Print

Please login or register.
1 Hour 1 Day 1 Week 1 Month Forever
Login with username, password and session length

[brian dunard]

I am debating between and LS932 and an M7CL.  I am somewhat turned off by the LS9-32 because it doesn't have group bussing.  I know there is a workaround but I don't know how much I would like it.
 
I have used a few M7CL's recently and had a couple of questions:

1.  Can I patch 1 input to two channels on the desk.  I do this so that I have basically a monitor layer free of FOH eq'ing and compression on the channels being used for monitor sends.  I have done this on the DM1000 for the last few years and love it...as it basically gives me a monitor desk and FOH console all in one. For instance, mic line 1 input would show up on fader 1 and again on 33...I just wouldn't route 33 to mix bus.

Also, please let me know any other big advantages that the M7CL32 might have over the LS9-32 or maybe some area's where an LS9 is more intuitive over an M7CL.

Thanks!

[Riley Casey]

There are lots of differences, pluses & minuses.  Navigation is slow on the LS9s with the cursor keys.  It makes having a computer as an adjunct controller more valuable.  Depends a great deal on your applications.  One minor but cool thing I like about the LS9 is the 30 inch wide graphic equaliser.

[Tim McCulloch]

Yes, you can assign the same physical input to more than 1 fader.

[Nick Pires]

The process to setup a group bus on either console is basically the same.

[brian dunard]

So the M7CL doesn't have 8 internal busses?  Even the DM1000 has this...is this an "old-school" way that isn't honored with digital consoles?

[Todd Cooke]

I'm not sure where you are getting your information from, but, the M7 has 16 internal buses (mixes) that can each act as a traditional aux send would or, with the push of a button, as a traditional group would.  In addition, it does have 8 DCAs which are also like a traditional group, but a little more flexible.

The one feature about the LS9 that I like a lot is the Custom Fader layer where you can lay out your surface the way you want to with inputs and mix buses in any configuration you like.

[brian dunard]

The LS9 doesn't have DCA's from what I can tell.  Putting a comp across the DCA doesn't sound like a big deal to me since I can apply compression to each channel that needs it.  However, if I group faders on the drums, it seems like it would be a pain if to ungroup and then regroup everytime I wanted to make a level change to one drum with the drum group.  Is there a digital workaround that I'm not seeing that doesn't involve a DCA?

[Scott Helmke (Scodiddly)]

brian dunard wrote on Fri, 11 February 2011 18:56

The LS9 doesn't have DCA's from what I can tell.  Putting a comp across the DCA doesn't sound like a big deal to me since I can apply compression to each channel that needs it.  However, if I group faders on the drums, it seems like it would be a pain if to ungroup and then regroup everytime I wanted to make a level change to one drum with the drum group.  Is there a digital workaround that I'm not seeing that doesn't involve a DCA?

You seem to have the terminology mixed up a bit.

Both the LS9 and the M7CL have 16 "Mixes", which can be configured in pairs as either aux sends or groups.  Both also have 8 Matrix buses, though the M7CL has the additional feature that input channels can feed the matrices, essentially giving the M7CL 24 mix buses.

So those are things that actually carry audio, and could have a comp or other processing inserted.

The M7CL, unlike the LS9, has at DCA (digitally controlled amplifier, basically the exact same thing as an analog VCA).  These are control only, and cannot have processing inserted.

If all the drums are assigned to a DCA, that DCA controls the overall level of the drums.  You can still just grab a fader an individual channel and change its level within the drums.  The DCA control is an addition to the fader control, not a replacement.

[Christian Tepfer]

Some more differences are:
The M7CL can be controlled via the iPad MixPad app.

The LS9 has full graphic EQ control (on the LS9-32) and USB recording and playback.

Both desks can have multiple soft patches that only share the head amp.

[brian dunard]

I don't doubt that I have terminology mixed up.  So if you were on an LS9 and wanted to group the drums together without physically griping the faders together and have either one stereo fader or two mono faders control the level of the drums how would you go about doing it?

[brian dunard]

One other question that I have regarding the LS9 compared to the M7CL has to do with making an aux send simple for stereo send IEM.  I have uploaded a .jpg file from the Yamaha site that shows a screen shot of the M7CL and it shows that it is capable of having AUX sends setup for stereo use so that the first aux knob is pan and the following knob is level.  Is this possible with the LS9 as well?

[Jason "JB" Browning]

brian dunard wrote on Fri, 11 February 2011 21:48

I don't doubt that I have terminology mixed up.  So if you were on an LS9 and wanted to group the drums together without physically griping the faders together and have either one stereo fader or two mono faders control the level of the drums how would you go about doing it?

