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YAMAHA LS9-16: 16-32x8 DIGITAL MIXING CONSOLE
Anywhere YOU need advanced Live Sound Support......
The surprisingly small size and lightweight of the Yamaha LS9-16 make it a perfect
choice for applications that require maximum portability and handling ease.
Use it for events or temporary live sound setups, and benefit from the power
and performance of much larger and more complex systems in an eminently portable
package that can be set up and operated anywhere with ease.
YAMAHA LS9-16: FEATURES
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- 16 or 32 top-performance recallable head amplifiers
deliver microphone and line sources with extraordinary presence and
realism.
- An additional 16 or 32 channels of processing
power ready to receive audio via the Mini-YGDAI expansion slots, providing
a total of 32 or 64 channels!
- 4 stereo input channels.
- An extensive range of channel functions accessible
via Yamaha's acclaimed Selected Channel interface.
- Versatile bus architecture with comprehensive
digital patching capability: 16 mix buses, 8 matrix buses, and a stereo
and mono bus that can be used in LCR mode.
- Virtual GEQ and effect rack offers easy access
to built-in graphic equalization and effects that would fill a full-size
rack or two if similar analog gear were used.
- Built-in USB Memory Recorder/Player eliminates
the need for an external device for simple off-board recording, and
can supply background music and sound effects as required.
- Full-console scene Store and Recall.
- Ready to use out of the box with pre-patched
effects and pre-fader aux mixes for monitor sends.
- One or two Mini-YGDAI slots for easy system expansion.
- Compact size 480 x 220 x 500 and weighs only
12kg.
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| Good Reasons to GO
DIGITAL ! |
Digital mixing and processing for live
sound has come of age, and there's no turning back. Throughout the audio
industry the most demanding sound engineers and audio company professionals
are turning to digital mixing as a way of enhancing quality, efficiency
and commercial advantage. If you're planning to upgrade a small or medium-scale
analog system, there are plenty of great reasons to go digital. The Yamaha
LS9-16 and LS9-32 are two very good reasons indeed. They offer the most
up-to-date and mature digital mixing capabilities in their class, with
an interface that makes operation easy even for the inveterate analog
user. They do it in consoles that are remarkably compact and lightweight
– even the LS9-32 can be tucked under an arm and moved around quite
comfortably. Just try doing that with a 32 channel analog console and
the racks of outboard gear that would be required to equal the functionality
of these digital mixers. Both the Yamaha LS9-16 and LS9-32 can grow with
your needs too; they have a second layer of channel processing power that
lets you control up to another 16 or 32 channels of audio inputs from
digital sources and/or analog sources with no compromises on features
or quality. And then there's the sound. From the acclaimed Yamaha PM1D
digital live sound console right down the line, superlative sound is another
reason discerning professionals choose Yamaha Digital Mixing Consoles
for critical live sound applications around the globe. |
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| Intuitive Interface
for Easy Access and Control: The Yamaha LS9-16 and LS9-32
make immense digital processing power and control flexibility available
via an interface that will quickly become comfortable and convenient for
the first-time user. Anyone who has ever used a Yamaha digital console before
will feel right at home. Fader levels are directly controlled via precision
100-millimeter motor faders for instant hands-on access. Corresponding illuminated
switches are provided for channel on/off switching and cueing, and independent
LED level meters let you keep an eye on channel signal levels. Yamaha's
acclaimed Selected Channel interface provides efficient access to other
channel functions via an ingenious integration of physical controllers and
a large color LCD panel. Deeper functions and system settings can be efficiently
accessed via the console's "Display Access" keys and programmed
via the LCD display and data entry controls. A "Home" key brings
