Yamaha LS9 Digital Mixing Console
There are many reasons that a facility might begin to sense that the time is at hand to upgrade their mixing console. While in the recording studio world some vintage mixing consoles are downright revered, in the world of live and installed sound there really are no vintage consoles, only old consoles! Today’s consoles often feature lower noise floors, greater flexibility, and most importantly better sound than their predecessors. Once it’s been decided that a new console is in the offing, the next matter of business is, of course, making the decision between analog and digital designs.
Features
The LS9 digital mixing console from Yamaha Corporation of America of Buena Park, California, may be compact in size but is quite the heavyweight in terms of its feature set. It’s not a stretch to say that the LS9 includes a level of functionality that would have been simply unthinkable even a few years ago at anywhere near its price point.
The LS9 is available in two configurations, a 16-input version (known as the LS9-16), which is the version that I used for review, and a 32- input version (the LS9-32). When speaking of inputs, it’s important to note that in this case we are referring to the analog microphone/line level inputs.
Both consoles are capable of handling double their nominal input channel ratings, through a layering arrangement. Understand that this will require the insertion of a Yamaha (or third-party) Mini-YGDAI card into the console (the LS9-16 offers one available card slot, the LS9-32 two card slots). Later on in the review, I will discuss some of the expansion card options. In the absence of additional inputs afforded by the cards, these additional input channels can be used as effects returns (for the internal effects), among other functions.
As would be expected for a digital console, there is a very high level of signal processing capability provided, including 2 dynamics processors and a 4-band equalizer for each input channel, 4 stereo multiprocessors, and 8 stereo 31-band equalizers. In addition, an MP3 player/recorder has been implemented into the LS9 with a convenient side-mounted USB connector for reading/saving to flash memory drives. This recorder can be fed directly from the console to capture the two track mix — very handy for archiving events quickly and easily — or for playback usage accessed to provide another signal source for use during a service or performance.
The LS9’s control surface is nicely laid out, but quite understandably fairly fully populated. Central to the operation of the console is a large LCD screen. The quality of the display itself, and its graphic interface, is very good. The screen is mounted on a pod which set at a steeper angle than the rest of the console. Although not adjustable for angle, it is positioned in a manner that allows for easy operation and visibility from a variety of positions.
Also on this pod are controls for adjusting the channel (and master) equalization, dynamics, layers, mix-matrix, effects busses, and settings, as well as other general console functionality. Control is achieved through a combination of buttons, pots, and a very nice jog/shuttle wheel.
From a physical standpoint, each of the individual input channels is relatively simple, comprising a channel select button (for parameter editing), cue monitor button, 6 segment LED meter, channel on/off button, and lastly a 100mm motorized fader.
While the individual channel strips are laid out in a way that gives the impression of simplicity, keep in mind that each channel (other than level and status) is actually operated from the master control section. Digging deeper, one will find gain adjustment, phase status, a high pass filter, two dynamics processors, a 4-band equalizer, buss and mix-matrix assignment, and then effects send functionality.
The rear panel i/o includes an IEC AC connector, Ethernet network connector, BNC word clock input and output, digital 2-track inputs and outputs (on RCA jacks), 16 XLR microphone/line inputs, 8 line “Omni” XLR outputs, MIDI input and output, Mini-YGDAI card slot (one on the LS9-16 and two for the LS9-32), power switch, cooling fan vent, and in the case of the LS9-32, a connector for an optional high-intensity gooseneck lamp.
The underside of the front panel includes a headphone connector with associated level control. Incidentally, the headphone amp has more than enough gain available to drive headphones of all impedances.
The Yamaha LS9-16 retails for $5,999, and the LS9-32 retails for $10,999. Both carry a one year warranty.
In Use
I had the opportunity to try out the LS9-16 in a variety of settings ranging from a community theater to a recording studio. While this is not a recording studio console, I found it helpful to evaluate the console in a controlled environment to better assess its sound quality.
The LS9 includes LCR (left/center/right) functionality as a switchable option, which is extremely useful in program material that features speech occurring over a musical bed, allowing much greater clarity for sound sources which must be intelligible at all points within the venue (assuming, of course, that the front-of-house (FOH) system is set up to accommodate LCR operation).
