LS9-16/LS9-32
Owner’s Manual
EN
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Explanation of Graphical Symbols
The lightning flash with arrowhead symbol
within an equilateral triangle is intended to
alert the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient magnitude
to constitute a risk of electric shock to
persons.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
The exclamation point within an equilateral
triangle is intended to alert the user to the
presence of important operating and
maintenance (servicing) instructions in the
literature accompanying the product.
The above warning is located on the rear or side of the unit.
IMPORTANT SAFETY INSTRUCTIONS
1
2
3
4
5
6
7
Read these instructions.
Keep these instructions.
Heed all warnings.
Follow all instructions.
Do not use this apparatus near water.
Clean only with dry cloth.
Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades
with one wider than the other. A grounding type plug
has two blades and a third grounding prong.The wide
blade or the third prong are provided for your safety. If
the provided plug does not fit into your outlet, consult
an electrician for replacement of the obsolete outlet.
11 Only use attachments/accessories specified by the
manufacturer.
12 Use only with the cart, stand,
tripod, bracket, or table
specified by the manufacturer,
or sold with the apparatus.When
a cart is used, use caution when
moving the cart/apparatus
combination to avoid injury from
tip-over.
8
9
13 Unplug this apparatus during lightning storms or when
unused for long periods of time.
14 Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power-supply cord or
plug is damaged, liquid has been spilled or objects
have fallen into the apparatus, the apparatus has been
exposed to rain or moisture, does not operate
normally, or has been dropped.
10 Protect the power cord from being walked on or
pinched particularly at plugs, convenience receptacles,
and the point where they exit from the apparatus.
WARNING
TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.
(98-6500)
ADVARSEL!
NEDERLAND / THE NETHERLANDS
Lithiumbatteri—Eksplosionsfare ved fejlagtig
håndtering. Udskiftning må kun ske med batteri af
samme fabrikat og type. Levér det brugte batteri
tilbage til leverandoren.
• Dit apparaat bevat een lithium batterij voor geheugen back-up.
• This apparatus contains a lithium battery for memory back-up.
• Raadpleeg uw leverancier over de verwijdering van de batterij op het
moment dat u het apparaat ann het einde van de levensduur of gelieve
dan contact op te nemen met de vertegenwoordiging van Yamaha in
uw land.
VARNING
Explosionsfara vid felaktigt batteribyte. Använd
samma batterityp eller en ekvivalent typ som reko-
mmenderas av apparattillverkaren. Kassera
använt batteri enligt fabrikantens instruktion.
• For the removal of the battery at the moment of the disposal at the end
of life please consult your retailer or Yamaha representative office in
your country.
VAROITUS
Paristo voi räjähtää, jos se on virheellisesti asen-
nettu. Vaihda paristo ainoastaan laitevalmistajan
suosittelemaan tyyppiin. Hävitä käytetty paristo
valmistajan ohjeiden mukaisesti.
• Gooi de batterij niet weg, maar lever hem in als KCA.
• Do not throw away the battery. Instead, hand it in as small chemical
waste.
(lithium caution)
(lithium disposal)
3
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PRECAUTIONS
PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.
WARNING
Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from
electrical shock, short-circuiting, damages, fire or other hazards. These precautions include, but are not limited
to, the following:
Power supply/Power cord
Water warning
• Only use the voltage specified as correct for the device. The required
voltage is printed on the name plate of the device.
• Do not expose the device to rain, use it near water or in damp or wet
conditions, or place containers on it containing liquids which might spill
into any openings.
• Use only the included power cord.
If you intend to use the device in an area other than in the one you
purchased, the included power cord may not be compatible. Please check
with your Yamaha dealer.
• Never insert or remove an electric plug with wet hands.
If you notice any abnormality
• Do not place the power cord near heat sources such as heaters or radiators,
and do not excessively bend or otherwise damage the cord, place heavy
objects on it, or place it in a position where anyone could walk on, trip over,
or roll anything over it.
• If the power cord or plug becomes frayed or damaged, or if there is a
sudden loss of sound during use of the device, or if any unusual smells or
smoke should appear to be caused by it, immediately turn off the power
switch, disconnect the electric plug from the outlet, and have the device
inspected by qualified Yamaha service personnel.
• Be sure to connect to an appropriate outlet with a protective grounding
connection. Improper grounding can result in electrical shock.
• If this device should be dropped or damaged, immediately turn off the
power switch, disconnect the electric plug from the outlet, and have the
device inspected by qualified Yamaha service personnel.
Do not open
• Do not open the device or attempt to disassemble the internal parts or
modify them in any way. The device contains no user-serviceable parts. If it
should appear to be malfunctioning, discontinue use immediately and have
it inspected by qualified Yamaha service personnel.
CAUTION
Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or
damage to the device or other property. These precautions include, but are not limited to, the following:
• Avoid setting all equalizer controls and faders to their maximum.
Power supply/Power cord
Depending on the condition of the connected devices, doing so may cause
feedback and may damage the speakers.
• Remove the electric plug from the outlet when the device is not to be used
for extended periods of time, or during electrical storms.
• Do not expose the device to excessive dust or vibrations, or extreme cold
or heat (such as in direct sunlight, near a heater, or in a car during the day)
to prevent the possibility of panel disfiguration or damage to the internal
components.
• When removing the electric plug from the device or an outlet, always hold
the plug itself and not the cord. Pulling by the cord can damage it.
Location
• Do not place the device in an unstable position where it might accidentally
fall over.
• When transporting or moving the device, do not hold the display.
Improper transportation can result in injury or damage to the device itself.
• Before moving the device, remove all connected cables.
• When setting up the product, make sure that the AC outlet you are using is
easily accessible. If some trouble or malfunction occurs, immediately turn
off the power switch and disconnect the plug from the outlet. Even when the
power switch is turned off, electricity is still flowing to the product at the
minimum level. When you are not using the product for a long time, make
sure to unplug the power cord from the wall AC outlet.
• Do not block the vents. This device has ventilation holes at the top and rear
to prevent the internal temperature from becoming too high. In particular,
do not place the device on its side or upside down. Inadequate ventilation
can result in overheating, possibly causing damage to the device(s), or
even fire.
• Do not use the device in the vicinity of a TV, radio, stereo equipment,
mobile phone, or other electric devices. Doing so may result in noise, both
in the device itself and in the TV or radio next to it.
(5)-4 1/2
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Connections
Backup battery
• Before connecting the device to other devices, turn off the power for all
devices. Before turning the power on or off for all devices, set all volume
levels to minimum.
• This device has a built-in backup battery. When you unplug the power cord
from the AC outlet, the current scene data and library data is retained.
However, if the backup battery fully discharges, this data will be lost. When
the backup battery is running low, the LCD display indicates “Low Battery!”
when you starting up the system (the Battery field also indicates “LOW” or
“NO” in the MISC SETUP screen.) In this case, immediately save the data
to a USB memory, then have qualified Yamaha service personnel replace
the backup battery.
• Be sure to connect to a properly grounded power source. A ground screw is
provided on the rear panel of this device for maximum safety and shock
prevention. If the mains outlet is not grounded, be sure to connect the
ground screw to a confirmed ground point before plugging the device into
the mains. Improper grounding can result in electrical shock.
Handling caution
• When turning on the AC power in your audio system, always turn on the
power amplifier LAST, to avoid speaker damage. When turning the power
off, the power amplifier should be turned off FIRST for the same reason.
• Do not insert your fingers or hands in any gaps or openings on the device
(vents, etc.).
• Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.) into
any gaps or openings on the device (vents, etc.) If this happens, turn off the
power immediately and unplug the power cord from the AC outlet. Then
have the device inspected by qualified Yamaha service personnel.
• Do not apply oil, grease, or contact cleaner to the faders. Doing so may
cause problems with electrical contact or fader motion.
• Do not use the device or headphones for a long period of time at a high or
uncomfortable volume level, since this can cause permanent hearing loss.
If you experience any hearing loss or ringing in the ears, consult a
physician.
• Do not rest your weight on the device or place heavy objects on it, and
avoid use excessive force on the buttons, switches or connectors.
XLR-type connectors are wired as follows (IEC60268 standard): pin 1: ground, pin 2: hot (+), and pin 3: cold (-).
Yamaha cannot be held responsible for damage caused by improper use or modifications to the device, or data that is lost or destroyed.
Always turn the power off when the device is not in use.
The performance of components with moving contacts, such as switches, volume controls, and connectors, deteriorates over time. Consult qualified Yamaha service
personnel about replacing defective components.
(5)-4 2/2
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Contents
Sending the signal from
Sending the signal from
Sending signals from MIX channels
Sending signals from MIX channels
to MATRIX buses...................................................75
7. Operations in
Assigning channels to
Sending an input channel signal
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Contents
Using the MUTE GROUP screen
Using the SELECTED CH VIEW screen
Using program changes
Using parameter changes
Using MMC (MIDI Machine Control)
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Contents
Specifying the CONSOLE LOCK
Scene Memory/Effect Library
Saving the LS9’s internal data
Parameters that can be assigned
Functions that can be assigned
Basic settings for MIX buses and
Specifying the brightness or
Attaching the RK1 rackmount kit
Assigning the Help function to
Adjusting the input/output gain
• The illustrations and screen displays as shown in this Owner’s manual are for instructional purposes
only, and may be different from the ones on your device.
• The company names and product names in this Owner’s Manual are the trademarks or registered
trademarks of their respective companies.
• MPEG Layer-3 audio coding technology licensed from Fraunhofer IIS and Thomson.
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Chapter 1
Introduction
1
Thank you
Thank you for purchasing the Yamaha LS9 digital mixing console. In order to take full advantage
of the LS9’s superior functionality and enjoy years of trouble-free use, please read this manual
before you begin using the product. After you have read the manual, keep it in a safe place.
An overview of the LS9
The LS9 is a digital mixing console with the following features.
■ Mixing system that packs top-class
■ Analog-feeling operability• • • • • • • • • •
functionality into a compact size• • • • •
Simply by pressing a key, you can select the combination
of channels (“fader layer”) to be operated from the top
panel faders. You can operate the console while quickly
switching between input channels and output channels. In
addition, you can also use a custom fader layer that lets
you specify any desired combination of channels. Since
fader/cue operations and on/off switching for all channels
can be performed from the panel, even customers using
digital consoles for the first time will find operation famil-
iar and comfortable.
The LS9 is a full-digital mixing console designed for
installed systems or SR applications, and in spite of its
compact size, provides functionality and a channel count
comparable to large-format consoles. 24-bit linearAD/DA
converters are used to deliver up to 108 dB of dynamic
range and amazing sound quality.
As input channels, it provides 32 (LS9-16 model) or 64
(LS9-32 model) monaural INPUT channels, and four ste-
reo ST IN channels.
As output channels, it provides 16 MIX channels, eight
MATRIX channels, a STEREO channel, and a MONO
channel. L/C/R three-channel output using the STEREO/
MONO channels is also supported.
The SELECTED CHANNEL section located at the right
of the display lets you use the knobs to control the main
parameters (gain, EQ, dynamics threshold, bus send lev-
els, etc.) for the particular channel on which you’re focus-
ing. This section can be operated just like a module on an
analog mixer.
Mix parameter settings, including head amp gain and
phantom power for input channels, can be stored and
recalled as “scenes.”
All faders on the panel are motorized moving faders, so
that when you recall a scene, the previous fader locations
are reproduced immediately.
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An overview of the LS9
■ Effects and graphic EQ that can be
■ Security functions that can be specified
patched into a desired signal path • • • •
at user-level or system-level • • • • • • •
There are eight virtual racks, in which you can mount
effects or graphic EQ and then patch them into the desired
signal route. Graphic EQ can be mounted in racks 1–4,
and effects or graphic EQ can be mounted in racks 5–8.
You can simultaneously use up to four high-quality multi-
effects, which include reverb, delay, multi-band compres-
sor, and various modulation-type effects. These can be
used via an internal bus, or inserted into a desired channel.
For the graphic EQ you can select either 31-band graphic
EQ or Flex 15 GEQ. These can be inserted into the desired
channel or output. The Flex 15 GEQ allows you to adjust
the gain for any fifteen of the thirty-one bands. Since two
Flex 15 GEQ units can be mounted in a single virtual rack,
a total of up to sixteen graphic EQ units can be used
simultaneously.
User levels can be distinguished into three levels (admin-
istrator, guest, user), and the functionality available to
each non-administrator user can be restricted. Passwords
can be specified for the administrator and users, prevent-
ing important settings from being changed accidentally.
Information specific to each user (user level, system set-
tings, and user-defined key settings) can be stored on USB
memory as a “user authentication key.” By loading your
own user authentication key from USB memory, you can
instantly set up the ideal operating environment for your-
self.
■ I/O card expansion • • • • • • • • • • • • • •
The rear panel provides one slot (LS9-16) or two slots
(LS9-32) in which separately sold mini-YGDAI cards can
be installed. AD cards, DA cards, or digital I/O cards can
be installed in these slots to add inputs and outputs port.
■ A recorder function that’s useful for
sound checks or recording mixes • • • •
A recorder function is provided, allowing you to use USB
memory to record the output of the STEREO bus or a
MIX bus, or assign an audio file in USB memory to a
desired input channel or monitor output and play it back.
Supported file formats are MP3 (MPEG-1 Audio Layer-3)
for recording, and MP3, WMA (Windows Media Audio),
and MPEG-4 AAC (Advanced Audio Coding) for play-
back. However, DRM (Digital Rights Management) is not
supported. This function is convenient when you want to
record the mix output of a specific bus, or if you want to
play back a song from the speakers during the sound
check.
■ Cascade connections in the digital
domain • • • • • • • • • • • • • • • • • • • • • • •
A second LS9 console or a digital mixer such as the
Yamaha M7CL or PM5D connected via a digital I/O card
installed in a slot can be cascade-connected in the digital
domain.
Of the MIX buses, MATRIX buses, STEREO (L/R) bus,
MONO buses, and CUE (L/R) bus, the desired buses can
be merged, and all mixed bus signals can be cascaded
individually.
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Differences between the LS9-16 and LS9-32
Differences between the LS9-16 and LS9-32
The LS9 is available in two models; the LS9-16 and the LS9-32. These models differ as follows.
1
Number of INPUT channels
The LS9-16 has up to 32 operable INPUT channels, while the LS9-32 has up to 64. The number and structure of other chan-
nels (ST IN channels, MIX channels, MATRIX channels, STEREO/MONO channels) are identical.
Rear panel
The LS9-16 and LS9-32 differ in the number of rear panel INPUT jacks, OMNI OUT jacks, and slots they provide.
The rear panel of the LS9-16 provides sixteen INPUT jacks, eight OMNI OUT jacks, and one slot.
OMNI OUT jacks
INPUT jacks
Slot
In contrast, the rear panel of the LS9-32 provides thirty-two INPUT jacks, sixteen OMNI OUT jacks, two slots, and one
LAMP connector.
OMNI OUT jacks
LAMP connector
INPUT jacks
Slots
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Differences between the LS9-16 and LS9-32
Top panel
The LS9-16 and LS9-32 differ in the number of top panel channel modules and ST IN channels they provide.
The LS9-16 provides sixteen channel modules and two ST IN channels, and by switching fader layers you can operate up to
32 INPUT channels (monaural) and four ST IN channels (stereo).
Channel modules
ST IN channels
The LS9-16 provides thirty-two channel modules and four ST IN channels. By switching fader layers you can operate up to
sixty-four INPUT channels (monaural).
The four ST IN channels (stereo) can be operated from either layer (1-32 or 33-64).
Channel modules
ST IN channels
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Other
The names of the LAYER section keys differ between the LS9-16 and LS9-32.
1
● LS9-16
● LS9-32
LAYER [1-16] key
LAYER [17-32] key
LAYER [1-32] key
LAYER [33-64] key
LAYER [MASTER] key
LAYER [CUSTOM
FADER] key
LAYER [MASTER] key
LAYER [CUSTOM
FADER] key
In conjunction with this difference, there are also differences in the numbering of the channel modules on the panel and the
channels that are assigned to each fader layer.
HINT
• In this owner’s manual, whenever there is a difference between the LS9-16 model and the LS9-32 model, specifica-
tions that apply only to the LS9-32 model are enclosed in curly brackets { } (e.g., INPUT jacks 1–16 {1–32}).
• When the specifications are common to both models, the manual refers simply to the LS9.
The LS9’s channel structure
The LS9 provides the following input channels and output channels.
● MIX channels 1–16
■ Input channels • • • • • • • • • • • • • • • • •
These channels process the signals sent from input chan-
This section processes input signals and sends them to
nels to the MIX buses, and send them from the output
various buses (STEREO, MONO, MIX). The LS9 has the
ports. These are used mainly to send signals to the monitor
following two types of input channel.
system or to external effects.
The signals of MIX channels 1–16 can also be sent to the
STEREO bus, MONO bus, or MATRIX buses.
When the LS9 is in the initial state, these are assigned to
● INPUT channels 1–32 {1–64}
These channels process monaural signals. In the initial
state, the input signals from the rear panel INPUT jacks
the OMNI OUT jacks or the output channels of the slot(s).
and the input channels of the slot(s) are assigned to these
channels.