1. Unassign all your drum faders from the l/r buss
2. In setup, change a mix(s) from variable to fixed mode. Assign that mix to the l/r buss, or send to matrix(s) you have set up.
3. Assign your drum channels to that mix, and make sure the mix(s) is(are) up on the Master page.
4. Get your mix happening
5. Create a Custom Fader Page   with a fader assigned to the mix you assigned all the drums to.  Assign all non-grouped faders to themselves....Mix away!!

Hope this helps.

JB

[brian dunard]

Jason "JB" Browning wrote on Fri, 11 February 2011 23:46

brian dunard wrote on Fri, 11 February 2011 21:48 I don't doubt that I have terminology mixed up.  So if you were on an LS9 and wanted to group the drums together without physically griping the faders together and have either one stereo fader or two mono faders control the level of the drums how would you go about doing it? 1. Unassign all your drum faders from the l/r buss 2. In setup, change a mix(s) from variable to fixed mode. Assign that mix to the l/r buss, or send to matrix(s) you have set up. 3. Assign your drum channels to that mix, and make sure the mix(s) is(are) up on the Master page. 4. Get your mix happening 5. Create a Custom Fader Page   with a fader assigned to the mix you assigned all the drums to.  Assign all non-grouped faders to themselves....Mix away!! Hope this helps. JB

Thanks JB!  The only problem I see with that is that it will be taking away from my already depleted mixes which are being used for my Aux's used for IEM's and L,R, Aux sub.  It's a nine piece band that will be using the console.

[Ivan Feder]

get an SC48! pretty much the same price as an M7CL but what a difference!
(IMHO of course)

[Scott Helmke (Scodiddly)]

Ivan Feder wrote on Mon, 14 February 2011 12:02

get an SC48! pretty much the same price as an M7CL but what a difference! (IMHO of course)

Heavier, less possible aux mixes than the M7CL, and no parametrics on the outputs without using up limited plug-in slots?     OK, the SC48 is a nice board but let's go with what the customer needs are.

[Tim Padrick]

brian dunard wrote on Fri, 11 February 2011 23:28

One other question that I have regarding the LS9 compared to the M7CL has to do with making an aux send simple for stereo send IEM.  I have uploaded a .jpg file from the Yamaha site that shows a screen shot of the M7CL and it shows that it is capable of having AUX sends setup for stereo use so that the first aux knob is pan and the following knob is level.  Is this possible with the LS9 as well?

In Studio Manager, it's in File, Mixer Setup.  Each pair of Mix Buses can be set as MonoX2 or Stereo.  For monitors or FX, you want each pair to be set as Vari(PreFader).  For groups, you want each pair to be set as Fixed.  (Only odd-even pairs can be set as stereo.)

[Jonathan Schroeder]

I use an M7 every day, and I haven't had a chance to get much time on an LS9, so this may or may not work for you, but on the M7 (minus the custom layer) this could work.

In a pinch, you could use the channel link, and only select the fader as your linked parameter.  I assume (I know, I know) the LS9 works the same way as the M7 that you can temporarily break the link by holding the select on the channel you want to adjust.  One of the updates (again on the M7) allowed for a proportional linkage, so if the snare is +3db everything else, when you move the faders it will keep that adjustment.  

It doesn't give you one fader, but with the custom layer you could probably end up with what you are looking for without eating up a bus.  The first drawback I can think of is the fact that you cannot have different attributes linked in different groups, so if you were to do this, all of your linked channels would be fader only linked sets (No stereo linked pairs for the playback).

I am sure there are other reasons not to do this, but if it gets you through the gig working the way you want to, great.  I haven't tried this because the M7 has the DCAs to take care of this.  Experiment and see what happens.  If I am completely off, sorry, I can't get my hands on an LS9 right now.  As long as my assumptions are correct this should work.

Jon

[Christian Tepfer]

Scott Helmke (Scodiddly) wrote on Mon, 14 February 2011 21:03

Ivan Feder wrote on Mon, 14 February 2011 12:02 get an SC48! pretty much the same price as an M7CL but what a difference! (IMHO of course) Heavier, less possible aux mixes than the M7CL, and no parametrics on the outputs without using up limited plug-in slots?     OK, the SC48 is a nice board but let's go with what the customer needs are.

Suddenly, iLive springs into my mind. I wouldn't consider LS9 or M7CL unless a client demands it or I am provided with one for a band show.

[ProSoundWeb Community]