommended that you mute or turn
down the channel trim before changing connections or turning phantom power on or off.
This simple step will add years to life of your audio equipment.
Stereo Inputs. Channels 9 through 16 are stereo inputs. Each pair of channels is
controlled by a single fader, Solo, Mute, and Select button. By default, Channels 9/10
through 15/16 are set to be mono, so that only the mic preamplifier for the Left
(mono) input will be heard. When these channels are unlinked, the Right input is not
accessible on the mixer. To insert the Right input into your mix, you must engage
Stereo Link (see Section 4.1.4 for details).

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 3.1 Rear-Panel Connections

Channels 13/14 and 15/16 have unbalanced RCA connections,

Overview

in addition to the balanced TRS connections. Like the TRS

connections, the right RCA input will not be accessible on the
mixer if the channels are not linked.
Getting Started

Aux Outputs. The StudioLive

is equipped with four auxiliary
outputs. In Section 4.4.4 and
Hookup

4.4.5, we discuss in detail how to

create aux mixes for monitoring
and effects processing. Aux mixes
are routed to these outputs.
Talkback Mic Input. The StudioLive does not have an onboard talkback mic; an
external mic must be used. Phantom power is always enabled on this microphone
Controls

preamp, so you can use either a dynamic or a condenser microphone.

Warning: Phantom power is only required for condenser microphones and
can severely damage dynamic mics, especially ribbon mics. We recommend
that you consult the documentation that came with your microphone to confirm that
it is safe to use with phantom power before connecting a dynamic microphone to
Master Control
Digital Effects

the Talkback input.

Talkback Mic Trim. This is the trim control for your talkback microphone. It adjusts
the gain of the Talkback input.

Mono Output. This balanced output carries a mono, summed

version of the stereo signal from the main bus.
Resources

Mono Output Trim. This knob controls the maximum level of the
Mono Output signal. The signal can be attenuated to -80 dB and boosted
up to +6 dB.
Troubleshooting
and Warranty

Main Output. The StudioLive features both XLR

and TRS main outputs. These outputs are parallel
to each other and to the mono output.
Power User Tip: All main outputs (XLR Stereo, TRS Stereo,
and XLR Mono) of the StudioLive are active all the time.
Because of this, you can send your main mix to five speakers
at the same time. This can be especially useful when you need to send a mix to
another room or add another set of speakers to accommodate a larger venue.
Main Output Trim. This knob controls the maximum output level of the XLR and
TRS main outputs. The signal can be attenuated to -40 dB and boosted up to 0 dB.
Monitor Output. These are the balanced control-room outputs. The level is
controlled by the Monitor knob in the Monitor section on the top panel.

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 StudioLive 16.0.2 Owners Manual

MIDI I/O. MIDI stands for Musical Instrument Digital Interface. However,
MIDI has uses well beyond instruments and sequencing. The MIDI inputs and

Overview
outputs allow connection to, and communication with, external MIDI
equipment. One function of these ports is to serve as a standard MIDI
interface, useful for sequencing and myriad other applications. The MIDI
input can also be used to connect a MIDI footpedal to control certain
parameters on your StudioLive. More information about MIDI Control Mode
can be found in Section 5.5.

Getting Started
Power User Tip: MIDI data represents performance information and is not audio;
however, it is frequently used to trigger or control an audio source, such as a plug-in
or synthesizer. When using MIDI, please ensure that your MIDI data is correctly sent
and received by the appropriate hardware or software instruments. You may also
need to route those devices audio outputs to StudioLive input channels. Please
consult the users manual of your MIDI devices for help with MIDI setup and usage.

Hookup
FireWire Ports. There are two standard 6-pin FireWire 400 ports on the back of the
StudioLive. Either port can be used to connect the StudioLive to a FireWire port on
your computer. If your computer has a 4-pin connector (commonly found on
laptops), you will need to purchase a 4-to-6-pin adapter or cable. These adapters and
cables can be found at your local computer-supply store. The FireWire 400 ports are
compatible with FireWire 800 connections found on Apple computers. Both a

Controls
FW400-FW400 and a FW800-FW400 cable have been included for your convenience.
You can use the second FireWire port to connect additional FireWire devices (such as
external hard drives) to your computer or to daisy-chain a PreSonus FireStudio-family
interface for additional recording inputs.
Note: Connecting FireWire 800 devices to the secondary FireWire connection

Master Control
Digital Effects
is not supported. While connecting your StudioLive to your computers
FireWire 800 connection using a 6-pin to 9-pin cable is supported,
your StudioLive will still operate at FireWire 400 bus speed.
2 Amp Fuse. This is the StudioLives fuse housing. Your StudioLive uses a 5 mm x 20
mm, 250 VAC, fast-acting fuse.

Resources
Power-Input. This is where you plug in the provided IEC power cable.

Troubleshooting
and Warranty
Power Switch. Push the top part of the switch ( | ) to turn on your StudioLive. Push
the bottom part of the switch ( O ) to turn it off.

11
 3.2 Typical Live Band Hookup Diagram

3.2 Typical Live Band Hookup Diagram

Overview
Getting Started

Lead Vocal Mic

Keyboard Rhythm Guitar and Amp Bass Guitar Drum Set

Hookup
Controls
Master Control

100 - 240 VAC 50-60Hz

Digital Effects

On
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and Warranty

Laptop MIDI Pedal Monitors Front-of-House Speakers

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 StudioLive 16.0.2 Owners Manual

3.3 Typical Recording Hookup Diagram

Overview
Getting Started
Lead Vocal Mic

Rhythm Guitar and Amp Bass Guitar Drum Set

Hookup
Controls
Master Control
Digital Effects
100 - 240 VAC 50-60Hz

On

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PreSonus HP60 Headphone Distribution

Laptop

Troubleshooting
and Warranty
Reference Monitors
MIDI Controller

13
 4.1 The Fat Channel

4 Controls
Overview

4.1 The Fat Channel

Getting Started
Hookup
Controls
Controls
Master Control
Digital Effects

The revolutionary Fat Channel is the heart of the StudioLive. The Fat Channel
makes dynamics, routing, and panning for every input and output on the
StudioLive available at the touch of a Select button. The 12 multipurpose
knobs and meters located in the Fat Channel control nearly every adjustment
you will need to make on your StudioLive. From the Fat Channel, you can:
Resources

Add dynamics processing and EQ to every input and output

Create aux and effects mixes for all four analog aux
buses and both internal effects buses
Engage phantom power for each mic preamp.
Troubleshooting
and Warranty

Meter input level and gain reduction for all 16 channels

Meter output level for all four aux buses and the Main output
Copy, save, and load Fat Channel and GEQ presets
Recall your fader position for stored mixes

4.1.1 Select Buttons, Meters, and the Fat Channel

Select Buttons. All around the StudioLive, you will see Select buttons. There is a
Select button on each of the 12 channels, each of the 4 analog aux buses, both of the
internal effects buses, and the main output bus. Each of these buttons serves exactly
the same purpose: to access the Fat Channel parameters for its channel or bus.
Selected Channel Display. In the lower right corner of the Fat Channel, you will find
an LED readout. The currently selected channel will always be displayed here.
Numbers 1-8 indicate one of the 8 mono input channels is selected; 9, 11, 13, or 15
indicate that one of the 4 stereo input channels is selected; MA indicates the Main
bus; A1-A4 indicates Aux 1-4; and Fa and Fb indicate EFX A and EFX B.

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 StudioLive 16.0.2 Owners Manual

4.1.2 Fat Channel Processing Guide

Overview
The following table provides a quick guide to the processing that is
available for each bus in the StudioLive, as well as which inputs and
buses are available for recording. For more information on FireWire sends,
please see Section 2.5 in the Software Library Reference Manual.

Bus Polarity High-Pass Noise Compressor EQ Limiter FireWire

Getting Started
Invert Filter Gate Send
Input Channels

Main Out L/R

Aux Busses

Internal FX Send Mix

Hookup
4.1.3 Fat Channel: Dynamics Processing and EQ
The main function of the Fat Channel is to provide dynamics processing and
filtering for every input and output on the StudioLive. The rotary encoders work
in conjunction with the meters directly above them to adjust the dynamics

Controls
Controls
processing and EQ. The Fat Channels processing section consists of five parts:
High-Pass filter, Noise Gate, Compressor, Limiter, and Semi-Parametric EQ. Each
can be turned on or off and controlled separately. The signal flows as follows:

Phase Hi-Pass Noise Gate Compressor EQ Limiter

Master Control
Digital Effects
Polarity Invert Button. Inverts 48V Button. Engages Phantom
the Polarity of the Selected Power in the Microphone Preamp
Channel. of the Selected Channel.

Resources
Push this button to invert the Push this button to engage
polarity of the selected channels phantom power in the selected
signal (that is, to alter the channels microphone preamp.
polarity by 180). The button The button will illuminate,
will illuminate, indicating that indicating that phantom power is

Troubleshooting
Polarity Invert is active. The active. Phantom power transmits

and Warranty
Polarity Invert button can be 48V of DC electric power
used to correct audio signals through a microphone cable.
that are out of phase and are The 48 volts supplied by way of
cancelling/reinforcing each other. the XLR input provides power
Power User Tip: When recording for condenser microphones
with more than one open and other devices requiring
microphone, use the polarity invert continuous phantom power.
to combat phase cancellation This power is supplied at a
between microphones. constant level to prevent
Polarity Invert is only available on any signal degradation.
the 16 channels of the input bus. Phantom power is only
available on the 12 microphone
preamps of the input bus.

15
 4.1 The Fat Channel

High Pass Filter On/Off. Turns is dependent on the signal

the High Pass Filter On/Off for the level after the level crosses the
Overview

Selected Channel or Output Bus. threshold, whereas a noise gate

This button engages and works independent of a signals
disengages the high-pass filter level beyond the threshold.
for the selected channel or Gate Threshold. Sets and
output bus. It will illuminate Displays the Threshold of the
Getting Started

to indicate that the high-pass Gate for the Selected Channel.

filter has been enabled. This encoder sets, and the meter
The high-pass filter is available displays, the gate threshold
on the 16 channels of the for the selected channel. The
input bus, the 4 aux buses, threshold determines the level
and both internal FX buses. at which the gate will open.
High Pass Filter Frequency. Essentially, all signals above the
Hookup

Adjusts the High Pass Filters threshold setting are passed

Cutoff Frequency. through unaffected. You can set
the threshold from 0 to -56 dB.
The High Pass Filter section
consists of an encoder and Power User Tip: If the threshold
a meter. Frequency range is is set fully counterclockwise,
indicated to the left of the the gate is turned off (always
Controls
Controls

meter. The filters threshold can open), allowing all signals to

be set from 24 Hz to 1 kHz. pass through unaffected.

The High Pass Filters Compressor On/Off. Turns the

slope is -6 dB/octave. Compressor On/Off for the
Selected Channel or Output Bus.
Master Control
Digital Effects

Power User Tip: A high-pass filter

attenuates all frequencies below This button engages or
the set threshold. Use the Fat disengages the compressor
Channel High Pass Filter to remove for the selected channel or
unwanted low-frequencies from output bus. It will illuminate to
your source signal, rather than indicate that the compressor
trying to EQ them out. has been enabled.
Resources

The compressor is available for

all input and output buses.
Power User Tip: A compressor is
Gate On/Off Button. a type of amplifier in which gain
Turns the Gate On/Off for the is dependent on the signal level
Troubleshooting
and Warranty

Selected Channel. passing through it. You can set

This button engages and the maximum level a compressor
disengages the gate for allows to pass through, thereby
the selected channel. It will causing automatic gain reduction
illuminate to indicate that above some predetermined signal
the gate has been enabled. level, or threshold. Compression
refers, basically, to the ability
The gate is available for all to reduce, by a fixed ratio, the
input and output buses. amount by which a signals
Power User Tip: The Gate in output level can increase relative
your StudioLive 16.0.2 is actually to the input level. It is useful for
a downward expander. In lowering the dynamic range of
contrast to compression, which an instrument or vocal, making it
decreases the level of a signal after easier to record without distorting
it rises above the compression the recorder. It also assists in the
threshold, expansion decreases mixing process by reducing the
the level of a signal after the amount of level changes needed
signal goes below the expansion for a particular instrument.
threshold. Commonly used
for noise reduction, the major
difference between expansion
and noise gating is that expansion

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 StudioLive 16.0.2 Owners Manual

Compressor Auto Mode Compressor Response. Sets and

Button. Enables Automatic Displays the Compressor

Overview
Response Mode. Response Setting for the Selected
When Auto mode is active, Input Channel or Output Bus.
the Response control This encoder sets, and the meter
becomes inoperative, and a displays, the compressors
preprogrammed attack and response setting for the selected

Getting Started
release curve is used. In this channel or output bus. The
mode, the attack is set to 10 ms, Response control sets the
and the release is set to 150 ms. attack and release tapers for the
All other compressor parameters Compressor simultaneously. A
can still be adjusted manually. tight response time triggers the
Compressor Threshold. Sets compressor immediately and
and Displays the Threshold of the returns the gain reduction back
to zero quickly when the signal

Hookup
Compressor for the Selected
Channel or Output Bus. drops below the compressor
threshold. A smooth response
This encoder sets, and the time allows the beginning
meter displays, the compressor component of the signal or
threshold for the selected initial transient to pass through,
channel or output bus. When uncompressed, and extends the

Controls
Controls
the signals amplitude (level) time of length of time before the
exceeds the threshold setting, gain reduction returns to zero.
the compressor engages. Turning
the knob counterclockwise Power User Tip: In general, a
lowers the threshold so that tighter response time should be
used for instruments with relatively

Master Control
Digital Effects
compression begins at a lower
amplitude. The threshold can few transients, like drums and
be set from -56 to 0 dB. percussion, while a smooth setting
should be using for instrument
Compression Ratio. Sets and with a lot of transients, like vocals
Displays the Compression Ratio and stringed instruments.
for the Selected Input Channel or
Output Bus. Compressor Makeup Gain. Sets

Resources
and Displays the Amount of
This encoder sets, and the Makeup Gain for the Compressor
meter displays, the compression on the Selected Input Channel or
ratio (or slope) for the selected Output Bus.
channel or output bus. The ratio
sets the compression slope, This encoder sets, and the meter

Troubleshooting
displays, the makeup-gain

and Warranty
which is a function of the output
level versus the input level. For setting of the compressor for the
example, if you have the ratio selected channel or output bus.
set to 2:1, any signal levels above When compressing a signal, gain
the threshold setting will be reduction usually results in an
compressed at a ratio of 2:1. This overall attenuation of level. The
means that for every 2 dB of level gain control allows you to restore
increase above the threshold, this loss in level and readjust the
the compressors output will volume to the precompression
only increase 1 dB. The ratio level (if desired). You can adjust
can be set from 1:1 to 14:1. Makeup Gain from 0 dB (no
gain adjustment) to +28 dB.

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 4.1 The Fat Channel

Limiter On/Off. Turns on the Low EQ Gain Control. Sets and

Limiter for the Selected Input Displays the Gain Attenuation or
Overview

Channel or Output Bus. Boost of the Center Frequency.

When the limiter is engaged This encoder sets, and the meter
the button will illuminate. The displays, the gain cut or boost
threshold for the limiter is set at the center frequency for the
to 0 dBFS. The Ratio is :1. Low band. The level of the center
Getting Started

The limiter is available for all frequency can be set between

input and output buses. -15 and +15 dB.

Power User Tip: At the simplest

level, a limiter is a compressor
that is set to prevent any increase
in the level of a signal above
the threshold. For example, if
Hookup

you have the threshold knob

set at 0 dB, and the ratio turned Low Shelf EQ Button. Turns on
fully clockwise, the compressor the Low Shelving EQ for the
becomes a limiter at 0 dB, so that Selected Input or Output Bus.
the output signal cannot exceed When the Shelf button is not
0 dB regardless of the level of the engaged, the Low band is semi-
Controls
Controls

input signal. Typically, compression parametric. Enabling the Shelf

ratios of 10:1 and above are button turns the Low band into
considered to be limiting. a low-shelving EQ that alters,
Low EQ On/Off Button. by a fixed amount, a band of
Activates Control for the Low low frequencies at and below a
Master Control
Digital Effects

Band EQ for the Selected Input or user-selected shelving frequency.

Output Bus. Power User Tip: A low shelving
This button actives control of EQ is like a bass-control knob
the equalizers Low band for on a stereo. In this mode, the
the selected channel or bus. Center Frequency control selects
The button will illuminate to the shelving frequency.
Resources

indicate the band is active. Mid EQ On/Off Button. Activates

The Low EQ band is available Controls for the Mid EQ for the
for all input and output buses. Selected Input or Output Bus.

Low EQ Frequency Control. Sets This button actives the controls

and Displays the Center for the equalizers Mid band for
Troubleshooting

the selected input or output.

and Warranty

Frequency of the Low EQ Band.

