I like to think of The StudioLive 16.0.2 as the scrappy little brother of the StudioLive family. Well into the StudioLive AI era, this Classic model is still one of the best-selling digital mixers we offer.
Why? In short, the 16.0.2 punches with heavyweight power in a bantamweight frame. You get sixteen inputs and four Aux Outs, the same XMAX preamps and Fat Channels found in more expensive StudioLive mixers, and Smaart Measurement Technology via VSL. This all makes it ideal for both project studios and mobile PA/DJ rigs. Pound for pound, it’s arguably the most feature-rich mixer in the line. And don’t forget the 16.0.2’s secret weapon that no other StudioLive mixer in the line has: MIDI control! You can adjust mixer settings live, in-performance, with a standard MIDI controller.
While more wallop for your wallet has always been part of what makes the 16.0.2 what it is, we’ve made that end of the deal even better for a while. Until Dec. 31, we’ve dropped the price on the StudioLive 16.0.2 for customers in the USA down by a hundred bucks to a mere $899.
Take one home. With a little training, your productions will be punching well above your weight class. Just make sure to bring in this new gear before the New Year—this offer ends December 31.
[This just in from Bill Sage—Sales & Design Engineer for Pro Media Ultrasound.]
Hey PreSonus –
I used to be a touring and recording engineer. I now design and sell AV systems. I’m a busy guy, with a full-time sales job and a marriage. I mostly do sound for friends’ bands or benefits for charities.
Here are some reasons I am liking Studio One and the StudioLive 16.0.2. I had the opportunity to use one for a benefit a few months ago.
Running Universal Control on my Apple Powerbook, I was able to quickly get set up and my mix together in a matter of minutes. I didn’t even read the manual, and it worked flawlessly—and more importantly, it sounded great!
After the gig, I read the manual… and I had no idea that the StudioLive 16.0.2 even had iPad control, which got me even more curious. I took the plunge and bought the 16.0.2.
I also put the band back together. I am playing bass and singing, the other guys are not engineers so I am keeping busy! I use the 16.0.2 and Capture to record basic tracks or rehearsals. Capture is great because I only have to press Record and Stop. Capture lets me concentrate on playing, instead of engineering.
Once home from rehearsal, I import the files into Studio One. Again, it is really simple to get good-sounding tracks. The software is really intuitive, so once again I didn’t read the manual much, but I did find the videos on the internet really helpful.
I have had the “big three” recording softwares at one time or another. This by far is the simplest, most intuitive mixer and software that I have ever used.
I would highly recommend the 16.0.2 and the Studio One Software to anyone.
Sales & Design Engineer
Pro Media Ultrasound
[This just in from Ramon Castillo of Bleep Blop Ensemble. Bleep Blop is an electro-acoustic experimental music ensemble that is collaborating with Grammy-nominated performer/composer Sandeep Das—and a StudioLive 16.0.2! They are looking to create a record and performance series with Sandeep, and could really use your help!]
One of Bleep Blop’s primary missions is to make music technology accessible to a wide variety of performers, composers and other artists. We are committed to the music of young and emerging composers, and we have premiered 13 works and performed countless others over the last 3 years.
Sandeep Das and Bleep Blop will write lots of new music, record and perform these new works, and release lots of media.
Click through to Bleep Blop’s IndieGoGo campaign here to learn more—and contribute!
FREE LIVE WEBCAST!
PreSonus LIVE Airs Today! 2 p.m. CST / 3 p.m. EST / Noon PST / 19:00 GMT
Join PreSonus Technology Evangelist Justin Spence as he takes you on a guided tour of the StudioLive 16.0.2!
The 16.0.2 packs a lot of mixing power into a very portable package. Tune in to learn some of its innermost secrets.
[This just in from Serin at Sama ProSound, our distributor in Korea. Serin and his crew recently had a very successful appearance at KOBA 2013, the 23rd Korea International Broadcast, Audio & Lighting Equipment Show. Over 43,000 people attended! Here’s the official word form the man himself.]
Hello, PreSonus, this is Serin!
The KOBA exhibition is Korea’s biggest audio fair. Established in 1991, the show’s all about audio, light, and products for broadcast as well. This year’s show ran from May 13th to May 16th with 42,459 visitors.
People were very excited about the new PreSonus products, especially the Eris studio monitors. We connected various monitors via the Central Station Plus so attendees could check out all the sounds we prepared through various monitors. The StudioLive 16.4.2 was also used as the main console at the small stage where our musicians performed.
Obviously, MayTree showed up, and nailed their fabulous performance with the help of their StudioLive 16.0.2!
[This just in from Luis “LH Dub” Henrique, who is using the StudioLive 16.4.2 for live remixes of his band’s dub tracks! It’s not often that we see a StudioLive in the “mixer as instrument” application—but here it is! Check out the vid!]