● MATRIX channels 1–8
These channels process the signals that are sent from MIX
● ST IN channels 1–4
channels, STEREO channels, and MONO channel to the
These channels process stereo signals. In the initial state,
MATRIX buses, and send them from the output ports.
the outputs of virtual racks 5–8 are assigned to these chan-
Using the STEREO and MONO buses, different combina-
nels.
tions of signals and mix balances can be sent out from the
console.
Signal assignments to the input channels (input patching)
can be changed as desired.
● STEREO channel / MONO channel
These channels process the signals that are sent from the
input channels or MIX channels, and send them to the cor-
responding output port. These channels are used as the
■ Output channels • • • • • • • • • • • • • • • •
main stereo output and monaural output.
The STEREO channel and MONO channel can be used
either to output independent signals, or for three-channel L/
C/R playback.
This section mixes the signals sent from input channels
etc., and sends them to the corresponding output ports or
output buses.
There are three types of output channel, as follows.
When the LS9 is in the initial state, the STEREO channel is
assigned to OMNI OUT jacks 15/16 {31/32} and to the
2TR OUT DIGITAL jack.
Signal assignments to the output channels (output patch-
ing) can be changed as desired.
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About the MIX bus types (VARI / FIXED)
The sixteen MIX buses provided on the LS9 can be assigned either as VARI or FIXED types in
between monaural/stereo for the same pairs of buses.VARI type and FIXED type buses differ as
follows.
● VARI
● FIXED
This type allows the send level of the signal sent from the
input channels to the MIX bus to be varied. The point at
which the signal is sent from the input channel to a VARI
type MIX bus can be chosen from before the EQ
(attenuator), before the fader, or after the [ON] key.
This type is used mainly for sending the signal to a moni-
tor system or external effect.
With this type, the send level of the signal sent from the
input channels to the MIX bus is fixed. The signal from an
input channel is sent to a FIXED type MIX bus from
before Pan (if the MIX bus is monaural) or after Pan (if
the MIX bus is stereo). This type is used mainly when you
want to distribute signals to an external device with the
same mix as the STEREO/MONO buses.
About word clock
“Word clock” refers to the clock that provides the basis of timing for digital audio signal process-
ing.
Normally, one device transmits a reference word clock signal, and the other devices receive this
word clock signal and synchronize to it.
In order to transmit or receive digital audio signals to or from an external device via the LS9’s
2TR IN DIGITAL/2TR OUT DIGITAL jacks or via a digital I/O card installed in a slot, the word
clock must be synchronized between the devices. Be aware that if the word clock is not synchro-
nized, the signal will not be sent correctly, or there may be unpleasant noise. (For details on syn-
Conventions in this manual
In this manual, switch-type controllers on the panel are called “keys.” Of the control knobs on the
panel, those that turn from a minimum value to a maximum value are called “controls,” while
those that turn endlessly are called “encoders.”
Controllers located on the panel are enclosed in square
brackets [ ] (e.g., [CUE] key) in order to distinguish them
from the virtual buttons and knobs displayed in the screen.
For some controllers, the name of the section is given
before the [ ] (e.g., LAYER [MASTER] key).
Whenever there is a difference between the LS9-16 model
and the LS9-32 model, specifications that apply only to
the LS9-32 model are enclosed in curly brackets { } (e.g.,
INPUT jacks 1–16 {1–32}).
About the firmware version
You can also download the most recent firmware version from the website.
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Top panel
LS9-32
(side panel, to the
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Top panel
z Channel module section• • • • • • • • • • •
x ST IN (stereo input) section • • • • • • • •
In this section you can operate the main parameters of the
input channels and output channels, as well as the monitor
channels that are mapped to this section.
In this section you can operate the main parameters of the
stereo ST IN channels 1–4. The function of each control-
ler is the same as in the Channel Module section, with the
exception that the L-channel or R-channel will be alter-
nately selected as the target of operations each time you
press the [SEL] key, and the fact that the encoder rather
than the fader is used to adjust the level.
2
1
2
1
2
1
2
3
4
3
4
3
4
5
5
5
LS9-16
LS9-32
1 [SEL] key
D [ON] key
This key selects the channel to be operated. When you
press this key to make the LED light, the corresponding
channel will be selected for operations in the SELECTED
CHANNEL section or in the display. In the ST IN section,
the L-channel and R-channel will be alternately selected
as the target of operations each time you press the [SEL]
key.
This switches the channel on/off. The key LED will light
for channels that are on. In SENDS ON FADER mode,
this key is an on/off switch for the signal that is sent from
that channel to the currently selected MIX bus (or from a
MIX channel, to the MATRIX bus).
E Fader/Encoder
This adjusts the signal level or monitor level of the input
channel or output channel. In SENDS ON FADER mode,
this adjusts the send level from that channel to the cur-
rently selected MIX bus (or from a MIX channel, to the
MATRIX bus).
B [CUE] key
This key selects the channel to be cue-monitored. When
cue is on, the LED will be lit.
C Meter LEDs
These LEDs indicate the audio signal level of the input
channel or output channel.
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Top panel
c STEREO MASTER section • • • • • • • • • • •
In this section you can operate the main parameters of the
STEREO channel.
v USER DEFINED KEYS section• • • • • • • • •
Here you can execute the functions that are programmed
for the user-defined keys.
1
2
1
3
4
1 User-defined keys [1]–[12]
These keys execute the functions that have been pro-
grammed for each key (e.g., switching scenes, turning
talkback or the internal oscillator on/off).
1 [SEL] key
This key selects the STEREO channel as the target of
operations. The L-channel and R-channel will be alter-
nately selected as the target of operations each time you
press the [SEL] key.
B [CUE] key
This key cue-monitors the STEREO channel. When cue is
on, the LED will be lit.
C [ON] key
This switches the STEREO channel on/off. When on, the
key LED will light. In SENDS ON FADER mode, you can
use this as an on/off switch for MIX/MATRIX channels or
as an on/off switch for the signal sent from the STEREO
channel to the MATRIX buses, depending on the LAYER.
D Fader
This adjusts the output level of the STEREO channel. In
SENDS ON FADER mode, this adjusts the level of the
MIX/MATRIX channels or the send level from the STE-
REO channel to the MATRIX buses, depending on the
LAYER.
HINT
• If you turn on MONITOR ON MASTER FADER in the USER
DEFINED KEY SETUP screen, the [ON] key and fader will respec-
tively turn MONITOR on/off and control its level.
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Top panel
b DISPLAY ACCESS section • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
D [CHANNEL JOB] key
This key accesses a screen where you can make settings
for Channel Link, Mute Group, and Recall Safe functions,
and copy or move settings between channels.
1
3
5
7
2
4
6
8
2
E [RECORDER] key
This key accesses a screen where you can operate and
make settings for the Recorder function which records and
plays audio files.
F [METER] key
This key accesses a meter screen where you can view the
input/output levels of all channels in a single view.
G [RACK 1-4] key
This key accesses a screen where you can edit the graphic
EQ assigned to virtual racks 1–4. By pressing the [RACK
1-4] key and [RACK 5-8] key simultaneously you can
access the VIRTUAL RACK screen, where you can assign
a graphic EQ (31 Band GEQ or Flex 15 GEQ) to each vir-
tual rack.
1 [SCENE MEMORY] key
This key accesses a screen where you can store, recall, and
edit scene memories, and make settings for the Focus
function and Fade Time function.
B [MONITOR] key
This key accesses a screen where you can make settings
H [RACK 5-8] key
This key accesses a screen where you can edit the graphic
EQ or internal effect that is assigned to virtual racks 5–8,
and make settings for external head amps. By pressing the
[RACK 1-4] key and [RACK 5-8] key simultaneously you
can access the VIRTUAL RACK screen, where you can
assign a graphic EQ (31 Band GEQ or Flex 15 GEQ) or
internal effect to each virtual rack.
for cue, monitor, oscillator, and talkback.
C [SETUP] key
This key accesses a screen where you can set and verify
the user level, and make basic system settings.
n LAYER section • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Here you can select the type of channels that will be operated from the channel module section (→ p. 17) and ST IN section
1
3
2
4
1
3
2
4
LS9-16
LS9-32
1 LAYER [1-16] {LAYER [1-32]} key
B LAYER [17-32] {LAYER [33-64]} key
C LAYER [MASTER] key
These keys assign fixed preset combinations of channels to the channel module section and the ST IN
section. The combination of channels corresponding to each key is as follows.
For the LS9-16
LAYER key / module
LAYER [1-16] key
1–16
ST IN 1–2
ST IN 1–2
ST IN 3–4
—
CH 1–16
CH 17–32
MIX 1–16
LAYER [17-32] key
LAYER [MASTER] key
For the LS9-32
LAYER key / module
LAYER [1-32] key
1–16
17–24
25–31
CH 25–31
CH 57–63
—
32
ST IN 1–4
ST IN 1–4
ST IN 1–4
—
CH 1–16
CH 33–48
MIX 1–16
CH 17–24
CH 49–56
MATRIX 1–8
CH 32
CH 64
MONO
LAYER [33-64] key
LAYER [MASTER] key
D LAYER [CUSTOM FADER] key
This key assigns the channels selected by you (the user) to the channel module section and the ST IN
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Top panel
m MIX/MATRIX SELECT section • • • • • • • • •
, Display • • • • • • • • • • • • • • • • • • • • • •
In this display you can view and edit all mix parameters,
as well as various settings.
In this section you can select the MIX channel or
MATRIX channel that will be the object of operations.
1
screen that you want to view. Then use the cursor keys of
desired parameter, and use the dial or the [INC][DEC]
keys to edit the value.
1 MIX/MATRIX [1]–[16] keys
. Stereo meter / Cue section • • • • • • • •
In this section you can view the level of the STEREO
channel or cue monitor.
These keys select the MIX channel (or if the selected
channel is a MIX/STEREO/MONO channel, the
MATRIX channel) whose send level will be adjusted by
the SELECTED CHANNEL section. The LED of the key
corresponding to the currently selected channel will light
(or blink, in the case of a MATRIX channel).
In SENDS ON FADER mode, these keys select a MIX bus
or MATRIX button as the send-destination. In this case,
the LED of the key corresponding to the currently selected
bus will blink, and the LED of keys corresponding to
selectable buses will light. For MATRIX buses, the [9]–
[16] keys will be dark and cannot be selected.
1
2
3
1 Stereo meter
This is a 32-segment LED meter that indicates the L/R
channel levels of the STEREO channel.
While the [CUE] key of any channel is on, this meter will
indicate the cue monitor level.
B CUE LED
This LED will blink while the [CUE] key of any channel
is on.
C [CUE CLEAR] key
This key clears all cue monitoring that is currently active.
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Top panel
C [SELECTED SEND] encoder
⁄ SELECTED CHANNEL section• • • • • • • • •
● When an INPUT/ST IN channel is selected
The encoder will adjust the send level from that chan-
nel to the currently selected bus. (For a FIXED type
bus, the encoder will switch the send on/off.)
If the send-destination bus is stereo, this encoder will
specify the panning of the signal sent to the two buses
if an odd-numbered bus is selected, or will specify the
send level if an even-numbered bus is selected.
In this section you can operate the most important mix
parameters for the currently selected input channel or out-
put channel.
The function of the controllers in this section will depend
on the type of channel that is selected.
2
1
4
2
● When a MIX channel is selected
The encoder will adjust the send level from that MIX
channel to the currently selected MATRIX bus.
● When a MATRIX channel is selected
The encoder will adjust the send level from the MIX
channels to the currently selected MATRIX bus.
3
6
5
NOTE
• In SENDS ON FADER mode, this encoder will not do any-
thing regardless of which channel is selected.
9
J
K
L
D [DYNAMICS 1] encoder
7
8
● When an INPUT/ST IN channel is selected
The encoder will adjust the threshold of Dynamics 1
(e.g., gate).
M
● When any other channel is selected
The encoder will adjust the threshold of the compres-
sor, etc.
1 [HA GAIN] encoder
E [DYNAMICS 2] encoder
● When an INPUT/ST IN channel is selected
The encoder will adjust the gain of the internal head
amp or an external head amp device (AD8HR) con-
nected to a rear panel slot.
● When an INPUT/ST IN channel is selected
The encoder will adjust the threshold of Dynamics 2
(e.g., compressor).
● When any other channel is selected
The encoder will not do anything.
NOTE
• The PAD will be internally switched on or off when the HA
gain is adjusted between -14 dB and -13 dB. Keep in mind
that noise may be generated if there is a difference between
the Hot and Cold output impedance of the external device
connected to the INPUT connector when using phantom
power.
F EQ [Q] encoder
G EQ [FREQUENCY] encoder
H EQ [GAIN] encoder
These encoders adjust the Q, frequency, and gain of the
band selected by keys 9–L.
● When any other channel is selected
The encoder will not do anything.
HINT
• By simultaneously pressing the EQ [Q] encoder and the EQ
[GAIN] encoder, you can reset the gain to 0 dB for the band
selected by the keys below (9–L).
B [PAN] encoder
● When an INPUT/ST IN channel is selected
● When a MIX channel is selected
• If you have selected a LOW band or HIGH band whose type can
be changed, you can switch the type by turning the EQ [Q]
encoder while pressing it when Q is set to the maximum or mini-
mum value.
The encoder will adjust the panning of the signal sent
to the L/R channels (or the L/C/R channels in the case
of LCR mode) of the STEREO bus. If a MIX channel
set to stereo is selected, the encoder will adjust the
output balance of the left and right channels.
LOW band :
• Switches to LOW shelving if you turn the encoder toward the
right while pressing it when Q is at the minimum value
• Switches to high pass filter if you turn the encoder toward the
left while pressing it when Q is at the maximum value (MIX,
MATRIX, STEREO, and MONO channels only)
● When a MATRIX channel is selected
If a monaural MATRIX channel is selected, the
encoder will not do anything. If a stereo MATRIX
channel is selected, the encoder will adjust the output
balance of the left and right channels.
HIGH band :
• Switches to HIGH shelving if you turn the encoder toward the
right while pressing it when Q is at the minimum value
• Switches to low pass filter if you turn the encoder toward the
left while pressing it when Q is at the maximum value
● When a STEREO/MONO (C) channel is
selected
The encoder will not do anything for MONO (C)
channel. For a STEREO channel, the encoder will
adjust the output balance of the left and right channels.
For shelving, high pass filter, and low pass filter as well, you can
switch the type by turning the encoder while pressing it.
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Top panel
I EQ [HIGH] key
J EQ [HIGH MID] key
K EQ [LOW MID] key
L EQ [LOW] key
⁄ USB connector (side panel, to the right
of the display) • • • • • • • • • • • • • • • • •
This connector lets you connect USB memory.
These keys select the band controlled by encoders 6–8.
By simultaneously pressing the EQ [HIGH] key and EQ
[LOW] key, you can reset the gain of all four bands to 0
dB.
M [HOME] key
This key returns the state of the LS9’s panel to home posi-
tion. When you press this key, the panel will change as fol-
lows.
1
• The display will show the SELECTED CH VIEW
screen for the currently selected channel.
• The channel level function will be assigned to the fad-
ers (SENDS ON FADER mode will be defeated).
1 USB connector
USB memory can be connected here, and used to save or
load internal data. User authentication key data to define
the user level can also be saved on USB memory and used
to restrict the functionality that is available to each user.
⁄ Data entry section • • • • • • • • • • • • • • •
This section lets you edit specific parameters in the screen.
1
NOTE
• Operation is guaranteed only for USB flash memory.
■ USB memory format
2
Only USB memory that is 2 GB or less in capacity
and is formatted in FAT12, FAT16, or FAT32 is sup-
ported. If the USB memory is formatted in any
other way, you must reformat it in the USER SETUP
screen.
3
■ Write protection
Some USB memory has write protection that prevents
data from being erased inadvertently. If your USB memory
contains important data, we suggest that you use its write
protect feature to prevent accidental erasure.
Conversely, you must make sure that your USB memory’s
write protect feature is disabled before you attempt to
save data to it.
4
1 [DEC]/[INC] keys
These keys increment or decrement the value of the
parameter at which the cursor is located in the screen, in
steps of -1/+1.
CAUTION
• The ACCESS indicator will appear in the upper part of the
screen while data is being accessed, such as during saving,
loading, or deleting. During this time, you must not discon-
nect the USB memory from the USB connector or power-off
the LS9. Doing so may damage your USB memory, or damage
the data in the LS9 or in the USB memory.
B Cursor keys
These keys move the cursor up/down/left/right in the
screen.
C Dial
This dial continuously increments or decrements the value
of the parameter at which the cursor is located in the
screen.
D [ENTER] key
This key is used to switch a button in the screen on/off, or
to confirm a change you make.
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Rear panel
1 INPUT jacks 1–16 {1–32}
LS9-16
LS9-32
These are balanced XLR-3-31 female input jacks for inputting analog
audio signals from line level devices or microphones. The nominal
input level is -62 dBu – +10 dBu. Resettable head amps are provided
on all jacks, and head amp settings can be stored in scene memory.