The button will illuminate to
This encoder sets, and the meter indicate the band is active.
displays, the center frequency
of the equalizers Low band. The Mid EQ band is available
The center frequency is the for all input and output buses.
middle of the passband (the Mid EQ Frequency Control. Sets
mean) between the lower and and Displays the Center
upper cutoff frequencies that Frequency of the Mid EQ.
define the limits of the band. This encoder sets, and the meter
You can adjust the center displays, the center frequency for
frequency from 36 to 465 Hz. the Mid band. You can adjust the
center frequency from 260 Hz to
3.5 kHz.

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 StudioLive 16.0.2 Owners Manual

Mid EQ Gain Control. Sets and High EQ Frequency Control.

Displays the Gain Attenuation or Sets and Displays the Center

Overview
Boost of the Center Frequency for Frequency of the High EQ.
the Mid Band. This encoder sets, and the meter
This encoder sets, and the meter displays, the center frequency
displays, the gain cut or boost of the High band. You can adjust
at the center frequency of the the center frequency from 1.4 to

Getting Started
Mid band. The level of the center 18 kHz.
frequency can be set between
-15 and +15 dB.

Hookup
Mid Hi Q Button. Enables a
Narrow Bandwidth for the Mid High EQ Gain Control. Sets and
Band EQ on the Selected Input or Displays the Gain Attenuation or
Output bus. Boost at the Center Frequency of
Q is the ratio of the EQ bands the High EQ Band.

Controls
Controls
center frequency to its This encoder sets, and the meter
bandwidth. With a constant displays, the gain cut or boost at
center frequency, higher Q values the center frequency of the High
indicate a narrower bandwidth, EQ band. The level of the center
so Q is often equated with frequency can be set between

Master Control
Digital Effects
bandwidth. By default, the Q is -15 and +15 dB.
set to a value of 0.55. When the
Hi Q button is engaged, the Q
setting will be increased to 2.0,
thus narrowing the bandwidth
to provide more precise control.
High EQ On/Off Button.

Resources
Activates Control for the High EQ High Shelf EQ Button. Turns on
for the Selected Input or the High Shelving EQ for the
Output Bus. Selected Input or Output Bus.
This button actives control When the Shelf button is not
of the High band for the engaged, the High band is a

Troubleshooting
and Warranty
selected channel or bus. semi-parametric EQ. Enabling
The button will illuminate to the Shelf button turns the High
indicate the band is active. band into a high shelving EQ
The High EQ band is available that alters, by a fixed amount,
for all input and output buses. a band of high frequencies
at and above a user-selected
shelving frequency.
Power User Tip: A high shelving
EQ is like a treble-control knob
on a stereo. In this mode, the
Center Frequency control
selects the shelving frequency.

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 4.1 The Fat Channel

4.1.4 Fat Channel Panning and Stereo Link

Overview

The Pan control for each input or output bus is set

on the Fat Channel. The LED display shows the Pan
setting, and the encoder to the right of the display
controls panning for the selected input or output bus.
When two channels are linked as stereo pair, the LED
display will automatically change to a stereo pan.
Getting Started

Stereo linking is also done from within the Fat Channel. Input channels and aux
buses can be linked to create a stereo pair. The stereo pairs are predefined and
cannot be changed. They are as follows:
Channels 1 and 2 Channels 11 and 12
Channels 3 and 4 Channels 13 and 14
Hookup

Channels 5 and 6 Channels 15 and 16

Channels 7 and 8 Aux 1 and Aux 2
Channels 9 and 10 Aux 3 and Aux 4
For mono channels and aux buses, a stereo link can be enabled when either channel
in the pair is selected. When the Stereo Link button is illuminated, all dynamics
Controls
Controls

and EQ settings are nondestructively pasted to the other channel in the pair.
Power User Tip: Note that this is a nondestructive paste; when the Link button is
disengaged, the other channels previous settings will be restored. For instance, if Channel
8 is selected when the Stereo Link button is engaged, all of Channel 8s settings will be
copied onto Channel 7. If Channel 7 is selected when the Stereo Link button is engaged,
Master Control
Digital Effects

Channel 7s settings will be copied onto Channel 8. Because the settings are copied
nondestructively, it is possible to A/B dynamics settings with the touch of two buttons.
Whichever channel is selected when the Link button is engaged will be
the Link Master. When either channel in the stereo link is selected, both
channels Select buttons will illuminate but the Link Masters ID number will
be displayed in the Selected Channel LED read-out in the Fat Channel.
Resources

On the StudioLive 16.0.2s four stereo channels, the stereo link will enable the right
side (channels 10, 12, 14, and 16) to be heard in your mix. Each of these stereo
channels fader, Select button, MultiMode button, and Aux send controls both
channels at the same time. All Fat Channel settings are applied to both channels.
Power User Tip: It should be noted that while Stereo Link must be enabled in order to
Troubleshooting

hear the right side of each stereo channel through the StudioLive, the right inputs are
and Warranty

still sent through the FireWire bus and can be recorded by your DAW with or without
Stereo Link engaged. For more information on using your StudioLive as an audio
interface, please consult Section 2 in the StudioLive Software Library Reference Manual.

4.1.5 Fat Channel: Digital Out

The Fat Channel also gives you the option of sending just the unprocessed audio to
your computer or including the Fat Channel settings in the recorded signal. When the
Dig Out button is enabled, the signal being sent to the FireWire bus is post-EQ and
post-dynamics processing; the button will illuminate to indicate this signal flow. When
the button is disabled, the signal being sent to the FireWire bus is pre-Fat Channel.
The Dig Out button is only available when one of the channel inputs is selected.
The Main bus automatically sends its signal post-Fat Channel dynamics and
EQ. All FireWire sends are pre-fader except for the Aux and Main outputs.
For more information on using your StudioLive as an audio interface, please
consult Section 2 in the StudioLive Software Library Reference Manual.

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 StudioLive 16.0.2 Owners Manual

4.1.6 Copying Fat Channel Settings

Overview
In addition to being able to create and save custom Fat Channel
presets, every setting in the Fat Channel can be copied from
one channel or bus to any other channel or bus.
1. Press the Copy button to copy the settings on the selected channel or bus.
Every Select button on the StudioLive except the button for the currently

Getting Started
selected channel will begin to flash. The Select button for the selected
channel will not illuminate. You can copy a Fat Channel setting from any
channel or bus to any combination of channels and buses.
2. The Load button will also start to flash.

3. To paste the current channels Fat Channel setting to another channel or

Hookup
bus, simply press that channels Select button. It will stop flashing and will
illuminate.

4. After you have selected every channel to which you want the settings
pasted, press the Load button. The StudioLive will return to its normal state,
indicating that the Fat Channel settings have been successfully pasted.

Controls
Controls
4.1.7 Loading Fat Channel Presets
The StudioLive comes with a suite of channel-strip presets created
by professional users of PreSonus products. These presets provide
a great jumping-off point to create a mix quickly and easily. The

Master Control
Digital Effects
StudioLive also allows you to create your own library of presets.
1. To load a preset to any channel on the StudioLive, first press the Select
button for the desired channel.

2. From the Fat Channel, press the Load button. You will notice that the LCD
now displays the Channel Preset Load menu.

Resources
3. The Channel Preset Load menu always displays the selected
channel onto which the preset will be loaded. Use the Value
encoder to locate the preset you would like to use.

Troubleshooting
and Warranty
4. Once you have made your selection, press the Recall button. If at any time
you would like to cancel this operation, simply press the Load button again.
Power User Tip: Load will stay active until you press the button again to disable
it, even if you select another channel. Because of this, you can quickly add a preset
to every channel and give yourself a jumping-off point to dial in your mix.

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 4.1 The Fat Channel

4.1.8 Saving Fat Channel Presets

Overview

If you have created a channel-strip setting in the Fat Channel that you would like to
save to the Channel Preset library, press the Fat Channels Save button. You will
notice that the LCD will display the Channel Preset Save menu.
Getting Started

1. To begin, use the Value encoder to scroll to an empty position in the Channel
Preset library.
Hookup

2. Press the Next button to navigate to the category location. Create the category
in which your preset would fit (DRM, VOX, GTR, etc.).
Press the Next button again to navigate to the first letter of the preset name.
Controls
Controls

3. Turn the Value encoder clockwise or counter-clockwise to change the letter. The
StudioLive allows you to customize the name with uppercase and lowercase
letters, as well as a selection of numerals and punctuation marks. You can insert a
space by simply pressing the Tap button.
Master Control
Digital Effects

4. Once you are satisfied with your changes, press the Store button. It will
illuminate while the Channel preset is being written to the StudioLives internal
memory. Once the Channel preset is saved, the Store button will return to its unlit
state.
Resources
Troubleshooting
and Warranty

22
 StudioLive 16.0.2 Owners Manual

4.1.9 Channel Presets Library

Overview
Your StudioLive comes with 50 Fat Channel presets custom designed by
professional PreSonus users. These presets can be altered, renamed, and
overwritten; however, there are 49 additional empty storage locations
for you to build your own custom library of channel-strip settings.

Getting Started
01 DRM: Kick 1 27 GTR: Acoustic Strumming
02 DRM: Kick 2 28 GTR: Acoustic Fingerstyle
03 DRM: Kick Funk 1 29 KEY: Piano Bright
04 DRM: Kick Funk 2 30 KEY: Piano Warm
05 DRM: Kick Hip-Hop 31 KEY: Piano Jazz
06 DRM: Kick Jazz 32 KEY: Piano Electric

Hookup
07 DRM: Snare 1 33 KEY: Piano Electric 2
08 DRM: Fat Snare 34 KEY: Vibes
09 DRM: Snare Crackalak 35 HRN: Trumpet
10 DRM: Snare Snappy 36 HRN: Trombone

Controls
Controls
11 DRM: Toms Mid 37 HRN: Sax
12 DRM: Toms Low 38 HRN: Sax Solo
13 DRM: Toms High 39 PRC: Congas
14 DRM: Overhead Rock 40 PRC: Bongos

Master Control
Digital Effects
15 DRM: Overhead Jazz 41 PRC: Cowbell
16 DRM: High Hat 42 PRC: Tambourine
17 BAS: Electric 1 43 VOX: Male 1
18 BAS: Electric 2 44 VOX: Male 2
19 BAS: Slap 45 VOX: Male 3
20 BAS: Upright 46 VOX: Female 1

Resources
21 GTR: Rock 1 47 VOX: Female 2
22 GTR: Rock 2 48 VOX: Female 3
23 GTR: Funk 49 VOX: Speech 1
24 GTR: Metal 50 VOX: Speech 2

Troubleshooting
and Warranty
25 GTR: Jazz 51 - 99 EMPTY LOCATION
26 GTR: Acoustic

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 4.2 Metering

4.2 Metering
Overview
Getting Started

The StudioLive offers flexible metering at the touch of a button.

The 12 meters in the Fat Channel section can monitor:
Hookup

The input signal for each channel, post-gain and

pre-dynamics, pre-EQ, and pre-fader
The gain reduction for each input channel
The output level for each of the four Aux buses
The output level of Main bus
Controls
Controls

Finally, the meters can be used to recall the fader settings for a saved Scene.

4.2.1 StudioLive Metering Controls

The Meters section of the StudioLive is located to the left of the fader bank.
Master Control
Digital Effects

Each of these buttons are toggle switches; you turn them on and off by pressing
them. The meter state can also be changed by pressing another button in the
Meter section, or any Select button on the StudioLive, or one of the Aux Encoder
Mode buttons. (See Section 4.4 for more information on Aux Encoder Mode.)
Power User Tip: It is important to mention that the meters simply overlay the
selected Fat Channel state. For instance, if you have Channel 1 selected and
then press the Output button in the Meter section, the knobs and buttons in
Resources

the Fat Channel section will still be active. The advantage of this is that you can
make adjustments in the Fat Channel while monitoring your entire mix.
Input Metering Button. Turns PFL Input Metering On and Off.
Switches the meters to display the pre-dynamics, pre-fader level of the input bus.
Meters are one to one (Meter 1 shows the level of Channel 1, etc.). The input signal
Troubleshooting
and Warranty

for stereo channels that are stereo linked is a sum of the left and right inputs.
Output Metering Button. Turns AFL Output Metering On and Off.
Switches the meters to display the post-dynamics, post-fader level of the
Aux and Main buses. Only the last six meters are used. Meter 7 displays
Aux 1 output, Meter 8 displays Aux 2 output, Meter 9/10 displays Aux
3 output, Meter 11/12 displays Aux 4 output, and Meters 13/14 and
15/16 display the left and right side, respectively, of the Main bus.
Gain Reduction Metering Button. Turns Gain Reduction Metering On and Off.
Displays the amount of gain reduction being applied to each input
channel. Meters have a one-to-one relationship with channels (that
is, Meter 1 shows the gain reduction of Channel 1 and so on).
Fader Locate Button. Turns Fader-Recall Metering On and Off.
Displays the fader position of the stored Scene. When recalling a fader position,
adjust the fader until only the center LED is visible in its meter. To recall the stored
position of an Aux or Main fader, simply move the fader. The meters will instantly
flip to display the stored position of each of the output faders. The same meters
that display the outputs are used for locate. See Section 5.2.4 for details.

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 StudioLive 16.0.2 Owners Manual

4.3 Input Channel Strip

Overview
The StudioLive is equipped with all of the standard input controls of an analog
mixer. In addition, the StudioLive provides the added flexibility of routing a
playback stream from your audio-recording software to the mixer via the FireWire
bus, just as if it were an analog input. This lets you incorporate digital audio tracks
into the main mix and insert plug-in effects and software instruments from your
audio program. See Section 2.6 in the StudioLive Software Library Manual.

Getting Started
4.3.1 Input Channel Controls
Trim Control. Adjusts the Input Gain Level.
The Trim control adjusts the gain of the channels analog input. It is very important to
properly adjust this control in order to minimize noise and avoid overload distortion.

Hookup
Phantom Power Button. Turns Phantom Power On/Off.
The StudioLive is equipped with individual phantom power for every
microphone input. As previously described in Section 4.1.3, the 48V
button is accessible via the Fat Channel when an input channel is
selected. It will illuminate when phantom power is activated.

Controls
Controls
The 48 volts supplied by way of the XLR input provides power for condenser
microphones and other devices requiring continuous phantom power. This
power is supplied at a constant level to prevent any signal degradation.
Input Channel Select Button. Enables Fat Channel Processing and Routing.

Master Control
Digital Effects
As previously described in Section 4.1.1, the Select button routes its channel through
the Fat Channel, allowing you to add dynamics processing, EQ, panning, and more.
Input Channel MultiMode Button. Engages FireWire Return, Solo, and Mute.
This buttons function is determined by the MultiMode control switches. Depending
on which mode is engaged, this button will function as the FireWire Return, Solo, or
Mute button for its input channel. For more information on the MultiMode buttons

Resources
and their functions, please refer to Section 4.5.

Troubleshooting
and Warranty
Channel Fader. Controls the Overall Level of the Channel.
Each input channel features a 60 mm fader for level
adjustment. Unity gain (0 dB) is denoted by a U.
The white area above the fader can be used as a scribble strip. Use only
oil pencils; other types of pens or pencils cannot be wiped off.
To clean the scribble strip, use a lightly damp cloth to remove the writing.

25
 4.4 Aux and FX Buses

4.4 Aux and FX Buses

Overview

The aux bus provides outputs to create auxiliary mixes that are separate from the
main mix. Your StudioLive is equipped with 6 aux buses: Aux 1 through 4, which
have physical output jacks, and EFX A and B, which are the internal effects buses.
Aux buses can be used for many applications, the two most common of which are
creating monitor mixes and inserting external effects processors into the mix. As
with the main mix, the StudioLive allows you to add global dynamics processing
Getting Started

and EQ to these aux buses, in addition to individual channel processing.

The analog aux buses are mono; however, two aux
buses can be linked to create a stereo bus.

4.4.1 Analog Aux Bus Controls

Aux MultiMode Button. Solos and/or Mutes Aux Output.
Hookup

This buttons function is determined by the MultiMode control switches.

Depending on which mode is engaged, this button will function as the
Solo or Mute button for its input channel. For more information on the
MultiMode buttons and their functions, please refer to Section 4.5.
Note: FireWire returns are only available for the 16 channels of the Input bus. When
FireWire Return mode is engaged, only the channel multimode buttons will function.
Controls
Controls

More information about FireWire returns can be found in Section 2.5.3 of the StudioLive
Software Library Reference Manual.

Aux Output Select Button. Enables Fat Channel Viewing.

