PreSonus StudioLive 16.0.2 User Manual

StudioLive

™

16.0.2

Performance and Recording Digital Mixer

Owner’s Manual

OverviewControls HookupResources Getting StartedDigital Effects

Master Control

and Warranty

Troubleshooting

®

www.presonus.com

English

Important Safety Instructions

The exclamation point within an equilateral triangle is intended to alert the user
to the presence of important operating and maintenance (servicing) instructions
in this manual.

The lightning flash with arrowhead symbol within an equilateral triangle is

intended to alert the user to the presence of uninsulated “dangerous” voltage
within the product’s enclosure that may be of sufficient magnitude to constitute a risk of
electric shock to humans.

CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE THE COVER.
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED
PERSONNEL.

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

apparatus.

CAUTION: These service instructions are for use by qualified service personnel
only. To reduce the risk of electric shock, do not perform any servicing other than
that contained in the operation instructions. Repairs must be performed by

qualified service personnel.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry a cloth.

7. Do not block any ventilation openings. Install in accordance

with the manufacturer’s instructions.

8. Do not install near any heat sources, such as radiators, heat registers,

stoves, or other apparatus (including amplifiers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A

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
third prong are provided for your safety. If the provided plug does not fit into
your outlet, consult an electrician for replacement of the obsolete outlet.

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.

14. Servicing is required when the apparatus has been damaged in any way, such as
if a power-supply cord or plug is damaged; or liquid has been spilled, or objects
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
in the USA should be serviced at the PreSonus factory in Baton Rouge, Louisiana.
If your product requires a repair, contact [e-mail] to arrange for a
return-authorization number. Customers outside the USA should contact their local
distributor. Your distributor’s contact information is available at www.presonus.com.

15. The apparatus shall be connected to a Mains power outlet
with a protective grounding/earthing connection.

16. Where the Mains plug or an appliance coupler is used as the disconnect
device, the disconnect device shall remain readily operable.

EU Directives on the Protection of the
Environment and Other Euro Stuff

RoHS This product is compliant with the EU Directive 2011/65/EU for the Restriction

of the use of Certain Hazardous Substances in Electrical and Electronic Equipment.
No lead (Pb), cadmium (Cd), mercury (Hg), hexavalent chromium (Cr+6), PBB
or PBDE is intentionally added to this device. Any traces of impurities of these
substances contained in the parts are below the RoHS specified threshold levels.

REACh This product is compliant with the European Union Directive
EC1907/206 for the Registration, Evaluation, Authorization, and Restriction
of chemicals (REACh) and contains none or less than 0.1% of the
chemicals listed as hazardous chemicals in the REACh regulation.

WEEE This symbol on the product or its packaging indicates that this
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
a designated collection point for the recycling of waste electrical and
electronic equipment. The separate collection and recycling of your waste
equipment at the time of disposal will help conserve natural resources and
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
contact your local city recycling office or the dealer from whom you purchased the product.

CE This product complies with the European Union Council Directives
and Standards relating to electromagnetic compatibility EMC Directive
(2006/95/EC) and the Low Voltage Directive (2004/108/EC).