Male XLR plug
1 (ground)
3 (cold)
2 (hot)
B OMNI OUT jacks 1–8 {1–16}
C Slots {1–2}
LS9-16
LS9-16
LS9-32
LS9-32
Separately sold mini-YGDAI I/O cards can be installed in
these slots to provide additional input/output ports. The
LS9-16 has one slot, and the LS9-32 has two slots. Each
slot can input/output a maximum of 16 channels of sig-
nals.
These are XLR-3-32 male output jacks for outputting ana-
log audio signals. These are used mainly to output MIX/
MATRIX channel signals. The nominal output level is +4
dBu.
Female XLR plug
2 (hot)
3 (cold)
1 (ground)
NOTE
• The nominal output level of OMNI OUT jacks 1–8 {1–16} is +4 dBu
(maximum level is +24 dBu), but if necessary this can be changed
by an internal switch to -2 dBu (maximum level is +18 dBu). (A fee
will be charged for this change.) For details, contact to your
Yamaha dealer listed at the end of this manual.
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Rear panel
L
M
K
J
4
5
6
7
8
LS9-16
2
4
5
6
7
8
9
LS9-16
J
K
LS9-32
D NETWORK connector
M
L
This connector allows the LS9 to be connected to a Win-
dows computer via a CAT3 (transfer rate: maximum 10
Mbps) or CAT5 (transfer rate: maximum 100 Mbps) com-
patible Ethernet cable. This is used mainly for controlling
mix parameters or editing scene memories and libraries
from the dedicated “LS9 Editor” application program.
LS9-32
NOTE
• The DME-N Network Driver required for connection to the NET-
WORK connector, the Studio Manager required for running LS9
Editor, and the LS9 Editor itself can downloaded from the Yamaha
website listed below.
J AC IN connector
Connect the included power cable to this connector to sup-
ply power to the unit.
K POWER switch
This switch turns the power on/off.
E WORD CLOCK IN/OUT connectors
These are BNC connectors used to transmit and receive
word clock signals to and from an external device. The
WORD CLOCK IN connector is internally terminated by
a 75 ohm resistor.
L Grounding screw
To ensure safe operation, be sure to ground the LS9
securely. The included power cable has a three-conductor
plug, so if the AC outlet is grounded the LS9 will be
grounded appropriately. If the AC outlet is not grounded,
establish a secure ground connection from this screw. Cor-
rectly grounding the unit is an effective way to eliminate
hum and interference noise.
F 2TR OUT DIGITAL jack
This is a coaxial jack that outputs the digital audio signal
of a specified channel in consumer format (IEC-60958).
This is used mainly to output STEREO/MONO channel
signals.
M Cooling fan vent
This is the vent for the cooling fan inside the console.
When placing the console, be careful not to block this
vent.
G 2TR IN DIGITAL jack
This is a coaxial jack that inputs a stereo digital audio sig-
nal in consumer format (IEC-60958). The signal input
from this jack can be patched to any input channel.
H MIDI IN/OUT connectors
These connectors are used to transmit and receive MIDI
messages to and from external MIDI devices. The MIDI
IN connector receives messages from an external device,
and the MIDI OUT connector transmits messages from
the LS9. These are used mainly for recording LS9 param-
eter operations or scene/library changes on an external
device, or for remotely operating LS9 parameters.
I LAMP connector (LS9-32 only)
This is an XLR-4-31 connector that supplies power to a
separately sold gooseneck lamp (e.g.,Yamaha LA1L). The
brightness of the lamp can be adjusted in the screen.
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Front panel
Front panel
1 PHONES LEVEL control
1
2
This adjusts the level of the signal that is output from the
PHONES OUT jack 2.
B PHONES OUT (headphone output) jack
This is a headphone jack for monitoring the MONITOR
OUT or CUE signal.
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Chapter 3
Basic operations on the LS9
This chapter explains the various user interfaces you’ll use to operate the
LS9, and basic operations.
3
Basic operations in the top panel
Here we explain basic operations you’ll perform in the LS9’s top panel.
About the [HOME] key
Selecting the fader layer
The channel module section of the top panel lets you
switch between combinations of channels to be controlled
(“fader layers”) so that you can control input channels,
output channels, or monitor levels.
The [HOME] key in the SELECTED CHANNEL section
restores the LS9’s panel to its basic state (home position).
Press the keys of the LAYER section to switch the combi-
nation of channels you want to control.
When you press the [HOME] key, the panel will change as
follows.
• The display will show the SELECTED CH VIEW
screen, where you can view all parameters of the
selected channel.
LS9-16
LS9-32
• The channel level function will be assigned to the fad-
ers (SENDS ON FADER mode will be defeated).
The [HOME] key will blink if the display is showing any
screen other than the SELECTED CH VIEW screen, or if
SENDS ON FADER mode is active. In such cases, you
will find it convenient to press the [HOME] key to restore
the panel to home position (the [HOME] key will change
to steadily lit), and then proceed with operations.
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Basic operations in the top panel
The combination of channels corresponding to each key is as follows.
LS9-16
LAYER section key
INPUT CH 1–16
INPUT CH 17–32
MIX 1–16
STEREO
STEREO
STEREO
ST IN 1–2
ST IN 3–4
—
LAYER [1-16]
LAYER [17-32]
LAYER [MASTER]
LAYER [CUSTOM FADER]
Any desired channels
STEREO Any desired channels
LS9-32
LAYER section key
INPUT CH 1–16
INPUT CH 33–48
MIX 1–16
INPUT CH 17–32
INPUT CH 49–64
STEREO
STEREO
ST IN 1–4
ST IN 1–4
—
LAYER [1-32]
LAYER [33-64]
—
MATRIX 1–8
Any desired channels
MONO STEREO
LAYER [MASTER]
LAYER [CUSTOM FADER]
STEREO Any desired channels
HINT
• On the LS9-16, MATRIX channels and MONO channels are not assigned to the fader layers that are preset.
If you want to use the top panel faders and [ON] keys to control the MATRIX channels or MONO channel,
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Basic operations in the top panel
Using the SELECTED CHANNEL sec-
tion
You can use the encoders and keys of the SELECTED
CHANNEL section to directly operate the mix parameters
(EQ, pan, dynamics, etc.) of the currently selected channel
from the top panel.
Selecting functions
Use the keys of the DISPLAY ACCESS section when you
want to use functions other than mix parameters, or when
you want to change various settings.
3
When you press one of the keys in the DISPLAY
ACCESS section, the corresponding screen will appear in
the display. If the screen consists of more than one page,
you can switch between pages by pressing the same key
repeatedly. For example if you press the [SCENE MEM-
ORY] key, the SCENE MEMORY screen will appear,
where you can store or recall scene memories.
Make sure that the desired fader layer is
selected in the LAYER section.
1
Use the [SEL] keys of the channel module
2
section, STEREO section, and ST IN section
to select the channel that you want to oper-
ate.
The currently selected channel is indicated in the
upper left of the screen.
For stereo channels (STEREO channels, ST IN chan-
nels), you will alternate between the L-channel and R-
channel each time you press the [SEL] key.
HINT
• If you press the lit DISPLAY ACCESS key while a popup
screen is displayed, the popup screen will close.
HINT
• If AUTO CHANNEL SELECT is turned on in the PREFER-
simply by operating its [ON] key or fader, without having to
press its [SEL] key.
• If you press and hold down the DISPLAY ACCESS section
key, the previously displayed screen will appear.
Turn the encoders of the SELECTED CHAN-
NEL section to edit the desired parameters.
3
The parameter assigned to each encoder will change.
Before operating the EQ encoders, you’ll need to use
the EQ [HIGH], EQ [HIGH MID], EQ [LOW MID],
and EQ [LOW] keys to select the band you want to
control.
HINT
• By pressing one of the SELECTED CHANNEL section’s
encoders inward, you can also access a popup window where
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Viewing the display
Viewing the display
Here we explain the various types of information shown in the display.
D User name / status
This shows the name of the user who is currently logged-
Constant display area
in (authenticated and permitted to operate the console).
Other indicators are shown here if oscillator or talkback is
on, or if internal memory or USB memory is being
accessed.
1
2
5
When oscillator is on
3
4
When talkback is on
While recording to USB memory
While playing from USB memory
While accessing internal memory when storing
USB memory or a scene
1 Selected channel
This shows the number, name, and icon of the channel
currently selected by its [SEL] key for operations. (For
this area and use the dial or the [DEC]/[INC] keys to
change the selected channel.
E ST IN level
This indicates the on/off status and input level of ST IN
channels 1–4. This shows a gray knob and black index
when on, or a dark gray knob and black index when off.
B Scene memory
This shows the number and name of the scene that is cur-
rently selected for store/recall operations.
An “R” (Read Only) indication is shown for read-only
scenes or write-protected scenes. If you have modified the
parameters from their most recently stored or recalled
state, an “E” (Edited) indication is shown. Move the cur-
sor to the scene number, use the dial or the [DEC]/[INC]
keys to change the scene number, and press the [ENTER]
key to recall the scene.
In SENDS ON FADER mode, this shows the on/off status
and send level of the signal sent from ST IN channels 1–4
to the MIX bus. When on, the knob will be a color corre-
sponding to the send-destination (the same type of color
as the keys of the MIX/MATRIX SELECT section), and
the indices will be white. When off, the knob will be gray
and the indices will be black.
NOTE
• Simply changing the scene that is shown here will not execute a
store/recall operation.
• To execute a store or recall operation, access the SCENE MEM-
ORY screen and use the STORE/RECALL buttons in the screen
• You can also move the cursor to the scene number in the constant
display area and use the dial or the [DEC]/[INC] keys to change
the scene number. This scene number will blink if the most
recently stored or recalled scene is different than the currently
selected scene.
HINT
• In SENDS ON FADER mode, the send-destination bus is shown
blinking at the right of the scene number.
C MIDI
The MIDI indicator will appear when MIDI messages are
received.
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Viewing the display
■ Popup windows
Main area
The contents of the main area will depend on the currently
Some windows show lists or details of specific parameters
in the screen. These are called “popup windows.”
selected function.
Popup window
■ SELECTED CH VIEW screen
This screen shows all mix parameters of the currently
selected channel. To access this screen, press the [HOME]
key of the SELECTED CHANNEL section.
3
By operating the knobs and buttons in a popup window,
you can edit more detailed parameters. In some popup
windows, there are several buttons called “tool buttons” in
the upper part of the window. You can use these tool but-
tons to recall or copy/paste library data.
To close the popup window and return to the previous
screen, move the cursor to the “×” symbol or the CLOSE
button, and press the [ENTER] key. (You can also close
the popup window and return to the SELECTED CHAN-
NEL VIEW screen by pressing the [HOME] key.)
■ Various function screens
These screens allow you to access functions and settings
other than channel mix parameters. To access each of
these screens, press the appropriate key of the DISPLAY
ACCESS section.
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Viewing the display
■ Knobs and faders
The on-screen user interface
Knobs in the screen are used to view or edit the values of
the corresponding parameters. Normally, you will move
the cursor to a knob and use the dial or [DEC]/[INC] keys
of the data entry section to edit the value. The current
value is shown in numerical form immediately below the
knob. Some knobs will move in tandem with the encoders
of the SELECTED CHANNEL section.
The interface shown in the screen of the LS9 includes the
following items.
■ Cursor
The blinking red and yellow frame displayed in the screen
is called the “cursor.”
The cursor is used to specify the object of your operations.
Use the cursor keys of the data entry section to move the
cursor up/down/left/right.
Knob
Faders in the screen are mainly used to view or edit the
level of the corresponding channels. They will move in
tandem with the faders of the top panel. You can also
move the cursor to a fader and use the dial or [DEC]/
[INC] keys of the data entry section to edit the value. The
current value is shown in numerical form immediately
below the fader.
Cursor
■ Buttons
Buttons in the screen are used to execute specific func-
tions, to switch parameters on/off, or to select one of sev-
eral choices.
Fader
To execute a button’s function, to switch it on/off, or to
select a desired item, move the cursor to the desired button
and press the [ENTER] key of the data entry section.
By moving the cursor to a button that shows the ▼ symbol
and then pressing the [Enter] key, you can open another
popup window where you can specify details.
■ List window
A window like the following will appear when you are
selecting an item from a list, such as when selecting a
function for a user-defined key.
Within the list, the constantly-highlighted item in the cen-
ter is the selected item. To scroll the list up or down, use
the dial or the [DEC]/[INC] keys.
Buttons
List window
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Viewing the display
● CAUTION dialog box
■ Keyboard window
This dialog box will display a warning if a fatal error
has occurred in the operation you attempted to exe-
cute. When you move the cursor to the CLOSE button
and press the [ENTER] key, the operation will be forc-
ibly cancelled, and the dialog box will disappear.
The keyboard window shown below will appear when you
assign a name or comment to a scene or library, or when
you assign a name to a channel. To enter characters, move
the cursor to the desired character in the window and press
Keyboard window
3
■ Dialog box
When you need to confirm the operation you just per-
formed or when a problem has occurred, a dialog box will
appear, asking you to confirm the operation or displaying
a warning.
● CONFIRMATION dialog box
This dialog box will appear when confirmation is
required. Move the cursor to the OK button to execute
the operation (or to the CANCEL button to cancel it),
and press the [ENTER] key.
● ATTENTION dialog box
This dialog box will display a warning when a prob-
lem has occurred with the operation you are attempt-
ing to execute.
If you move the cursor to the OK button and press the
[ENTER] key, the operation will be executed in a way
that circumvents the problem. If you move the cursor
to the CANCEL button and press the [ENTER] key,
the operation will be cancelled.
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Assigning a name
Assigning a name
On the LS9, you can assign a name to each input channel and output channel, and assign a title
to each scene or library data item when you save it.
To assign a name, you will use the keyboard window that is shown in the main area.
● DEL button
Deletes the character to the right of the text cursor.
Access the window where you can assign a
name.
1
The illustration below shows the SCENE STORE
popup window that is used when assigning a name to a
scene.
● BS button
Deletes the character to the left of the text cursor.
● SHIFT LOCK button
Switches between uppercase and lowercase alphabeti-
cal characters. You’ll be able to enter uppercase char-
acters and symbols if this button is on, and lowercase
characters and numerals if this button is off.
Text input box
● ENTER button
Finalizes the name you entered. In the SCENE
STORE popup window, you can obtain the same result
by moving the cursor to the STORE button and press-
ing the [ENTER] key.
When you’ve entered the name, move the
cursor to the STORE button or the ENTER
button and press the [ENTER] key.
4
The name you entered will be applied.
A yellow vertical line called the “text cursor” is shown
to indicate the current location in the box that displays
the characters that have been input.
HINT
• The basic procedure is the same in the windows that let you
assign names to channels or other types of library data. If
you’re entering a channel name, the name will be updated
immediately, without your having to use the ENTER button.
Use the on-screen keyboard to enter text.
2
3
Move the cursor (the red frame) to the desired charac-
ter in the keyboard window and press the [ENTER]
key; the character will be entered in the text input box,
and the text cursor (yellow vertical line) in the box will
move to the right.
Enter the subsequent characters in the
same way.
While entering characters, you can use the following
buttons in the keyboard window.
● COPY button
Copies the entire text string from the text box into
buffer memory.
● PASTE button
Inserts the text string copied using the COPY button at
the location of the text cursor.
● CLEAR button
Erases all characters that were entered in the text input
box.
←
→
●
/
buttons
Moves the text cursor forward or backward in the text
input box.
● INS button
Inserts a space (blank) at the text cursor.
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Using the tool buttons
Using the tool buttons
The title bar at the top of some popup windows and screens contains tool buttons that provide
additional functions.You can use these buttons to recall related libraries, or to copy the parame-
ters of a channel to a different channel. Here we will explain how to use the tool buttons.
3
About the tool buttons
Using libraries
Tool buttons like the following are shown in the ATT/
HPF/EQ, DYNAMICS 1/2, GEQ, and EFFECT popup
windows and screens.
Here we will explain the basic procedure for using librar-
ies. You can use libraries to store (save) or recall (load)
the settings of the currently selected channel (EQ/dynam-
ics) or rack (GEQ/effect).
1
2
3
4
5
The following libraries are provided.
• Input EQ library
• Output EQ library
• Dynamics library
• GEQ library
1 LIB (library) button
This button recalls the library that is related to the current
popup window or screen (EQ, dynamics, GEQ, or effect
library).
• Effect library
The operating procedure is essentially the same for all
libraries.
B DEF (default) button
This button restores the currently selected channel (EQ/
dynamics) or rack (effect) to the default state.
● Recalling data from a library
C COPY button
Access a popup window or screen that con-
tains tool buttons.
To access each popup window or screen, proceed as
follows.
1
This button copies the settings of the currently selected
channel (EQ/dynamics) or rack (GEQ/effect). The copied
settings are held in buffer memory (a memory area for
temporary storage).
D PASTE button
[ ATT/HPF/EQ popup window ]
[ DYNAMICS 1/2 popup window ]
This button pastes the settings held in buffer memory into
the currently selected channel (EQ/dynamics) or rack
(GEQ/effect).