Master Control
Digital Effects

As previously described in section 4.1.1, the Select button routes its aux bus
through the Fat Channel, allowing you to add dynamics processing and EQ.
Aux Output Fader. Controls the Overall Level of the Aux Output.
Each Aux features a 60 mm fader for level adjustment.
Unity gain (0 dB) is denoted by a U.
The white area above the fader can be used as a scribble strip. Use only
Resources

oil pencils; other types of pens or pencils cannot be wiped off.

To clean the scribble strip, use a lightly damp cloth to remove the writing.
Troubleshooting
and Warranty

26
 StudioLive 16.0.2 Owners Manual

4.4.2 Internal FX Bus Controls

Overview
Internal Effects Bus Select Button. Enables Fat Channel Viewing.
As described in section 4.1.1, the Select button routes its effects bus through
the Fat Channel, allowing you to add dynamics processing and EQ.
Main Assign Button. Assigns/Unassigns FX bus to Main Output.
This button will route its internal effects (EFX) bus to the Main output.

Getting Started
It will illuminate yellow when the bus is patched to the Mains. To
mute the effect bus in the Main output, simply unassign it.
Aux Assign Button. Assigns/Unassigns FX bus to Aux 1-4.
This button will route its internal effects (EFX) bus to all four Aux
outputs. It will illuminate yellow when the bus is patched to the aux
buses. To mute the effect bus in the auxes, simply unassign it.

Hookup
FX Level Control. Adjusts the Master Level of the Effects Send Mix.
This knob controls the overall output level of the internal effects mix.

Controls
Controls
4.4.3 Aux and FX Bus Channel Sends
In addition to setting the dynamics for each channel and bus, and
metering each channel and output, the Fat Channel allows you to create
aux mixes and quickly view the send level for each channel.

Master Control
Digital Effects
The Encoder Mode buttons to the left of the Fat Channel are used for this purpose.
Each of these buttons allows you to view and set the send level for each channel to
that aux or FX mix.
FXA Encoder Mode Button. Enables FXA Mixing in the Fat Channel.
When this button is enabled, the 12 encoders in the Fat Channel become
the FX-send level controls for each of their respective input channels to FXA.

Resources
The meters will display the send amount of each of the input channels. The
encoders for the stereo channels set the send level for both the Left and the
Right input, provided that stereo linking is enabled. See 4.1.4 for details.
FXB Encoder Mode Button. Enables FXB Mixing in the Fat Channel.
When this button is enabled, the 12 encoders in the Fat Channel become the

Troubleshooting
and Warranty
effects-send level controls for each of their respective input channels to FXB.
The meters will display the send amount of each of the input channels. The
encoders for the stereo channels set the send level for both the Left and the
Right input, provided that stereo linking is enabled. See 4.1.4 for details.
Aux 1 Encoder Mode Button. Enables Aux Mixing in the Fat Channel.
When this button is enabled, the 12 encoders in the Fat Channel become the
aux-send level controls for each of their respective input channels to Aux 1.
The meters will display the send amount of each of the input channels. The
encoders for the stereo channels set the send level for both the Left and the
Right input, provided that stereo linking is enabled. See 4.1.4 for details.
Aux 2 Encoder Mode Button. Enables Aux Mixing in the Fat Channel.
When this button is enabled, the 12 encoders in the Fat Channel become
the aux-send level controls for each of their respective input channels
to Aux 2. The meters will display the send amount of each of the input
channels. The encoders for the stereo channels set the send level for both
the Left and the Right input, provided that stereo linking is enabled.
When Aux 1 and Aux 2 are linked, this button enables pan control for each
channel in the Aux pair, and the 12 encoders in the Fat Channel become

27
 4.4 Aux and FX Buses

the pan controls for each of their respective input channels. The meters
will display the pan setting of each of the input channels. Use Aux 1
Overview

Encoder mode to set the send level of each channel to the aux pair.
For more information on stereo linking, please review Section 4.1.4.
Aux 3 Encoder Mode Button. Enables Aux Mixing in the Fat Channel.
When this button is enabled, the 12 encoders in the Fat Channel become the
Getting Started

aux-send level controls for each of their respective input channels to Aux 3.
The meters will display the send amount of each of the input channels. The
encoders for the stereo channels set the send level for both the Left and the
Right input, provided that stereo linking is enabled. See 4.1.4 for details.
Aux 4 Encoder Mode Button. Enables Aux Mixing in the Fat Channel.
When this button is enabled, the 12 encoders in the Fat Channel become
the aux-send level controls for each of their respective input channels
Hookup

to Aux 4. The meters will display the send amount of each of the input
channels. The encoders for the stereo channels set the send level for both
the Left and the Right input, provided that stereo linking is enabled.
When Aux 3 and Aux 4 are linked, this button enables pan control for each
channel in the aux pair, and the 12 encoders in the Fat Channel become
the pan controls for each of their respective input channels. The meters
Controls
Controls

will display the pan setting of each of the input channels. Use Aux 3
Encoder mode to set the send level of each channel to the aux pair.
For more information on stereo linking, please review Section 4.1.4.
Master Control
Digital Effects
Resources
Troubleshooting
and Warranty

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 StudioLive 16.0.2 Owners Manual

4.4.4 Creating Monitor Mixes

Overview
Creating custom monitor mixes is critical. If musicians cant hear themselves or their
bandmates, their performance will suffer. A monitor mix can be mono or stereo.
Most often, an individual live monitor mix is mono and is sent to a floor-wedge or
sidefill monitor. (The obvious exception is in-ear monitor systems.) A studio monitor
mix is usually stereo and is sent to a headphone amplifier, so it requires both a left-
and a right-channel input. In both cases, the function of the aux bus is the same.

Getting Started
As an example, lets create a mono monitor mix on Aux 1.
1. To begin, press the Aux 1 Encoder Mode button. The Fat Channel meters will
display the send level of each of the input channels to Aux 1. The encoders below
each meter control the channels level in Aux 1s mix. Use these encoders the
same way that you use the faders to set the output level to your main mix. Ask
your musicians what they would like in their monitor mix and use their requests

Hookup
as a starting point.
2. By pressing the Select button for Aux 1, you can add dynamics processing and
EQ to the overall monitor mix. These are especially useful for eliminating
feedback in a monitor. Keep in mind that an equalizer can also be used to
increase the presence of an instrument by boosting that particular frequency
range without necessarily boosting the volume in the mix. This is great for getting

Controls
Controls
the lead guitar to cut through in the guitarists monitor mix and to provide that
extra rumble in the bassists mix.
3. Use the Aux 1 fader to control the level of the entire aux mix.

Master Control
Digital Effects
Resources
4. You can listen to the aux mixes you are creating, using your headphones or your
control-room monitor, by simply soloing the aux and selecting Solo as the source

Troubleshooting
and Warranty
in the Monitor section.
5. To solo Aux 1, press the Solo MultiMode switch and then press the Aux 1
MultiMode button.

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 4.4 Aux and FX Buses

4.4.5 Creating Internal FX Mixes

Overview

There are at least two main advantages to creating an FX mix, rather than
inserting an effect in a channel. First, several channels can be sent to a single
processor. In addition to greatly simplifying the number of parameters you
have to control, this can create a cohesive sound in your mix. The second
advantage of creating an FX mix is that you can vary the level sent from each
channel to the processor, rather than patching the output directly into the
Getting Started

effect. This allows you to add a lot or a little of an effect to any given channel.
The StudioLive features two internal effects buses. These are used much
in the same way the aux buses are used to create monitor mixes.
1. To begin, decide to which outputs youd like to route your FX mix and then press
the appropriate assign button in the FXA bus. For example, if you would like hear
the effects in your Main mix, press the Main assign button.
Hookup

2. Next, press the FXA Encoder Mode button. The Fat Channel meters will display
the send level of each of the input channels to FXA. The encoders below each
meter control the channels level in FXAs mix. Use these encoders the same way
that you use the faders to set the output level to your main mix. The higher a
channels level is in the FX mix, the more processed (wetter) it will sound.
Lets say that you are using reverb to liven up a relatively dead room. You
Controls
Controls

might send a little bit of each input to the reverb, but you probably will not
want much of the drums and bass to be processed, as too much reverb could
reduce their impact and leave your mix without a sturdy foundation. So rather
than turning the aux-send level for the kick drum channel all the way up,
turn it so that the meter reads between 20% and 30% saturation. This way,
Master Control
Digital Effects

only a small portion of the kick drum input will be affected by the reverb.
3. By pressing the FXA Select button, you can add dynamics processing and EQ to
the overall FXA mix. These are great for adding sustain, removing too much ring,
etc.
4. Use the FXA Level knob to increase or decrease the overall FX Mix Send Level.
Resources

5. To send FXAs mix to a monitor mix, press the Aux Assign Button.
For information on changing the effects preset, type or parameters, see Section 5.1.
Troubleshooting
and Warranty

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 StudioLive 16.0.2 Owners Manual

4.5 MultiModes

Overview
Getting Started
Each channel and aux on the StudioLive 16.0.2 features a MultiMode
button. These buttons allow you to solo or mute a channel or
aux, as well as engage the channel FireWire returns.
The function of these buttons is determined by the control buttons
directly to the left of the row of the MultiMode buttons.

4.5.1 MultiMode Controls and the Buttons that Love Them

Hookup
FireWire Return Mode Switch. Turns FireWire Playback Streaming On/Off.
When FireWire Return mode is engaged, the MultiMode buttons on
each channel function as the FireWire Input buttons for each channel.
This will route the hardcoded playback stream from your audio software
to the StudioLives channel inputs. Once a FireWire return is engaged, it

Controls
Controls
can be routed and processed the same way as analog input signals.
For example, if you want a particular recorded track to play back on mixer
channel 3, simply route that track in your audio software to StudioLive
Output 3. This button can also be used to insert a plug-in effect into
the mix. For more information on this feature, please review Section

Master Control
Digital Effects
2.6 in the StudioLive Software Library Reference Manual.
While in FireWire Return mode, each MultiMode button that is enabled will
illuminate orange to alert you that the FireWire return is engaged for that channel.
Power User Tip: When a FireWire return is engaged, the analog input is bypassed to
the mix bus. Because of this, do not engage a FireWire return when your StudioLive is
not connected and synced to a computer, as it will mute the analog input globally.

Resources
Solo Mode Switch. Turns Soloing On and Off.
When Solo mode is engaged, the MultiMode buttons on each channel
function as the Solo buttons for each channel and aux. When a MultiMode
button is engaged while in this mode, it will solo its channel to the main
outputs or to the monitor outputs, depending on whether PFL (Pre-

Troubleshooting
and Warranty
Fader Listening), AFL (After Fader Listening), or SIP (Solo In Place) is
selected in the Solo bus section. Please review Section 4.8 for details.
While in Solo mode, each MultiMode button that is enabled will
illuminate yellow to alert you that the channel is soloed.
When a channel or bus is soloed, it will automatically be
selected, and its Select button will illuminate.
Power User Tip: When Solo In Place is engaged, Solo mode will display
both the solos and subsequent mutes across the MultiMode buttons; that is,
if you solo Channel 1 while in Solo In Place, Channel 1s MultiMode button
will illuminate yellow; all other MultiMode buttons will illuminate red.
However, any MultiMode button you engage will solo that channel.
Mute Button. Turns Mutes On and Off.
When Mute mode is engaged, the MultiMode buttons on each channel function
as the Mute buttons for each channel and aux. When a MultiMode button is
engaged while in this mode, it will mute its channel to the Main and Aux outputs.
While in Mute mode, each MultiMode button that is enabled will
illuminate red to alert you that the channel is muted.

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 4.6 Main Output Bus

4.6 Main Output Bus

Overview

Main Select Button. Enables Fat Channel Viewing.

As previously described in Section 4.1.1, the Select button routes its channel through
the Fat Channel, enabling you to add dynamics processing, EQ, panning, etc.
Main Fader. Controls the Level of the Main Output.
The fader controls the overall level of the main stereo output.
Getting Started

The white area above the fader can be used as a scribble strip. Use only
oil pencils. Other types of pens or pencils cannot be wiped off.
To clean the scribble strip, use a lightly damp cloth to remove the writing. Spit works
pretty well, too.
Hookup
Controls
Controls

4.7 Talkback System

Master Control
Digital Effects

The StudioLive features a Talkback microphone input on the back panel.

This can be routed to the aux outputs. It is important to note that the aux
outputs are grouped in this section. For example, if you are using Aux 3 as
the monitor mix to the bass players floor wedge and Aux 4 as the mix to
the keyboard players in-ear monitors, the talkback signal will be sent to
both monitorsso dont say anything you wouldnt want both to hear!
Resources

Power User Tip: If your musicians are using in-ear monitoring on stage, they
can feel isolated from the audience and require an ambience microphone. You
can use the Talkback input for this purpose instead of using a channel.
Talkback Mic Level. Controls the Overall Level of the Talkback Mic.
Troubleshooting

This knob controls the overall volume of the Talkback mic input. The trim for the
and Warranty

Talkback mic is located on the back panel next to the input. See Section 3.1 for
details.

Output Select Buttons. Assigns the Talkback Mic to the Aux 1-2 or Aux 3-4.
These buttons assign the talkback mic to the specified outputs. These buttons are
toggled on/off and will illuminate to indicate that the Talkback output is active. The
talkback mic can be assigned to every aux output at the same time.

Talkback Button. Turns the Talkback Mic On/Off.

This latching button turns the talkback mic on and off. It will
illuminate to indicate that the talkback mic is active.

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 StudioLive 16.0.2 Owners Manual

4.8 Solo Bus

Overview
The StudioLive features an independent Solo bus. This feature is extremely
useful in setting levels for monitor mixes, dialing in dynamics processing on each
channel, and fixing issues during a live show without interrupting the main mix.
The Solo bus has three modes: AFL (default), PFL, and SIP:
AFL (After-Fade Listen). AFL sends the input channels signal to the

Getting Started
Solo bus post-fader so that you can control the level of the soloed
signal with the fader. This is the StudioLives default setting.
PFL (Pre-Fade Listen). PFL sends the input channels signal to the Solo bus
before it reaches the fader, so the fader does not affect the soloed signal.
SIP (Solo In Place). This is also known as destructive solo. When channels are
soloed in this mode, every channel that isnt soloed will be muted, and only
the soloed channels will be sent to their assigned outputs. While useful in

Hookup
dialing in dynamics during soundcheck, this mode is dangerous during a live
show. We recommend that this mode be turned off when mixing live events.

4.8.1 Solo Bus Controls

Solo Bus Level Control. Adjusts the Overall Volume of the Solo Bus.

Controls
Controls
This knob adjusts the overall level for the Solo bus.

PFL Toggle Button. Enables PFL Solo Mode.

Master Control
Digital Effects
The PFL button engages Pre-Fader Listening in the Solo bus. Soloing on any channel
or aux bus routes it to the Solo bus and has no effect on the main or aux mixes.
Aux bus soloing is always PFL, regardless of whether this mode is engaged.
AFL Toggle Button. Enables AFL Solo Mode.
The AFL button engages After-Fader Listening in the Solo bus. Soloing
on any channel or aux bus routes it to the Solo bus and has no effect on

Resources
the main or aux mixes. The AFL is not available on the aux buses.
SIP (Solo In Place) On/Off Button. Enables Solo In Place Mode.
SIP (Solo In Place), or destructive soloing, mutes every unsoloed channel on
the StudioLive. The muted channels will be muted in the Main outputs. Note

Troubleshooting
that while you can manually unmute a channel, this mode should be used with

and Warranty
extreme caution during a live performance. Only the input channels can be
placed into destructive soloing. The Aux buses are omitted from SIP mode.
To enable SIP, press and hold the button until it illuminates red. This ensures
that you cannot enter into destructive Solo mode by accident.
Power User Tip: When SIP is engaged, channel mutes will only apply to the Main bus. SIP
does not mute input channels in aux-bus mixes. Because of this, you can use SIP to dial
in a mix in the mains without disturbing the musicians last-minute rehearsal on stage.
Destructive soloing is also a great way to tune each channels dynamics
individually in live-mixing situations or do surgical editing in the studio. SIP
mode mutes every channel and bus that is not soloed in the Main bus (that
is, if Channel 3 is soloed, you will only hear Channel 3 in your mains). This
makes a great fine-tuning tool but it can quickly destroy a live mix. We highly
recommend that you drop out of this mode once the show has started.

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 4.8 Solo Bus

4.8.2 Using the Solo Bus for Monitoring

Overview

When mixing live, or when recording multiple musicians at once, it is often necessary
to quickly listen in on just one instrument or group. The Solo and Monitor buses can
be used together for this purpose. It is important to note that if you wish to monitor
with speakers, rather than headphones, it is necessary to connect the speakers to the
Control Room outputs on the back of your StudioLive rather than to one of the main
output pairs.
Getting Started
Hookup
Controls
Controls

Reference Monitors

1. First decide whether you want to listen to your soloed channels before or after
the fader setting. If youd like to monitor before the fader level, press the PFL
Master Control
Digital Effects

button in your Solo bus section.