you right back to the main operating mode no matter where you are, so you
need never be lost in menus. |
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| 16 or 32 Mono Input Channels
Plus 4 Stereo Input Channels : One of the reasons the LS9
consoles are so compact – and another reason you'll want to go digital
– is that a total of 17 physical faders on the LS9-16, or a total
of 33 on the LS9-32, give you fast, easy access to all input channel, mix
bus, matrix, and master levels. On both consoles the input channels are
available in two fully patchable layers: 1~;16 and 17~;32 on the LS9-16,
or 1~;32 and 33~;64 on the LS9-32. And you can switch between layers instantly
by tapping a single dedicated button. You can organize your inputs so that
channels you'll want to operate most of the time are in the "top"
layer, or you can "vertically" link input channels across the
two layers for stereo operation. Of course you can link channels "horizontally"
in the same layer if you like, but pairing vertically keeps controls you
don't need to operate out of the way. You can even "Y-split" channels
to appear in both layers and have a monitor and a FOH layer. |
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| There's also a "Master" layer button that brings
all 16 mix bus levels to the console's faders on the LS9-16, and additionally
the matrix levels and mono bus level on the 33-fader LS9-32. In addition
to the two input channel layers and master layer, the LS9 consoles feature
a "Custom Fader" layer to which you can assign any combination
of input and output channel faders your application requires. Stereo inputs
are handled in a similar way on the LS9-16, with two stereo inputs on each
of the input layers. The LS9-32 provides panel controls for all four stereo
inputs. The LS9-16 provides 16 analog inputs built-in, while the LS9-32
has 32 internal analog inputs. Additional inputs can be provided via the
LS-9-16's single rear-panel Mini-YGDAI expansion slot, or the dual expansion
slots provided on the LS9-32. |
| 16 Mix Buses, 8 Matrix Buses,
Plus Stereo and Mono Buses with LCR Mode: |
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The 16 mix buses can function as any combination of 16 auxiliary
sends or sub-groups. That's a lot of AUX knobs and/or faders. However on
the LS9 consoles the mix bus levels are controlled via the "1-16, 17-32
or 1-32, 33-64" fader layer with the simple Sends on Fader function.
Just touch the "Master" button and faders 1 through 16 directly
control the mix bus levels. Each of the mix buses can be easily assigned
for mono or stereo operation. You can also choose the send point to be pre
or post fader, and when it's pre-fader you can even select the send point
to be pre or post EQ and dynamics. But don't worry about the choices because
Yamaha provides an easily recalled default setup scene that lets you get
mixing straight out of the box. The LS9 also features an 8-bus matrix that
can be used to provide additional outputs whenever they are needed. The
matrix can receive signals from output groups so it can be used to create
extra monitor mixes or used for different level |
| and EQ setting in a distributed
PA system. And for main output both models have a stereo bus and a mono
bus that can either be used independently or in LCR mode with proper LCR
pan control. Outputs can be patched to any of eight analog "Omni"
outputs on the LS9-16, or 16 omni outputs on the LS9-32. Additional outputs
can be provided via the rear-panel Mini-YGDAI expansion slots – one
slot on the LS9-16, and two slots on the LS9-32. |
| High-performance Recallable
Head Amps: Head amplifiers are the analog circuits that
are critical to determining the console's final sound and raising the signal
level prior to digital conversion. The LS9 head amps are the finest quality
you'll find in any console in this class and are capable of accepting mic
and line level inputs without a switch. In addition to exceptionally low
noise and distortion (minimum requirements for any serious head amp), these
superb amplifiers deliver exceptional accuracy and presence that contributes
to maximum live-sound intelligibility and impact. But there's more. Although
the LS9 head amplifiers are analog for quality and "feel" they
are still digitally "recallable", meaning that their gain, phase,
and phantom power settings are stored and recalled with the console's scenes.
