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Author Topic: Yamaha ls9  (Read 6862 times)

Guy Morris

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Yamaha ls9
« on: November 14, 2011, 04:39:46 pm »

Hi
Just when you think you know your way around a desk along comes something to confuse the issue! Just taken delivery of a 32 and decided to to get some presets sorted all fine until I started on the monitor mixes as I understand it you can set the mix as  pre eq fader or just pre fader  1 making the mix independent of the main channel eq and option 2 including  main channel eq. I want pre eq for monitors but whatever setting I select I can still change the main channel eq and here it change on the monitor mix which is not helpful!

To test it again I patched omni mix one into another desk channel then changed the main channel eq trying both settings in monitor set up listening on cans just to be sure I was not imagining hearing the eq change! but just cannot stop the eq from changing on the mix output on any setting which I'm sure you can do on my other Yamaha 16 ?

What am I missing here?
« Last Edit: November 14, 2011, 04:43:19 pm by Guy Morris »
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Andrew Broughton

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Re: Yamaha ls9
« Reply #1 on: November 14, 2011, 05:02:30 pm »

Page 213.

On the Setup Screen/System Setup/Bus Setup/Mix
Then Select Pre-Eq or Pre-Fader
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Guy Morris

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Re: Yamaha ls9
« Reply #2 on: November 14, 2011, 07:08:40 pm »

Page 213.

On the Setup Screen/System Setup/Bus Setup/Mix
Then Select Pre-Eq or Pre-Fader

Yep page 213 read it and did it but there is the issue whichever mix option I use  in the set up screen the eq on the main mix channel can still be heard on the monitor mix if I alter it I'm puzzled but obviously looking to see if I have missed something my other ls9 works fine with the pre eq setting anyone else had this it should be a simple set up!
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Scott Helmke

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Re: Yamaha ls9
« Reply #3 on: November 14, 2011, 07:30:00 pm »

Well, if you really want to be slick, assign the inputs for channels 1-32 to also go to 33-64.  Then use the second layer as your "monitor desk" by only sending to the monitors from there.  You can use different EQ there, instead of just no EQ.
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Tim Padrick

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Re: Yamaha ls9
« Reply #4 on: November 14, 2011, 08:54:51 pm »

Well, if you really want to be slick, assign the inputs for channels 1-32 to also go to 33-64.  Then use the second layer as your "monitor desk" by only sending to the monitors from there.  You can use different EQ there, instead of just no EQ.

As I've done on this file that you are free to steal: http://www.padrick.net/LiveSound/YamahaLS9ConsoleFile.htm
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Guy Morris

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Re: Yamaha ls9
« Reply #5 on: November 15, 2011, 05:26:32 am »

Thanks for the responses some interesting stuff on Tim's webpage took me back to school days copying from the smart kid!

I went to bed (eventually) and decided to revisit the problem this morning with the bright idea of doing that IT thing and switching off  the desk then back on and.....yup problem fixed now the PRE EQ FADER selection is doing what I thought it was supposed too! Not sure why the desk was not accepting my set up but now with nothing changed since the problem arose  I can  now EQ the input channel for FOH with it  not affecting the monitor mix output. (really started to think I had imagined that this is how I had it on the other desks or maybe was confusing it with the Midas analogue pre eq switch !)

My personal preference when doing FOH + monitors is to always have input channels flat into each monitor mix then just use each mix  master parametric to get the best GBF without slashing the sound up and also inserting GEQ across Vox, BVX and Brass where mics are concentrated so I can notch more precisely.
I was interested in Scott's suggestion of using the 2nd layer as the mirror of the FOH layer for monitors so that different EQ is available on each channel do you find that a better option it sounds a great idea of sculpting the monitor mix channels for each input but does it not create more work in hunting down a rogue feedback issue ? At the moment I just need to look at 8 mix parametrics and 3 GEQ if I have a frequency playing up rather than 32 channels as well on another layer! 

I think it may be worthwhile putting that monitor format into a scene so I have it as another option now you have suggested it I want it!

Thanks for the help, the hardest part of a Yammie desk seems to be interpreting the manual into normal terms!

Guy


 
Well, if you really want to be slick, assign the inputs for channels 1-32 to also go to 33-64.  Then use the second layer as your "monitor desk" by only sending to the monitors from there.  You can use different EQ there, instead of just no EQ.
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Rob Spence

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Re: Yamaha ls9
« Reply #6 on: November 15, 2011, 08:20:23 am »

I find that on my LS9-32 I like to duplicate the vocal channels to the far right. So,  ch27-32 are usually reserved for vocal monitors. I don't assign them to LRM and set the mixes to be post fader. Now I can have seperate EQ for vocal mons and no compressors and I can just push the fader to adjust a singer in all mixes.

I end up with inputs 29-32 reserved for playback and patch them to ch61-64.
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Dan Richardson

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Re: Yamaha ls9
« Reply #7 on: November 15, 2011, 04:47:51 pm »

My personal preference when doing FOH + monitors is to always have input channels flat into each monitor mix then just use each mix  master parametric to get the best GBF without slashing the sound up

So what do you do if the vocalist wants more chest voice in the monitor and also insists on aiming the acoustic guitar mic at the soundhole?

Why would you not want to make both of those EQ corrections everywhere?
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Re: Yamaha ls9
« Reply #7 on: November 15, 2011, 04:47:51 pm »


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