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
32 top-performance recallable head amplifiers deliver microphone and
line sources with extraordinary presence and realism.
An additional 32 channels of processing power ready to receive audio
via the Mini-YGDAI expansion slots, providing a total of 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
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
analogue 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 884 x 220 x 500 weigh 19.4 kg.
Intuitive Interface for Easy Access and
The 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-millimetre
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 colour 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.
USB Memory for Convenient Data Management
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 LS9-32 has two expansion slots.
The expansion slots accept a wide range of optional Yamaha and third party
Mini-YGDAI I/O cards that can be used to add analogue 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 analogue inputs and outputs and expansion slots, the LS9-32 rear-panel 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
LS9 Editor for Online Control or
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 analogue
The amount of signal processing power packed into the LS9 consoles is really
quite impressive when looked at from the perspective of a comparable analogue
system. Here's an example: if you wanted to replace a fully loaded LS9-32
with analogue 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
Yamaha price list
32 Mono Input Channels Plus 4 Stereo
Input Channels Expandable Up to 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 33 on the LS9-32, give you fast, easy access to all
input channel, mix bus, matrix, and master levels. The
input channels are available in two fully patchable layers: 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, 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. The LS9-32
provides panel controls for all four stereo inputs. The LS9-32 has 32 internal analogue inputs.
Additional inputs can be provided via the dual Mini-YGDAI expansion slots
provided on the rear-panel.
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 1-32,
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 16 analogue "Omni" outputs. Additional outputs can be provided via the
2 rear-panel Mini-YGDAI expansion slots.
High-performance Recallable Head Amps
Head amplifier are the analogue 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 analogue 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 analogue console - the only
difference being that if all of these functions were provided on an analogue
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 (Centre-Side Ratio) control becomes available that can
be used to adjust the proportion between centre and LR non-centre 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.
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 labelling 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
||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.
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
the 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. On the 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 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 via User Defined
Keys (see below) for direct access. Up to 8 mute groups can be
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
How long does it take you to zero the settings on an analogue
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
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 multitrack 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
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
features 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!
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 centre 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
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