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| Comprehensive Channel Functions with Intuitive
Selected Channel Control: The Yamaha LS9 consoles have a
powerful range of channel functions that can be accessed and used as easily
as those on any analog console – the only difference being that if
all of these functions were provided on an analog console the modules would
be impractically long! Simply press the [SEL] key of the channel you want
to control and use the appropriate Selected Channel encoder to adjust as
required. |
HA
Gain
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Adjusts input-channel head amplifier (pre amplifier)
gain to match the channel's input sensitivity to the source microphone or
line input. HA gain is recallable, as are the +48V phantom power and phase
settings. |
PAN:
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Pan control for mono channels, and
balance control for stereo channels. The PAN control can be assigned to
either standard stereo LR or LCR operation. In the LCR mode a CSR (Center-Side
Ratio) control becomes available that can be used to adjust the proportion
between center and LR non-center signal. |
DYNAMICS
1 & 2
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With the default setup DYNAMICS 1 adjusts gate
threshold level for input channels or compressor threshold level for mix,
matrix, or stereo/mono channels, and DYNAMICS 2 adjusts compressor threshold
level for input channels. The actual parameter controlled depends on the
dynamics processor selected from the console's comprehensive dynamics library
– including a de-esser for advanced vocal processing. Although initially
set up for gating and compression, as described above, you can also use
both processors for compression if required. Move the cursor to a dynamics
parameter and hit the [ENTER] key to access the remaining comp and gate
parameters as well as the DYNAMICS preset library. |
EQ
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This versatile 4-band fully parametric EQ section
affords extraordinary control and quality for all inputs and buses, and
includes a variable HPF filter. You can directly control the Q, frequency,
and gain of each band from the encoders, or move the cursor to an EQ parameter
and hit the [ENTER] key to access the wide-range attenuator, and see a larger
graphic representation of the EQ curve. |
Selected
Send
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This encoder adjusts the send level to the mix
or matrix bus currently selected via the MIX/MATRIX keys to the left of
the display. Depending on your application you can think of it as an auxiliary,
monitor, effect, or group send control. "VARI" pre-EQ and pre-fader
modes are provided for auxiliary send applications and a "FIXED"
mode is provided for convenient group send operation. |
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Channel
Names & Icons
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When it comes to marking up the console there's
nothing quite like your familiar hand writing on tape for labeling inputs,
but the LS9 also offers some inbuilt channel identification capabilities
that you'll appreciate. The number, name, and icon of each channel appears
in the upper left corner of the display, and you can enter names of up to
8 characters and select icons from the impressive selection provided for
easy channel identification. Electronic names are essential for working
with the remote editor in Yamaha Studio Manager too. |
Virtual Rack
with Extensive Effects and EQ: Most live sound applications
will require graphic equalization for room EQ and effects like reverb
or delay for creative sound engineering. The LS9 offers effects from Yamaha's
world leading, industry standard SPX range, and full 31 band graphic EQ
as well as the innovative "Flex 15GEQ". Normally you'd need
a rack full of external signal processing gear to support even relatively
simple live sound requirements, but not with an LS9 console. Just touch
one of the RACK buttons and the virtual effect and EQ rack appears on
the display for instant, easy access. Effects and graphic EQ can easily
be patched into any channel and output, and of course you can edit the
effects in detail to create precisely the sound you need. You can use
up to 8 signal processors simultaneously: normally up to 4 effects and
4 graphic EQ units. But since the effect units can also function as graphic
EQs, you can use more EQ units if you don't need all 4 effects …
up to a total of 8 graphic EQs if you don't need any other effects. |
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High-resolution Effects: 
There's a very
good reason that Yamaha digital effects are highly regarded in the professional
sound field: they are simply the best there is. In both the LS9-16 and LS9-32
you have an extensive range of top-quality effects – from ambience
and echo to modulation and distortion – that you can access and add
to the mix when and wherever needed. |
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Mute
Groups:
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Mute grouping is another feature that can be
great advantage in live sound applications. Any number of channels can be
muted or unmuted either via mute master controls in the display, or LS9
General Function via User Defined Keys (see below) for direct access. Up
to 8 mute groups can be specified. |
Sends on
Faders : When working on a monitor mix try using Sends
on Fader mode. Touch the currently active MIX/MATRIX button (or press
an inactive MIX/MATRIX button twice) to instantly assign the corresponding
mix bus sends to the faders so you can visually confirm send levels and
adjust them using the high quality 100mm full-length linear faders. Touch
the same MIX/MATRIX button again to return to the normal mix mode. |
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| Full-console
Scene Storage and Recall: |
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How long does it take you to zero the settings
on an analog console, or reproduce the desired settings for a particular
performance? The answer depends on the console and application, but it does
take operator time and it's hard to be accurate and reliable for what can
easily be several thousand positions. Scene memory is the digital solution,
and if you've never used a digital console before you'll really appreciate
the time and effort saved by this feature. A "scene" is a complete
snapshot of all the console's settings. The Yamaha LS9 consoles lets you
store up to 300 complete scenes for instant recall whenever they're needed.