Table of Contents

1 Overview — 1

1.1 Introduction — 1

1.2 About This Manual — 1

1.3 Summary of StudioLive 16.0.2

Hardware Features — 2

1.4 What is in the Box — 3

2 Getting Started — 4

2.1 Level Setting Procedure — 4

3 Hookup — 9

3.1 Rear-Panel Connections — 9

3.2 Typical Live Band Hookup

Diagram — 12

3.3 Typical Recording Hookup
Diagram — 13

4.3 Input Channel Strip — 25

4.3.1 Input Channel Controls — 25

4.4 Aux and FX Buses — 26

4.4.1 Analog Aux Bus Controls — 26

4.4.2 Internal FX Bus Controls — 27

4.4.3 Aux and FX Bus Channel
Sends — 27

4.4.4 Creating Monitor Mixes — 29

4.4.5 Creating Internal FX Mixes — 30

4.5 MultiModes — 31

4.5.1 MultiMode Controls and the
Buttons that Love Them — 31

4.6 Main Output Bus — 32

4.7 Talkback System — 32

4.8 Solo Bus — 33

4.8.1 Solo Bus Controls — 33

4 Controls — 14

4.1 The Fat Channel — 14

4.1.1 Select Buttons, Meters and
the Fat Channel — 14

4.1.2 Fat Channel
Processing Guide — 15

4.1.3 Fat Channel: Dynamics
Processing and EQ — 15

4.1.4 Fat Channel Panning and
Stereo Link — 20

4.1.5 Fat Channel: Digital Out — 20

4.1.6 Copying Fat Channel
Settings — 21

4.1.7 Loading Fat Channel
Presets — 21

4.1.8 Saving Fat Channel
Presets — 22

4.8.2 Using the Solo Bus for
Monitoring — 34

4.8.3 Using Solo in Place (SIP) to
Set Up a Mix — 35

4.9 Monitor Bus — 36

5 Digital Effects |
Master Control — 38

5.1 The Digital FX (Effects) Menu — 38

5.1.1 Creating FX Presets — 39

5.1.2 Reverb and its Parameters — 40

5.1.3 Delay and its Parameters — 41

5.1.4 Digital Effects Preset
Library — 42

5.1.5 Digital Effects Types — 43

5.2 Scenes — 44

5.2.1 S1: Zero Out (Board Reset) — 44

4.1.9 Channel Presets Library — 23

4.2 Metering — 24

4.2.1 StudioLive Metering
Controls — 24

5.2.2 Creating a Scene — 45

5.2.3 Scene Recall — 45

5.2.4 Fader Locate — 47

5.2.5 AutoStore — 47

5.3 Graphic Equalizer — 48

5.3.1 The Graphic EQ Menu and

Controls — 49

5.3.2 Saving and Loading GEQ

Presets — 50

5.4 System Menu — 50

5.5 Using MIDI Control Mode to

Remote-Control StudioLive — 52

5.5.1 Recalling Scenes and FX Presets

Remotely — 53

5.5.2 Using Control Change Messages

to Control Volume and FX
Assignments — 53

5.5.3 Controlling the StudioLive 16.0.2

with a Behringer FCB1010 — 54

5.5.4 Controlling the StudioLive 16.0.2

with a Roland FC-300 — 57

6 Resources — 60

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 Warranty — 71

7.1 Trouble Shooting — 71

7.2 PreSonus Limited Warranty — 72

1 Overview

StudioLive™ 16.0.2 Owner’s Manual

1.1 Introduction

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
lifetime. Loaded with 12 high-headroom, XMAX™ microphone preamplifiers; a built­in 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
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
listening to the real experts: our valued customers. We appreciate the
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

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Overview

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and Warranty

Troubleshooting

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!

1

1.3 Summary of StudioLive 16.0.2 Hardware Features

Overview

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1.3 Summary of StudioLive 16.0.2 Hardware Features

• 24-bit/48 kHz sampling rate

• 12 Class A XMAX microphone preamplifiers

• 16 line-level inputs

• 4 auxiliary buses

• 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

• Compressor

• Limiter

• Downward expander

• 3-band semi-parametric EQ

• 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

• 60 mm faders

• Military-grade quick-touch buttons

• Fast-acting LED meters

• Talkback communication system

• Rugged steel chassis

• Compatible with Cubase, Digital Performer, Logic,
Nuendo, Sonar, Studio One®, and others

• Windows® and Mac® compatible

• Powerful StudioLive software library includes:

• Virtual StudioLive (VSL) advanced editor/librarian/control

• 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

2

1.4 What is in the Box

Your StudioLive package contains the following:

• PreSonus StudioLive 16.0.2 digital recording and performance mixer

• 6’ (1.8 m) 6-pin-to-6-pin FireWire 400 cable

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Overview

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

• IEC power cord

• StudioLive Software Library containing:

• PreSonus Studio One Artist program DVD plus
gigabytes of third-party content

• PreSonus Capture CD with demo sessions

• PreSonus Universal Control/Virtual StudioLive CD

• StudioLive Software Library Manual

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and Warranty

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3

2.1 Level Setting Procedure

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Getting STarted

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2 Getting Started

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

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

• Your faders should be set on or near the “U” mark whenever possible.