2. Next, press the Solo Mode button.

3. Press the MultiMode mode buttons on the channels and auxes you want to
monitor.
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4. Turn the Solo Level knob in the Solo section to about 12 oclock.
Troubleshooting
and Warranty

5. Finally, select the Solo button in your monitor bus and dial in a comfortable
listening volume for your headphones or monitors. You can increase the overall
volume of the Solo bus using the Level knob in the Solo section.
Power User Tip: This feature can also be used to listen to a monitor mix that is
being routed to an aux send. Lets say a vocalist on stage complains that there is too
much bass in his monitor but you are confident that no bass is being sent to that
particular aux send. You could be mistaken but most likely an open microphone on
stage is picking up the bass signal. To determine the cause, solo only the aux send
in question and, again, select the Solo button for the monitors/headphones. You
can now listen to exactly the same mix as your troubled vocalist and fix his monitor
mix quickly. This application is also useful in heading off a feedback problem.

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 StudioLive 16.0.2 Owners Manual

4.8.3 Using Solo in Place (SIP) to Set Up a Mix

Overview
We started this manual with a quick and easy way to set up the input levels
for your StudioLive, ensuring that you have the highest possible input level
without clipping your analog-to-digital converters. The next step is to set up
your mix by dialing in the dynamics, EQ, and fader settings for each channel.
Enter Solo In Place (SIP). As previously mentioned, Solo In Place is a great way
to dial in your mix without disturbing your musicians last minute rehearsal

Getting Started
or subjecting your audience to that impromptu jam session on stage.
1. To begin, press and hold the SIP button in the Solo section until it illuminates.

Hookup
Controls
Controls
2. Raise all channel faders and the main fader to unity gain.
3. Press the Solo Mode button.

Master Control
Digital Effects
4. Most engineers start with the drums and work from the
bottom up, so press the MultiMode button on your kick-
drum mic channel. Notice that all the other channels on your
StudioLive have been muted, and the kick drum channel is
selected.

Resources
The Fat Channel will display the dynamics processing, EQ,
Kick snare Tom 1 Tom2 OH L output routing, and pan settings for the kick drum.

Troubleshooting
and Warranty
5. Using the encoders and meters in the Fat Channel, set up the
compressor and EQ for this channel.

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 4.9 Monitor Bus

6. Once you are satisfied, bring the fader back down.

Kick snare Tom 1 Tom2 OH L
Overview
Getting Started

7. Next, press the MultiMode button on the snare-mic channel

and repeat steps 4-6. In this way continue with each drum
mic, then move on to the other instruments that are
Hookup

connected to your StudioLive. When you have finished with

all the instruments, press the SIP button again and slowly
bring up your faders to set up your mix.
Kick snare Tom 1 Tom2 OH L
Controls
Controls
Master Control
Digital Effects

4.9 Monitor Bus

The StudioLive features a headphone output and control-room outputs, giving you
the ability to monitor multiple sources on the StudioLive. The Monitor bus on the
StudioLive allows you to monitor the main outputs, Solo bus, and the main FireWire
return from your computer. Because the Monitor bus is a summing amp, you can
even monitor the World Series on your headphones while running sound at a show.
Resources

Headphone Output Level Control. Adjusts the Overall Level of the Headphone
Output.
This knob adjusts the overall level for the headphone output.
The Headphone output is located on the front of the mixer, below the main fader.
Troubleshooting
and Warranty

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 StudioLive 16.0.2 Owners Manual

Monitor Output Level Control. Adjusts the Overall Level of the Monitor Output.
This knob adjusts the overall level of the control-room monitor outputs.

Overview
FireWire Monitor Button. Assigns FireWire Returns 1 and 2 to the Monitor Bus.

Getting Started
The FireWire Monitor button patches FireWire returns 1 and 2 to the
monitor bus. The level for this input is controlled by the level set in the
computer application (such as Studio One Artist) that is playing the audio.
For more information about the main FireWire returns, please review
Section 2.5.4 in the StudioLive Software Library Reference Manual.
Solo Bus Monitor Button. Assigns the Solo Bus to the Monitor Outputs.
The Solo Bus Monitor button patches any soloed channel or aux bus to

Hookup
the monitor bus. This can be useful in a number of ways. For example:
Auditioning an aux-send monitor mix
Dialing in the dynamics processing and EQ on a channel or aux mix
Creating a better blend for instrumental sections (horns, strings, etc.)
Main Mix Monitor Button. Assigns the Main Mix to the Monitor Bus.

Controls
Controls
The Main Mix Monitor button routes the same signal that is being sent from
the main outputs to the monitor bus. This signal is always pre-fader.
Power User Tip: Because the monitor bus is a summing amp, you can listen to
the solo and main buses at the same time. By summing the main mix and the solo

Master Control
Digital Effects
bus, you can raise the volume of the channel youre tweaking without affecting the
mix the audience hears. To do this, enable both the main mix and the solo bus in
your monitors. Solo the channels you need to work on and raise the Solo Output
level so that the channels are louder than the main mix. This is especially useful
when trying to determine the source of an odd frequency or tone in mid show.

Resources
Troubleshooting
and Warranty

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 5.1 The Digital FX (Effects) Menu

5 Digital Effects | Master Control

Overview

From the Digital Effects | Master Control

section, you can select and change the
parameters of the two internal effects
processors, and you can store and recall every
Getting Started

setting on the StudioLive. Because almost all

StudioLive features are controlled from the
mixing surface (rather than using menus and
submenus), you will mainly use this section
to adjust the internal effects processors and
to save and recall presets and Scenes.
Power User Tip: With all menus, the StudioLive
Hookup

remembers which page you were on when

you navigated away to another menu. To
quickly jump to page 1, simply press the
menus button twice (e.g., to return to page 1
of the FX Menu, press the FX button twice).
Controls

5.1 The Digital FX (Effects) Menu

The StudioLive features two internal effects processors. Each processor can
access the StudioLives selection of high-quality reverbs and delays. Each of
these effect buses can be routed to the aux buses or the main outputs.
Master
Digital
Master Control
Digital Effects

To access the effects library and make adjustments to effect parameters, press the FX
button in the Master Control section.
Control
Effects

The first page of the FX menu is the QuickView screen. It displays both
of the effects assigned to the internal effects buses and the main
parameter for each. Effect A is assigned to EFX A bus, and Effect B is
assigned to EFX B bus.
Resources

Use the Next and Prev buttons to navigate through the screen. To
change a parameter, use the Value encoder directly beneath the LCD
screen. The color will invert for each parameter when it is selected for
modification.
Troubleshooting
and Warranty

The Next button will scroll through this screen in the following order:
FX A library selection, FX A main parameter, FX B library selection, FX B main
parameter.

When choosing your effects preset, use the Value encoder to scroll through the
library.

When you have arrived at your selection, press the Recall button to load it.

Press the Page Down button to move to the next page of the FX menu. Pages 2 and
3 of the FX menu display the rest of the parameters for FX A and FX B, respectively.
These parameters will change depending on what type of effect you have chosen.
Again, use the Next and Prev buttons to navigate through the screen and use the
Value encoder to change the selected parameter.

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 StudioLive 16.0.2 Owners Manual

5.1.1 Creating FX Presets

Overview
Page 1 of the FX Menu provides access to your library of effects
presets. Pages 2 and 3 provide access to the 13 FX types. An FX preset
is made by adjusting the default parameters of an FX type, so one
FX type can be the foundation for myriad different presets.
The StudioLive contains a library of 50 custom reverb and delay presets designed

Getting Started
by PreSonus. In addition to these presets, there are 49 available locations for your
custom effects library. The factory presets can be altered, renamed, and overwritten.
Create an FX preset using a factory preset as a jumping-off point, or start from
scratch with an FX type of your choosing. This section describes the latter approach.
1. Navigate to page 2 of the FX menu.

Hookup
2. Using the Value encoder, navigate through the FX Type library until
you find the FX type youd like to use.

Controls
3. Press the Recall button to load the FX type and its default parameters.

Master Control
Digital Effects
Control
Effects
4. Use the Next button and the Value encoder to dial in your FX
Preset to taste.

Digital
Master
5. Pages 4 and 5 allow you to store your changes for FX A and

Resources
FX B, respectively, to the same location or to a new location,
and to customize the name of your creation.

Troubleshooting
and Warranty
To jump to these pages, simply press the Store button while you have a field in the
desired effect selected.
6. Use the Value encoder to change the library location to which you will store your
new effects preset, unless you wish to overwrite the currently selected preset
location.

7. Press the Next button to navigate to the first letter of the preset name.

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 5.1 The Digital FX (Effects) Menu

8. Turn the Value encoder clockwise or counter-clockwise to change the letter. The
StudioLive allows you to customize the name with uppercase and lowercase
Overview

letters and a selection of numerals and punctuation marks. Press the Tap button
to quickly insert a space.

9. Once you are satisfied with your changes, press the Store button, which will
Getting Started

illuminate while the effects preset is written to the StudioLives internal memory.
Once the preset is saved, the Store button will return to its unlit status.

5.1.2 Reverb and its Parameters

Reverberation or reverb, as it is more commonly knownis perhaps the most
widely used effect. Natural reverb is created by sound waves reflecting off of a surface
or many surfaces. For example, when you walk across the wooden stage in a large
Hookup

hall, thousands of reflections are generated almost instantaneously as the sound

waves bounce off the floor, walls, and ceilings. These are known as early reflections,
and their pattern provides psycho-acoustic indications as to the nature of the space
that you are in, even if you cant see it. As each reflection is then reflected off of more
surfaces, the complexity of the sound increases, while the reverb slowly decays.
The reason for the widespread use of reverb in audio recording is fairly self-evident:
Controls

human beings dont live in a vacuum. Because our brains receive cues about the
nature of the space around us based partially on audio reflections, a sense of space
makes an audio recording sound more natural and, therefore, more pleasing.
The following parameters are available for the nine reverb types the StudioLive offers:
Master
Digital

Decay. Decay is the time (in seconds) required for the reflections (reverberation)
Master Control
Digital Effects

to die away. In most modern music production, reverb decay times of between
one and three seconds are prevalent. A reverb setting with strong early reflections
Control
Effects

and a quick decay are a great way to create a stereo effect from a mono source.
Predelay. Predelay is the time (in milliseconds) between the end of the initial
sound and the moment when the first reflections become audible. Imagine youre
back on that stage in a large music hall. This time you stand on the very edge of
Resources

the stage and shout Hello world! toward the center of the hall. There will be a
brief pause before you hear the first noticeable reflections of your voice, because
the sound waves can travel much further before encountering a surface and
bouncing back. (There are closer surfaces, of coursenotably the floor and the
ceiling just in front of the stagebut only a small part of the direct sound will go
Troubleshooting

there, so those reflections will be much less noticeable.) Adjusting the predelay
and Warranty

parameter on a reverb allows you to change the apparent size of the room without
having to change the overall decay time. This will give your mix a little more
transparency by leaving some space between the original sound and its reverb.
Note: Predelay control is not available on every reverb type.
Early Reflections. Early Reflections are those that reach the listener a
few milliseconds after the direct signal arrives. The human brain uses
them to identify the size of the room it is in. If you are trying to simulate
a specific type of room, this control will be extremely important. This
control allows you to set the level (in decibels) of the early reflections.
The louder the early reflections, the smaller the room will seem.
Note: Early Reflections control is not available on every reverb type.

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 StudioLive 16.0.2 Owners Manual

5.1.3 Delay and its Parameters

Overview
A delay essentially creates an echo, although you can often use
delays to create more complex time-based effects. The source signal
is delayed so that it is heard later than it actually occurred.
The following parameters are available for the four delay types the StudioLive offers:
Time. This is the time (in milliseconds) between the source signal and its

Getting Started
echo. The simplest delay effect is a single repeat. A short delay between
30 and 100 ms can be used to create slap-back echo, while longer delay
times produce a more distant echo. Delay times that are too short to
hear as distinct echoes can be used to create thickening effects. Whether
these echoes are timed with the tempo is a matter of stylistic choice.
This is the parameter that is controlled by the Tap Tempo button. Using the Tap
button on the StudioLive, you can speed up or slow down these repeats or, more

Hookup
commonly, time the repeats to occur with the tempo of the music.
Power User Tip: While you have to select the Time parameter in order to use the Tap
button, you only have to do this the first time you use the Tap button for that effect.
Once the Tap button has been used to control the Time parameter on either FX bus,
it will always control the time of that particular delay, no matter what page you are
currently viewing. To assign the Tap button to control another delay, simply navigate

Controls
to that delays Time parameter and use the button to enter the desired delay time.
Time X. Time X is the value of the beat you are using as a reference for
the tempo. The basic unit of measure is a quarter note, so for example,
if the beats you are tapping represent quarter notes in the music, you

Master Control
would set Time X to 1.00. If they are eighth notes, you would set Time X

Digital Effects
Control
Effects
to 0.50; half notes would be 2.00, and so on. In this way, you can precisely
synchronize or syncopate the delay echoes to the music in real time.

Digital
Master
Note: The Stereo Delay offers two Time X controls. With the Ping
Pong delay, the Pong X parameter serves the same purpose.
Variable Feedback. Variable feedback, or regeneration, produces multiple
decaying repeats. Increasing the feedback value increases the number of echoes,

Resources
as well as the resonance that is created as one echo disappears into another.
F_Frequency. Sets the center frequency in Hz for the Filter Delay.
F_Gain. Sets the boost at the center frequency for the Filter Delay.
F_Q. This sets the Q for the Filter Delay. The Q is the ratio of the center frequency

Troubleshooting
and Warranty
to the bandwidth. When the center frequency is constant, the bandwidth is
inversely proportional to the Q, so as you raise the Q, you narrow the bandwidth.

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 5.1 The Digital FX (Effects) Menu

5.1.4 Digital Effects Preset Library

Overview

POS. TYPE NAME POS. TYPE NAME

F1 AMBIENCE Natural F26 Cathedral
F2 Lively F27 Gymnasium
Getting Started

F3 SMALL ROOM Closet F28 Arena

F4 Studio A F29 PLATE PlateVerb Shimmer
F5 Studio B F30 PlateVerb Thick
F6 Bedroom F31 PlateVerb Drums
F7 BRIGHT ROOM Kitchen F32 PlateVerb Vox
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F8 Tile Floors F33 MONO DELAY M: Short Tail

F9 Tile Bathroom F34 M: Short Slap
F10 Concrete Floors F35 M: Long Slap
F11 SMALL HALL Radio Booth F36 M: Triplet
Controls

F12 Small Club F37 M: Triplet

F13 Big Club F38 FILTER DELAY Analog Slap
F14 BRIGHT HALL Brick House F39 Analog Trip
Master
Digital
Master Control
Digital Effects

F15 Linoleum Room F40 Analog 8th

F16 Tile Room F41 STEREO DELAY Slap Quick
Control
Effects

F17 WARM HALL Log Cabin F42 Long Slap

F18 Wood Floors F43 Spacey
F19 Brick Club F44 Long Tail
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F20 High Ceilings F45 ST: Triplet

F21 GATED HALL GateVerb Short F46 PING-PONG DELAY Ping-pong Slap
F22 GateVerb Med F47 Ping-pong Delay
Troubleshooting

F23 GateVerb Long F48 Ping-pong Spacey

and Warranty

F24 GateVerb Extreme F49 Ping-pong Trip

F25 LARGE HALL Church F50 Ping-Pong Purple Rain
F51- USER-CREATED
99 PRESETS

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 StudioLive 16.0.2 Owners Manual

5.1.5 Digital Effects Types

Overview
Your StudioLive contains 13 different effect types from which to create your
own custom presets or to redesign the included library of presets.
NAME POS PARAM (L1) PARAM (L2) PARAM (L2) PARAM (L2) PARAM (L2) PARAM (L2) PARAM (L2)

Ambience T1 Reverb Decay (s) Default:

0.69

Getting Started
Range: 0.29 1.09

Small Room T2 Reverb Decay (s) Default: Predelay (ms) Early Reflec (dB)
0.79 Default: 12.0 Default: -15.0
Range: 0.39 ~ 0.59 Range: 1.00 ~ 40.0 Range: -25.0 ~ -8.00

Bright Room T3 Reverb Decay (s) Default: Predelay (ms) Early Reflec (dB)
1.00 Default: 12.0 Default: -16.0
Range: 0.50 ~ 1.79 Range: 1.00 ~ 40.0 Range: -22.0 ~ -10.0

Hookup
Small Hall T4 Reverb Decay (s) Default: Predelay (ms) Early Reflec (dB)
1.39 Default: 20.0 Default: -22
Range: 0.59 ~ 2.19 Range: 1.00 ~ 50.0 Range: -35.0 ~ -15.0

