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1. #Yamaha 16 Channel Digital Mixer Full Advantage Of
2. #Yamaha 16 Channel Digital Mixer Series Consists Of

Yamaha 16 Channel Digital Mixer Series Consists Of

In addition to an extensive range of gating, compression, and equalization capabilities, there's also a built-in USB memory recorder/player for recording or BGM playback, and other functionality that give you everything you need for small to medium scale live sound or installed applications in remarkably compact, all-in-one consoles.This interface has been refined and proven over many generations of Yamaha digital mixing consoles. While being compact and light enough for one person to move and set up easily, both models include features that have been field-proven in previous Yamaha digital consoles as well as outstanding sonic quality. The LS9 series consists of the 32-mic/line input 64-channel LS9-32, and the 16-mic/line input 32 channel LS9-16.

While being compact 4 CH Decoder 2 Channel 4 Channel Quarter Track 2 Track 4 Track 8 Track 16 Track 24 Track Tape Recorder Tape Recording Magnetic Tape Recorder Tapecorder Open. The LS9 series consists of the 32-mic/line input 64-channel LS9-32, and the 16-mic/line input 32 channel LS9-16. The LS9 series consoles follow in the distinguished footsteps of the Yamaha PM1D, PM5D, and M7CL, expanding Yamahas digital mixing console lineup for live sound and installations.

The LS9 series consoles inherit the same type of superior sonic performance thanks to painstaking parts selection and detailed attention to the design of every circuit detail. No-Compromise Analog Circuit Design Delivers the Best Sound in this ClassThe Yamaha PM1D digital mixing console and PM5000 analog console were acclaimed by leading sound engineers around the world for their stunning sound quality. With it's greater input capacity and bus complement the LS9-32 is an idea choice for larger live sound applications with complex input and output requirements, while the LS9-16 offers maximum handling and operating ease for events and smaller live sound applications. Either of these remarkably manageable consoles can deliver advanced features and performance for a wide range temporary live sound systems as well as permanent installations.The LS9 series includes the 32-mic/line input 64-channel LS9-32 and the 16-mic/line input 32 channel LS9-16.

Yamaha's popular Selected Channel interface allows smooth, intuitive access to the more detailed channel functions via a color LCD display and an array of logically arranged encoders. Much of the technology developed for the top-end models mentioned above has been unreservedly applied to ensure that these mixers come out at the top of their class.Each input channel features a 100-millimeter fader, ON/OFF key, CUE key, and 6-segment LED level meter that allow analog-style hands-on operation of the primary channel functions. Of course special attention has been paid to the critical had amplifiers, with outstanding results.

Direct LAYER keys allow instantaneous switching between layers. Input sources can be freely patched to the channels as required, and a single source can be patched to two channels, for example, with one in the first layer being used for front-of-house feed and another in the second layer for monitoring. Since the LS9-32 can handle a maximum of 64 channels while the LS9-16 can handle a maximum of 32 channels, both models feature switchable channel layers with the second LS9-32 layer allowing direct control of channels 33 through 64, and the second LS9-16 layer providing access to channels 17 through 32. The LS9-32 faders control the 32 inputs and stereo output, while the LS9-16 faders control the console's 16 inputs and stereo output. 16 or 32 Mono Input Channels Plus 4 Stereo Input Channels Expandable up to 32 or 64 Channels in Two LayersThe LS9-32 has a total of 33 faders and the LS9-16 has 17. This interface has been refined and proven over many generations of Yamaha digital mixing consoles.

Yamaha 16 Channel Digital Mixer Full Advantage Of

16 Mix Buses, 8 Matrix Buses, Plus Stereo and Mono Buses with LCR ModeThe LS9-32 has 16 analog "omni" XLR outputs on the rear panel, while the LS9-16 has 8. No analog console has ever offered this amount of control. There's even an attenuator (with boost) that makes it possible to take full advantage of he console's extra digital word length for extraordinary sound quality. You can choose from two EQ response types, and each channel features two dynamics processors that can be used for gating, compression, ducking, expansion, and even de-essing. When you consider the compact dimensions of these consoles, this much input capacity and versatility is a remarkable accomplishment.The LS9 consoles feature recallable head amplifiers that cover a wide 72-dB input range, phantom power, phase switching, a high-pass filter, 4-band full parametric equalization, panning with LCR capability.all the basics.

When the AUX (VARI) mode is selected the send point can be set PRE EQ, PRE FADER, or POST FADER. The 16 mix buses can function in either AUX (VARI) or GROUP (FIX) mode. The expansion slots make it easy to expand the consoles with high-quality analog I/O, or digital I/O in a range of formats.

Including the acclaimed REV-X reverb effects. The internal effect library offers 48 preset effects. Up to 4 multi-effect processors can be used simultaneously, and you can use as many as 8 graphic equalizers. The output busses feature many of the same functions as the input channels, including 4-band full parametric EQ and dynamics, for extended output processing capability.There's no need for external effect racks with an LS9 console, both models provide a Virtual Rack that's packed with a complete range of effects that will cover just about any processing requirements. For easy, efficient monitor mixing a SENDS ON FADER feature instantly assigns to send levels to the consoles faders.

Access can be controlled in detail, from full console to just a fader or two, as required. User keys (standard USB memory devices) can be issued with different access levels for different users. The USB memory player is compatible with MP3, AAC, and WMA file formats at 96, 128, or 196 kbps.LS9 series consoles allow convenient, detailed access management, which can be especially important in fixed installations. It's easy to make live recording direct from the console, and it's also a convenient way to play background music or sound effects.

The Editor program is also a great way to manage safe data backups. In permanent installations different operators can keep their own setups individually, and load them in the console as required via a USB memory device. LS9 Editor is also a great way to pre-program console setups offline for significantly enhanced efficiency. It can be used online in real time for convenient, flexible metering as well as Selected Channel parameter display.

*1 Less than 0.05% 20Hz to 20kHz Signal delay: Less than 2.5ms (INPUT to OMNI OUT Total harmonic distortion: CH INPUT to OMNI OUTInput Gain=Min. Sampling frequency rate: Internal: 44.1kHz,48kHz

Power consumption: LS9-32: 170W, LS9-16: 95W Input Gain=Min: -100dB*3, -80dB adjacent input channels Hum & noise level *2: -128dB, Equivalent input noise (20-20kHz, Rs=150ohms, Input Gain=Max) Dynamic range: 110dB, DA Converter (OMNI OUT)(Maximum level to noise level) 108dB, AD+DA (OMNI OUT)

Weight: LS9-32=43 lbs, LS9-16= 26.