You can, for example, reset the entire console for band changes or different
scenes in a theatrical performance in an instant. You can also store basic
setups for a number of different types of shows your system may be required
to handle, then recall and tweak the settings as required. |
| Recall
Focus and Recall Safe Functions: |
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Scene recall is an invaluable feature on its
own, but with Recall Focus and Recall Safe functions it becomes a tool you
won't want to be without. Recall Focus lets you specify the parameters to
be recalled with a particular scene, while Recall Safe works globally to
all scenes, allowing you to specify parameters that are not to be altered
by any scene recall. For example you could use Recall Safe on input EQs
so that any EQ changes you make in the first scene of a play don't get undone
when you recall scene two. The combination of both Recall Safe and Focus
lets you easily switch between the live mics on stage and a multirack recorder
input and then listen to the playback using the stored scenes used to make
the recording. |
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| User Defined Keys: Since
we don't know exactly what functions you'll need to access for your particular
application, we've provided a group of 12 User Defined Keys that can be
assigned a wide range of functions. You use them to jump to specific display
screens, assign them to function as mute masters for specified mute groups,
or assign one for tap-tempo input of delay times. There's also an innovative
"Set by SEL" function with which the channel [SEL] keys perform
a range of alternate functions if pressed while the assigned User Defined
Key is held: reset the defaults for that channel, turn phantom power on
or off, set the channel fader to nominal … and more. |
| Built-in
USB Memory Recorder/Player: |
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Most live-sound systems include a CD player and/or
recorder of some sort to provide background music and allow recording of
the program for reference purposes. That's one or two more pieces of external
equipment that won't be required with an LS9 console. The LS9-16 and LS9-32
feature a built-in USB Memory Recorder/Player that works with USB memory
sticks plugged into the console's USB port. You can record MP3files and
play back MP3, AAC, and WMA files at 96, 128, or 192 kbps. You can even
cue playback of specific files from the console's User Defined Keys! |
| Data
Libraries : The LS9 data "libraries" provide
extensive resources to draw on when setting up effects, parametric EQ, graphic
EQ, or dynamics processing. You can recall an appropriate preset and use
it the way it is, or tweak it to suit specific needs. As an example, you
might recall a vocal compressor preset from the dynamics library and then
adjust the threshold to suit the source, or recall a kick-drum EQ preset
and adjust the center frequency to match the drum actually being used. You
can also save your edited versions of the presets for easy recall whenever
they're needed again. |
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| Versatile Monitoring Capability:
Touch the "Monitor" display access button for full access to the
console's extensive range of monitor functions: from monitor source selection
through talkback and oscillator controls. A headphone jack and level control
are conveniently located on the front panel or monitor signals can be routed
to one of the Omni output XLRs and slots. Any of the input channels can
be assigned to talkback operation for convenient system testing. And of
course independent physical [CUE] buttons are provided with each fader for
instant, error-free cue monitoring. |
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| Flexible Multi-point Metering:
In addition to the large stereo level meter, accurate fast-response metering
for all channels and buses is easily accessible via the LS9 display. A variety
of metering points can also be selected so you have comprehensive visual
monitoring of signal levels throughout the entire console. |
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| Channel Copy, Move and Clear:
Here are a few more features that add significantly to the attraction of
digital technology for live sound. Channel Copy lets you copy the parameters
from any one channel to any number of other channels, Channel Move swaps
the parameters and the patching between two specified channels, and Channel
Clear clears all parameters of the specified channels. All of these capabilities
can dramatically streamline the process of setting up the console or modifying
the console settings. |
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| USB Memory for Convenient Data Management
and Portability: Standard USB memory sticks can be plugged
into the LS9 USB port for convenient storage and recall of scenes, patches,
user libraries, channel names, preferences … essentially all system
data. In addition to providing a secure backup, this makes it easy to transfer
data between the console and the LS9 Editor application running on your
personal computer, or directly between LS9 consoles. You can program the
console's settings using the LS9 Editor on a computer in your hotel room
or on the tour bus – wherever you don't have access to the console
itself – and simply transfer those settings from your USB memory to
the console at the venue. |
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| Advanced
Access Management: |
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You might simply want to prevent "accidents"
during critical live performances, or limit access to specific functions
in order to minimize the need for direct supervision of inexperienced operators.