Bright Hall T5 Reverb Decay (s) Default: Predelay (ms) Early Reflec (dB)
1.59 Default: 24.0 Default: -22.0
Range: 0.79 ~ 2.39 Range: 1.00 ~ 60.0 Range: -35.0 ~ -15.0

Controls
Warm Hall T6 Reverb Decay (s) Default: Predelay (ms) Early Reflec (dB)
1.59 Default: 50.0 Default: -30.0
Range: 0.79 ~ 2.50 Range: 10.0 ~ 100.0 Range: -40.0 ~ -20.0

Gated Hall T7 Reverb Decay (s) Default: Predelay (ms)

1.00 Default: 40
Range: 0.59 ~ 1.79 Range: 5.00 ~ 80.0

Master Control
Digital Effects
Control
Effects
Large Hall T8 Reverb Decay (s) Default: Predelay (ms) Early Reflec (dB)
2.39 Default: 35.0 Default: -30.0

Digital
Master
Range: 1.39 ~ 5.00 Range: 40.0 ~ 90.0 Range: -40.0 ~ -20.0

Plate T9 Reverb Decay (s) Default: Predelay (ms)

1.39 Default: 10.0
Range: 0.50 ~ 4.00 Range: 1.00 ~ 40.0

Mono Delay T10 Delay Time (ms) Default: Time X Default: 1.00 Feedback Default:

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645 Range: 0.25 ~ 2.00 0.25
Range: 5.00 ~ 1.28k Range: 0.000 ~ 0.94

Filter Delay T11 Delay Time (ms) Default: Time X Default: 1.00 Feedback Default: F_Freq (Hz) Default: F_Gain Default: 12.0 F_Q Default: 0.69
645 Range: 0.25 ~ 2.00 0.25 800 Range: 0.000 ~ 24.0 Range: 0.19 ~ 2.00
Range: 5.00 ~ 1.28k Range: 0.000 ~ 0.94 Range: 100 ~ 3.00k

Troubleshooting
and Warranty
Stereo Delay T12 Delay Time (ms) Default: Time1 X Default: 1.00 Time2 X Default: 1.00 Feedback1 Default: Feedback2 Default: L-R Spread Default:
645 Range: 0.25 ~ 2.00 Range: 0.25 ~ 2.00 0.25 0.25 0.50
Range: 5.00 ~ 1.28k Range: 0.000 ~ 0.94 Range: 0.000 ~ 0.94 Range: 0.000 ~ 1.00

Ping Pong T13 Delay Time (ms) Default: Pong X Default: 1.00 Pong X Default: 1.00 Feedback Default: L-R Spread Default:
645 Range: 0.25 ~ 2.00 Range: 0.25 ~ 2.00 0.25 0.50
Range: 5.00 ~ 1.28k Range: 0.000 ~ 0.94 Range: 0.000 ~ 1.00

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 5.2 Scenes

5.2 Scenes
Overview

The StudioLive allows you to create and store a library of Scenes. A Scene is like
a snapshot of your mix. It stores each Fat Channel parameter for every input and
bus, as well as each faders position, the aux and effects mixes, channel mutes
and solos, and the input selection (analog input or FireWire playback stream).

5.2.1 S1: Zero Out (Board Reset)

Getting Started

Located at position S1 is a scene named Zero Out (Board Reset). This

scene cannot be overwritten and returns each parameter to its default
setting. All you have to do is lower the faders and return all trim knobs and
output volume knobs (Solo bus, FXA&B Output, Phones, and Monitor) to
their lowest positions. The StudioLive will be zeroed out as follows:

SETTINGS
Hookup

INPUTS AND BUSES OUTPUT LEVEL ASSIGN PAN SOLO MUTE STEREO LINK AUX/FX SENDS MODE
INPUT CHANNELS NULL MAINS C OFF OFF OFF NULL N/A
AUX BUSES NULL N/A N/A OFF N/A OFF N/A PRE 1
FX A / FX B NULL MAINS N/A N/A OFF N/A N/A POST / F1
AUX IN A/B NULL MAINS N/A N/A N/A N/A NULL N/A
SOLO BUS NULL N/A N/A N/A N/A N/A N/A AFL
Controls

MONITOR BUS NULL N/A N/A N/A N/A N/A N/A MAIN

The Fat Channel will be restored to the same setting for every
input and output on your StudioLive. Each of the dynamics
Master
Digital

processors and the three bands of the EQ will be turned off.

Master Control
Digital Effects

Their parameters will be set as follows:

Control
Effects

FAT CHANNEL PARAMETERS

HIPASS NOISE GATE LIMIT COMPRESSOR EQ LOW MID HIGH

STATE: OFF STATE: OFF STATE: OFF STATE: OFF STATE: OFF OFF OFF
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THR 75 Hz THR -84 dB THR 0 dB P/S PEAK N/A PEAK

RAT 2:1 H/L N/A LOW N/A
RESP MED FREQ 130 Hz 96 Hz 5 kHz
GAIN 0 dB GAIN 0 dB 0 dB 0 dB
Troubleshooting
and Warranty

Power User Tip: Before beginning any new mixing situation, it is always recommended
to recall the Zero Out (Board Reset) Scene. This is the easiest way to ensure that there are
no lingering parameter settings that could cause you some trouble in your new mix.

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 StudioLive 16.0.2 Owners Manual

5.2.2 Creating a Scene

Overview
Creating a Scene requires simply dialing in a mix that you would like to use
at a later date and saving it. This has obvious benefits for both studio and live
sound. For example, in the studio, saving and recalling a Scene allows you
to move to another song or project and come back to the current mix later.
For live shows with multiple bands, you can set up custom mixes for each
band at sound check and recall the mix when that band goes onstage.

Getting Started
You also can save custom mixes for each venue that a band plays repeatedly.
1. To save a Scene, press the Scene button and either page down to the second
screen or press Store to automatically jump to this menu.
2. The memory locations will be selected. Use the Value
encoder to scroll to a free location in the Scene library.

Hookup
3. Now name your Scene: Press the Next button to navigate to
the first letter of the preset name and turn the Value encoder
clockwise or counter-clockwise to change the letter.

Controls
The StudioLive allows you to customize the
name with uppercase and lowercase letters and a
selection of numerals and punctuation marks.
Press the Tap button to quickly insert a space. Continue this

Master Control
Digital Effects
Control
Effects
process until you are satisfied with your changes and then
press the Store button. It will illuminate while the Scene is

Digital
Master
being written to the StudioLives internal memory. Once the
Scene is saved, the Store button will return to its unlit status.

5.2.3 Scene Recall

1. To recall a Scene, press the Scene button and use the Value encoder to scroll

Resources
through the Scene library.
2. When you have found the Scene you wish to recall, press the Recall button. By
default, the StudioLive will recall all stored parameters (Fat Channel settings,
channel muting and soloing, aux mixes, and internal effects parameters) except
fader, knob, and graphic EQ positions.

Troubleshooting
and Warranty
3. If you do not wish to recall a certain set of parameters, simply
use the Next and Prev buttons to navigate through the
screen. When the parameter that you wish to disable is
selected, turn the Value encoder counter-clockwise to move
it to the No (off) position. Once you have disabled the
parameters you do not wish to recall, press the Recall button.
The StudioLives recallable parameters are grouped as follows:
Mute: All mute states. This includes input channels, aux, and FXA, and FXB.
FX: All parameters for the internal effects assigned to FXA and FXB.
Assigns: All output and bus routing. This includes:
FX bus routing to mains and auxes
Stereo linking for all channels and buses
FireWire returns to inputs
Channel and bus solo states
Monitor bus assignments

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 5.2 Scenes

EQ and Dyn: All Fat Channel dynamics processing, filter

parameters, and pan position for every channel and bus.
Overview

Aux Mix: All aux mixes parameters including:

Channel sends to aux mixes
Channel sends to FXA and FXB
Pre1/Pre2 position for each aux and FX bus
Getting Started

Faders: All fader positions.

GEQ: Graphic EQ settings for the stereo graphic equalizer.
Pots: All digital knob positions:
FXA and FXB levels
Solo bus level
Hookup

Phones level
Monitor level
Power User Tip: If you enable knob positions (recalling group pots) as a part of your
Scene recall, all of the digital knobs (FXA and FXB Levels, Solo Bus, Phones, Monitor) will
remain at their stored position until they are moved manually. Once a knob is turned, its
value will jump to the value of its current physical position. Therefore, if you intend to save
Controls

a Scene and recall the pots group later, it is highly recommended that you use the recall
sheet provided in the back of this manual to note the stored position of these controls.
It is important to note that the recall groups have no effect on which
parameters are stored with a Scene. All storable parameters are saved
Master
Digital

with a Scene regardless of which recall groups are enabled.

Master Control
Digital Effects
Control
Effects
Resources
Troubleshooting
and Warranty

46
 StudioLive 16.0.2 Owners Manual

5.2.4 Fader Locate

Overview
If you enable fader positions as a part of your Scene recall, the StudioLive
will automatically put the meters in Fader Locate mode after you press
the Recall button. The Fader Locate button will illuminate, and the meter
section of the Fat Channel will display the recalled fader position.

Getting Started
dB dB dB
10 10 10

5 5 5

U U U

5 5 5

10 10 10

Hookup
20 20 20

30 30 30

40 40 40
50 50 50
60 60 60

1 1 1

Controls
Move the faders up or down until only the center LED is illuminated in each
meter to recall the stored position. To recall the stored position of an Aux or
Main fader, simply move the fader. The meters will instantly flip to display

Master Control
Digital Effects
Control
Effects
the stored position of each of the output faders. The same meters that
display the outputs are used for locate. See Section 4.2.1 for details.

Digital
Master
Power User Tip: As long as you remain in Fader Locate mode, the faders on
your StudioLive will not be active. The level of the audio passing through them
will be set according to the stored fader position, not the current location of the
physical fader. Once you have recalled each of the faders to their Scene location,
press the Locate button again. This will take you out of Fader Locate mode and

Resources
reactivate your faders so that they control the level of their channels and buses.

5.2.5 AutoStore
It is not necessary to create a Scene for your StudioLive in order to preserve its
settings when you power it down. Periodically, you will notice the Store button

Troubleshooting
and Warranty
flash once, indicating that the current settings on your StudioLive have been saved
to internal memory. The StudioLive will take a snapshot of the current position
of every parameter on the mixer whenever no changes have been made for ten
seconds. If you wish to ensure that your StudioLive will hold its current settings
before you power down, simply wait for a few seconds until the Store button
flashes. This is your indication that it is now safe to turn off your StudioLive. The
next time you turn it on, all of your settings will be recalled automatically.
Note: If you make changes to a stored Scene, AutoStore will not save these changes as
a permanent part of the Scene. Any changes made to a Scene in the StudioLives library
must be saved using the Scene menu, as described in the first part of this section.

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 5.3 Graphic Equalizer

5.3 Graphic Equalizer

Overview

The StudioLive 16.0.2 features a 31-band, 1/3-octave graphic EQ that can

be inserted on the main output bus. A graphic EQ is a multiband equalizer
that uses sliders to adjust the amplitude for each frequency band. It gets its
name from the positions of the sliders, which graphically display the resulting
frequency-response curve. While the GEQ menu is active, the encoders in the
Fat Channel are used to make amplitude adjustments, and the meter LEDs
Getting Started

display the slider positions. The center frequency and bandwidth are fixed;
the level (amplitude) for each band is the only adjustable parameter.
Graphic EQs are generally used to fine-tune the overall mix to create the aesthetic
that you are trying to achieve. For example, if you are mixing a rock band, you
may want to boost some of the low end to get more pummeling kick and
toms. In general, you do not want to make drastic amplitude adjustments to
any particular frequency band. Making smaller, incremental adjustments over
Hookup

a wider spectrum will round out your final mix for a more polished sound.
To assist you with these adjustments, here is an overview of
which frequencies affect different sound characteristics:
Sub-Bass (16 Hz to 60 Hz). The lowest of these bass frequencies are felt, rather
than heard, as with freeway rumbling or an earthquake. These frequencies give
Controls

your mix a sense of power, even when they only occur occasionally. However,
overemphasizing frequencies in this range will result in a muddy mix.
Bass (60 Hz to 250 Hz). Because this range contains the fundamental notes
of the rhythm section, any EQ changes will affect the balance of your mix,
making it fat or thin. Too much emphasis will make for a boomy mix.
Master
Digital
Master Control
Digital Effects

Low Mids (250 Hz to 2 kHz). In general, you will want to emphasize the lower
portion of this range and de-emphasize the upper portion. Boosting the range
Control
Effects

from 250 Hz to 500 Hz will accent ambience in the studio and will add clarity to
bass and lower frequency instruments. The range between 500 Hz and 2 kHz
can make midrange instruments (guitar, snare, saxophone, etc.) honky, and too
much boost between 1 kHz and 2 kHz can make your mix sound thin or tinny.
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High Mids (2 kHz to 4 kHz). The attack portion of percussive

and rhythm instruments occurs in this range. High mids are also
responsible for the projection of midrange instruments.
Presence (4 kHz to 6 kHz). This frequency range is partly responsible for the clarity of
a mix and provides a measure of control over the perception of distance. If you boost
Troubleshooting

this frequency range, the mix will be perceived as closer to the listener. Attenuating
and Warranty

around 5 kHz will make the mix sound further away but also more transparent.
Brilliance (6 kHz to 16 kHz). While this range controls the
brilliance and clarity of your mix, boosting it too much can cause
some clipping so keep an eye on your main meter.
The StudioLive graphic EQ features an innovative design that sets it
apart from traditional graphic EQs. Traditionally, a 31-band graphic EQ
uses 31 second-order shelving filters with fixed frequencies in order to
simulate a curve set by the user via 31 front-panel sliders. A well-designed
graphic EQ creates an output frequency response that corresponds as
closely as possible to the curve displayed graphically by the sliders.
In an analog EQ, this is achieved by carefully choosing the bandwidth of the filter
and deciding how, or if, it varies with the gain and how the filters are summed
or cascaded. In general, narrower bandwidth signifies a more precise EQ. But in
traditional graphic EQ designs, the center frequency of each band is fixed.
PreSonus took a different approach with the StudioLive. The StudioLive graphic
EQ is a pool of shelving filters from which coefficients like cutoff frequency,
bandwidth, and gain are extracted through a process of curve-fitting. The curve
entered by the user is first oversampled. The system then works with an internal
curve made up of 128 bands to find coefficients for the first shelving filter

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 StudioLive 16.0.2 Owners Manual

that, when subtracted from the users curve, will produce the flattest possible
response: 0 dB. The resulting response is then used to find coefficients for the

Overview
second shelving filter through the same optimization process. Coefficients
for all available shelving filters are found through a recursive process.
Unlike conventional designs, the frequency and bandwidth of the bands
depends on the curve entered by the user. This allows for much tighter matching
of that curve. Because of this innovative design, the accuracy of the StudioLive

Getting Started
EQ might feel wrong at first. The curve fitting process is capable of very steep
transitions and, unlike conventional analog graphic EQs, what you see is what
you get. With a carefully drawn, smooth curve the StudioLive EQ will have almost
no frequency ripple. The StudioLive EQ is also capable of very sharp notches.
To widen a notch or a bump on a particular band, just bring the adjacent
bands closer to that bands gain, and the bandwidth will change accordingly.
Making drastic adjustments too quickly may create an audio artifact as the
new curve is redrawn and crosses over an audio peak. If you are hearing audio

Hookup
artifacts while setting up the graphic EQ, try creating a smoother curve.

5.3.1 The Graphic EQ Menu and Controls

To turn on and make changes to the graphic EQ, press the GEQ Encoder Mode
button.

Controls
The GEQ menu will open in the LCD. When the GEQ page is active, the
meters and encoders of the Fat Channel become the controls for the
graphic EQ.

Master Control
Digital Effects
Control
Digital Effects
Master
As you touch a knob, you will notice that its band number, frequency, and gain
are displayed in the GEQ menu. The 31 bands range from 20 Hz to 20 kHz. The
frequency for each band is fixed. When the GEQ is first launched, bands 11
through 22 are controlled by encoders 1 through 15/16, respectively. When

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Band 10 is selected in the Show Band field in the GEQ menu, the meters will flip,
and encoders 1 through 15/16 will control Bands 1 through 12, respectively.
When Band 23 is selected in the Show Band field in the GEQ menu, the meters
will also flip, and encoders 1 through 15/16 will control bands 23 through 31.
To exit the GEQ, press any of the other Encoder Mode or Master

Troubleshooting
and Warranty
Control buttons. Each Master Control button will open its respective
menu, and each Encode Mode button will launch the FX menu.
Power User Tip: Select the Show Band field in the GEQ menu and use the Value knob to
scroll through all the bands on the graphic EQ to get a quick overview of the entire curve.
You will notice that all meters have one LED illuminated to display the current
gain position for each band, and the meter for the selected band in the Show
Band field is inverted so that all LEDs are illuminated except for the LED that
displays the current gain position for that band. The band does not have to
be selected in the Show Band field for its encoder to be active. All encoders
are active, so you can make changes to 12 of the 31 bands at one time.