E COMPARE button
This button exchanges the settings held in buffer memory
with the settings of the currently selected channel (EQ/
dynamics) or rack (GEQ/effect).
NOTE
• You cannot press the PASTE button or COMPARE button if no set-
tings have been copied into buffer memory.
In addition, some screens have the following tool buttons.
• SET ALL...............Turns on all of the parameters in the
screen.
• CLEAR ALL..........Turns off all of the parameters in the
screen.
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Using the tool buttons
In the SELECTED CH VIEW screen, move the cursor
[ RACK screen ]
to the knob corresponding to EQ or dynamics 1/2, or
to a button that has a ▼ symbol, and press the
[ENTER] key.
In the DISPLAY ACCESS section, repeatedly press
the [RACK 1-4] or [RACK 5-8] key.
HINT
HINT
• If you want to change the assignment (31BandGEQ,
Flex15GEQ, or effect) to each rack, simultaneously press the
[RACK 1-4] key and [RACK 5-8] to access the VIRTUAL
• If POPUP APPEARS WHEN PRESSING KNOBS is turned
access the popup window by pressing the SELECTED
CHANNEL section encoder that corresponds to EQ or
dynamics 1/2.
Move the cursor to the LIB button in the
toolbar and press the [ENTER] key to
access the popup window of the corre-
sponding library.
3
[ RACK screen ]
In the DISPLAY ACCESS section, press the [RACK
1-4] or [RACK 5-8] key.
1
2
1 List
Select the channel (EQ/dynamics) or rack
(GEQ/effect) whose settings you want to
recall.
The method of selecting a channel/rack will depend on
the type of popup window or screen that is currently
displayed.
2
This shows the settings that are saved in the library.
The highlighted line indicates the data that is selected
for operations. Read-only data is indicated by an “R”
symbol.
B RECALL button
This button recalls the settings selected in the list into
the currently selected channel (EQ/dynamics) or rack
(GEQ/effect).
[ ATT/HPF/EQ popup window ]
[ DYNAMICS 1/2 popup window ]
Press a [SEL] key on the panel, or move the cursor to
the selected channel in the constant display area of the
screen, and use the dial or the [DEC]/[INC] keys.
HINT
• The right side of the list shows information about the corre-
sponding data (the dynamics type or effect type used, etc.).
For the dynamics library, a symbol is shown to indicate
whether the data can be recalled by dynamics 1 or 2.
Selected channel
Move the cursor to the list, and select the
recall-source library number by using the
dial or the [DEC]/[INC] keys to move the
highlighted line in the list.
4
In some cases, the data selected as the recall-source
cannot be recalled into the currently selected channel/
rack. Each library has the following limitations.
● Dynamics library
The dynamics library holds three types of data;
Dynamics 1 and Dynamics 2 for input channels, and
Dynamics 1 for output channels. Recall is not possible
if you’ve selected a type that is not supported by the
corresponding dynamics processor.
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Using the tool buttons
● GEQ library
Move the cursor to the list, and use the dial
or the [DEC]/[INC] keys to select the store-
destination library number.
4
5
The GEQ library holds two types of data; 31BandGEQ
or Flex15GEQ. Recall is not possible if you’ve
selected a type that is different than the recall-destina-
tion GEQ.
After you’ve selected the store-destination,
move the cursor to the STORE button and
press the [ENTER] key.
The LIBRARY STORE popup window will appear,
allowing you to assign a name to the data. For details
● Effect library
Effect settings whose effect type is “HQ.Pitch” or
“Freeze” can be recalled only to racks 5 or 7. They
cannot be recalled if any other rack is selected.
3
If you select a library item number that cannot be
recalled, the RECALL button will be disabled.
When you’ve assigned a name to the data,
move the cursor to the STORE button in the
LIBRARY STORE popup window and press
the [ENTER] key.
A dialog box will ask you to confirm the Store opera-
tion.
6
Move the cursor to the RECALL button and
press the [ENTER] key.
The selected data will be loaded into the channel (EQ/
dynamics) or rack (GEQ/effect) you selected in step 2.
5
HINT
• You also have the option of displaying a dialog box that asks
● Storing data in a library
Access a popup window or screen that con-
tains tool buttons.
1
To execute the Store operation, move the
cursor to the OK button and press the
[ENTER] key.
The current settings will be stored in the library num-
ber you selected in step 4. If you decide to cancel the
Store operation, move the cursor to the CANCEL but-
ton instead of the OK button, and press the [ENTER]
key.
7
Select the channel (EQ/dynamics) whose
2
settings you want to store, or the rack in
which the GEQ/effect whose settings you
want to store is already mounted.
Move the cursor to the LIB button in the
3
toolbar and press the [ENTER] key to
access the popup window or screen of the
corresponding library.
HINT
• Even after you’ve stored the settings, you can edit the title of
the data by moving the cursor to the data name in the list and
pressing the [ENTER] key to access the LIBRARY TITLE
EDIT popup window. However, you can’t rename read-only
data (indicated by the “R” symbol).
NOTE
• Please be aware that if you store to a location that already
contains data, the existing data will be overwritten. (However,
you can’t overwrite read-only data.)
• Don’t turn off the power while the Store operation is in
progress. The data will not be stored correctly if you do so.
STORE button
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Using the tool buttons
● Erasing data from a library
Initializing settings
Here’s how you can return the EQ/dynamics settings of
the currently selected channel or the effect settings of a
rack to their initial state.
Access a popup window or screen that con-
tains tool buttons.
1
Move the cursor to the LIB button in the
2
toolbar and press the [ENTER] key to
access the popup window of the corre-
sponding library.
HINT
• GEQ settings can be initialized using the FLAT button in the
screen.
Access a popup window or screen that con-
tains tool buttons.
1
Select the channel (EQ/dynamics) or rack
(effect) whose settings you want to initial-
ize.
2
Move the cursor to the DEF button and
press the [ENTER] key.
3
A dialog box will ask you to confirm the Initialize
operation.
1
1 CLEAR button
Clears (erases) the data that is selected in the list.
Move the cursor to the list, and use the dial
or the [DEC]/[INC] keys to select the library
item number that you want to clear.
3
To execute the Initialize operation, move the
cursor to the OK button and press the
[ENTER] key.
The EQ/dynamics settings of the channel you selected
in step 2 or the effect settings of the rack will be ini-
tialized. If you decide to cancel the Initialize opera-
tion, move the cursor to the CANCEL button instead
of the OK button, and press the [ENTER] key.
Move the cursor to the CLEAR button and
press the [ENTER] key.
A dialog box will ask you to confirm the Clear opera-
tion.
4
4
5
To execute the Clear operation, move the
cursor to the OK button and press the
[ENTER] key.
The data you selected in step 3 will be cleared. If you
decide to cancel the Clear operation, move the cursor
to the CANCEL button instead of the OK button, and
press the [ENTER] key.
NOTE
• You can’t clear read-only data (data indicated by an “R” sym-
bol).
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Using the tool buttons
Copying and pasting settings
Here’s how you can copy the EQ/dynamics settings of the
currently selected channel or the GEQ/effect settings of
the currently selected rack to buffer memory, and then
paste them to a different channel or rack.
Comparing two sets of settings
By using the compare button in the toolbar, you can
exchange the settings held in the buffer memory with the
settings of the currently selected channel (EQ/dynamics)
or rack (GEQ/effect). This is convenient when you want to
temporarily save an interim result of your editing, and
then compare it with subsequent edits.
Copy/paste is limited to the following combinations.
3
• Between EQ of input channels
• Between EQ of output channels
Access a popup window or screen that con-
tains tool buttons.
1
• Between dynamics for which the same type (GATE,
DUCKING, COMPRESSOR, EXPANDER, COM-
PANDER-H, COMPANDER-S, DE-ESSER) is
selected
Select a channel (EQ/dynamics) or rack
(GEQ/effect).
2
• Between effects mounted in a rack
Move the cursor to the COPY button and
press the [ENTER] key to save the current
settings in the buffer memory.
3
Access a popup window or screen that con-
1
tains tool buttons.
This will be the first version of your settings.
Select the channel (EQ/dynamics) or rack
(GEQ/effect) whose settings you want to
copy.
2
Edit the settings of the currently selected
channel (EQ/dynamics) or rack (GEQ/
effect).
4
Move the cursor to the COPY button and
press the [ENTER] key.
3
This will be the second version of your settings.
NOTE
The current settings will be held in buffer memory.
• Please note that if you copy other settings before you execute
the Compare operation, the buffer memory will be overwritten.
Select the paste-destination channel or
rack.
4
• After saving the first version of your settings in buffer memory,
you can also initialize the channel/rack and create the second
version of your settings from scratch.
Move the cursor to the PASTE button and
press the [ENTER] key.
5
The settings of the channel (EQ/dynamics) or the rack
(GEQ/effect) you selected in step 2 will be pasted.
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Using the tool buttons
When you want to compare the first and
5
second versions of your settings, move the
cursor to the COMPARE button and press
the [ENTER] key.
You will return to the first version of your settings. At
this time, the second version of your settings will be
saved in buffer memory.
COPY
The first set
The first set
Buffer memory
Edit the settings
The first set
(The second set)
Buffer memory
COMPARE
The first set
The second set
Buffer memory
With the cursor left at the COMPARE but-
ton, repeatedly press the [ENTER] key to
compare the first and second versions of
settings.
6
Each time you press the [ENTER] key, the current set-
tings will be exchanged with the settings saved in
buffer memory. Unlike the Paste operation, this opera-
tion lets you return to the previous settings at any time
as long as the buffer memory has not been overwritten.
HINT
• The settings held in buffer memory can also be used by the
Paste operation.
• If you operate the tool buttons for a rack in which Flex15GEQ
(of the two types of GEQ) is selected, A and B will be individ-
ually exchanged with the buffer memory.
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Chapter 4
Connections and setup
This chapter explains how to connect the audio inputs and outputs, how to
perform the setup necessary when starting the LS9 for the first time, and
how to check the operation.
4
Connections
■ Analog input connections• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
LS9-16
LS9-32
Connect microphones or line level devices to INPUT jacks 1–16 {1–32}. When the LS9 is in its initial state,
the signal from each INPUT jack is patched to the following channels.
For the LS9-16
For the LS9-32
Analog input jacks
Input channels
INPUT channels 1–16
Analog input jacks
INPUT jacks 1–32
Input channels
INPUT channels 1–32
INPUT jacks 1–16
NOTE
• This patching can be changed as necessary (→ p. 99). For example if you want to connect a stereo line-level device, you can assign
two INPUT jacks to a ST IN channel so that the left and right channels can be operated in tandem for convenience.
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Connections
■ Analog output connections• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Monitor speakers
Power amp
LS9-16
Power amp
Power amp
Monitor speakers (foldback)
Main speakers
OMNI OUT jacks 1–8 {1–16} can be connected to your main speakers, monitor speakers (foldback), or mon-
itor speakers for the engineer.
When the LS9 is in its initial state, the signal from the following channels is patched to each OMNI OUT jack.
For the LS9-16
For the LS9-32
Analog output jacks
Output channels
MIX channels 1–6
STEREO L/R channel
Analog output jacks
Output channels
MIX channels 1–14
STEREO L/R channel
OMNI OUT jacks 1–6
OMNI OUT jacks 7–8
OMNI OUT jacks 1–14
OMNI OUT jacks 15–16
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Connections
■ Digital input/output connections • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
e.g., CD recorder
4
LS9-16
Power amp
Digital I/O card
Speaker processor
(e.g.,Yamaha DME64N)
Main speakers
Use the 2TR IN DIGITAL/2TR OUT DIGITAL jacks or the mini-YGDAI slot to send or receive digital audio
signals between the LS9 and external equipment. When the LS9 is in the default state, the signals of the fol-
lowing channels are patched to the 2TR IN DIGITAL/2TR OUT DIGITAL jacks and slots. This patching can
For the LS9-16
For the LS9-32
Digital input/output jacks
Input/output channels
No assignment
Digital input/output jacks
Input/output channels
No assignment
2TR IN DIGITAL jack (L/R)
2TR OUT DIGITAL jack (L/R)
Slot input channels 1–8
Slot input channels 9–16
Slot output channels 1–8
Slot output channels 9–16
2TR IN DIGITAL jack (L/R)
2TR OUT DIGITAL jack (L/R)
Slot 1 input channels 1–8
Slot 1 input channels 9–16
Slot 2 input channels 1–8
Slot 2 input channels 9–16
Slot 1 output channels 1–8
Slot 1 output channels 9–16
Slot 2 output channels 1–8
Slot 2 output channels 9–16
STEREO L/R channel
INPUT channels 17–24
INPUT channels 25–32
MIX channels 1–8
STEREO L/R channel
INPUT channels 33–40
INPUT channels 41–48
INPUT channels 49–56
INPUT channels 57–64
MIX channels 1–8
MIX channels 9–16
MIX channels 9–16
MIX channels 1–8
MIX channels 9–16
The LS9’s 2TR IN DIGITAL/2TR OUT DIGITAL jacks are used to transfer two-channel digital audio signals
to or from an external device (e.g., CD player or CD/MD recorder).
By installing a separately sold digital I/O card in a slot, you can add more input/output jacks to the LS9, or
connect a DAW system or speaker processor.
For details on the types of I/O cards that can be used, refer to the appendix at the end of this manual (→
NOTE
• In order for digital audio signal to be transmitted or received via the 2TR IN DIGITAL/2TR OUT DIGITAL jacks
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Installing an option card
Installing an option card
Before you install an I/O card in a slot, you must check the Yamaha website to verify whether the
LS9 supports that card and to verify the number of other Yamaha cards or third-party cards that
can be used in conjunction with it.
http://www.yamahaproaudio.com/
To install an option I/O card, proceed as follows.
Fasten the card using the screws attached
to the card.
Be aware that damage or malfunctions may occur if
the card is not fastened.
4
Make sure that the power is turned off.
1
2
Loosen the screws that fasten the slot, and
remove the slot cover.
Keep the removed slot cover in a safe place.
CAUTION
• Before installing separately sold I/O cards into the console,
you must make sure that the console’s power switch is
turned off. Otherwise, malfunctions or electrical shock may
occur.
LS9-16
Slot cover
Align both edges of the card with the guide
rails inside the slot, and insert the card into
the slot.
3
Push the card all the way into the slot to ensure that the
contacts of the card are correctly inserted into the con-
nector inside the slot.
LS9-16
Card
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Setup required when starting up
Setup required when starting up
Here we explain the setup that is required when starting the LS9 for the first time. So that you
can check whether the connections are correct, we also describe the basic procedure for getting
the input signal from an INPUT channel to be output from the STEREO bus.
Move the cursor to the scene list, and use
the dial or the [DEC]/[INC] keys to make
3
Returning the current scene to the
“000 Initial Data” appear in the highlighted
line in the center of the list.
4
initial state
We will power-on the LS9 and recall (load) the initial set-
ting scene (scene number 000).
NOTE
• We are recalling the default setting scene here so that the remain-
ing operations in this chapter can be performed appropriately. In
actual operation, there’s no need to recall the default setting scene
Move the cursor to the RECALL button and
press the [ENTER] key.
4
each time you start up.
Scene number “000” will be loaded, and the mix
parameters will return to their initial state.
Power-on the LS9.
When you power-on the LS9, you must turn on your
1
NOTE
equipment in the order of the LS9 → power amp or
monitor system. (Use the opposite order when power-
ing-off.)
• Be aware that when scene number “000” is loaded, the input
patch, output patch, internal effect/GEQ, and HA (head amp)
settings will also return to their initial state. (However, the
word clock source selection will not be affected.)
In the DISPLAY ACCESS section, press the
[SCENE MEMORY] key to access the
SCENE LIST screen.
2
In this screen you can recall or store scene memories.
1
2
1 Scene list
B RECALL button
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Setup required when starting up
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the SYS-
TEM SETUP screen.
In this screen you can make various settings that affect
the entire LS9.
1
Word clock connection and set-
tings
“Word clock” is the clock data that provides the timing
basis for audio signals to be processed digitally.
If a digital I/O card installed in a slot is digitally con-
nected to an external device such as a DAW system, CD
player, or HDR (hard disk recorder), and you want digital
audio signals to be transmitted or received between the
LS9 and the external device, you must synchronize the
word clock of the respective devices.
In order for this to occur, one device must be the word
clock master (transmitting device) and the other device
must be the slave (receiving device), and the slave device
must synchronize to the master device.
If you want to set the LS9 as the word clock slave so that it
will synchronize to the word clock supplied from an exter-
nal device, you can either use the clock data included in
the digital audio signal received from a digital I/O card, or
provide dedicated word clock to the WORD CLOCK IN
jack located on the rear panel.
1
LS9-32
1 WORD CLOCK button
Move the cursor to the WORD CLOCK but-
ton in the MIXER SETUP field, and press the
[ENTER] key.
Digital audio device
2
+
Clock data
The WORD CLOCK popup window will appear,
allowing you to select the clock source on which the
LS9 will operate.