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.

• 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.

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

3. Computer (if applicable)

4. Power amplifiers or powered monitors

When it’s time to power down, your system should be turned off in the reverse
order. Now that you know what not to do, let’s get some audio going!

2.1 Level Setting Procedure

1. Grab a microphone and a mic cable and plug them into the
StudioLive’s Channel 1 mic input.

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StudioLive™ 16.0.2 Owner’s Manual

2. Connect the Main outs (TRS or XLR) of your StudioLive to
your power amplifier or powered monitors.

3. If you’re using passive speakers, connect them to your power
amplifier using speaker cable.

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Getting Started

4. Bring down all the faders on your StudioLive to the ∞ setting.

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

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and Warranty

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2.1 Level Setting Procedure

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

7. If your microphone requires phantom power, engage the 48V
button on Channel 1 of your StudioLive.

8. Turn on your amplifier or powered monitors.

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StudioLive™ 16.0.2 Owner’s Manual

9. Press the Input button in the Meter section.

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

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11. Turn the trim knob on Channel 1 clockwise while watching
the first meter in the Fat Channel.

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.

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2.1 Level Setting Procedure

Overview ControlsHookup ResourcesGetting Started Digital Effects

Getting STarted

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13. Press the Select button on Channel 1 and raise the Channel 1
fader until it reaches “U” (unity gain).

14. Bring up the Main fader until you can comfortably listen to
your microphone through your speakers.

15. With Channel 1 selected, you can use the Fat
Channel to add dynamics processing and EQ.

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8

3 Hookup

StudioLive™ 16.0.2 Owner’s Manual

3.1 Rear-Panel Connections

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
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
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
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 microphone’s
documentation to ascertain the manufacturer’s recommended operating practices.

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 ¼ inch, balanced TRS
connection for line-level input. When these inputs are engaged, the microphone­preamp circuit is bypassed. Typical examples of line-level connections are synthesizer
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

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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
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

Master Control

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
the Talkback input.

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

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

Aux Outputs. The StudioLive
is equipped with four auxiliary
outputs. In Section 4.4.4 and

4.4.5, we discuss in detail how to
create aux mixes for monitoring
and effects processing. Aux mixes
are routed to these outputs.

Mono Output. This balanced output carries a mono, summed
version of the stereo signal from the main bus.

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.

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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.

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

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 Owner’s Manual

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

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 user’s manual of your MIDI devices for help with MIDI setup and usage.

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
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
is not supported. While connecting your StudioLive to your computer’s
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 StudioLive’s fuse housing. Your StudioLive uses a 5 mm x 20
mm, 250 VAC, fast-acting fuse.

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

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.

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3.2 Typical Live Band Hookup Diagram

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3.2 Typical Live Band Hookup Diagram

Lead Vocal Mic

Keyboard

Rhythm Guitar and Amp

Bass Guitar

Drum Set

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Laptop

On

100 - 240 VAC 50-60Hz

MIDI Pedal

Monitors

Front-of-House Speakers

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3.3 Typical Recording Hookup Diagram

Lead Vocal Mic

StudioLive™ 16.0.2 Owner’s Manual

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On

100 - 240 VAC 50-60Hz

Rhythm Guitar and Amp

PreSonus HP60 Headphone Distribution

Bass Guitar

Drum Set

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Laptop

MIDI Controller

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4.1 The Fat Channel

Overview ControlsHookup ResourcesGetting Started Digital Effects

Controls

4 Controls

4.1 The Fat Channel

Master Control

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:

• 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

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• Engage phantom power for each mic preamp.

