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Yamaha LS9 - 32

Yamaha LS9 - 32

32-Channel Digital Console

  • For live, FOH and monitor applications
  • 32 Mic/Lines with high-quality preamps plus 4 stereo inputs
  • With MY cards (2 slots), expandable up to 64 channels
  • 16 mix buses
  • LCR plus 8 matrix buses
  • 16 Omni Outs
  • Internal effects: compressors and EQs (preinstalled presets and routings)
  • USB port to record directly to a USB flash drive
  • Storage for up to 300 scenes
  • Mute groups
  • One-touch button for individual user areas
  • 100 mm motorised faders
  • Internal power supply
  • Dimensions: 840 x 220 x 500 mm
  • Weight: 22 kg

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17 customer ratings:

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4.5 out of 5 stars
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Console Mixage Numérique

Total
handling
features
sound
quality
Rouly, 20.05.2011
Console de mixage numérique professionnelle très complète.
Principalement concu pour la scène, elle est équipée de 32 voies mono et de 16 sorties sur xlr. Chaque tranche comporte un équaliseur paramètrique (avec graphique), les réglages habituels de gain et de panoramique , et deux effets configurables (compresseur, déesseur, gate, duking...). Très pratique aussi l'alimentation fantôme est assignable individuellement.
De plus il est posible de créer 16 mix(aux) différents. Un rack de 8 effets avec équaliseur 32 ou 15 bandes, réverb, echo, delay.... Bref cette console est très complète, plus besoin de rack volumineux ! Je n'utilise plus que la LS9 et ma façade.
Cependant bien que le rendu sonore est très bon, je trouve quelle manque un peu de "définition" sonore comparer à de l'analogique. La reverb laisse aussi un peu à désirer
Son utilisation est très intuitive, on retrouve tous les réglages sur un afficheur grand et lumineux. Celui-ci n'est pas tactile, ça permet d'éviter les traces de doitgs !! L'ensemble des 32 faders permet de régler chaqu'un des 16 mix et même l'équaliseur.
Si vous sonoriser un groupe de 10-15 musiciens je vous conseil vivement de l'acheter. Vous pouvez enregistrer en mémoire tous les réglages de chaque concert. Et même enregistrer en stéréo sur clef USB.
Et si votre groupe s'agrandi, vous pouvez grâce à des interfaces rajouter 32 voies, ou enregistrer 16 pistes sur ADAT.
Et encore plein d'autre fontion. Bref un très bon produit
BON MIX A TOUS
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Traumhaftes Kompaktmischpult!

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handling
features
sound
quality
Thomas888, 21.07.2012
Ein superkompakter Arbeitsplatz mit Allem drin und dran, was man früher in einem extra Siderack schleppen und verkabeln mußte.
Meine paar Bands sind alle in Szenen abgespeichert pro Halle und kein Soundcheck ist mehr von Nöten, nur ein kurzer Linecheck (300 Szenen speicherbar).

Kurz zu meinem Profil: Ich bin Allein-PA-Unternehmer und achte daher bei Materialkäufen auch immer sehr auf das Gewicht. Im großen Thomann-Rollenfligthtcase werden aus den 20kg für das Pult mal eben schnell 60kg, dafür aber auf Rollen. Eine Rampe für den Transporter ist daher sehr zu empfehlen. Aber dafür ist im Flightcase schon der Harting, das Schwanenhalstalkbackmikro, die BE-Station, der Discman etc. drin und fest verkabelt - Aufbau im Nu!

Zum Sound: Meine erste Reaktion mit einem Beta 58 in der Hand war "boah klingt das bauchig und warm". Von wegen digitale Kälte. Mummpitz. Ich habe sogar im Gegensatz zu meinem vorherigen Analogpult eher das Bedürfnis, den Präsenzbereich um die 5k anzuheben.
Und ich verdien' wirklich mein Geld damit ;-)

Und dass man in jedem Kanal zwei Dynamikstufen hat, weiß man ja mittlerweile.
Die Geheimwaffe ist allerdings der De-esser. Dessen Einsatzfrequenz kann man so einstellen, dass er bei jedem Instrument aufdringliche Aua-Frequenzen oberhalb 2k dynamisch rausholt. Super für Saxofon, Schreihälse, R'n'R-Piano-Soli in den oberen zwei Oktaven etc. Allerdings darf man dann mit dem Treshold nicht schüchtern sein (25-30dB).
Darüberhinaus 4 Multieffektprozessoren incl. Tap-Dly und Speakersimulations (!) und bis zu 8 frei routbare Terzband-EQs, wenn man nicht mehr als die Hälfte aller Bänder bewegen möchte (was man eh vermeiden sollte).

Mit fast 10.000.-EUR incl. Allem nicht gerade ein Fall für die Kaffeekasse, aber man darf sich von der Kompaktheit des Pultes nicht irritieren lassen, ich ziehe das LS9 sogar dem M7CL vor aufgrund seiner Kompaktheit, besseren Ergonomie, günstigeren Preises und einen ambivalent funktionierenden Touchscreen wie beim M7 finde ich auch eher obsolet.

Der Knaller ist noch die user-definierbare Fader-Ebene, bei der der Anwender selbst bestimmen kann, was auf den 32 Fadern zu liegen kommt. In meinem Fall sind das z.B. 24 Input-Kanäle von der Bühne, 4 Subgruppen, 3 Effekt-Returns (stereo, über je einen Fader gesteuert), Talkback-Kanal.
Und: es ist wirklich das einzige mir bekannte Pult, bei dem beim Umschalten auf Grafik-EQ tatsächlich alle 31 Bänder gleichzeitig auf den Fadern anliegen. Einfach aber sehr, sehr wirkungsvoll, aber ausser dem LS9-Ingenieur noch keinem weiteren eingefallen.

Kritikpunkte: gibt's kaum.
Ein kompletter Channelstrip für den jeweils selektierten Kanal wäre natürlich toll gewesen oder zumindest ein fest zugeordneter Regler für den durchstimmbaren Hochpaßfilter, den man ja doch immer braucht. Deshalb gibts auch den Punktabzug bei der Bedienung.

Aber ansonsten - wer mit dem Pult wie ich seit Längerem liebäugelt und das Geld beisammen hat - zuschlagen! Ihr werdet es nicht bereuen, Ihr werdet die ganzen ersten Shows durch grinsen!
Eine gewisse Einarbeitungs- Und Vorbereitungszeit sollte man natürlich einberechnen.

Im Übrigen wurde Jethro Tull's Ian Anderson's "Thick As A Brick 2" mit eben diesem Pult aufgenommen (ja, die Mic-Amps wurden benutzt) und die Live-Show wird auch über LS9 gefahren und alles klingt supi!
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7.222 €
Free shipping incl. VAT
medium-term availability (about 1-2 weeks)
medium-term availability (about 1-2 weeks)

If you need this product urgently please contact us for further information or to see if we have a suitable alternative or a B-Stock available.

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item number 197990
sales unit 1 piece
available since December 2006
Total rating
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in this category Rank 4
at thomann.de Rank 16510
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