Slot
HDR or other digital
audio device (word
clock master)
LS9 (word clock slave)
Digital audio signal
Clock data
LS9-32
WORDCLOCK
IN jack
Slot
Digital MTR or other
digital audio device
(word clock master)
LS9 (word clock slave)
In either case, you must use the following procedure to
specify the word clock source that the LS9 will use for
operation.
HINT
• The following procedure is not necessary if you are using the LS9
as the word clock master, or if no external devices are digitally
connected to the LS9.
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Setup required when starting up
Use the buttons in the window to select the
clock source to which the LS9 will synchro-
nize.
3
HA (head amp) settings
Here we explain how to adjust the HA (head amp) gain,
switch phantom power on/off, and switch the phase for
each input channel to which you’ve connected a mic or
instrument.
● If you want the clock source to be the clock
data included in a digital audio signal from a
slot
Turn on a valid 2-channel button for the corresponding
slot.
When setting HA-related parameters on the LS9, you can
either use the SELECTED CHANNEL section or the
SELECTED CH VIEW screen in the display to make set-
tings for a single channel at a time, or use the popup win-
dow to make settings for eight channels at a time.
● If you want the clock source to be the clock
data included in the digital audio signal from
the 2TR IN DIGITAL jack
4
Turn on the 2TR IN button.
NOTE
● Making HA settings for one channel at a
• If a conventional CD player or similar device is connected to
the 2TR IN DIGITAL jack, use that device as the clock master.
In some cases, noise may occur when synchronization is lost.
time
Select the channel that you want to set, and use the
SELECTED CHANNEL section or the SELECTED CH
VIEW screen of the display to make HA settings.
● If you want the word clock data from the
WORD CLOCK IN jack to be the clock source
Turn on the WC IN button.
Make sure that a mic or instrument is con-
1
● If you want the LS9’s internal clock to be the
clock source
Turn on the INT48k (sampling frequency: 48 kHz) or
INT44.1k (sampling frequency: 44.1 kHz) button.
Make sure that the fader layer that contains
the desired channel is selected in the
LAYER section.
2
If necessary, use the keys of the LAYER section to
switch fader layers.
If the LS9 is correctly operating with the new clock,
the symbol located immediately above the correspond-
ing button will turn light blue. Also, the frequency of
the selected clock source is shown in the upper left of
the window.
To close the WORD CLOCK popup window,
move the cursor to the CLOSE button (or
the × symbol in the upper right of the win-
dow) and press the [ENTER] key.
4
LS9-16
LS9-32
NOTE
• The word clock setting is maintained even if you turn off the
power. If you’ve set the LS9 to synchronize to the word clock
of an external device, be aware that an error message will
appear and the system will not operate correctly if the exter-
nal device is powered-off when you power-cycle the LS9 or if
the connection is disconnected.
Press the [SEL] key of the channel for the
INPUT jack you want to operate, so that the
LED is lit.
That channel is now selected for operations in the
SELECTED CHANNEL section.
3
1
2
1 [SEL] key
B Meter LEDs
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Setup required when starting up
Press the SELECTED CHANNEL section
[HOME] key.
Use either of the following methods to
adjust the HA gain of the selected channel.
4
5
The [HOME] key restores the LS9’s panel to its basic
state (home position). When you press this key, the
SELECTED CH VIEW screen will appear in the dis-
play, showing all the parameters of the channel that is
selected by its [SEL] key. Also, SENDS ON FADER
mode will be defeated, and the channel level function
will be assigned to the faders.
● Using the SELECTED CHANNEL section
Operate the SELECTED CHANNEL section [HA
GAIN] encoder. When you do so, the GAIN knob in
the SELECTED CH VIEW screen will move in tan-
dem. (If any other screen is displayed, a small popup
window will show the value.)
● Using the SELECTED CH VIEW screen
Use the cursor keys of the DATA ENTRY section to
move the cursor to the GAIN knob in the screen, and
use the dial or the [DEC]/[INC] keys to adjust the HA
gain.
In either case, the level of that channel is shown by the
meter LEDs in the channel module section.
If the meter does not move even though a signal is
being input, check whether the INPUT jack is con-
nected appropriately, and whether the meter detection
point might have been set to POST ON (immediately
NOTE
• The PAD will be internally switched on or off when the HA
gain is adjusted between -14 dB and -13 dB. Keep in mind
that noise may be generated if there is a difference between
the Hot and Cold output impedance of the external device
connected to the INPUT connector when using phantom
power.
To make HA settings for another channel,
use the [SEL] keys to select another chan-
nel and make settings in the same way.
6
1
1 GAIN knob
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Setup required when starting up
1 +48V button
B GAIN knob
C ø (phase) button
● Making HA settings for a group of eight
channels
Here’s how to access a popup window where you can
make HA settings for a group of eight channels.
HINT
• If you’ve turned on POPUP APPEARS WHEN PRESSING
can also access this popup window by pressing the
SELECTED CHANNEL section [HA GAIN] encoder.
Make sure that a mic or instrument is con-
1
Press the SELECTED CHANNEL section
[HOME] key.
2
To adjust the HA gain, move the cursor to
the GAIN knob of the desired channel in the
window, and use the dial or the [DEC]/[INC]
keys.
The input level of the channel is shown by the level
meter located immediately to the right of the GAIN
knob in the screen.
5
6
The SELECTED CH VIEW screen will appear in the
display.
4
1
2
NOTE
• The PAD will be internally switched on or off when the HA
gain is adjusted between -14 dB and -13 dB. Keep in mind
that noise may be generated if there is a difference between
the Hot and Cold output impedance of the external device
connected to the INPUT connector when using phantom
power.
To turn on phantom power for each chan-
nel, move the cursor to the +48V button in
the HA field of the screen, and press the
[ENTER] key.
1 HA popup button
B GAIN knob
The +48V button will turn on (red), and phantom
power will be supplied to the corresponding INPUT
jack.
Use the keys of the LAYER section and the
[SEL] keys of the channel module section
to select the channel for the INPUT jack you
want to control.
3
4
NOTE
• If you want to use phantom power, you must first turn ON the
+48V MASTER ON/OFF button located in the SYSTEM
SETUP screen.
Move the cursor to the HA popup button or
GAIN knob in the SELECTED CH VIEW
screen, and press the [ENTER] key.
The HA/PATCH popup window will appear, allowing
you to adjust the HA gain, switch phantom power on/
off, and switch the phase in groups of eight channels.
This popup window shows the parameters for the eight
channels that include the channel you selected in step
2.
To switch the phase of each channel
between normal and reverse phase, move
the cursor to the ø button in the HA field
and press the [ENTER] key.
The ø button will change from black to red, and the
phase of the corresponding channel will be reversed.
7
8
If you want to operate the HA of a channel
that is not currently shown in the popup
window, use the [SEL] key to select that
channel, and then make settings for it.
For example if INPUT channels 1–8 are shown in the
popup window, pressing the INPUT channel 9 [SEL]
key will change the popup window to INPUT channels
9–16.
1
2
3
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Setup required when starting up
Make sure that the ST button in the screen
is on (white characters on a pink back-
ground).
The ST button is an on/off switch for the signal sent
from that channel to the STEREO bus. If this is off
(gray characters on a black background), move the
cursor to ST button and press the [ENTER] key.
3
4
Sending an input channel signal to
the STEREO bus
Here we explain how to adjust the level of a signal sent
from a gain-adjusted input channel to the STEREO bus,
adjust its pan (INPUT channel) or balance (ST IN chan-
nel), and monitor it from external speakers connected to
the STEREO channel. The following procedure will let
you check whether the mic, instrument, and main speakers
are connected appropriately.
When setting the level or pan/balance of a signal being
sent to the STEREO bus, you can either use the
SELECTED CHANNEL section or the SELECTED CH
VIEW screen in the display to make settings for a single
channel at a time, or use the popup window to make set-
tings for eight channels at a time.
In the STEREO MASTER section of the top
panel, make sure that the STEREO channel
[ON] key is on, and raise the STEREO chan-
nel fader to 0 dB.
● Controlling the signal sent to the STE-
REO bus, one channel at a time
Here’s how to select the input channel that you want to
control, and use the top panel faders/encoders, the
SELECTED CHANNEL section, and the SELECTED CH
VIEW screen of the display to control the level and pan/
balance.
1
Press the SELECTED CHANNEL section
[HOME] key.
1
2
The SELECTED CH VIEW screen will appear in the
display.
1
2
1 STEREO channel [ON] key
B STEREO channel fader
In the channel module section or the ST IN
section, make sure that the [ON] key of the
currently selected channel is turned on.
5
1 ST button
B PAN/BAL knob
Use the keys of the LAYER section and the
[SEL] keys of the channel module section
to select the channel for the INPUT jack you
want to control.
2
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Setup required when starting up
Raise the fader of the currently selected
channel (or the encoder for a ST IN chan-
nel) to obtain an appropriate volume.
In this state, you should hear sound from the speaker
system patched to the STEREO channel. If you don’t
hear sound, watch the stereo meter located at the right
of the display to see whether the LR meter is moving.
● Controlling the signal sent to the STE-
6
REO bus, eight channels at a time
Here’s how to access a popup window in which the level
and pan/balance of the signal sent to the STEREO bus can
be adjusted for eight channels at a time.
Press the SELECTED CHANNEL section
[HOME] key.
1
The SELECTED CH VIEW screen will appear in the
display.
4
1
2
● If the LR meter is moving
It is possible that the output jack connected to your
speaker system is not correctly patched to the STE-
REO channel. Check the output port patching (→
1 PAN popup button
B PAN/BAL knob
● If the LR meter is not moving
It is possible that the channel’s [ON] key is off, or that
the ST button is turned off in the SELECTED CH
VIEW screen. Check the setting of the [ON] key or ST
button.
Use the keys of the LAYER section and the
[SEL] keys of the channel module section
to select the channel for the INPUT jack you
want to control.
2
3
HINT
• You can also use headphones connected to the front panel
PHONES OUT jack to monitor the signal that is being output
Move the cursor to the PAN popup button
or PAN/BAL knob in the SELECTED CH
VIEW screen, and press the [ENTER] key.
The TO STEREO/MONO popup window will appear,
allowing you to adjust the level and pan/balance of the
signal sent to the STEREO bus, eight channels at a
time. This popup window shows the parameters for the
eight channels that include the channel you selected in
step 2.
To adjust the pan/balance of the signal that
is sent from the input channel to the STE-
REO bus, turn the SELECTED CHANNEL
section [PAN] encoder.
When you turn the [PAN] encoder, the PAN/BAL
knob in the SELECTED CH VIEW screen will also
move in tandem with it.You can obtain the same result
by moving the cursor to the PAN/BAL knob and oper-
ating the dial or the [DEC]/[INC] keys.
7
8
1
To control another channel, use the [SEL]
keys to select another channel and make
settings in the same way.
2
1 ST button
B PAN/BAL knob
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Setup required when starting up
HINT
• If you’ve turned on POPUP APPEARS WHEN PRESSING
can also access this popup window by pressing the
SELECTED CHANNEL section [PAN] encoder.
In the STEREO MASTER section of the top
panel, make sure that the STEREO channel
[ON] key is on, and raise the STEREO chan-
nel fader to 0 dB.
4
5
Make sure that the ST button for each chan-
nel in the window is on (white characters on
a pink background).
The ST button is an on/off switch for the signal sent
from each channel to the STEREO bus. This is the
same function as the ST button in the SELECTED CH
VIEW screen.
To adjust the pan (INPUT channel) or bal-
ance (ST IN channel) of the signal sent from
the input channel to the STEREO bus, move
the cursor to the PAN/BAL knob of the
desired channel in the window, and operate
the dial or the [DEC]/[INC] keys.
6
7
In the channel module section or the ST IN
section, make sure that the [ON] key of the
channel you want to operate is turned on.
Raise the fader/encoder of each channel to
obtain an appropriate volume.
8
9
If you want to operate a channel that is not
currently shown in the popup window, use
the [SEL] key to select that channel, and
then make settings for it.
For example if INPUT channels 1–8 are shown in the
popup window, pressing the INPUT channel 9 [SEL]
key will change the popup window to INPUT channels
9–16. If you press a [SEL] key of the ST IN section,
the L/R channels of ST IN channels 1–4 will be dis-
played together.
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Chapter 5
Input channel operations
This chapter explains operations for input channels (INPUT channels and ST
IN channels).
5
Signal flow for input channels
The input channel are the section that processes the signals received from the rear panel input
jacks or slot, and sends them to the STEREO bus, MONO bus, and MIX buses. There are two
types of input channel, as follows.
■ INPUT channels 1–32 {1–64} • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
These channels are used to process monaural signals. When the LS9 is in the default state, the input signals from the
rear panel INPUT jacks and the input channels of the slot(s) are assigned to these channels. For details, refer to p.99.
M
O
N
ST
MATRIX CUE
...
MIX
O
...
15 16
(C)
1
2
L
R
1
2
7
8
L
R
CH 1-32{64}
To RACKIN PATCH
To OUTPUT PATCH
INSERT POINT
To OUTPUT PATCH
DIRECT OUT 1-32{64}
CH
ON
LEVEL
PRE FADER INSERT OUT
PRE HPF / PRE EQ / PRE FADER
To RECORDER IN PATCH
INSERT OUT 1-32
PRE EQ
INSERT OUT
POST PAN L
POST PAN R
PAN
CH
INSERT IN 1-32
PRE EQ
METER
EQ OUT
METER
GR METER
DYNA1OUT
METER
DYNA2OUT
METER
PRE FADER
METER
POST ON
METER
PAN MODE
TO MONO TO ST
LR MONO
ST L
GR METER
LEVEL
PRE HPF
METER
MONO(C)
ST R
TO LCR
ON
GATE
DUCK
EXPAND
COMP
LCR
CSR
COMP
COMPAND
DE-ESSER
INSERT
INSERT
4BAND
EQ
HPF
ATT
32
{64}
PRE HPF
PRE EQ POST EQ
POST ON
PRE FADER
PRE FADER
INSERT OUT
KEYIN CUE
PRE EQ
Keyin Filter
INSERT OUT
Keyin
PAN LINK
Self PRE EQ
Self POST EQ
MIX13-16 OUT
MIX1,3...15
ON
ON
To MIX
FIXED
POST ON
MIX2,4...16
CH[1-8,9-16,17-24,25-32]POST EQ{16}
CH[1-8,9-16,17-24,25-32,33-40,41-48,49-56,57-64]POST EQ{32}
To MIX
ON
ON
POST PAN L
POST PAN R
FIXED
STEREO
ON
LEVEL
LEVEL
To MIX
VARI
PRE EQ / PRE FADER / POST ON
ON
To MIX
VARI
STEREO
ON
LEVEL
PAN
PRE EQ / PRE FADER / POST ON
ON
CUE L
CUE R
(PRE FADER)PFL / (POST ON)AFL / POST PAN L
(PRE FADER)PFL / (POST ON)AFL / POST PAN R
ON
■ ST IN channels 1–4• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
These channels are used to process stereo signals. When the LS9 is in the default state, the outputs of virtual racks 5–
8 are assigned to these channels.
M
O
N
ST
MATRIX CUE
...
MIX
O
...
15 16
(C)
1
2
L
R
1
2
7
8
L
R
POST PAN L
POST PAN R
TO MONO TO ST
BAL
ST IN 1L-4R
PRE EQ
METER
EQ OUT
METER
DYNA1OUT
METER
DYNA2OUT
METER
PRE FADER
METER
POST ON
METER
PAN MODE
LR MONO
ST L
GR METER
GR METER
LEVEL
PRE HPF
METER
MONO(C)
TO LCR
ON
GATE
DUCK
EXPAND
COMP
LCR
CSR
COMP
COMPAND
DE-ESSER
4BAND
EQ
HPF
ATT
ST R
8
PRE HPF
POST ON
PRE EQ POST EQ
PRE FADER
KEYIN CUE
Keyin Filter
PAN LINK
Keyin
Self PRE EQ
Self POST EQ
MIX1,3...15
ON
ON
To MIX
FIXED
POST ON
MIX13-16 OUT
MIX2,4...16
ST IN 1L-4R POST EQ
To MIX
ON
ON
POST PAN L
POST PAN R
FIXED
STEREO
ON
ON
LEVEL
LEVEL
To MIX
VARI
PRE EQ / PRE FADER / POST ON
To MIX
VARI
STEREO
ON
LEVEL
BAL
PRE EQ / PRE FADER / POST ON
CUE L
CUE R
(PRE FADER)PFL / (POST ON)AFL / POST PAN L
(PRE FADER)PFL / (POST ON)AFL / POST PAN R
ON
ON
53
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Signal flow for input channels
● INPUT PATCH
● LCR (Left/Center/Right)
This assigns input signals to the input channels.
This sends the signal of the input channel to the STEREO
bus / MONO bus as a three-channel signal that adds a C
(Center) channel to the L/R channels.
● ø (phase)
Switches the phase of the input signal.
● TO MIX ON/OFF MIX (MIX send on/off)
This is an on/off switch for the signal sent from the input
channel to MIX buses 1–16.