• 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.

14

4.1.2 Fat Channel Processing Guide

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.

StudioLive™ 16.0.2 Owner’s Manual

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Bus Polarity

Invert

Input Channels

Main Out L/R

Aux Busses

Internal FX Send Mix

High-Pass

Filter

Noise

Gate

Compressor EQ Limiter FireWire

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
processing and EQ. The Fat Channel’s 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 LimiterEQNoise Gate Compressor

Polarity Invert Button. Inverts
the Polarity of the Selected
Channel.

Push this button to invert the
polarity of the selected channel’s
signal (that is, to alter the
polarity by 180°). The button
will illuminate, indicating that
Polarity Invert is active. The
Polarity Invert button can be
used to correct audio signals
that are out of phase and are
cancelling/reinforcing each other.

Power User Tip: When recording
with more than one open
microphone, use the polarity invert
to combat phase cancellation
between microphones.

Polarity Invert is only available on
the 16 channels of the input bus.

Send

48V Button. Engages Phantom
Power in the Microphone Preamp
of the Selected Channel.

Push this button to engage
phantom power in the selected
channel’s microphone preamp.
The button will illuminate,
indicating that phantom power is
active. Phantom power transmits
48V of DC electric power
through a microphone cable.

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.

Phantom power is only
available on the 12 microphone
preamps of the input bus.

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4.1 The Fat Channel

High Pass Filter On/Off. Turns

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the High Pass Filter On/Off for the
Selected Channel or Output Bus.

This button engages and
disengages the high-pass filter
for the selected channel or
output bus. It will illuminate
to indicate that the high-pass
filter has been enabled.

The high-pass filter is available
on the 16 channels of the
input bus, the 4 aux buses,
and both internal FX buses.

High Pass Filter Frequency.
Adjusts the High Pass Filter’s
Cutoff Frequency.

The High Pass Filter section
consists of an encoder and
a meter. Frequency range is
indicated to the left of the
meter. The filter’s threshold can
be set from 24 Hz to 1 kHz.

The High Pass Filter’s
slope is -6 dB/octave.

Power User Tip: A high-pass filter
attenuates all frequencies below
the set threshold. Use the Fat
Channel High Pass Filter to remove
unwanted low-frequencies from
your source signal, rather than
trying to EQ them out.

Gate On/Off Button.
Turns the Gate On/Off for the
Selected Channel.

This button engages and
disengages the gate for
the selected channel. It will
illuminate to indicate that
the gate has been enabled.

The gate is available for all
input and output buses.

Power User Tip: The “Gate” in
your StudioLive 16.0.2 is actually
a downward expander. In
contrast to compression, which
decreases the level of a signal after
it rises above the compression
threshold, expansion decreases
the level of a signal after the
signal goes below the expansion
threshold. Commonly used
for noise reduction, the major
difference between expansion
and noise gating is that expansion

is dependent on the signal
level after the level crosses the
threshold, whereas a noise gate
works independent of a signal’s
level beyond the threshold.

Gate Threshold. Sets and
Displays the Threshold of the
Gate for the Selected Channel.

This encoder sets, and the meter
displays, the gate threshold
for the selected channel. The
threshold determines the level
at which the gate will open.
Essentially, all signals above the
threshold setting are passed
through unaffected. You can set
the threshold from 0 to -56 dB.

Power User Tip: If the threshold
is set fully counterclockwise,
the gate is turned off (always
open), allowing all signals to
pass through unaffected.

Compressor On/Off. Turns the
Compressor On/Off for the
Selected Channel or Output Bus.

This button engages or
disengages the compressor
for the selected channel or
output bus. It will illuminate to
indicate that the compressor
has been enabled.

The compressor is available for
all input and output buses.

