A supercompact workstation with everything in it, what was formerly in an extra siderack drag and cable. My few bands are all stored in scenes per hall and no sound check is needed, only a short linecheck (300 scenes storable).
Shortly to my profile: I am an alone PA entrepreneur and therefore always pay great attention to the material purchases. In the large Thomann-Rollenfligthtcase from the 20kg for the desk are quickly 60kg, but on rolls. A ramp for the transporter is therefore highly recommended. But for that, the Harting, the Schwanenhalstalkbackmikro, the BE-Station, the Discman etc. are wired and fixed in the Flightcase - construction in no time!
To the sound: My first reaction with a beta 58 in the hand was "boah sounds the belly and warm". Because of digital cold. Mummpitz I even rather than my previous analog console rather the need to raise the range of presence around the 5k. And I really deserve my money with it ;-)
And that you have two dynamic levels in each channel, you know now. The secret weapon, however, is the De-esser. The operating frequency can be adjusted so that it dynamically extracts obtrusive Aua frequencies above 2k for each instrument. Super for saxophone, youngsters, R'n'R piano solos in the upper two octaves etc. However, one can not be shy with the treshold (25-30dB). In addition, 4 multi-effect processors including Tap-Dly and Speakersimulations (!) And up to 8 freely routable third-octave EQs, if you want to move no more than half of all bands (which should be avoided anyway).
With nearly 10,000.-EUR incl. Everything not just a case for the coffee fund, but one must not be irritated by the compactness of the desk, I prefer the LS9 even to the M7CL because of its compactness, better ergonomics, cheaper price and a ambivalent Working touchscreen as with the M7 I find also rather obsolete.
The bounce is still the user-definable fader level at which the user can determine himself, what comes on the 32 faders. In my case, this is eg 24 input channels from the stage, 4 subgroups, 3 effect returns (stereo, controlled via a fader each), talkback channel. And: it is really the only console known to me, when switching to graphic EQ, all 31 bands are simultaneously applied to the faders. Simple but very, very effective, but except for the LS9 engineer still no other invaded.
Criticism: there is hardly any. A complete channelstrip for the selected channel would of course have been great, or at least a fixed controller for the tunable high-pass filter, which is always needed. That's why the point deduction during the operation.
But apart from that - who with the lectern as I have long been frolicking and the money together - strike! You will not regret it, you will grin through all the first shows! A certain course of preparation and preparation should be taken into account.
In addition, Jethro Tull's Ian Anderson's "Thick As A Brick 2" was recorded with this console (yes, the mic-amps were used) and the live show is also driven over LS9 and everything sounds supi!
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