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 5.4 System Menu

5.3.2 Saving and Loading GEQ Presets

Overview

Like all other parameters on the StudioLive, graphic EQ settings can be stored
and recalled. If you have created a graphic EQ setting that you would like to save to
the GEQ Preset library, press the Save button in the Fat Channel while that graphic
EQ is active.
You will notice that the LCD will display the GEQ Save menu.
Getting Started

To begin, use the Value encoder to scroll to an empty position in

the GEQ Preset library. Press the Next button again to navigate
to the first letter of the preset name. Turn the Value encoder
clockwise or counter-clockwise to change the letter. The
StudioLive allows you to customize the name with uppercase
and lowercase letters, as well as a selection of numerals and punctuation
marks. You can insert a space by simply pressing the Tap button. Once you
Hookup

are satisfied with your changes, press the Store button. It will illuminate while
the GEQ preset is being written to the StudioLives internal memory. Once
the GEQ preset is saved, the Store button will return to its unlit state.
To load a GEQ preset on the StudioLive, first press the GEQ button and page down to
the desired GEQ. From the Fat Channel, press the Load button.
Controls

You will notice that LCD now displays the GEQ Load menu. Use the
Value encoder to locate the preset you would like to use.
Master
Digital
Master Control
Digital Effects

Once you have made your selection, press the Recall button. If at any time you
Control
Effects

would like to cancel this operation, simply press the Load button again.

5.4 System Menu

In most digital-console manuals, the phrase System menu inspires
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a sense of dread. However, with the StudioLive, you have nothing

to fear. The System menu on the StudioLive serves just a few simple
functions, most of which have very little to do with mixing a show.

LCD Contrast and LCD Backlight

Troubleshooting

Press the System button to access the System menu. The first page
and Warranty

allows you to adjust the LCD Contrast and LCD Backlight for optimal
viewing in your working environment. These settings are retained
when the unit is powered down.

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 StudioLive 16.0.2 Owners Manual

Aux Send Position

Press the Page Down button to access the Aux Pre Position page. By

Overview
default, all four aux buses are set to Pre 1. This places the send of all 16
channels to the aux bus before the fader, limiter, EQ, and compressor
and after the phase-reverse switch, high-pass filter, and noise gate.
The two internal effects buses are set to Post, which sends each of
the channels after all Fat Channel dynamics and EQ and the fader.

Getting Started
From this menu, you can choose between three send positions for each aux mix:
Pre 1: Sends each channel to the aux bus after the
polarity invert, high-pass filter, and gate.
Pre 2: Sends each channel to the aux bus after all Fat Channel parameters (polarity
invert, high-pass filter, gate, compressor, EQ, and limiter) but before the fader.
Post: Sends each channel to the aux bus after all Fat Channel parameters (polarity

Hookup
invert, high-pass filter, gate, compressor, EQ, and limiter) and after the fader.
Power User Tip: Use the Pre 2 position for headphone and in-ear mixes
to give your performers a polished studio sound. This setting should be
avoided for floor wedges, as compression can cause feedback problems!
If you have two aux buses stereo-linked, you only need to set the Pre

Controls
position on the Link Master. Remember, the Link Master is the aux that
was selected when the link was created. To determine which aux is the
Link Master, simply select either of the aux buses in the pair. The Link
Masters ID will be shown in the Select Channel LED readout.

Sync Information

Master Control
Digital Effects
Control
Effects
Press the Page Down button to access the Sync Information

Digital
Master
page. From here, you can view your FireWire connectivity.
When the StudioLive is connected and synced to a computer via
FireWire, Status will read Driver On, and Sample Rate will read
FireWire. (See Section 2 in the StudioLive Software Library Reference
Manual for more details on using the StudioLive as an audio interface.)

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Power User Tip: To ensure the safety of the audio equipment connected to it, the
StudioLive will mute all post-converter outputs for two seconds when the sample rate is
changed and while the mixer is connecting to a computer. The Main, Control Room, and
Aux outputs are muted. While this offers a good measure of protection to your sound
system, it could put the brakes on a live show. Because of this, it very important that the

Troubleshooting
and Warranty
sample rate be selected and locked in prior to beginning any recording or performance.

MIDI Control Mode

The StudioLive 16.0.2 can be remotely controlled with a
DAW, a MIDI footswitch, a MIDI keyboard, and an assortment
of other MIDI control devices. Pages 4 and 5 of the System
menu allow you turn MIDI Control Mode on as well as select
on which MIDI channels the StudioLive will be controlled, as
well as which MIDI Control Change messages will be used.
The next section, Section 5.5, goes through MIDI Control Mode in greater detail.

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 5.5 Using MIDI Control Mode to Remote-Control StudioLive

Lockout Mode
Your StudioLive features a Lockout mode that allows you to create a
Overview

password and lock the controls. This is especially useful in situations

where several people will be running sound but only one or two are
knowledgeable enough to set up dynamics processing and the like.
Right out of the box, the StudioLive cannot be locked, so
dont worry about hitting the wrong button. To enable
Getting Started

the Lockout feature, you must first connect and sync your StudioLive to
a computer. Please review Section 3.7.10 in the StudioLive Software
Library Reference Manual for more information on this feature.

Firmware Version
The last page of the System menu displays the firmware version
currently loaded on your StudioLive. You normally will only view this
Hookup

screen when performing a system update, in order to confirm that the

new firmware was successfully loaded.

5.5 Using MIDI Control Mode to Remote-Control StudioLive

Controls

The StudioLive 16.0.2 features a distinctive MIDI Control Mode,

which, once enabled, allows you to remote-control the following
StudioLive parameters from a MIDI device or DAW:
Scene Recall
Master
Digital
Master Control
Digital Effects

FXA Preset Recall

FXB Preset Recall
Control
Effects

FXA Assign to Mains

FXB Assign to Mains
FXA Output
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FXB Output
Main Output Level
To enable MIDI Control Mode, navigate to page 4 of the System menu
and set MIDI Control Mode to On by turning the value encoder. This
will enable your StudioLive 16.0.2s MIDI features so that the mixer can
Troubleshooting
and Warranty

be controlled by any standard MIDI controller.

Your StudioLive can be controlled with an MIDI controller connected to the

MIDI In jack on the back of your StudioLive or with a MIDI stream transmitted
over FireWire from a computer. In this section, we will discuss using a hardware
MIDI controller to change the controllable parameters on your StudioLive.
Once you have enabled MIDI Control Mode, set the MIDI Source to
MIDI In and connect your MIDI controllers MIDI Out jack to the MIDI
In jack on your StudioLive 16.0.2. For information on using Studio One
Artist or another DAW to control your StudioLive, please review Section
7.5.1 in the StudioLive Software Library Reference Manual.

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 StudioLive 16.0.2 Owners Manual

5.5.1 Recalling Scenes and FX Presets Remotely

Overview
MIDI stands for Musical Instrument Digital Interface. MIDI enables the exchange
of performance information (musical notes, program changes, synth parameters,
and much more) between electronic musical instruments, effects devices,
computers, compatible software applications, and more. It has also been
adopted for a wide range of other applications, both musical and nonmusical.

Getting Started
Before you begin using MIDI Control Mode, there are a few simple
MIDI terms you should understand: MIDI channels, Program
Change messages, and Control Change messages.
MIDI data is sent and received on 16 channels. This enables you to
send up to 16 discrete messages to a MIDI device at exactly the same
time. Only one MIDI event can be sent at one time on each channel but
multiple messages can be streamed serially (one after the other).

Hookup
Program Change messages are sent to a device to request a patch change on a
specified MIDI channel. StudioLive 16.0.2 uses simple Program Change messages to
recall Scenes and FX presets.
To begin, you must first assign unique MIDI channels for FXA, FXB, and
Scene Recall. This will allow you to send a different Program Change
message to each of these three preset libraries, allowing you to

Controls
navigate through each preset library on its own.

Using the Next and Prev buttons, navigate to each

Master Control
channel field and set a MIDI channel using the value

Digital Effects
Control
Effects
encoder. You can choose any channel from 1 to 16.

Digital
Master
Once you have assigned different MIDI channels for FXA, FXB, and
Scene Recall, you simply need to send a Program Change message
on one of those channels, using your external MIDI controller.

5.5.2 Using Control Change Messages to Control Volume and FX Assignments

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The other type of MIDI message your StudioLive 16.0.2 uses is the Control Change
(CC) message. A MIDI Control Change message can be used for many things,
including Volume, Pan, Sustain On/Off, and Modulation. Your StudioLive uses CC
messages to control Main and FX Output Volume and FX Assign/Unassign to Mains.
Although the MIDI Detailed Specification assigns particular controls to specified CC

Troubleshooting
message numbers, you can use any CC message number for these parameters.

and Warranty
To begin, navigate to page 5 of the System menu and use the value
encoder to assign a unique MIDI channel on which to transmit CC
messages to your StudioLive.

Use the Next and Prev buttons to navigate to the FXA, FXB,
and Main Output Level fields and set the Control Change
message number you wish to use to control the output volume
for each bus. You can choose any number from 0 to 127.
Next, navigate to the Mute Effects fields and choose a CC message
number to assign/unassign FXA and FXB to the Main bus.
When you are finished, each parameter on this page should have a different
CC message number next to it. With this accomplished, you simply need to
send one of the assigned Control Change messages to the StudioLive on the
designated MIDI channel, using your hardware MIDI controller or DAW.

53
 5.5 Using MIDI Control Mode to Remote-Control StudioLive

In order to set the correct volume for FXA, FXB, and Main output level, your
Volume Control Change messages must include values from 0 to 127. FXA and
Overview

FXB Assign to Mains is a simple toggle message, so it is not value-dependent.

The next two sections cover setup instructions for the most popular
MIDI footswitch pedals available when this manual was written. If you
are not using one of these devices, please consult the documentation
that came with your MIDI controller to learn how to send Control
Getting Started

Change and Program Change messages on a given MIDI channel.

5.5.3 Controlling the StudioLive 16.0.2 with a Behringer FCB1010

This tutorial will show you how to quickly configure your StudioLive 16.0.2 so that
you can control it with a Behringer FCB1010. The setup configuration detailed here
is just an example; you can customize your own setup using these simple steps.
Each section in this tutorial will focus on a particular setup area.
Hookup

In order for a FCB1010 to control a StudioLive as described below,

you must complete the steps in each section of the tutorial.
After completing this tutorial, you will have three new
presets on your Behringer FCB1010 pedal:
Preset 1 recalls Scene 2 on your StudioLive.
Controls

Preset 3 recalls F20: High Ceilings on FXA on your StudioLive.

Preset 6 allows you to control the Main bus assignment for FXA
(effectively muting and unmuting the effect in the Mains) from
Pedal 6 on your FCB1010. You also can control the Main output
volume for your StudioLive using Expression Pedal A.
Master
Digital
Master Control
Digital Effects

Setting Up Your StudioLive to be Controlled with MIDI

Control
Effects

First set up your StudioLive to be remotely controlled by your footpedal.

In this example, we are setting up the StudioLive to receive Scene changes
on MIDI Channel 1, FXA preset changes on MIDI Channel 2, and FXB preset
changes on MIDI Channel 3. In general, you should set up your StudioLive
Resources

so that each library (Scene, FXA, FXB) receives Program Change messages
on its own MIDI channel. The danger of having, for example, Scene recall
and FXA preset recall on the same MIDI channel is that when you change to
Scene 3, you will change the FXA preset to F3: Closet at the same time!
For our example, we also have the output levels and FXA/FXB Assign to Mains on
Troubleshooting

their own MIDI channels (Channel 4). For your setup, it is perfectly fine to have
and Warranty

these controls share a MIDI channel with one of the recall groups. As previously
mentioned, these parameters are controlled using Control Change messages,
not Program Change messages, so there is no chance of a conflictunless
you assign the same CC message to two different StudioLive parameters.
In addition to setting your MIDI Channels and Control Change messages, you will
also need to set MIDI Control Mode to On and make sure the MIDI Source is set to the
StudioLives MIDI Input. Section 7.5.1 in the StudioLive Software Reference Manual
will show you how to control your StudioLive via FireWire using Studio One Artist.

54
 StudioLive 16.0.2 Owners Manual

Navigate to Pages 4 and 5 of your StudioLive system menu

and set each page up as shown in these images:

Overview
Getting Started
Setting Up Different MIDI Channels on Your FCB1010
Next, you need to configure the pedals on your FCB 1010 to send information
on different MIDI channels. We will use Pedal 1 exclusively for Scene changes,
Pedals 2 and 3 for FXA recall, and Pedals 4 and 5 for FXB recall. You can customize
your pedal to meet your needs; these instructions merely provide a guideline.
1. Boot your FCB1010 into Global configuration mode by holding

Hookup
the Down pedal while powering on the FCB1010.
2. PreSonus recommends that you do not use Direct Select mode. When your
FCB1010 boots up, you will see that the green LED above Direct Select is
illuminated. Make sure that the red LED on pedal 10 is not illuminated.
3. Press the Up pedal to select MIDI Function.

Controls
4. Press Pedal 1 so that its red LED is flashing.
5. Press the Up pedal again to select the MIDI channel for Pedal 1.
6. For our purposes, Scene recall is assigned to MIDI Channel
1. Press Pedal 1 so that the LED readout displays 1.

Master Control
Digital Effects
Control
Effects
7. Press the Up pedal twice to confirm the change
and cycle back to MIDI Function.

Digital
Master
8. Next, youll assign the MIDI channel for FXA Recall.
Press Pedal 2 so that its red LED is flashing.
9. Press the Up pedal again to select the MIDI channel for Pedal 2.
10. This time, you will select MIDI Channel 2. Press Pedal

Resources
2 so that the LED readout displays 2.
11. Press the Up pedal twice to confirm the change
and cycle back to MIDI Function.
12. Repeat steps 8-11 for Pedal 3.

Troubleshooting
and Warranty
13. Repeat steps 8-11 for Pedals 4 and 5, selecting MIDI Channel 3 for each.
Youre almost done! Now you need to set the global MIDI channel on which your
FCB1010 will control FXA and FXB output levels, assign/unassign FX to Mains,
and control the Main output level. Press Pedal 6 so that its red LED is flashing.
1. Press the Up pedal to select the MIDI channel for Pedal 6.
2. In our example, the global MIDI functions are set to MIDI Channel 4. But you
can assign global MIDI functions to the same channel as any of the recall
functions, if you prefer. Press Pedal 4 so that the LED readout displays 4.
3. Press the Up pedal twice to confirm the change
and cycle back to MIDI Function
4. Repeat steps 1-3 for Pedals 7-9.
5. Press and hold the Down pedal to exit Global Configuration mode.

Making Presets on an FCB1010

In our example, we will create one preset for Scene recall, one for FXA assign/
unassign to Mains, and one for Main volume control. You can also use these
instructions to create presets for the remaining controllable parameters. We
will create a StudioLive bank of presets on Bank 00. If you have presets already
saved to this bank, you can use any of the other nine banks instead.

55
 5.5 Using MIDI Control Mode to Remote-Control StudioLive

Scene Recall
1. Select Bank 00 by using the Up or Down pedals.
Overview

2. Press Pedal 1 to select Preset 1.

3. Press and hold the Down pedal to enter Preset Configuration
mode. (Youll see a flashing green LED.)
4. Press the Up pedal to confirm.
Getting Started

5. Press Pedal 1 so that the red LED is flashing.

6. Press the Up pedal to make the Program Change assignment.
7. Select Scene 02 using Pedal 2 or Expression Pedal A.
8. Press the Up pedal to confirm.
9. Press and hold the Down pedal to exit.
Hookup

FXA Preset Recall

1. To set up pedal control of FXA preset changes, press Pedal 3 so that Preset
3 is selected on your FCB1010. Make sure that Bank 00 is still selected.
2. Repeat Scene Recall steps 3-9, using Expression
Pedal A to select FX preset 20.
Controls

FXA Assign/Unassign to Main Bus and Main Output Level Control

Lets create a preset to assign/unassign FXA to the Main bus and to control
the Main output volume using an expression pedal on the FCB1010.
Master
Digital
Master Control

1. First press Pedal 6 to select Preset 6, making

Digital Effects

sure that Bank 00 is still selected.