Power User Tip: A compressor is
a type of amplifier in which gain
is dependent on the signal level
passing through it. You can set
the maximum level a compressor
allows to pass through, thereby
causing automatic gain reduction
above some predetermined signal
level, or threshold. Compression
refers, basically, to the ability
to reduce, by a fixed ratio, the
amount by which a signal’s
output level can increase relative
to the input level. It is useful for
lowering the dynamic range of
an instrument or vocal, making it
easier to record without distorting
the recorder. It also assists in the
mixing process by reducing the
amount of level changes needed
for a particular instrument.

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StudioLive™ 16.0.2 Owner’s Manual

Compressor Auto Mode
Button. Enables Automatic

Response Mode.

When Auto mode is active,
the Response control
becomes inoperative, and a
preprogrammed attack and
release curve is used. In this
mode, the attack is set to 10 ms,
and the release is set to 150 ms.
All other compressor parameters
can still be adjusted manually.

Compressor Threshold. Sets
and Displays the Threshold of the
Compressor for the Selected
Channel or Output Bus.

This encoder sets, and the
meter displays, the compressor
threshold for the selected
channel or output bus. When
the signal’s amplitude (level)
exceeds the threshold setting,
the compressor engages. Turning
the knob counterclockwise
lowers the threshold so that
compression begins at a lower
amplitude. The threshold can
be set from -56 to 0 dB.

Compression Ratio. Sets and
Displays the Compression Ratio
for the Selected Input Channel or
Output Bus.

This encoder sets, and the
meter displays, the compression
ratio (or slope) for the selected
channel or output bus. The ratio
sets the compression slope,
which is a function of the output
level versus the input level. For
example, if you have the ratio
set to 2:1, any signal levels above
the threshold setting will be
compressed at a ratio of 2:1. This
means that for every 2 dB of level
increase above the threshold,
the compressor’s output will
only increase 1 dB. The ratio
can be set from 1:1 to 14:1.

Compressor Response. Sets and
Displays the Compressor
Response Setting for the Selected
Input Channel or Output Bus.

This encoder sets, and the meter
displays, the compressor’s
response setting for the selected
channel or output bus. The
Response control sets the
attack and release tapers for the
Compressor simultaneously. A
tight response time triggers the
compressor immediately and
returns the gain reduction back
to zero quickly when the signal
drops below the compressor
threshold. A smooth response
time allows the beginning
component of the signal or
“initial transient” to pass through,
uncompressed, and extends the
time of length of time before the
gain reduction returns to zero.

Power User Tip: In general, a
tighter response time should be
used for instruments with relatively
few transients, like drums and
percussion, while a smooth setting
should be using for instrument
with a lot of transients, like vocals
and stringed instruments.

Compressor Makeup Gain. Sets
and Displays the Amount of
Makeup Gain for the Compressor
on the Selected Input Channel or
Output Bus.

This encoder sets, and the meter
displays, the makeup-gain
setting of the compressor for the
selected channel or output bus.
When compressing a signal, gain
reduction usually results in an
overall attenuation of level. The
gain control allows you to restore
this loss in level and readjust the
volume to the precompression
level (if desired). You can adjust
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

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Limiter for the Selected Input
Channel or Output Bus.

When the limiter is engaged
the button will illuminate. The
threshold for the limiter is set
to 0 dBFS. The Ratio is ∞:1.

The limiter is available for all
input and output buses.

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
you have the threshold knob
set at 0 dB, and the ratio turned
fully clockwise, the compressor
becomes a limiter at 0 dB, so that
the output signal cannot exceed
0 dB regardless of the level of the
input signal. Typically, compression
ratios of 10:1 and above are
considered to be limiting.

Low EQ On/Off Button.
Activates Control for the Low
Band EQ for the Selected Input or
Output Bus.

This button actives control of
the equalizer’s Low band for
the selected channel or bus.
The button will illuminate to
indicate the band is active.

The Low EQ band is available
for all input and output buses.

