Yamaha LS9 Specifications

Yamaha LS9 Specifications
LS9 Specifications
Dimensions (W x H x D mm)
LS9-32: 884 x 220 x 500
LS9-16: 480 x 220 x 500
General Specifications
Sampling Frequency
Net Weight
LS9-32: 19.4kg
Internal: 44.1kHz, 48kHz
LS9-16: 12kg
External: 39.69 - 50.88kHz
Power Requirements
LS9-32: 170 W, 110–240 V, 50/60 Hz
100mm motorized x33 <LS9-32> , x17 <LS9-16>
LS9-16: 95 W, 110–240 V, 50/60 Hz
LCD Display
320 x 240 dots Graphic Color LCD
Temperature Range Operation free-air
+10°C to +35°C
Phantom Power
Storage Temperature Range
-20°C to +60°C
Analog Input
Input Terminals
Actual Load
INPUT 1-16 <LS9-16>
INPUT 1-32 <LS9-32>
For Use With
50-600Ω Mics &
600Ω Lines
Sensitivity *1
-82dBu (61.6µV)
-10dBu (245mV)
Input Level
Max. before clip
-62dBu (0.616mV) -42dBu (6.16mV)
+10dBu (2.45V)
+30dBu (24.5V)
XLR-3-31 type
with latch(Balanced)
*1. Sensitivity is the lowest level that will produce an output of +4dBu(1.23V) or the nominal output level when the unit is set to maximum gain. (all faders and level controls are maximum position.) *2. In these specifications, 0dBu = 0.775 Vrms. *3. All input AD converters are 24bit
linear, 128times oversampling. *4. +48V DC ( phantom power ) is supplied to INPUT XLR type connectors via each individual software controlled switch.
Analog Output
Actual Source For Use With
Output Terminals
OMNI OUT 1-8 <LS9-16>
OMNI OUT 1-16 <LS9-32>
600Ω Lines
8Ω Phones
40Ω Phones
Gain Switch*5
+24dB (default)
Output Level
Max. before clip
+4dBu (1.23 V)
+24dBu (12.3 V)
-2dBu (616mV)
+18dBu (6.16V)
XLR-3-32 type (Balanced) *1
Stereo Phone Jack (TRS) (Unbalanced) *2
*1. XLR-3-32 type connectors are balanced.( 1=GND, 2=HOT, 3=COLD ) *2. PHONES stereo phone jack is unbalanced.( Tip=LEFT, Ring=RIGHT, Sleeve=GND ) *3. In these specifications, 0dBu = 0.775 Vrms. *4. All output DA converters are 24bit, 128times oversampling.
*5. There are switches inside the body to preset the maximum output level.
Digital Input
Data Length
RCA Pin Jack
Digital Output
IEC-60958 Consumer Use
Data Length
RCA Pin Jack
unit : mm
Yamaha Mini-YGDAI cards
LS9-32 has 2 Mini-YGDAI card slots, the LS9-16 has one. Each slot offers up to 16 I/O channels, with Mini-YGDAI cards available for digital I/O on ADAT, TASCAM or
AES/EBU formats, or for extra analog I/O capability.
16 I/O Series
16-Channel ADAT
format I/O
AES/EBU format I/O
16-Channel TDIF
format I/O
8-Channel Analog
Input/Output Card
8-Channel Analog
Input Card
8-Channel Analog
Output Card
8-Channel AES/EBU
format I/O
8-Channel AES/EBU
format I/O
16-Channel Audio
CobraNet format I/O
and Control I/O
96 kHz Series
(with sample rate converter)
Standard Series
8-Channel AES
3id-1995 format I/O
8-Channel AES/EBU
format I/O
8-Channel ADAT
format I/O
8-Channel TDIF
format I/O
8-Channel Analog
Input Card (24 bit)
4-Channel Analog
Input Card (24 bit)
4-Channel Analog
Output Card (20 bit)
For details please contact:
This document is printed on
chlorine-free (ECF) paper with soy ink.
Printed in Japan
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.
Main Features
• 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
• 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 884 x 220 x 500 weigh only 12 and
19.4 kg, respectively.
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.
Console lamp accepts the
Yamaha option gooseneck lamp
LA5000 (sold separately).
Compare the Cost and Complexity
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.
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 12 kg, 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.
LS9 General Function
Intuitive Interface for Easy Access and
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
A headphone jack and
level control are
conveniently located on
the console’s front panel.
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.
LS9 General Function
via User Defined Keys
(see below) for direct
access. Up to 8 mute
groups can be
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:
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 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.
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
Sends on Faders
Virtual Rack
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.
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.
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
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
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
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
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
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
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.
Block Diagram
LS9 General Function
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
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
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
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
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
LS9 Digital vs. Conventional Analog Systems
31 band GEQ
31 band GEQ
31 band GEQ
31 band GEQ
Reverb 1
Reverb 2
Delay 1
CD Player
Delay 2
MD Recorder
32 Inputs Large Analog SR Console + Outboard Racks
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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