There are two types of MIX buses; FIXED types whose
send level is fixed, and VARI types whose send level can
be adjusted. You can switch between FIXED type and
VARI type in sets of two adjacent odd-numbered/even-
● HPF (High Pass Filter)
This is a high pass filter that cuts the region below the
specified frequency.
● ATT (attenuator)
Attenuates/boosts the level of the input signal.
● 4 BAND EQ (4 band equalizer)
A parametric EQ with four bands; HIGH, HIGH MID,
LOW MID, and LOW.
● TO MIX LEVEL 1-16 (MIX send level 1–16)
This adjusts the send level of the signal sent from the input
channel to VARI type MIX buses 1–16. The signal sent to
VARI type MIX buses can be taken from pre-EQ, pre-
fader, or post-[ON] key as desired. The signal sent to
FIXED type MIX buses is taken pre-pan if the MIX bus is
monaural, or post-pan if the MIX bus is stereo.
● DYNAMICS 1
This is a dynamics processor that can be used as a gating,
ducking, expander, or compressor.
● DYNAMICS 2
This is a dynamics processor that can be used as a com-
pressor, compander, or de-esser.
● INSERT (INPUT channels 1–32 only)
● LEVEL
This lets you patch the desired output/input ports in order
to insert an effect processor or other external device (→
p. 101). The insert-out/insert-in position can be switched
between pre-EQ and pre-fader.
Adjusts the input level of the input channel.
● ON (on/off)
Turns the input channel on/off. If this is off, the corre-
sponding channel is muted.
● DIRECT OUT (INPUT channels only)
This lets you patch the desired output port in order to out-
nal can be taken from pre-HPF, pre-EQ, or pre-fader.
● PAN
This adjusts the panning of the signal sent from the
INPUT channel to the STEREO bus. If necessary, this pan
setting can also be applied to signals sent to two MIX
buses that are assigned as stereo.
● METER
This meters the level of the input channel. You can switch
the position at which the level is detected.
● BALANCE
On ST IN channels, the BALANCE is used instead of
PAN. The BALANCE adjusts the volume balance of the
left/right signals sent from the ST IN channel to the STE-
REO bus. If necessary, you can also apply this balance set-
ting to the signal sent to two MIX buses that are assigned
as stereo.
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Specifying the channel name / icon
Specifying the channel name / icon
On the LS9, the name and icon shown in the screen can be specified for each input channel.
Here we will explain how to specify the channel name and icon.
Press the SELECTED CHANNEL section
[HOME] key.
The SELECTED CH VIEW screen will appear in the
display.
Move the cursor to the input port select
popup button in the HA field of the screen,
and press the [ENTER] key.
The PATCH/NAME popup window will appear,
allowing you to select an input port and icon for the
input channel, and to assign a name.
1
4
Use the LAYER section to select the desired
fader layer.
2
3
5
4 1
2
3
Press a [SEL] key in the channel module
section or ST IN section to select the input
channel that you want to operate.
1
LS9-32
This popup window contains the following items.
1 Input port button
This indicates the currently selected input port. When
you’re selecting the icon or editing the channel name,
moving the cursor to this button and pressing the
[ENTER] key will take you back to the input port
selection screen.
1 Input port select popup button
B Icon button
This indicates the icon selected for that channel.
When you move the cursor to this button and press the
[ENTER] key, a screen where you can select an icon
and a sample name will appear.
C Channel name input box
This indicates the name assigned to that channel.
When you move the cursor to this field and press the
[ENTER] key, a keyboard window will appear, allow-
ing you to enter a name.
D Tabs
These tabs switch the items that are shown in the win-
dow.
55
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Specifying the channel name / icon
To select an icon for this channel, move the
cursor to the icon button and press the
[ENTER] key.
Use the [SEL] keys to select another input
channel, and specify its icon and channel
name in the same way.
5
9
The window display will change as follows.
While the PATCH/NAME popup window is displayed,
you can use the [SEL] keys to switch the channel that
you’re operating.
When you’ve finished entering information,
move the cursor to the CLOSE button (or
the × symbol in the upper right of the win-
dow) and press the [ENTER] key.
10
3
1
You will return to the SELECTED CH VIEW screen.
2
1 Icon select buttons
These buttons select the icon that is used for this chan-
nel.
B Sample name select buttons
These buttons select sample names that are related to
the currently selected icon. When you press a button,
its sample name will be entered in the channel name
field.
C Icon background color select buttons
These buttons let you choose one of eight colors as the
background color for the icon.
Use the icon select buttons and the icon
6
background color select buttons to select
the icon and icon color you want to use for
that channel.
The selected icon is shown in the icon button in the
upper part of the window.
If desired, use the sample name select but-
7
tons to select a sample name.The selected
sample name will be entered in the channel
name field in the upper part of the window.
HINT
• You can add or edit the text after entering the sample name in
the channel name field. If you want to assign channel names
that consist of a common name plus a number, such as “Vocal
1” and “Vocal 2,” you can simply enter a sample name and
then add a number.
If you want to enter a channel name directly
8
(or edit the previously-entered sample
name), move the cursor to the channel
name field in the upper part of the window
and press the [ENTER] key.
The keyboard window will appear in the lower part of
the window, allowing you to enter or edit the text. For
details on using the keyboard window, refer to p.34.
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HA (head amp) settings
HA (head amp) settings
Here’s how to make HA (Head Amp) settings such as phantom power on/off, gain, and phase for
each input channel.
1 +48V button
B GAIN knob
C ø (phase) button
Press the SELECTED CHANNEL section
[HOME] key.
The SELECTED CH VIEW screen will appear in the
display.
1
HINT
1
2
• If you’ve turned on POPUP APPEARS WHEN PRESSING
can also access the above popup window by pressing the
SELECTED CHANNEL section [HA GAIN] encoder.
5
CAUTION
• If you don’t need phantom power, be sure to turn this but-
ton off.
• Before you turn phantom power on, make sure that no
devices other than phantom-powered devices, such as a
condenser microphone, are connected. Otherwise, you
risk damaging the devices.
• Do not connect or disconnect a device while phantom
power is applied. Doing so can damage the connected
device and/or the unit itself.
• To protect your speaker system, leave the power amps
(powered speakers) turned off when switching the phan-
tom power on/off. We also recommend that you set all
output level faders to the minimum position. Otherwise,
high-volume output may damage your hearing or equip-
ment.
1 HA popup button
B GAIN knob
Use the LAYER section to select the desired
fader layer.
2
3
To adjust the HA gain, move the cursor to
the GAIN knob of the desired channel in the
window, and use the dial or the [DEC]/[INC]
keys.
The input level of the channel is shown by the level
meter located immediately to the right of the GAIN
knob in the screen.
6
7
Press a [SEL] key in the channel module
section or ST IN section to select the input
channel that you want to operate.
If you only want to adjust the HA gain for
that channel, operate the SELECTED
CHANNEL section [HA GAIN] encoder.
You can obtain the same result by moving the cursor to
the GAIN knob in the SELECTED CH VIEW screen
and operating the dial or the [DEC]/[INC] keys.
4
NOTE
• The PAD will be internally switched on or off when the HA
gain is adjusted between -14 dB and -13 dB. Keep in mind
that noise may be generated if there is a difference between
the Hot and Cold output impedance of the external device
connected to the INPUT connector when using phantom
power.
If you want to edit detailed parameters such
as phantom power on/off and phase, move
the cursor to the HA popup button or GAIN
knob in the HA field of the SELECTED CH
VIEW screen, and press the [ENTER] key to
access the HA/PATCH popup window.
In the HA/PATCH popup window you can adjust the
HA gain, switch phantom power on/off, and switch the
phase for sets of eight channels. This popup window
shows the parameters for the eight channels that
include the channel you selected in step 3.
5
To turn on phantom power, move the cursor
to the +48V button of the desired channel in
the window, and press the [ENTER] key.
The +48V button will turn on (red), and phantom
power will be supplied to the corresponding INPUT
jack.
NOTE
• If you want to use phantom power, you must first turn ON the
+48V MASTER ON/OFF button located in the SYSTEM
SETUP screen.
1
2
3
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To switch the phase of each channel
between normal and reverse phase, move
the cursor to the ø button of the desired
channel in the window, and press the
[ENTER] key.
When you’ve finished making settings,
8
9
10
move the cursor to the CLOSE button (or
the × symbol in the upper right of the win-
dow) and press the [ENTER] key.
The ø button will change from black to red, and the
phase of the corresponding channel will be reversed.
If you want to operate the HA of a channel
that is not currently shown in the popup
window, use the [SEL] key to select that
channel, and then make settings for it.
For example if INPUT channels 1–8 are shown in the
popup window, pressing the INPUT channel 9 [SEL]
key will change the popup window to INPUT channels
9–16.
Sending the signal from an input channel to the STEREO/MONO bus
Here we will explain how to send the signal of an input channel to the STEREO bus or MONO
bus.
The STEREO bus / MONO bus are used to output signals to the main speakers. Signals can be
sent to the STEREO bus or MONO bus in either ST/MONO mode or LCR mode, and you can
choose either of these two modes for each channel. These two modes differ as follows.
■ ST/MONO mode • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
In this mode, signals are sent independently from the input channel to the STEREO bus and to the MONO bus.
• The signals sent from the same input channel to the STEREO bus and to the MONO bus can be switched on/
off independently.
• The panning of the signal sent from an INPUT channel to the STEREO bus L/R can be operated by the
SELECTED CHANNEL section [PAN] encoder, or by the TO ST PAN knob in the screen. (The signal sent to
the MONO bus is not affected by this encoder or knob.)
• The volume balance of the signal sent from a ST IN channel to the STEREO bus left and right can be operated
by the SELECTED CHANNEL section [PAN] encoder, or by the TO ST BALANCE knob in the screen. (The
signal sent to the MONO bus is not affected by this knob.)
■ LCR mode • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
In this mode, the signal from the input channel is sent to three buses at once; STEREO (L/R) and MONO (C).
• The signals sent from the same input channel to the STEREO bus and to the MONO bus can be switched on/
off together.
• The CSR (Center Side Ratio) knob in the screen adjusts the proportion of the signal level sent from the input
channel to the STEREO (L/R) bus and the level sent to the MONO (C) bus.
• The level of the signal sent from the input channel to the STEREO (L/R) bus and the MONO (C) bus will
change according to the settings of the SELECTED CHANNEL section [PAN] encoder or the TO ST PAN
knob / TO ST BALANCE knob in the screen.
HINT
• If you want to use headphones etc. to monitor the signal of the STEREO bus or MONO bus, you should
press the DISPLAY ACCESS section [MONITOR] key several times to access the MONITOR screen, and
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Sending the signal from an input channel to the STEREO/MONO bus
In the TO STEREO/MONO popup window you can
Make sure that an input source is con-
nected to the input channel you’re operat-
ing, and make head amp settings for
phantom power, gain, and phase to obtain
1
2
switch between ST/MONO mode and LCR mode in
sets of eight channels, and change the on/off status and
pan/balance settings of the signals sent from those
channels to the STEREO/MONO bus. This popup
window shows the parameters for the eight channels
that include the channel you selected in step 4.
Press the SELECTED CHANNEL section
[HOME] key.
The SELECTED CH VIEW screen will appear in the
display.
1
2
3
1
2
4
5
5
HINT
• If you’ve turned on POPUP APPEARS WHEN PRESSING
can also access the above popup window by pressing the
SELECTED CHANNEL section [PAN] encoder.
This popup window contains the following items.
1 Channel number / Channel name
This indicates the number and name of the channel
you’re operating.
1 TO ST field
B TO ST PAN knob (for a ST IN channel, the
TO ST BAL knob)
B MODE button
This button selects either ST/MONO mode or LCR
mode to as the way in which the signal will be sent to
the STEREO bus and MONO bus. This mode can be
specified individually for each channel. The setting
will alternate between the two modes each time you
press the button.
The currently selected mode is shown by the position
of the indicator (the green ◆ symbol) located immedi-
ately above the button.
Use the LAYER section to select the desired
fader layer.
3
4
Press a [SEL] key in the channel module
section or ST IN section to select the input
channel for the desired source.
If you only want to adjust the pan or bal-
ance for that channel, operate the
SELECTED CHANNEL section [PAN]
5
C ST button
D MONO button
When the MODE button is set to ST/MONO mode,
these buttons act as individual on/off switches for the
signal sent from that channel to the STEREO bus and
MONO bus.
You can obtain the same result by moving the cursor to
the PAN/BAL knob in the SELECTED CH VIEW
screen and operating the dial or the [DEC]/[INC] keys.
If you want to switch the on/off setting of
the signal sent from the input channel to
the STEREO/MONO bus, or if you want to
switch between ST/MONO mode and LCR
mode, move the cursor to the TO ST PAN
knob or the PAN popup button located in
the TO ST field of the SELECTED CH VIEW
screen, and press the [ENTER] key to
access the TO STEREO/MONO popup win-
dow.
6
E TO ST PAN/TO ST BALANCE knob
For an INPUT channel, this acts as a PAN knob that
adjusts the left/right panning of the signal sent to the
STEREO bus.
For a ST IN channel, this acts as a BALANCE knob
that adjusts the volume balance of the left/right signals
sent to the STEREO bus.
Move the cursor to the knob and use the dial or the
[DEC]/[INC] keys to adjust the setting.
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Sending the signal from an input channel to the STEREO/MONO bus
For channels whose MODE button is set to LCR
mode, the following button and knob are shown
instead of the ST button 3 and MONO button 4.
In the top panel channel module section or
ST IN section, make sure that the [ON] key
is turned on for the input channel you want
to operate, and raise the fader/encoder to
an appropriate position.
11
6
7
The following steps will differ depending on whether
you selected a ST/MONO mode channel or an LCR
mode channel in step 7.
● For a channel set to ST/MONO mode
F LCR button
Use the ST button and MONO button in the
12
This button is an on/off switch for all signals sent from
that channel to the STEREO bus and MONO bus. If
you turn off the button, no signals will be sent from
that input channel to the STEREO bus or MONO bus.
TO STEREO/MONO popup window as on/off
switches for the signal sent from the input
channel to the STEREO bus and MONO
bus.
G CSR knob
This knob adjusts the relative level of the signals sent
from that channel to the STEREO (L/R) bus and to the
MONO (C) bus, in a range of 0–100%. Move the cur-
sor to the knob and use the dial or the [DEC]/[INC]
keys to adjust the setting.
Use the SELECTED CHANNEL section
13
[PAN] encoder to adjust the pan/balance of
the signal sent from the input channel to
the STEREO bus.
You can obtain the same result by using the TO ST
PAN/TO ST BAL knob in the TO STEREO/MONO
popup window.
Use the MODE button to select either ST/
MONO mode or LCR mode for each chan-
nel.
7
8
● For a channel set to LCR mode
The ST button and MONO button are on/off
switches for the signal sent from each
channel to the STEREO bus and MONO
bus.
Use the LCR button in the TO STEREO/
12
MONO popup window as an on/off switch
for the signal sent from the input channel to
the STEREO bus and MONO bus.
If you want to use the STEREO bus, make
sure that the [ON] key of the STEREO chan-
nel is turned on in the top panel STEREO
MASTER section, and raise the fader of the
STEREO channel to an appropriate posi-
tion.
9
For a channel that is set to LCR mode, the signal sent
to the STEREO bus and MONO bus can be switched
on/off in a single operation.
Use the CSR knob in theTO STEREO/MONO
13
popup window to adjust the proportion
between the signal level sent from that
channel to the STEREO (L/R) bus and the
signal level sent to the MONO (C) bus.
If you want to use the MONO bus, make
sure that the [ON] key of the MONO channel
is turned on, and raise the fader of the
MONO channel to an appropriate position.
This operation will differ between the LS9-16 and
LS9-32.
10
Use the TO ST PAN knob in the TO STEREO/
14
MONO popup window to set the panning of
the signal sent from the input channel to
the STEREO (L/R) bus and the MONO (C)
bus.
● For the LS9-16
Assign the MONO channel to the custom fader layer,
press the LAYER [CUSTOM FADER] key to access
the custom fader layer, and then operate the [ON] key
and fader of the corresponding channel module.
If the CSR knob is set to 0%, operating the TO ST
PAN knob of an INPUT channel will change the signal
levels sent to the STEREO (L/R) bus and MONO (C)
bus as shown in the following illustration. In this case,
the TO ST PAN knob will operate as a conventional
PAN knob, and no signal is sent to the MONO (C) bus.
● For the LS9-32
Press the LAYER [MASTER] key to access the master
fader layer, and operate the [ON] key and fader of
channel module 32.
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Sending the signal from an input channel to the STEREO/MONO bus
If a ST IN channel is selected, operating the TO ST
BALANCE knob will change the signal levels sent
from the ST IN L/R channels to the STEREO (L/R)
bus and MONO (C) bus as shown in the following
illustration.