You may have spent hours with an analyzer setting up the EQ to precisely
tune the system for a room, for example, in which case you won't want those
settings changed under any circumstances. Access management provides a flexible
means of preventing unauthorized access to the console, or restricting access
to a limited set of functions. User access can be controlled either via
passwords or USB memory keys. The administrator can assign specific functions
to each unique password or key, so the user only has to log onto the console
with the assigned password or insert the USB key to begin operation at the
assigned level. USB memory keys can be easily created either directly via
the console or a computer running the LS9 Editor applications software.
As an added bonus the same USB memory key used for access can also be used
to store the user's scenes and other preferences. |
Mini-YGDAI
Expansion Cards:
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The Yamaha LS9-16 has one expansion
slot on the rear panel, and the Yamaha LS9-32 has two. The expansion slots
accept a wide range of optional Yamaha and third party Mini-YGDAI I/O cards
that can be used to add analog or digital input and output capability in
a range of formats. You can even use Mini-YGDAI cards to bus-cascade with
other consoles for significantly expanded input capacity. |
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| Other Rear-panel Features:
In addition to the analog inputs and outputs and expansion slots, the LS9-16
and LS9-32 rear-panels feature MIDI terminals, word clock input and output
connectors that allow full word sync with other digital audio gear, S/PDIF
format digital 2-track inputs and outputs, and an Ethernet network connector. |
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| LS9 Editor for Online Control or Offline
Editing: The LS9 Editor application for Yamaha's Studio
manager host program running in MS Windows operating systems gives you off-line
programming access to most console parameters. You can set up and edit console
parameters anywhere you can use your personal computer – in the office,
on the road, in your hotel. A comprehensive graphical interface makes locating
and editing parameters easy, and you can download setups from the computer
to the console either by directly connecting the computer to the console
via an Ethernet cable, or by saving the data to a USB memory stick that
can then be plugged into the console's USB port. You can even remotely control
the console from the computer in real time while connected via Ethernet. |
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| LS9 Digital vs. Conventional Analog Systems:
The amount of signal processing power packed into the LS9 consoles is really
quite impressive when looked at from the perspective of a comparable analog
system. Here's an example: if you wanted to replace a fully loaded LS9-32
with analog gear you'd need a large 32-channel console plus some racks loaded
with 32 gates each, some racks loaded with 32 compressors each, another
rack containing four GEQ units and four signal processors for effects, and
perhaps yet another rack containing your CD player and recording gear. And
what a wiring and patching nightmare! When you consider that you get all
of this and more in a compact console that a single person can pick up and
move around without breaking into a sweat, the choice is obvious. |
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YAMAHA LS9-16: GENERAL SPECS: |
Sampling
Frequency: |
...... |
Internal: 44.1 kHz ,
48 kHz
External: 39.69-50.88 kHz |
Fader: |
...... |
100mm motorized x 33 (LS9-32),
x17 (LS9-16) |
| LCD Display: |
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320 x 240 dots Graphic Color LCD |
| Phantom Power: |
...... |
48V |
Dimensions:
(W x H x D mm) |
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LS9-32: 884 x 220 x 500
LS9-16: 480 x 220 x 500 |
Net
Weight: |
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LS9-32: 19.4kg
LS9-16: 12kg |
| Power Requirements: |
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LS9-32: 170 W, 110-240 V, 50/60
Hz
LS9-16: 95 W, 110-240 V, 50/60 Hz |
| Temperature Operating
Range: |
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+10°C to +35°C |
| Storage Temperature Range: |
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-20°C to +60°C |
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Panel Views
(See "More Photos" above) |
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