Hello PreSonus! My name is Luis “LH Dub” Henrique, a Brazilian who is passionate about music production and mixing technology. In particular, I love mixing tracks with Jamaican rhythms to create new songs. I have always needed a high-quality interface in order to create my songs, and I have finally found it in the PreSonus StudioLive 16.4.2. It has everything to fulfill my needs, and meets my high standards of quality while offering a great variety of tools. It was love at first sight! I had no previous experience with digital mixers, and I was a bit afraid that I couldn’t manage it, but as soon as my 16.4.2 arrived home I quickly realized that StudioLive is a very easy interface to work with.
Personally, I really like reverb and delay effects. So when I first experienced the effects available on the 16.4.2, I was totally amazed. The delay filter is incredible. I also have been using StudioLive to record live bands and it does a great job! The compressor, gate and all other tools are very well placed. It’s easy to handle and work with.
The StudioLive 16.4.2 is also very resistant By accident, it has fallen from 1.5 m height and it still works perfectly… only few scratches tell the story!
Because of my wonderful experience with StudioLive, I have decided to purchase only PreSonus products in the future due to the fact that I am very pleased to work with this equipment that, besides having a great design, has the best quality you can get.
[This just in from Ramon Castillo—Bleep Blop is gaining some serious momentum! If you want to see the StudioLive 16.0.2 run as the beating heart of a symphony of strange hardware electronics, then don’t miss this event! You can view it online at stream.bleepblop.com. 7:30 p.m. April 20.]
Ramon Castillo and Pochun Wang present:
Bleep Blop, Nonduo, Cloud Ludum, Ensemble Robot.
7:30 p.m. April 20th, 2013.
Umass Lowell, Durgin Hall (concert hall) Or view online at: stream.bleepblop.com!
Bleep Blop comes to Umass Lowell with lots of friends and an exciting new program. (Recital Credit offered)
What does Bleep Blop sound like?
The music will feature everything from electronically manipulated piano, analog synthesis, the Kronos Quartet Drum Machine, dynamically looped mbira, live video, to “third stream” free improvised experimental music, and a robotic glockenspiel controlled by Mike Testa.
Our prior performances have successfully merged the art of acoustic music with the mystique of audio technology, but for this concert, we are going to bring improvisation and technology to a new level.
Music by Ramon Castillo, PoChun Wang, Mike Testa, Loudon Stearns, Raleigh Green, Olga Karaseva, Deepak Gopinath and Karlheinz Stockhausen.
On the web
Selection of works to include:
Wonderland/Bounce for live synthesis and the Kronos Quartet Drum Machine
Gargantuan for violin, guitar, and electronic sounds
Karlheinz Stockhausen’s “Tierkeis” (Zodiac) arr. by Olga Karaseva for vibrophones, bass, electric guitar, drums
Six Six for dynamically looped piano
Spores for guitar synthesizer and 16mm projection by NonDuo
Improv for Robot and other things
Do you like your music a little bit electronic? And a lot experimental? If so, this may be an event for you, and in case you can’t make it to MIT, you can check out the steam on April 13 at 8pm EST.
Ramon Castillo, who leads the event, says:
“We’re using the StudioLive 16.0.2 as a super flexible interface. We’ve got a chain of moogerfoogers, piano, violin, iPad, Dave Smith Tetra, Mbira and more all hooked into the mixer. Some processing is done using a Mac running Ableton Live, and the rest is done with the MoogerFoogers and the iPad.”
“The routing varies greatly between each piece do we take heavy advantage of scene programming. Sound checks couldn’t be done without SL remote on the iPad.”
“I may try to get some good video of our setup on our concert on the 20th. I haven’t begun to promote that show yet, but the 1602 will be used in much the same way.”
Bleep Blop Electroacoustic Ensemble led by Ramon Castillo presents music by Ramon Castillo, PoChun Wang, Deepak Gopinath and Ryan Meyer
April 13th, 2013 at 8PM EST
Killian Hall, MIT
Building 14 on Memorial Drive – next to Hayden Library
Watch online at: stream.bleepblop.com
The concert will feature works for electronically manipulated piano, analog synthesis, the Kronos Quartet Drum Machine, dynamically looped mbira, live video and more. Our performances successfully merge the art of acoustic music with the mystique of audio technology.
This event on April 13 promises to deliver the same mix of ambitious musical forces.
Selection of works to include:
This is a triumph. Imogen Heap recently showed up on Dara O’Briain’s Science Club, and she brought her otherworldly Power glove 2.0 MIDI gyro-accelerometer Kinect-handwear with her. We’re flattered and honored that she’s entrusted the StudioLive 16.0.2 to corral her abstruse mad-science signal chain.
Seriously, how many different technologies do you think are collaborating in tandem here?