Anywhere You Need Advanced Live Sound Support
The surprisingly small size
and lightweight of the 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.
High
Input Capacity and a Generous Bus Structure
for Serious Live Sound
With 32 input head amps the LS9-32 can
comfortably handle the complex and
varied source requirements presented by
a wide range of live sound applications,
but it's always reassuring to know that
you can expand it up to 64 channels by
just adding external preamps and Mini-YGDAI
interface cards for those extra
demanding line-ups. Whether used in an
installation or on the road, the LS9-32
will deliver the performance and
versatility of large-scale systems in
dramatically less space, with less
hassle, and significantly lower overall
cost.
Main Features
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 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 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.
Intuitive
Interface for Easy Access and Control
The
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.
16 or
32 Mono Input Channels Plus 4 Stereo Input
Channels Expandable Up to 32 or 64 Channels
in Two Layers
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. 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
 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 amplifier 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
amplifier 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.
Comprehensive Channel Functions with
Intuitive Selected Channel Control
The
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
 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
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 and DYNAMICS 2
 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
 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
 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.
Channel Names & Icons
 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.
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.
Standard 31-band or Flex15GEQ
The
standard LS9 graphic EQ modules are
31-band types for precise response
shaping and pinpoint feedback control.
But when you need even more graphic EQ
capacity and flexibility you can call up
the innovative Flex15GEQ modules. Each
Flex15GEQ module functions as two
31-band units with 15-bands available at
a time. So if you choose to load all of
your rack spaces with Flex15GEQ, you
have an extraordinarily versatile16
channels of GEQ!
Direct
EQ Control
For
direct hands-on control you can adjust
individual bands from the console's
faders in much the same way as you'd
adjust the EQ bands on an external GEQ
unit. With the LS9 -16 you need to
select the group of faders to adjust,
but on LS9- 32 you can see the full
31band curve. Another convenient-control
feature is the ability to instantly
reset any band to nominal simply by
pressing the corresponding fader's [ON]
key.
Mute
Groups
 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.
Full-console Scene Storage and Recall
 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 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
 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.
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
 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.
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.
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.
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.
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.
Advanced Access Management
 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
 The
LS9-16 has one expansion slot on the
rear panel, and the 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.
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.
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.
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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