Control
Effects

2. Press and hold the Down pedal to enter Preset Configuration

mode. (Youll see a flashing green LED.)
3. Press the Up pedal to confirm.
4. Press Pedal 6 so that the red LED is flashing.
Resources

5. Press the Up pedal to assign the Control Change.

6. Using Expression Pedal A, select CC 64.
7. Press the Up pedal twice to confirm.
8. Press Pedal 8 so that its red LED is flashing.
Troubleshooting
and Warranty

9. Press the Up pedal to make the Control Change assignment.

10. Using Expression Pedal A, select CC 42.
11. Press the Up pedal once to select the lowest value.
12. Move Expression Pedal A to its lowest position to select 00.
13. Press the Up pedal once to select the highest value.
14. Move Expression Pedal A to its highest position to select 127.
15. Press the Up pedal once to confirm.
16. Press and hold the Down pedal to exit.

Trying Out Presets

Preset 1 recalls Scene 2 on your StudioLive.
Preset 3 recalls F20: High Ceilings on FXA on your StudioLive.
Preset 6 allows you to control the Main bus assignment for FXA
(effectively muting and unmuting the effect in the Mains) from
Pedal 6 on your FCB1010. You also can control the Main output
volume for your StudioLive using Expression Pedal A.

56
 StudioLive 16.0.2 Owners Manual

5.5.4 Controlling the StudioLive 16.0.2 with a Roland FC-300

Overview
Roland FC-300 Patch Mode offers many flexible ways for you to control your
StudioLive 16.0.2. Each patch allows you to assign multiple MIDI controls to any
of the four control pedals. In this example, we will create a patch that instantly
recalls a Scene, and we will assign to other pedals an FXA preset recall and
the FXA assignment to the Main bus. Finally, one expression pedal will control
the FXA output level, while the other will control the Main output volume.

Getting Started
This tutorial will show you how to quickly configure your StudioLive 16.0.2 so that
you can control it with a Roland FC-300. The setup configuration detailed here is
just an example; you can customize your own setup using these simple steps.
Each section in this tutorial will focus on a particular setup area. In order for a
FC-300 to control a StudioLive as described below, you must complete the steps
in each section of this tutorial. Once you have completed the tutorial, you will

Hookup
have a new patch on your FC-300 that controls your StudioLive as follows:
CTL1: Recall Preset F10:Concrete Floors on FXA
CTL2: Assign/Unassign FXA to Main bus
Expression Pedal 1: FXA Output level
Expression Pedal 2: Main Output level

Controls
Setting Up the StudioLive to be Controlled with MIDI
You must first set up your StudioLive to be remotely controlled by the footpedal.
In this example, we are setting up the StudioLive to receive Scene changes
on MIDI Channel 1, FXA preset changes on MIDI Channel 2, and FXB preset

Master Control
Digital Effects
Control
changes on MIDI Channel 3. In general, you should set up your StudioLive so

Effects
that each library (Scene, FXA, FXB) is receiving Program Change messages
on its own MIDI channel. The danger of having, for example, Scene Recall

Digital
Master
and FXA preset recall on the same MIDI channel is that when you change to
Scene 3, you will change the FXA preset to F3: Closet at the same time!
For our example, we also have the output levels and FXA/FXB Assign to Mains
on their own MIDI channel (Channel 4). For your setup, it is perfectly fine to have

Resources
these control share a MIDI channel with one of the recall groups. As previously
mentioned, these parameters are controlled using Control Change messages,
not Program Change messages, so there is no chance of a conflictunless
you assign the same CC message to two different StudioLive parameters.
Besides setting your MIDI channels and Control Change messages,

Troubleshooting
and Warranty
you will also need to set MIDI Control Mode to On and make sure the
MIDI Source is set to the StudioLives MIDI Input. Section 7.5.8 in the
StudioLive Software Library Reference Manual will show you how to
control your StudioLive via FireWire using Studio One Artist.
Before setting up your FC-300, you must set up your StudioLive for this example.
Navigate to Pages 4 and 5 of your StudioLive system menu
and set each page up as shown in these images:

57
 5.5 Using MIDI Control Mode to Remote-Control StudioLive

Creating a New Patch on the Roland FC-300

Now that your StudioLive is set up to communicate with the Roland FC-300, you will
Overview

need to create a new patch. Remember, you must follow all of the steps in this tutorial
to control your StudioLive as previously described. At the end of this tutorial, well
discuss how to name and save your new patch so you can use it again in the future.

Instant Scene Recall

Getting Started

1. Press the Mode button until the Patch Mode LED is illuminated.
2. Making sure the red LED is illuminated on the
first row of pedals, depress Pedal 1/6.
3. Press the right Parameter button. The LCD will display PATCH: On MIDI.
4. Press the Write button so that the LCD displays Edit MIDI.
5. Press the Write button again. You will see 001: ----- -----.
Hookup

6. Press the right Parameter button.

7. Press the Value Up button so that the LCD displays 001:PC CH#01 PC#001.
8. The first field defaults to Program Change (PC). This is how the
StudioLive recalls Scenes, so you can leave this field as it is.
Controls

9. Use the right Parameter button to move to the

next field: MIDI channel number.
10. Set the MIDI channel to 1.
11. Use the right Parameter button to move to the next field: Program Change
number. The number you enter will determine which Scene will be recalled.
Master
Digital
Master Control
Digital Effects

12. Use the Value Up button to set the Program Change number to 002.
Control
Effects

13. Press the Exit button twice and continue to FXA Preset Recall.

FXA Preset Recall

1. Next we will set CTL Pedal 1 to recall a preset on FXA. Press the
right Parameter button until the LCD displays CTL1: On MIDI.
Resources

2. Press the Write button so that the LCD displays Edit MIDI.
3. Press the Write button again. You will see 001: ----- -----.
4. Press the right Parameter button.
5. Press the Value Up button so that the LCD displays 001:PC CH#01 PC#001.
Troubleshooting
and Warranty

6. The first field defaults to Program Change (PC). This is how the
StudioLive recalls FX presets, so you can leave this field as it is.
7. Use the right Parameter button to move to the
next field: MIDI channel number.
8. Set the MIDI channel to 2.
9. Use the right Parameter button to move to the next
field: Program Change number. The number you enter
will determine which FX Preset will be recalled.
10. Use the Value Up button to set the Program Change number to 10.
11. Press the Exit button twice and continue to FXA Assign/Unassign to Mains.

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 StudioLive 16.0.2 Owners Manual

FXA Assign/Unassign to Mains

1. Next, we will set CTL Pedal 2 to control the

Overview
Main assignment (mute) for FXA.
2. Press the right Parameter button until the LCD reads CTL2: Assign.
3. The curser should be on the CH# Tx field. Press the Value
Down button until the MIDI channel value is 04.

Getting Started
4. Use the right Parameter button to navigate to the CC# field.
5. Use the Value Up and Down buttons to set
the Control Change number to 64.
6. Continue to FXA and Main Bus Output Levels.

FXA and Main Bus Output Levels

Hookup
1. Press the right Parameter button until the LCD reads EXP1: Assign.
2. Use the right Parameter button to navigate to the CH# Tx field and
press the Value Down button until the MIDI channel value is 04.
3. Use the right Parameter button to navigate to the CC# field.
4. Use the Value Up and Down buttons to set

Controls
the Control Change number to 40.
5. Press the right Parameter button until the LCD reads EXP2: Assign.
6. Use the right Parameter button to navigate to the CH# Tx field and
press the Value Down button until the MIDI channels value is 04.

Master Control
Digital Effects
Control
7. Use the right Parameter button to navigate to the CC# field.

Effects
8. Use the Value Up and Down buttons to set

Digital
Master
the Control Change number to 42.
9. Continue to Naming and Saving Your Patch.

Naming and Saving Your Patch

Resources
1. Press the right Parameter button until the LCD reads Patch Name.
2. Use the Value Up and Down buttons and left/right Parameter
buttons to enter a name (such as My Preset).
3. Press the Exit button. You will now be on the Main screen of the LCD.
4. Press the Write button so that the LCD displays Write to [WRITE] 01:

Troubleshooting
and Warranty
5. In this example, we will save to patch-library position 01 but
you can also use the Value buttons to scroll to an empty
patch position. Press the Write button again to store.
6. Press the Write button again to confirm.

Recalling StudioLive Scenes

Making sure the red LED is illuminated on the first row of pedals,
depress Pedal 1/6. You will see that Scene 2 has been recalled on your
StudioLive. You are now ready to control your StudioLive as follows:
CTL1: Recall Preset F10: Concrete Floors on FXA
CTL2: Assign/Unassign FXA to Main bus
Expression Pedal 1: FXA Output level
Expression Pedal 2: Main Output level

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 6.1 Stereo Microphone Placement

6 Resources
Overview

6.1 Stereo Microphone Placement

The following are a few recording applications to help you get started with your
StudioLive. These are by no means the only ways to record these instruments.
Microphone selection and placement is an art. For more information, visit
Getting Started

your library or local bookstore, as there are many books and magazines
about recording techniques. The Internet is also a great source of recording
information, as are instructional videos. Some of these microphone-placement
suggestions can be used in live applications, as well as for studio recording.

Grand Piano
Place one microphone above the
Hookup

high strings and one microphone

above the low strings. Experiment
with distance (the farther back the
more room you will capture). This
technique can be used for live and
studio applications.
Controls
Master Control
Digital Effects
Resources
Resources

Electric Guitar
Place a dynamic microphone an inch or two away
from the speaker of the guitar amplifier. Experiment
Troubleshooting

with exact location. If you are recording an amp with

and Warranty

multiple speakers, experiment with each one to see if

one sounds better than the others. Place a condenser
microphone approximately six feet away, pointed at the
amp. Experiment with distance. Also experiment with
inverting the phase of the room microphone to check
for phase cancellation and reinforcement. (Select the
fuller-sounding position.) To use this technique in a live
application, omit the condenser microphone.

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 StudioLive 16.0.2 Owners Manual

Acoustic Guitar
Point a small-diaphragm condenser microphone at the

Overview
12th fret, approximately 8 inches away. Point a large-
diaphragm condenser microphone at the bridge of
the guitar, approximately 12 inches from the guitar.
Experiment with distances and microphone placement.
Another popular method is using an XY microphone

Getting Started
placement with two small-diaphragm condenser
microphones. (See drum-overheads photo on the next
page.)

Hookup
Bass Guitar (Direct and Speaker)

Controls
Plug the electric bass guitar into a passive direct box. Connect the
instrument output from the passive direct box to a bass amplifier. Place a
dynamic microphone an inch or two away from the speaker and connect
it to a StudioLive microphone input. Connect the line output from the
passive direct box to a line input on a different channel of the StudioLive.

Master Control
Digital Effects
For recording, place these signals on separate tracks. During mixing, you
can blend the direct and amplifier signal to taste. This technique can also
be used in live applications.

Resources
Resources
Troubleshooting
and Warranty

61
 6.1 Stereo Microphone Placement

Drum Overheads (XY example)

Place two small-diaphragm
Overview

condenser microphones on an XY
stereo-microphone holder (bar).
Position the microphones so that
each one is at a 45-degree angle,
pointed down at the drum kit,
Getting Started

approximately 7 or 8 feet above the

floor or drum riser. Experiment with
height. This technique can be used in
live applications as well.
Hookup
Controls
Master Control
Digital Effects

Snare Drum (top and bottom)

Resources
Resources

Point a dynamic microphone at the center of the snare, making sure it is

placed so that the drummer will not hit it. Place a small-diaphragm condenser
microphone under the drum, pointed at the snares. Experiment with the
placement of both microphones. Also experiment with inverting the phase of the
bottom microphone. This technique can be used in live applications.
Troubleshooting
and Warranty

62
 StudioLive 16.0.2 Owners Manual

6.2 EQ Frequency Guides

Overview
Table 1

Instrument What to Cut Why to Cut What to Boost Why to Boost

Human Voice 7 kHz Sibilance 8 kHz Big sound

Getting Started
2 kHz Shrill 3 kHz and above Clarity

1 kHz Nasal 200-400 Hz Body

80 Hz and below Popping Ps

Piano 1-2 kHz Tinny 5 kHz More presence

Hookup
300 Hz Boomy 100 Hz Bottom end

Electric Guitar 1-2 kHz Shrill 3 kHz Clarity

80 Hz and below Muddy 125 Hz Bottom end

Controls
Acoustic Guitar 2-3 kHz Tinny 5 kHz and above Sparkle

200 Hz Boomy 125 Hz Full

Electric Bass 1 kHz Thin 600 Hz Growl

Master Control
Digital Effects
125 Hz Boomy 80 Hz and below Bottom end

String Bass 600 Hz Hollow 2-5 kHz Sharp attack

200 Hz Boomy 125 Hz and below Bottom end

Snare Drum 1 kHz Annoying 2 kHz Crisp

Resources
Resources
150-200 Hz Full

80 Hz Deep

Kick Drum 400 Hz Muddy 2-5 kHz Sharp attack

Troubleshooting
and Warranty
80 Hz and below Boomy 60-125 Hz Bottom end

Toms 300 Hz Boomy 2-5 kHz Sharp attack

80-200 Hz Bottom end

Cymbals 1 kHz Annoying 7-8 kHz Sizzle

8-12 kHz Brilliance

15 kHz Air

Horns 1 kHz Honky 8-12 kHz Big sound

120 Hz and below Muddy 2 kHz Clarity

String section 3 kHz Shrill 2 kHz Clarity

120 Hz and below Muddy 400-600 Hz Lush and full

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 6.2 EQ Frequency Guides

Table 2
Overview

harder bass to low BOOST vocal presence

frequency
instruments (kick, kick & tom attack
tom, bass) more finger sound
on bass
guitar and snare brighten vocals,
fullness
bass line clarity piano and acoustic acoustic guitar,
guitar attack piano
piano and horns (especially for softer bass line clarity
warmth playback levels) and punch brighter rock guitar harder cymbals
Getting Started

kick & tom attack

percussion attack
bass pluck
reduce vocal dullness breathier vocals
acoustic/electric
more finger sound on bass brighten cymbals,
guitar attack string instruments,
fullness to low
vocal fullness lower piano register sharpness to:
flutes
frequency synths, rock guitars,
attack
instruments hard hitting snare bass line clarity acoustic guitars, piano more realistic
(kick, tom, bass) and guitar and punch vocal clarity samples and synths
Hookup

50 Hz 100 Hz 200 Hz 400 Hz 800 Hz 1.5 kHz 3 kHz 5 kHz 7 kHz 10 kHz 15 kHz

increase guitar clarity decrease kick and decrease dullness adds distance to vocals: reduce
Controls

tom dullness in guitars background s sound

lessen guitar boom
instruments
softens a thin guitar

decrease bass decrease muddiness in decrease guitar enhance background vocals: reduce
boom to increase vocals and mid-range thinness vocal breathiness s sound
clarity in the mix instruments
lessen overly disguise vocals and
decrease long bass bright guitar guitars that are slightly
overtones in cymbals overtones out of tune
Master Control
Digital Effects

CUT
Resources
Resources
Troubleshooting
and Warranty

64
 StudioLive 16.0.2 Owners Manual

6.3 Technical Specifications

Overview
Microphone Preamp
Type XLR Female, balanced
Frequency Response to Direct Output (at unity gain) 20 Hz-40 kHz, 0.5 dBu
Frequency Response to Main Output (at unity gain) 20 Hz-20 kHz, 0.5 dBu

Getting Started
Input Impedance 1 k
THD to Direct Output (1 kHz at unity gain) < 0.005%, +4 dBu, 20 Hz20 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

Hookup
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

Controls
Line Inputs, Balanced
Type 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

Master Control
Digital Effects
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

Resources
Resources
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)

Troubleshooting
and Warranty
Maximum Input Level +12 dBu

Main Outputs
Type XLR Male, balanced (stereo pair); TRS Female, balanced (stereo pair);
XLR Male, balanced (mono)
Rated Output Level +24 dBu
Output Impedance 100

65
 6.3 Technical Specifications

Aux Outputs
Type TRS Female, balanced (mono)
Overview

Rated Output Level +18 dBu

Output Impedance 51

Monitor Outputs
Getting Started

Type 1/4 TRS Female, balanced (stereo pair)

Rated Output Level +18 dBu
Output Impedance 51
System Crosstalk 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
Hookup

Attack Time Adaptive (0.2 - 2.5 ms)

Release Time 70 ms
Expander Attenuation Range 2:1

Limiter
Controls

Threshold -28dBFS
Ratio :1
Attack 20 ns
Hold 10 ms
Master Control
Digital Effects

Release 20 ms

Compressor
Threshold Range -56 dB to 0 dB
Ratio 1:1 to 14:1
Response Time (Attack/Release) 0.2 ms / 1.0s (Tight) to 180 ms/1.0s (Smooth)
Resources
Resources

Auto Attack and Release Attack = 10 ms, Release = 150 ms

Curve Types hard and soft knee

EQ
Troubleshooting

Type 2nd - order shelving filter

and Warranty

Q Low Q = 0.55, Hi Q =2.0

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

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 StudioLive 16.0.2 Owners Manual

Digital Audio
ADC Dynamic Range (A-wtd, 48 kHz) 118 dB

Overview
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

Getting Started
A/D/A Bit Depth 24 bits
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)

Hookup
Power
Connector IEC
Input-Voltage Range 90 to 240 VAC (factory-configured for country of destination)
Power Requirements (continuous) 100W

Controls
Physical
Length 16 inches (406.4 mm)
Width (chassis only) 15.75 inches (400 mm)
Maximum Height 15.25 inches (133.4 mm)

Master Control
Digital Effects
Weight 15 lbs. (6.8 kg)

Resources
Resources
Troubleshooting
and Warranty

67
 6.4 StudioLive 16.0.2 Block Diagram

6.4 StudioLive 16.0.2 Block Diagram

Overview

Input

Channel Meter
FireWire Return
Streams 1- 8
Input Channels 1-8 Gain
Mic -6 + 65 dB
48V Line -20 +20 dB

Phase
Gate Compressor Equalizer Limit
Main Mix L
Getting Started

Mic Input Mic Pre A/D INPUT BUFFER H.P. U

- A/D Main Mix R

Pan
36 - 465Hz .26 - 3.5kHz 1.4k - 18kHz

Line Input AFL

Fat Channel PFL

FireWire Input
Streams 1-8
Aux Bus Output Aux Bus Output
Post Gate Post Fat Ch.