Signal sent to the
STEREO (L) bus
Signal sent to the
STEREO (R) bus
Signal sent from the
ST IN (L) channel to
the STEREO (L) bus
L
C
R
TO ST PAN knob
Signal sent from the
ST IN (L) channel to
the MONO (C) bus
If a ST IN channel is selected, operating the TO ST
BALANCE knob will change the signal levels sent
from the ST IN L/R channels to the STEREO (L/R)
bus and MONO (C) bus as shown in the following
illustration. In this case, the [PAN] encoder will oper-
ate as a conventional BALANCE knob, and no signal
is sent to the MONO (C) bus.
5
L
C
R
TO ST BALANCE knob
Signal sent from the
ST IN (R) channel to
the STEREO (R) bus
Signal sent from the
ST IN (L) channel to
the STEREO (L) bus
Signal sent from the
ST IN (R) channel to
the MONO (C) bus
L
C
R
TO ST BALANCE knob
L
C
R
TO ST BALANCE knob
If you want to operate a channel that is not
currently shown in the popup window, use
the [SEL] key to select that channel, and
then make settings for it.
For example if INPUT channels 1–8 are shown in the
popup window, pressing the INPUT channel 9 [SEL]
key will change the popup window to INPUT channels
9–16.
15
16
Signal sent from the
ST IN (R) channel to
the STEREO (R) bus
When you’ve finished making settings,
move the cursor to the CLOSE button (or
the × symbol in the upper right of the win-
dow) and press the [ENTER] key.
L
C
R
TO ST BALANCE knob
If the CSR knob is set to 100%, operating the TO ST
PAN knob will change the signal levels sent to the
STEREO (L/R) bus and MONO (C) bus as shown in
the following illustration.
Signal sent to the
MONO (C) bus
Signal sent to the
STEREO (L) bus
Signal sent to the
STEREO (R) bus
L
C
R
PAN knob
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Sending the signal from an input channel to a MIX bus
Sending the signal from an input channel to a MIX bus
Here we will explain how to send the signal of an input channel to MIX buses 1–16.
MIX buses are used mainly to send signals to on-stage foldback speakers or to external effect
processors. Signals can be sent from an input channel to a MIX bus in the following three ways.
■ Using the SELECTED CHANNEL section• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
In this method, you use the SELECTED CHANNEL section [SELECTED SEND] encoder to adjust the level of
the signal sent to the MIX bus.
This method lets you control the signals sent from a specific input channel to all MIX buses.
■ Using a popup window • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
In this method, you use the MIX SEND popup window to adjust the send levels from eight channels to a MIX bus.
This method lets you control the send level, on/off setting, and send point for the signals sent from a set of eight
channels to a specific MIX bus.
■ Using the top panel faders• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
In this method, you switch the LS9 to SENDS ON FADER mode and use the top panel faders to adjust the send
levels to the MIX bus. This method lets you simultaneously control the send levels and on/off switching for the sig-
nals sent from all input channels to a specific MIX bus.
1
Using the SELECTED CHANNEL sec-
tion
23
Here’s how to use the SELECTED CHANNEL section
4
[SELECTED SEND] encoder to adjust the level of the
signals sent from a specific input channel to each MIX
bus.
Make sure that an output port is assigned
1
to the MIX bus to which you’re sending the
signal, and that a monitor system or exter-
nal effect processor etc. is connected to the
corresponding output port.
nal equipment.
1 TO MIX field
In this field you can switch the on/off status and adjust
the send level of the signal sent from the input channel
to the MIX bus.
Press the SELECTED CHANNEL section
[HOME] key.
2
The SELECTED CH VIEW screen will appear in the
display.
B TO MIX LEVEL knob
This adjusts the send level of the signal sent from the
input channel to a VARI type MIX bus. To adjust the
send level in this field, move the cursor to the knob
and use the dial or the [DEC]/[INC] keys.
C TO MIX ON/OFF button
If the send-destination MIX bus is a FIXED type, this
button is displayed instead of the knob 2. This button
is an on/off switch for the signal sent from the input
channel to a FIXED type MIX bus. To turn the signal
on/off, move the cursor to the button and press the
[ENTER] key.
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Sending the signal from an input channel to a MIX bus
If you selected a VARI type MIX bus in step
D PRE/POST indicator
5
This indicates the send position of the signal sent from
the input channel to a VARI type MIX bus. The signal
is being sent from the pre-EQ or pre-fader position if
this indicates PRE, or from immediately after the
[ON] key if the PRE indication is not shown. This
indicator is only for display. You cannot use this field
to change the send position of the signal.
4, use the SELECTED CHANNEL section
[SELECTED SEND] encoder to adjust the
send level from that channel to the MIX bus
you selected in step 4.
If the send-destination MIX bus is set to stereo, the
function of the [SELECTED SEND] encoder will
change depending on which of the two adjacent keys
of the MIX/MATRIX SELECT section are lit.
Use the LAYER section keys and the [SEL]
keys of the channel module section or ST
IN section to select the input channel that
you want to operate.
3
4
● If the left key is lit
Use the [SELECTED SEND] encoder to adjust the
pan (or balance, for a ST IN channel) of the signal that
is sent from the INPUT channel to the two MIX buses.
5
Use the MIX/MATRIX SELECT section keys
to select the send-destination MIX bus.
The LED of the corresponding key will light, indicat-
ing that it is selected as the send-destination.
● If the right key is lit
Use the [SELECTED SEND] encoder to adjust the
send level shared by the two MIX buses.
To switch the on/off status of a signal sent
to a VARI type MIX bus, move the cursor to
the TO MIX LEVEL knob in the screen and
press the [ENTER] key to accsess the MIX
SEND popup window.
6
7
If you switch this off, the knob will turn grey.
To switch the on/off status of a signal sent
to a FIXED type MIX bus, move the cursor to
the TO MIX ON/OFF button in the screen
and press the [ENTER] key.
If you switch this off, the knob will change to black
characters on a blue background. To turn it back on,
press the [ENTER] key once again.
Use the top panel [SEL] keys to select
another input channel, and adjust the send
level to the selected MIX bus in the same
way.
8
9
Use the keys of the MIX/MATRIX SELECT
section to select another MIX bus as the
send-destination, and adjust the send level
from the input channel in the same way.
● If the send-destination MIX bus is the VARI
type
HINT
The TO MIX field in the screen shows the knob in the
same color as the corresponding key of the MIX/
MATRIX SEND section.
• If PRE is selected as the send position to the MIX bus, then
you will also be able to select either PRE EQ (immediately
before the attenuator) or PRE FADER (immediately before the
● If the send-destination MIX bus is the FIXED
type
The TO MIX field will show the TO MIX ON/OFF
button instead of the TO MIX LEVEL knob. In this
case, you can’t adjust the send level.
• If desired, the pan/balance setting of the signal sent to a ste-
reo MIX bus can be linked with the TO ST PAN/TO ST BAL
• If you want to monitor the signal that is being sent to a specific
MIX bus, select the master fader layer and press the [CUE]
key for that MIX channel.
NOTE
• If the LED of only a specific key in the MIX/MATRIX SELECT
section is blinking and the LEDs of the remaining keys are lit,
the LS9 is in SENDS ON FADER mode (the mode in which
you can use the faders to control the send levels to the MIX
buses or MATRIX buses). Press the desired key in the MIX/
MATRIX SELECT section so that only the LED of that key is
lit.
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Sending the signal from an input channel to a MIX bus
The MIX SEND popup window shows the parameters
for the eight channels that include the channel you
selected in step 3. The contents of the window will dif-
fer depending on whether the send-destination MIX
bus is VARI type or FIXED type.
Using a popup window
In this method, you use the MIX SEND popup window to
adjust the send levels from eight channels to a MIX bus.
Make sure that an output port is assigned
1
[ For a VARI type MIX bus ]
to the MIX bus to which you’re sending the
signal, and that a monitor system or exter-
nal effect processor etc. is connected to the
corresponding output port.
5
6
1
2
3
Press the SELECTED CHANNEL section
[HOME] key.
The SELECTED CH VIEW screen will appear in the
display.
2
4
1
1 Channel number / Channel name
This indicates the number and name of the send-
source channel.
B PRE button
This switches the position from which the signal is
sent from the send-source channel to the currently
selected MIX bus. If this button is on, the pre-EQ or
pre-fader signal will be sent; if this button is off, the
signal from immediately after the [ON] key will be
sent.
C TO MIX ON/OFF button
This is an on/off switch for the signal that is sent from
the send-source channel to the currently selected MIX
bus.
1 SEND popup button
Use the LAYER section keys and the [SEL]
3
keys of the channel module section or ST
IN section to select the send-source input
channel.
D TO MIX LEVEL knob
This adjusts the level of the signal that is sent from the
send-source channel to the currently selected MIX
bus.
Use the MIX/MATRIX SELECT section keys
to select the send-destination MIX bus.
4
E ALL PRE button
This button selects PRE as the position from which the
signals are sent from all input channels to the VARI
type MIX bus.
Move the cursor to the SEND popup button
in the screen, and press the [ENTER] key to
access the MIX SEND popup window.
5
F ALL POST button
In the MIX SEND popup window you can control the
send level, on/off setting, and send point for the sig-
nals sent from a set of eight input channels to the cur-
rently selected MIX bus.
This button selects POST as the position from which
the signals are sent from all input channels to the
VARI type MIX bus.
If the send-destination MIX bus is set to stereo, the
screen will change as follows.
HINT
• If you’ve turned on POPUP APPEARS WHEN PRESSING
can also access the above popup window by pressing the
SELECTED CHANNEL section [SELECTED SEND] encoder.
• If you want to switch the on/off status of the signal sent to a
VARI type MIX bus, you can move the cursor to the TO MIX
LEVEL knob in the screen and press the [ENTER] key to
access the above popup window.
7
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Sending the signal from an input channel to a MIX bus
To switch the on/off status of a signal sent
G TO MIX PAN/TO MIX BALANCE knob
This knob adjusts the pan (or balance, for a ST IN
channel) of the signal that is sent from the INPUT
channel to the two MIX buses.
8
to a VARI/FIXED type MIX bus, move the
cursor to the TO MIX ON/OFF button in the
screen and press the [ENTER] key.
If the send-destination MIX bus is set to stereo, opera-
tion of the adjacent left/right pair of buttons is linked.
HINT
• If PRE is selected as the send position to the MIX bus, then
you will also be able to select either PRE EQ (immediately
before the attenuator) or PRE FADER (immediately before the
If you want to operate a channel that is not
currently shown in the popup window, use
the [SEL] key to select that channel, and
then make settings for it.
9
• If desired, the pan/balance setting of the signal sent to a ste-
reo MIX bus can be linked with the TO ST PAN/TO ST BAL
If you want to adjust the send level to
another MIX bus, use the keys of the MIX/
MATRIX SELECT section to select another
MIX bus, and make settings in the same
way.
10
5
[ For a FIXED type MIX bus ]
1
When you’ve finished making settings,
move the cursor to the CLOSE button (or
the × symbol in the upper right of the win-
dow) and press the [ENTER] key.
11
2
Using the faders (SENDS ON FADER
mode)
1 Channel number / Channel name
This indicates the number and name of the send-
source channel.
Here’s how to use the top panel faders/encoders to adjust
the send level and turn the signal on/off for the signals sent
from all input channels to a specific MIX bus.
B TO MIX ON/OFF button
This is an on/off switch for the signal that is sent from
the send-source channel to the currently selected MIX
bus.
Make sure that an output port is assigned
1
to the MIX bus to which you’re sending the
signal, and that a monitor system or exter-
nal effect processor etc. is connected to the
corresponding output port.
If the send-destination MIX bus is set to stereo, on/off
operations are linked for adjacent odd-numbered/even-
numbered MIX buses.
If you selected a VARI type MIX bus in step
4, move the cursor to the TO MIX LEVEL
knob in the screen, and use the dial or the
[DEC]/[INC] keys to adjust the send level
from each channel to the selected MIX bus.
If the send-destination MIX bus is set to stereo, move
the cursor to the TO MIX PAN (TO MIX BALANCE)
knob and adjust the pan (or balance, for a ST IN chan-
nel) of the signal sent from each channel to the two
MIX buses.
6
7
Press the SELECTED CHANNEL section
[HOME] key.
The SELECTED CH VIEW screen will appear in the
display.
2
1
To switch the send position of a signal sent
to a VARI type MIX bus, move the cursor to
the PRE button in the screen and press the
[ENTER] key.
If the PRE button is on, the pre-EQ or pre-fader signal
will be sent; if this button is off, the signal from imme-
diately after the [ON] key will be sent.
HINT
• If the PRE button is on, then you will be able to select either
PRE EQ (immediately before the attenuator) or PRE FADER
1 SEND popup button
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Sending the signal from an input channel to a MIX bus
Use the MIX/MATRIX SELECT section keys
to select the send-destination MIX bus.
The LED of the corresponding key will light, indicat-
ing that it is selected as the send-destination.
When you’ve finished setting the MIX send
levels, press the key that is currently blink-
ing in the MIX/MATRIX SELECT section.
3
8
The LS9 will return to normal mode.
HINT
Press the same key of the MIX/MATRIX
SELECT section once again.
4
• You can assign the SENDS ON FADER function to a user-
defined key. This allows you quickly switch to SENDS ON
FADER mode for a specific MIX bus, or quickly return to the
previous state.
The key will change from lit to blinking, and the LEDs
of the remaining keys in the MIX/MATRIX SELECT
section will light. This indicates that the LS9 is now in
SENDS ON FADER mode (in which you can use the
faders to control the send levels to the MIX bus /
MATRIX bus).
• You can also use the [HOME] key to cancel SENDS ON
FADER mode.
In SENDS ON FADER mode (when the send-destina-
tion is a MIX bus), the STEREO MASTER module
will operate differently depending on the selected
fader layer.
In SENDS ON FADER mode, the function of the
channel module section’s faders and [ON] keys (the
ST IN section’s encoders and [ON] keys) will change
as follows.
Fader layer
Function
1-16 {1-32}/17-32
{33-64}
● Faders/Encoders
Send-destination MIX channel module
These will adjust the send level of the signal sent from
the input channels to the currently selected MIX bus.
When you switch from normal mode to SENDS ON
FADER mode, the fader positions will move to the
value of the send levels to the currently selected MIX
bus.
MASTER/CUS-
TOM FADER
STEREO channel (however, the fader
and [ON] key will do nothing)
NOTE
• If you switch the fader layer from 1-16 {1-32}, 17-32 {33-64},
or CUSTOM FADER to MASTER while in SENDS ON FADER
mode (when the send-destination is a MIX bus), SENDS ON
FADER mode will be cancelled.
● [ON] keys
These will operate as on/off switches for the signal
sent from the input channels to the currently selected
MIX bus. When you switch from normal mode to
SENDS ON FADER mode, the [ON] keys will light or
go dark according to the on/off status of the signals
being sent to the currently selected MIX bus.
• You cannot operate the fader or [ON] key of a channel that is
not a send-source (a channel that does not have a MIX SEND
parameter) or of a channel that is not a send-destination bus
master.
● [SEL] keys
The [SEL] key of the selected channel will blink, and
the [SEL] keys of channels that are not selected will
light. However, the [SEL] keys of unassigned modules
will go dark.
If you selected a VARI type MIX bus in step
5
3, use the faders of the channel module
section and the encoders of the ST IN sec-
tion to adjust the send level from the chan-
nels to the MIX bus you selected in step 3.
As necessary, switch fader layers to the layer that con-
tains the desired send-source input channels.
To switch the on/off status of a signal sent
to a VARI/FIXED type MIX bus, press the top
panel [ON] key.
6
If the send-destination MIX bus is set to stereo, on/off
operations will be linked for the signal sent to the two
adjacent odd-numbered/even-numbered MIX buses.
Repeat steps 3–6 to adjust the send level
and switch the on/off status for other MIX
buses in the same way.
7
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Chapter 6
Output channel operations
This chapter explains operations for output channels (MIX channels, MATRIX
channels, STEREO channels, MONO channels).
6
Signal flow for output channels
The output channel section takes the signals sent from the input channels to the various buses,
processes them with EQ and dynamics, and sends them to output ports or other buses. The fol-
lowing types of output channel are provided.
■ MIX channels 1–16• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
These channels process the signals sent from input channels to MIX buses, and output them to the corresponding
output port, MATRIX bus, STEREO bus, or MONO (C) bus. When the LS9 is in the initial state, these are assigned
to the OMNI OUT jacks or the output channels of the slot(s).
M
O
N
ST
MATRIX CUE
...
MIX
O
...