Low EQ Frequency Control. Sets
and Displays the Center
Frequency of the Low EQ Band.

This encoder sets, and the meter
displays, the center frequency
of the equalizer’s Low band.
The center frequency is the
middle of the passband (the
mean) between the lower and
upper cutoff frequencies that
define the limits of the band.

You can adjust the center
frequency from 36 to 465 Hz.

Low EQ Gain Control. Sets and
Displays the Gain Attenuation or
Boost of the Center Frequency.

This encoder sets, and the meter
displays, the gain cut or boost
at the center frequency for the
Low band. The level of the center
frequency can be set between

-15 and +15 dB.

Low Shelf EQ Button. Turns on
the Low Shelving EQ for the
Selected Input or Output Bus.

When the Shelf button is not
engaged, the Low band is semi­parametric. Enabling the Shelf
button turns the Low band into
a low-shelving EQ that alters,
by a fixed amount, a band of
low frequencies at and below a
user-selected shelving frequency.

Power User Tip: A low shelving
EQ is like a bass-control knob
on a stereo. In this mode, the
Center Frequency control selects
the shelving frequency.

Mid EQ On/Off Button. Activates
Controls for the Mid EQ for the
Selected Input or Output Bus.

This button actives the controls
for the equalizer’s Mid band for
the selected input or output.
The button will illuminate to
indicate the band is active.

The Mid EQ band is available
for all input and output buses.

Mid EQ Frequency Control. Sets
and Displays the Center
Frequency of the Mid EQ.

This encoder sets, and the meter
displays, the center frequency for
the Mid band. You can adjust the
center frequency from 260 Hz to

3.5 kHz.

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StudioLive™ 16.0.2 Owner’s Manual

Mid EQ Gain Control. Sets and
Displays the Gain Attenuation or
Boost of the Center Frequency for
the Mid Band.

This encoder sets, and the meter
displays, the gain cut or boost
at the center frequency of the
Mid band. The level of the center
frequency can be set between

-15 and +15 dB.

Mid Hi Q Button. Enables a
Narrow Bandwidth for the Mid
Band EQ on the Selected Input or
Output bus.

Q is the ratio of the EQ band’s
center frequency to its
bandwidth. With a constant
center frequency, higher Q values
indicate a narrower bandwidth,
so Q is often equated with
bandwidth. By default, the Q is
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.
Activates Control for the High EQ
for the Selected Input or
Output Bus.

This button actives control
of the High band for the
selected channel or bus.
The button will illuminate to
indicate the band is active.

The High EQ band is available
for all input and output buses.

High EQ Frequency Control.
Sets and Displays the Center
Frequency of the High EQ.

This encoder sets, and the meter
displays, the center frequency
of the High band. You can adjust
the center frequency from 1.4 to
18 kHz.

High EQ Gain Control. Sets and
Displays the Gain Attenuation or
Boost at the Center Frequency of
the High EQ Band.

This encoder sets, and the meter
displays, the gain cut or boost at
the center frequency of the High
EQ band. The level of the center
frequency can be set between

-15 and +15 dB.

High Shelf EQ Button. Turns on
the High Shelving EQ for the
Selected Input or Output Bus.

When the Shelf button is not
engaged, the High band is a
semi-parametric EQ. Enabling
the Shelf button turns the High
band into a high shelving EQ
that alters, by a fixed amount,
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

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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

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

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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
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 channel‘s previous settings will be restored. For instance, if Channel
8 is selected when the Stereo Link button is engaged, all of Channel 8’s settings will be
copied onto Channel 7. If Channel 7 is selected when the Stereo Link button is engaged,
Channel 7’s 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 Master‘s ID number will
be displayed in the Selected Channel LED read-out in the Fat Channel.

On the StudioLive 16.0.2’s 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
hear the right side of each stereo channel through the StudioLive, the right inputs are
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.

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.

4.1.4 Fat Channel Panning and Stereo Link

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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