Pre1/ Pre2 Post Level

Aux 1 -120 - +10 dB Pan
Aux 2
Aux 3
Aux 4
FXA
Hookup

FXB

Link Mode - Pan enabled

Input

Input Channels 9-12 FireWire Return

Streams 9-12 Channel Meter
Gain
Mic -6 + 65 dB
48V Line -20 +20 dB

Phase
Mic Input Mic Pre
A/D INPUT BUFFER
Gate Compressor Equalizer Limit
Main Mix L
+

- H.P. U

A/D Main Mix R

Left (Mono)
Pan
Controls

+ 36 - 465Hz .26 - 3.5kHz 1.4k - 18kHz

Right -
AFL
Link Fat Channel PFL

FireWire Input
Streams 9-12
Aux Bus Output Aux Bus Output
Post Gate Post Fat Ch.

Pre1/ Pre2 Post Level

Aux 1 -120 - +10 dB Pan
Aux 2
Aux 3
Aux 4
Master Control
Digital Effects

FXA
FXB

Link Mode - Pan enabled

Input

Input Channels 13-16 FireWire Return

Channel Meter
Streams 13-16
Gain
Mic -6 + 65 dB
48V Line -20 +20 dB

Phase
Mic Input Mic Pre
A/D INPUT BUFFER Gate Compressor Equalizer Limit
+

- H.P. U
Main Mix L
Resources
Resources

Left (Mono)
Main Mix R
A/D
Pan
+
36 - 465Hz .26 - 3.5kHz 1.4k - 18kHz
Right -

AFL
Link Fat Channel PFL
Left -120 - +10 dB

Right

Aux Bus Output Aux Bus Output

FireWire Input Post Gate Post Fat Ch.
Streams13-16
Pre1/ Pre2 Post Level
Aux 1 -120 - +10 dB Pan
Aux 2
Troubleshooting
and Warranty

Aux 3
Aux 4
FXA
FXB

Link Mode - Pan enabled

Gain
Mic -6 + 65 dB

TalkBack Level
Talkback Mic +
TalkBack Mic to Aux Bus
(48V Always On) -

-120 - +10 dB

Links to Output Dim Level

-14 dB

68
 StudioLive 16.0.2 Owners Manual

Overview
Master Bus
Dig Out
FireWire Send
Main Mix R
Main Mix L

Solo Bus R
Solo Bus L

EFX A
Aux 1
Aux 2
Aux 3
Aux 4
EFX B
Output
Channel Meters
13/14 & 15/16

Getting Started
Gate Compressor Equalizer Limit
GEQ BALANCE LINE DRIVERS

U
On/Off - - Left
+ +

D/A Main Output

- -

+ +
Right
Output Level Attenution
36 - 465Hz .26 - 3.5kHz 1.4k - 18kHz
0 to -40 dB
D/A OUTPUT BUFFER
Fat Channel
Cue Level
Solo Bus L
Solo Bus R Mono Output Level
-120 - +10 dB -

+
Mono Output

D/A OUTPUT BUFFER

Hookup
FireWire Return Streams 1&2 Monitor Level -
Left
+

D/A
Right
-

-120 - +10 dB
Control Room Output
Phones Level -

Phones Output
+

D/A
-

-120 - +10 dB +

Controls
Aux 1
Aux 2
Aux 3
TalkBack Mic to Aux Bus Aux 4

Output
Aux 1
Aux 2 Channel Meters
Aux 3 7 - 11/12

Master Control
Aux 4

Digital Effects
Gate Compressor Equalizer Limit

Gate Compressor Equalizer Limit

Links to Output Dim Level
Gate Compressor Equalizer Limit -14 dB
Aux 4 Gate Compressor Equalizer Limit U

D/A OUTPUT BUFFER

Aux 3 30 - 555Hz 75 - 1.2kHz 380 - 5kHz 1.4k - 18kHz

Aux 2 30 - 555Hz 75 - 1.2kHz 380 - 5kHz 1.4k - 18kHz

- Aux 1 Aux Out 1
Aux 1 +

30 - 555Hz 75 - 1.2kHz 380 - 5kHz 1.4k - 18kHz

-
Aux 2 Aux Out 2
36 - 465Hz .26 - 3.5kHz 1.4k - 18kHz +

D/A
FatFat
Channel
Channel -
Aux 3
+
Aux Out 3

- Aux 4 Aux Out 4

+

Resources
Resources
Gate Compressor Equalizer Limit

Troubleshooting
Level

and Warranty
Internal FX Processor

36 - 465Hz .26 - 3.5kHz 1.4k - 18kHz

Fat Channel

EFX A
Aux
1-4
Aux 1
Aux 2
Aux 3
Aux 4

Internal FX
Gate Compressor Equalizer Limit Unit
Level
Internal FX Processor

36 - 465Hz .26 - 3.5kHz 1.4k - 18kHz

Fat Channel Main

EFX B
Aux
1-4
Aux 1
Aux 2
Aux 3
Aux 4

69
 6.5 StudioLive 16.0.2 Recall Sheet

6.5 StudioLive 16.0.2 Recall Sheet

Overview

Artist Scene Date

TRACK TRIM PRODUCTION NOTES TRACK TRIM PRODUCTION NOTES
Instrument Instrument
Mic used Mic used
1 7
Getting Started

Notes Notes

Instrument Instrument
Mic used Mic used
2 Notes 8 Notes
Hookup

Instrument Instrument
Mic used 9 Mic used
3 Notes Notes
10
Instrument Instrument
11
Controls

Mic used Mic used

4 Notes Notes
12
Instrument Instrument
Mic used 13 Mic used
5
Master Control
Digital Effects

Notes Notes
14
Instrument Instrument
Mic used 15 Mic used
6 Notes Notes
16
Resources
Resources
Troubleshooting
and Warranty

70
 StudioLive 16.0.2 Owners Manual

7 Troubleshooting and Warranty

Overview
7.1 Troubleshooting
Please check the PreSonus Web site (www.presonus.com) regularly
for software information and updates, firmware updates, and support
documentation, including frequently asked questions.

Getting Started
Online technical support is available at www.presonus.
com/support/Contact-Technical-Support.
Technical support is available via email at [email protected].
PreSonus telephone technical support is available to customers in the USA on
Monday through Friday from 9 a.m. to 5 p.m. Central Time by calling 1-225-
216-7887. Customers outside of the USA should contact their national or

Hookup
regional distributor for telephone technical support. A list of international
distributors is provided at www.presonus.com/buy/international_distributors.
No Output on a Channel
Press the Input button in the Metering section and verify that there is signal
on that channel. If no signal is present, check the cable and the input source.
Verify that the trim control is set at an appropriate level. Make sure the

Controls
channel is not muted. Make sure that if your device requires phantom power,
phantom power is engaged for the channel. If you are using an analog input,
verify that the FireWire Return button for that channel is not engaged.
If signal is present, press the Select button for the channel in question. Make sure that

Master Control
the channel is assigned to the main output in the Assign section of the Fat Channel.

Digital Effects
Fader Movements Have No Effect on Audio
Verify that your StudioLive is not locked by navigating to Page 5: Lockout, in the
System menu. Verify that your StudioLive is not in Fader Locate mode. Select Output
in the Metering section and verify that your fader movements are affecting the
output signal. If so, make sure your channels are assigned to the main outputs.

Resources
Resources
No Internal Effects in the Main Bus
Make sure the assign to Mains button is enabled in the FX section.
Press the FXA or FXB button in the Encoder section and verify the
send levels of each channel. If the levels look adequate, use the FX
Output knob to increase the master level for the effects mix.

Troubleshooting
and Warranty
No Output on the Solo Bus While Monitoring
Verify that both the Solo bus level and the headphone, or monitor, volume
is at a reasonable level for comfortable listening. Make sure that you
only have Solo selected in the Monitor section of your StudioLive.
Buttons/Knobs Are Not Functioning
If your StudioLive is passing audio but you have no Fat Channel,
fader, or menu control, verify that the StudioLive is not locked
by navigating to Page 5: Lockout, in the System menu.
Cant Hear Main Mix in Headphones
Verify that the Main mix is enabled in the Monitor bus and that
the Headphone output control is at a sufficient level.
Monitor Bus Controls Not Changing Routing
Verify that your monitors are connected to the Control Room outputs
on the rear panel of your StudioLive, not the Main outputs.

71
 7.2 PreSonus Limited Warranty

7.2 PreSonus Limited Warranty

Overview

PreSonus Audio Electronics, Inc., warrants this product to be free of defects in

material and workmanship for a period of one year from the date of original retail
purchase. This warranty is enforceable only by the original retail purchaser. To be
protected by this warranty, the purchaser must complete and return the enclosed
warranty card within 14 days of purchase. During the warranty period PreSonus
shall, at its sole and absolute option, repair or replace, free of charge, any product
Getting Started

that proves to be defective on inspection by PreSonus or its authorized service

representative. To obtain warranty service, the purchaser must first call or write
PreSonus at the address and telephone number printed below to obtain a Return
Authorization Number and instructions of where to return the unit for service. All
inquiries must be accompanied by a description of the problem. All authorized
returns must be sent to the PreSonus repair facility postage prepaid, insured, and
properly packaged. PreSonus reserves the right to update any unit returned for
Hookup

repair. PreSonus reserves the right to change or improve the design of the product at
any time without prior notice. This warranty does not cover claims for damage due
to abuse, neglect, alteration, or attempted repair by unauthorized personnel and
is limited to failures arising during normal use that are due to defects in material or
workmanship in the product. Any implied warranties, including implied warranties
of merchantability and fitness for a particular purpose, are limited in duration to the
Controls

length of this limited warranty. Some states do not allow limitations on how long an
implied warranty lasts, so the above limitation may not apply to you. In no event will
PreSonus be liable for incidental, consequential, or other damages resulting from the
breach of any express or implied warranty, including, among other things, damage
to property, damage based on inconvenience or on loss of use of the product, and,
to the extent permitted by law, damages for personal injury. Some states do not
Master Control
Digital Effects

allow the exclusion of limitation of incidental or consequential damages, so the

above limitation or exclusion may not apply to you. This warranty gives you specific
legal rights, and you may also have other rights, which vary from state to state. This
warranty only applies to products sold and used in the United States of America.
For warranty information in all other countries please refer to your local distributor.
PreSonus Audio Electronics, Inc.
Resources

7257 Florida Blvd.

Baton Rouge, LA 70806
Troubleshooting
Troubleshooting
and
and Warranty
Warranty

72
 StudioLive 16.0.2 Owners Manual

Declaration of

Overview
Conformity

Getting Started
Responsible Party: PreSonus Audio Electronics
Address: 7257 Florida Blvd., Baton Rouge, LA
70806 USA
Phone: 1-225-216-7887

Hookup
declares that StudioLive 16.0.2 complies with
Part 15 of the FCC rules.
Operation is subject to the following two conditions:

Controls
1. This device may not cause harmful interference, and;
2. This device must accept any interference

Master Control
Digital Effects
received, including interference that may cause
undesired operation
Note: No product support is available when you
call the number above. Refer to your Certificate of
Warranty in your Owners Manual for PreSonus
Product Support telephone number.

Resources

Troubleshooting
Troubleshooting
Baton Rouge USA www.presonus.com

and Warranty
and Warranty

73
 EMC Statement:
NOTE: This equipment has been tested and found to comply with
the limits for a Class B digital device, pursuant to part 15 of the FCC
Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equip-
ment generates, uses, and can radiate radio frequency energy and, if
not installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation.
If this equipment does cause harmful interference to radio or televi-
sion reception, which can be determined by turning the equipment
off and on, the user is encouraged to try to correct the interference
by one or more of the following measures:
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and the receiver.
Connect the equipment into an outlet on a circuit different from that
to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Changes or modifications to this device not expressly
approved by PreSonus Audio Electronics could void the users author-
ity to operate the equipment under FCC rules.
This apparatus does not exceed the Class A/Class B (whichever is ap-
plicable) limits for radio noise emissions from digital apparatus as set
out in the radio interference regulations of the Canadian Department
of Communications.
ATTENTION Le prsent appareil numrique nmet pas de bruits
radiolectriques dpassant les limites applicables aux appareils
numriques de classe A/de classe B (selon le cas) prescrites dans le
rglement sur le brouillage radiolectrique dict par le ministre
des communications du Canada.
 Dinner is Served

Added bonus: PreSonus previously Top Secret recipe for

Chicken and Andouille Gumbo
Ingredients:
1 C all-purpose flour
C vegetable oil
1 large onion (diced)
1 small onion (quartered)
6 celery stalks (diced)
1 large green bell pepper (diced)
3 cloves garlic (2 minced, 1 whole)
1 lb link Andouille sausage
4 Chicken leg quarters
4 qt water
4 bay leaves
1 tsp thyme
1 tsp Old Bay seasoning
1-2 C frozen okra, sliced
C fresh parsley, minced
6-8 eggs (optional)

Cooking Instructions:

1. In a large pot, combine whole chicken leg quarters, water, quartered onion, Old Bay, 2 bay leaves and 1 whole clove garlic.
Cover and bring to a low boil. Simmer stock until chicken is falling off the bone. Remove the chicken and set aside. Discard
the onion, bay leaves, and garlic, reserving the liquid.
2. In a heavy saucepan, heat 1 Tbsp of the oil on medium high heat and brown the andouille until it is cooked through. Set
aside sausage for later.
3. In the same saucepan, add and heat remaining oil. Slowly add flour 1-2 Tbsp at a time, stirring continuously. Continue cook-
ing and stirring the roux until it is a dark brown (it should look like melted dark chocolate). Be careful to not to get the oil
too hot or the flour will burn and youll have to start over.
4. Once roux has reached the correct color, add diced onion, celery, green pepper, and minced garlic. Cook until vegetables
are very tender. Do not cover.
5. Slowly add 1 quart of chicken broth and bring to a low boil, stirring constantly.
6. Transfer roux mixture to a soup pot and bring to low boil. Do not cover, the roux will settle on the bottom of the pot and burn.
7. Add remaining chicken broth, bay leaves, and thyme. Simmer for 30 minutes.
8. While gumbo is simmering, debone and shred chicken and slice the andouille.
9. Add chicken and andouille to gumbo and return to a simmer. Simmer for 30-45 minutes.
10. Stir in frozen okra and parsley and bring to a rolling boil.
11. Optional: Crack one egg into a teacup and quickly pour into the boiling gumbo. Repeat with the other eggs being careful
not to cluster them too closely. After all the eggs have risen back to the surface, reduce heat and simmer.
12. 12. Correct seasoning with salt and pepper (red, white and/or black) if necessary.
13. Serve over rice with potato salad.

Serves 12

2012 PreSonus Audio Electronics, Inc. All Rights Reserved. AudioBox, DigiMax, FireStudio, Nimbit, PreSonus, QMix, StudioLive, and XMAX are trademarks or registered trademarks
of PreSonus Audio Electronics, Inc. Capture, Impact, Mixverb Presence, RedLightDist, SampleOne, Studio One, and Tricomp are trademarks or registered trademarks of PreSonus
Software Ltd. Mac, Mac OS, and Macintosh are registered trademarks of Apple, Inc., in the U.S. and other countries. Windows is a registered trademark of Microsoft, Inc., in the U.S.
and other countries. Other product names mentioned herein may be trademarks of their respective companies. All specifications subject to change without notice...except the recipe,
which is a classic.
StudioLive 16.0.2

Performance and Recording Digital Mixer

Owners Manual

7257 Florida Boulevard Baton Rouge,

Louisiana 70806 USA 1-225-216-7887
Part# 820-SL0002-C
www.presonus.com