Incredibly compact, lightweight digital live-sound consoles with recallable head amps, a built-in USB memory recorder/player, and stunning sound quality.
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.
The LS9-16: 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.
The LS9-16 can be rack-mounted using an optional rack-mounting kit for optimum integration with any system. Additionally the same kit can be used as fixing tool for the LS9-32.
The LS9-32: 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.
Console lamp accepts the Yamaha option gooseneck lamp LA5000 (sold separately).
Compare the Cost and Complexity
Suppose you need a compact console, but also graphic equalizers for front-of-house and monitors, a couple of effect processors for reverb and delay, compressors and gates, a 2-track player/recorder for BGM and reference recording … that’s already a fairly large rack full of gear, but it’s still a bare minimum for most serious sound applications. Think about transporting and setting up all that gear (don’t forget all the cables you’ll need), and add up the cost in terms of the equipment itself as well as transportation, staff, storage, and maintenance. Now imagine all of that and much more in a single rackmount console that weighs only 12kg, and you have the LS9-16. It’s all pre-patched and tested in the factory so you just need to connect microphones to the inputs and speakers to the outputs and you are ready for soundcheck. If you need more capacity you can use the Mini-YGDAI expansion port system to connect a couple of rackmount head amplifier and have up to 32 channels without taking up much more space. The advantages are obvious for touring and temporary systems, but installations will also benefit from the significant space savings and reduced cabling requirements. And of course everybody – audience included – benefits from the outstanding versatility and sound these extraordinary digital consoles deliver.
DM Music can offer advice, setup and training on digital mixers! Please call us for more details on 01582 761122
Mixing channel – 32 Mono 4 Stereo
GROUP – 16 MIX (Group/AUX) busses
AUX – 16 MIX (Group/AUX) busses
MAIN – Stereo, Mono
MATRIX – 8
Input channel functions – HPF, Attenuator, 4-band PEQ, 2x Dynamics, Pan (LR or LCR with CSR)
Output channel functions – Attenuator, 4-band PEQ, Dynamics
On-board processors – 4x GEQ, 4x GEQ/SPX (GEQ: 31-band or 2x Flex15), 50x Output port delay
Mic inputs – 16 (Recallable)
Phantom power – 48V DC; ON/OFF per channel
AD converter – 24-bit; 128-time over sampling
Line outputs – 8 Omni output
DA converter – 24-bit; 128-time over sampling
Digital I/O – 2tr in/out, USB Memory Recorder/Player
Expansion slots – Mini-YGDAI (16-in/16-out); Possible to remote HA gain via slot
Control and others – Ethernet, MIDI, USB (Storage/Key), Word clock I/O
Internal processing – 32bit, Accumulator: 58bit
Sampling frequency rate
– Internal – 44.1kHz, 48kHz
– External – 44.1 kHz (-10%) to 48 kHz ( 6%)
Signal delay – Less than 2.5 ms (@48kHz)
Total harmonic distortion – Less than 0.05% (20Hz-20kHz)
Frequency response – 0, 0.5, -1.5dB 20Hz-20kHz
Dynamic range – DA: 110dB; AD DA: 108dB
Hum & noise level
– Equivalent input noise – -128dBu
– Residual output noise – -86dBu
Crosstalk – -80 dB Adjacent Input Channels, Input to Output
Power requirements – AC100-240V 50/60Hz, and/or Use PW800W
Power consumption – 95W
W – 480mm; 18-7/8in
H – 220mm; 8-11/16in
D – 500mm; 19-11/16in
Net weight – 12.0kg; 26.5lbs
Accessories – Owner’s Manual, AC Power Cord