I was a little bit surprised that the LS9 doesn’t include any ¼-inch or RCA connectors for any of its analog inputs, as it’s not entirely unusual to find consumer-level devices comprising some of the input sources. That tends to be especially common in mid-range wireless microphone systems.
Also absent is the capability to accommodate instrument level sources. Some custom patch cables/direct boxes will be necessary to integrate the LS9 into some “less than professional” set-ups.
Missing in action are provisions for easy integration of outboard gear without “stealing” microphone inputs. On the other hand, the Yamaha console does obviate most analog outboard gear that would typically be necessary, and users that require this capability can add additional inputs and outputs via the unit’s expansion Mini-YGDAI card slot(s).
While the initial configuration of the console can take a bit of time to imple- ment, it is possible to construct output schema that would be patently impossible with an analog console. Need a couple of extra busses for a visiting performer’s in-ear monitors, and those mixes need to be compressed? No problem. The eight (or 16) “Omni” outputs of the Yamaha are able to derive their signal from a wide range of sources, yielding a virtually limitless flexibility in assigning output configurations.
Once I became accustomed to the concept of adjusting each channel from a central position, I found the display and control surface to be very intuitive. Being able to see a graphical representation of the knee of a compressor, or the shape of an equalization curve, is a definite asset that can help the user better understand what is actually going on within the console.
The microphone preamps are of a higher quality than what you would expect to find in similar digital consoles. Then again, this shouldn’t be all that surprising, considering Yamaha’s long history in the live sound console marketplace.
Overall the console has a warm and present sound. There were no obvious artifacts that the LS9 was, in fact, a digital design vs. an analog design. Interestingly, the LS9 sounded bigger and more robust than a couple of other consoles (analog and digital) that I happened to have around for testing.
The effects section is excellent, with high-end Yamaha SPX level processing. In particular, the reverbs are outstanding. It should be noted that the reverbs are available in both monaural and stereo input varieties, excellent for per channel or per buss processing. With any device of this complexity, there are more parameters available for editing than are practical for “real-time” adjustment, so engineers/operators would be wise to adjust (and save to the onboard library) their desired settings ahead of time.
Frankly, I was surprised at just how good this console sounded, given its digital topology, relatively low sampling rate (44.1 or 48kHz), and moderate cost.
There are quite a few options available for the LS9 when it comes to Mini-YGDAI cards; the manual alone lists 16 and those are just the Yamaha sourced ones. Suffice it to say that the LS9 may be configured to provide up to 16 additional inputs and 16 additional outputs depending upon which card is chosen, per card slot.
Keep in mind, that some cards (for example the MY16-AE 16-channel AES/EBU I/O) will require additional hardware such as preamps and analog to digital converters to be functional. Other cards such as the MY8-ADDA96 (which provides eight analog inputs and outputs) are much more “plug-and-play” in nature. Expansion possibilities are certainly available for users that need greater input and output capabilities.
The overall build quality of the console is excellent, with impeccably finished metalwork, perfect paint finishes, and securely fastened (and solid-feeling) pots and jacks. The Yamaha console exudes a level of quality that is more reminiscent of the way professional products used to be made than the way they are typically made today. Not surprisingly, the LS9 is constructed in Japan (I can’t even remember the last time I saw an affordable product that was actually made in Japan) where evidently the quality control levels are more stringent than elsewhere.
Summary
As with any digital console, there will be a learning curve for engineers and operators unfamiliar with the particular unit, primarily due to the level of control and complexity that is offered. Once the LS9 has been configured for its particular installation, it’s my opinion that neophyte users will be able to accomplish many basic operations after a reasonably short instructional session.
Houses of worship that are looking to make the transition from an analog console to a digital one (or even ones that are leaning towards another analog console), would do very well to give the Yamaha LS-9 a close look. Its combination of excellent sonics and build quality certainly make it one of the best choices in an affordably priced digital console.
Dieter Niederrad has been involved in the audio industry for more than 20 years. He provides consultative services to retail, house of worship, and industrial clients.