15 16 L R
(C)
1
2
1
2
7
8
L R
MIX 1-16
To RACKIN PATCH
INSERT POINT
To OUTPUT PATCH
MIX
PRE FADER INSERT OUT
INSERT OUT 1-16
PRE EQ
INSERT OUT
MIX
INSERT IN 1-16
PRE EQ
METER
EQ OUT
METER
DYNA OUT
METER
PRE FADER
METER
POST ON
METER
GR METER
LEVEL
(13-16)To KEYIN
To RACKIN PATCH
To OUTPUT PATCH
To MONITOR SELECT
To RECORDER IN PATCH
ON
COMP
COMPAND
EXPAND
INSERT
INSERT
4BAND
ATT
MIX OUT1-16
EQ
PRE FADER
INSERT OUT
PRE EQ POST EQ
PRE FADER
POST ON
Keyin
PRE EQ
Self PRE EQ/Self POST EQ/MIX13-16 OUT/
MIX(1-8,9-16) POST EQ
INSERT OUT
CUE ON
(PRE FADER)PFL / (POST ON)AFL
MATRIX1,3...7
LEVEL
LEVEL
ON
ON
To MATRIX
PRE FADER / POST ON
MATRIX2,4...8
VARI
To MATRIX
VARI
STEREO
LEVEL
PAN
ON
PRE FADER / POST ON
PAN
PAN MODE
TO ST TO MONO
TO LCR
LR MONO
ST L
MONO(C)
ST R
LCR
CSR
POST ON
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Signal flow for output channels
■ STEREO channel / MONO (C) channel • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Each of these channels process the signal sent from the input channels to the STEREO bus or MONO (C) bus, and
send it to an output port or MATRIX bus. If input channels are set to LCR mode, the STEREO (L/R) channels and
the MONO (C) channel can be used together as a set of three output channels.
When the LS9 is in the initial state, the STEREO channel is assigned to the 2TR OUT DIGITAL jack.
M
O
N
ST
MATRIX CUE
...
MIX
O
...
15 16 L R
(C)
1
2
1
2
7
8
L R
STEREO L,R,MONO(C)
To RACKIN PATCH
INSERT POINT
To OUTPUT PATCH
STEREO
PRE FADER INSERT OUT
INSERT OUT L,R,MONO(C)
PRE EQ
INSERT OUT
STEREO
INSERT IN L,R,MONO(C)
PRE EQ
METER
EQ OUT
METER
DYNA OUT
METER
PRE FADER
METER
POST ON
METER
GR METER
LEVEL
BAL
STEREO OUT
L,R,MONO(C)
ON
COMP
COMPAND
EXPAND
INSERT
INSERT
4BAND
ATT
To OUTPUT PATCH
To MONITOR SELECT
To RECORDER IN PATCH
EQ
PRE FADER
INSERT OUT
Self PRE EQ/Self POST EQ/MIX13-16 OUT/
ST(L,R,MONO(C)) POST EQ
PRE FADER
PRE EQ POST EQ
POST ON
To STEREO OUT L+C,R+C
Keyin
PRE EQ
INSERT OUT
CUE ON
(PRE FADER)PFL / (POST ON)AFL
STEREO OUT L+C
STEREO OUT R+C
To OUTPUT PATCH
To RECORDER IN PATCH
STEREO OUT L
STEREO OUT MONO(C)
STEREO OUT R
LEVEL
LEVEL
To MATRIX
MATRIX1,3...7
MATRIX2,4...8
ON
ON
PRE FADER / POST ON
VARI
To MATRIX
PRE FADER / POST ON
VARI
LEVEL
PAN
ON
To OUTPUT PATCH
To RECORDER IN PATCH
STEREO
■ MATRIX channels 1–8 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
These channels process the signals sent from MIX channels and STEREO/MONO channels to MATRIX buses,
and send them to the corresponding output ports.
M
O
N
ST
MATRIX CUE
...
MIX
O
...
15 16 L R
(C)
1
2
1
2
7
8
L R
MATRIX1-8
To RACKIN PATCH
To OUTPUT PATCH
INSERT POINT
MATRIX
PRE FADER INSERT OUT
INSERT OUT 1-8
PRE EQ
INSERT OUT
MATRIX
INSERTIN1-8
PRE EQ
METER
EQ OUT
METER
DYNA OUT
METER
PRE FADER
METER
POST ON
METER
GR METER
LEVEL
ON
MATRIX OUT 1-8
COMP
COMPAND
EXPAND
INSERT
INSERT
4BAND
ATT
To OUTPUT PATCH
To MONITOR SELECT
To RECORDER IN PATCH
EQ
PRE FADER
INSERT OUT
Self PRE EQ/Self POST EQ/MIX13-16 OUT/
MATRIX1-8 POST EQ
PRE FADER
PRE EQ POST EQ
POST ON
Keyin
PRE EQ
INSERT OUT
CUE ON
(PRE FADER)PFL / (POST ON)AFL
● ATT (attenuator)
● ON (on/off)
Attenuates/boosts the level of the signal.
Turns the output channel on/off. If this is off, the corre-
sponding channel is muted.
● 4 BAND EQ (4 band equalizer)
This is a parametric EQ with four bands; HIGH, HIGH
MID, LOW MID, and LOW.
● TO MATRIX ON/OFF (MATRIX send on/off)
This is an on/off switch for the signal sent from the MIX
channels, STEREO (L/R) channel, or MONO (C) channel
to each MATRIX bus 1–8.
● COMP/COMPANDER/EXPAND (compressor/com-
pander/expander)
This is a dynamics processor that can be used as a com-
pressor, compander, or expander.
● TO MATRIX LEVEL 1-8 (MATRIX send levels 1–8)
This adjusts the send level of the signal sent from the MIX
channels, STEREO (L/R) channel, or MONO (C) channel
to each MATRIX bus 1–8. As the position from which the
signal is sent to the MATRIX bus, you can choose either
pre-fader or after the [ON] key.
● LEVEL
This adjusts the output level of the channel.
● BALANCE (STEREO channel only)
Adjusts the left/right volume balance of the STEREO (L/
R) channel.
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● KEY IN (MIX channels 13–16 only)
If the send-destination MATRIX bus is set to stereo, you
can use the TO MATRIX PAN knob in the screen to adjust
the panning between the two MATRIX buses. If the send-
source is the STEREO channel or a stereo MIX channel,
use the TO MATRIX BALANCE knob to adjust the vol-
ume balance of the left and right channels sent to the two
MATRIX buses.
You can send the output signals of MIX channels 13–16 to
the dynamics processors of each channel, and use them as
key-in signals to control the dynamics.
● RACK IN PATCH
This patches the output signal of a MIX channel to an
input of the rack.
● INSERT
● OUTPUT PATCH
This assigns an output port to an output channel.
You can patch the desired output/input ports to insert an
external device such as an effect processor.You can switch
the insert-out and insert-in locations.
● MONITOR SELECT
This selects the output signal of an output channel as a
monitor source.
● METER
This meters the level of the output channel. You can
switch the position at which the level is detected.
6
Specifying the channel name / icon
Here’s how to specify the channel name and icon for each output channel.
Press the SELECTED CHANNEL section
[HOME] key.
The SELECTED CH VIEW screen will appear in the
display.
Move the cursor to the output port select
popup button in the PATCH field of the
screen, and press the [ENTER] key.
The PATCH/NAME popup window will appear,
allowing you to select an output port and icon for the
output channel, and to assign a name.
1
4
Use the LAYER section to select the fader
layer that contains the desired output chan-
nel.
2
4
2
3
1
HINT
• In order to select a MATRIX channel or MONO channel on the
LS9-16, you must assign the channel to the custom fader
layer, and then select this layer.
Press a [SEL] key in the channel module
section or ST IN section to select the output
channel that you want to operate.
3
2
1
This popup window contains the following items.
1 Output port button
This indicates the output port that is assigned to the
corresponding channel. If more than one output port is
assigned, one port will be displayed to represent them.
When you’re selecting the icon or editing the channel
name, moving the cursor to this button and pressing
the [ENTER] key will take you back to the output port
selection screen.
1 PATCH field
B Output port select popup button
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Specifying the channel name / icon
B Icon button
This shows the icon that is selected for the correspond-
ing channel.
When you move the cursor to this button and press the
[ENTER] key, a screen where you can select an icon
and a sample name will appear.
If desired, use the sample name select but-
tons to select a sample name.The selected
sample name will be entered in the channel
name field in the upper part of the window.
7
8
HINT
• You can add or edit the text after entering the sample name in
the channel name field. If you want to assign channel names
that consist of a common name plus a number, such as “Vocal
1” and “Vocal 2,” you can simply enter a sample name and
then add a number.
C Channel name input box
This indicates the name that is assigned to the corre-
sponding channel. When you move the cursor to this
field and press the [ENTER] key, a keyboard window
will appear, allowing you to enter a name.
If you want to enter a channel name directly
(or edit the previously-entered sample
name), move the cursor to the channel
name field in the upper part of the window
and press the [ENTER] key.
The keyboard window will appear in the lower part of
the window, allowing you to enter or edit the text. For
details on using the keyboard window, refer to p.34.
D Tabs
These tabs switch the items that are shown in the win-
dow.
To select an icon for this channel, move the
cursor to the icon button and press the
[ENTER] key.
5
The window display will change as follows.
Use the [SEL] keys to select another output
channel, and specify its icon and channel
name in the same way.
While the PATCH/NAME popup window is displayed,
you can use the [SEL] keys to switch the channel that
you’re operating.
9
3
1
When you’ve finished entering information,
move the cursor to the CLOSE button (or
the × symbol in the upper right of the win-
dow) and press the [ENTER] key.
10
2
You will return to the SELECTED CH VIEW screen.
1 Icon select buttons
These buttons select the icon that is used for this chan-
nel.
B Sample name select buttons
These buttons select sample names that are related to
the currently selected icon. When you press a button,
its sample name will be entered in the channel name
field.
C Icon background color select buttons
These buttons let you choose one of eight colors as the
background color for the icon.
Use the icon select buttons and the icon
background color select buttons to select
the icon you want to use for that channel.
6
The selected icon is shown in the icon button in the
upper part of the window.
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Sending signals from MIX channels to the STEREO/MONO bus
Sending signals from MIX channels to the STEREO/MONO bus
This section explains how to send the signal of a MIX channel to the STEREO bus or MONO
bus.
Signals can be sent to the STEREO bus or MONO bus in either ST/MONO mode or LCR mode,
and you can choose either of these two modes for each MIX channel.These two modes differ as
follows.
■ ST/MONO mode• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
This mode sends the signal from the MIX channel to the STEREO bus and to the MONO bus independently.
• The signals sent from the same MIX channel to the STEREO bus and to the MONO bus can be switched on/off
individually.
6
• The panning of the signal sent from a monaural MIX channel to the STEREO bus L/R can be operated by the
SELECTED CHANNEL section [PAN] encoder, or by the TO ST PAN knob in the screen. (The signal sent to
the MONO bus is not affected by this encoder or knob.)
• The volume balance of the signals sent from two stereo-assigned MIX channels to the STEREO bus left and
right can be operated by the SELECTED CHANNEL section [PAN] encoder, or by the TO ST BAL knob in
the screen. (The signal sent to the MONO bus is not affected by this knob.)
■ LCR mode • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
This mode sends the signal of the MIX channel to a total of three buses (STEREO (L/R) and MONO (C)) together.
• The signals sent from the same MIX channel to the STEREO bus and to the MONO bus can be switched on/off
together.
• The CSR (Center Side Ratio) knob in the screen adjusts the proportion of the signal level sent from the MIX
channel to the STEREO (L/R) bus and the level sent to the MONO (C) bus.
• The level of the signal sent from the MIX channel to the STEREO (L/R) bus and the MONO (C) bus will
change according to the settings of the SELECTED CHANNEL section [PAN] encoder or the TO ST PAN
knob / TO ST BAL knob in the screen.
HINT
• If you want to use headphones etc. to monitor the signal of the STEREO bus or MONO bus, you should
press the DISPLAY ACCESS section [MONITOR] key several times to access the MONITOR (2/4) screen,
1 TO ST field
B TO ST PAN knob (for a stereo MIX channel,
the TO ST BAL knob)
Press the SELECTED CHANNEL section
[HOME] key.
The SELECTED CH VIEW screen will appear in the
display.
1
In the LAYER section, press the LAYER
[MASTER] key to select the master fader
layer.
2
3
4
1
2
Press a [SEL] key in the channel module
section to select the send-source MIX chan-
nel.
If you only want to adjust the pan or bal-
ance of the MIX channel, operate the
SELECTED CHANNEL section [PAN]
You can obtain the same result by moving the cursor to
the PAN/BAL knob in the SELECTED CH VIEW
screen and operating the dial or the [DEC]/[INC] keys.
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Sending signals from MIX channels to the STEREO/MONO bus
C ST button
D MONO button
When the MODE button is set to ST/MONO mode,
these buttons act as individual on/off switches for the
signal sent from that MIX channel to the STEREO bus
and MONO bus.
If you want to switch the on/off status of the
5
signal sent from the MIX channel to the
STEREO/MONO bus, or switch it between
ST/MONO mode and LCR mode, use either
of the following methods to access the TO
STEREO/MONO popup window.
E TO ST PAN/TO ST BALANCE knob
For monaural MIX channels, this acts as the PAN
knob that adjusts the left/right panning of the signal
sent to the STEREO bus.
For stereo MIX channels, this acts as the BALANCE
knob that adjusts the volume of the left and right sig-
nals sent to the STEREO bus.
• Move the cursor to the PAN popup button located in
the TO ST field of the SELECTED CH VIEW
screen, and press the [ENTER] key.
• Move the cursor to the TO ST PAN knob located in
the TO ST field of the SELECTED CH VIEW
screen, and press the [ENTER] key.
Move the cursor to the knob and use the dial or the
[DEC]/[INC] keys to adjust the setting.
For channels whose MODE button is set to LCR
mode, the following button and knob are shown
instead of the ST button (3) and MONO button (4).
In the TO STEREO/MONO popup window you can
switch between ST/MONO mode and LCR mode in
sets of eight MIX channels, and change the on/off sta-
tus and pan/balance settings of the signals sent from
those channels to the STEREO/MONO bus. This
popup window shows the parameters for the eight
channels that include the MIX channel you selected in
step 3.
6
7
1
2
3
4
F LCR button
This button is an on/off switch for all signals sent from
that MIX channel to the STEREO bus and MONO
bus. If you turn off the button, no signals will be sent
from that output channel to the STEREO bus or
MONO bus.
5
HINT
• If you’ve turned on POPUP APPEARS WHEN PRESSING
can also access the above popup window by pressing the
SELECTED CHANNEL section [PAN] encoder.
G CSR knob
This knob adjusts the proportion between the signal
level sent from that MIX channel to the STEREO (L/
R) bus and the level sent to the MONO (C) bus, over a
range of 0–100%. To adjust the setting, move the cur-
sor to the knob, press the [ENTER] key, and use the
dial or the [DEC]/[INC] keys.
This popup window contains the following items.
1 Channel number / Channel name
This indicates the number and name of the channel
you’re operating.
Use the MODE button to select either ST/
MONO mode or LCR mode for each MIX
channel.
6
B MODE button
This button selects either ST/MONO mode or LCR
mode to specify how the signal is sent to the STEREO
bus and MONO bus. You can specify this mode indi-
vidually for each MIX channel. The setting will alter-
nate between the two modes each time you press the
button.
The currently selected mode is shown by the position
of the indicator (the green ◆ symbol) located immedi-
ately above the button.
The ST button and MONO button are on/off
switches for the signal sent from the MIX
channel to the STEREO bus and MONO
bus.
7
8
If you want to use the STEREO bus, make
sure that the [ON] key of the STEREO chan-
nel is turned on in the top panel STEREO
MASTER section, and raise the fader of the
STEREO channel to an appropriate posi-
tion.
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Sending signals from MIX channels to the STEREO/MONO bus
If you want to use the MONO bus, make
sure that the [ON] key of the MONO channel
is turned on, and raise the fader of the
MONO channel to an appropriate position.
Use the TO ST PAN knob in the TO STEREO/
9
13
MONO popup window to set the panning of
the signal sent from the MIX channel to the
STEREO (L/R) bus and the MONO (C) bus.
This operation will differ between the LS9-16 and
LS9-32.
If the CSR knob is set to 0%, operating the TO ST
PAN knob of a MIX channel will change the signal
levels sent to the STEREO (L/R) bus and MONO (C)
bus as shown in the following illustration. In this case,
the TO ST PAN knob will operate as a conventional
PAN knob, and no signal is sent to the MONO (C) bus.
● For the LS9-16
Assign the MONO channel to the custom fader layer,
press the LAYER [CUSTOM] key to access the cus-
tom fader layer, and then operate the [ON] key and
fader of the corresponding channel module.
● For the LS9-32
Press the LAYER [MASTER] key to access the master
fader layer, and operate the [ON] key and fader of
channel module 32.
Signal sent to the
STEREO (L) bus
6
Signal sent to the
STEREO (R) bus
Select the master fader layer, make sure
that the [ON] key of the desired MIX channel
is turned on, and raise the fader to an
appropriate position.
10
L
C
R
TO ST PAN knob
If a MIX channel set to stereo is selected, operating
the TO ST BALANCE knob will change the signal
levels sent from the MIX channel to the STEREO (L/
R) bus and MONO (C) bus as shown in the following
illustration. In this case, the [PAN] encoder will oper-
ate as a conventional BALANCE knob, and no signal
is sent to the MONO (C) bus.
The following steps will differ depending on whether
you selected a ST/MONO mode MIX channel or an
LCR mode MIX channel in step 6.
● For a MIX channel set to ST/MONO
mode
Use the ST button and MONO button in the
11
TO STEREO/MONO popup window as on/off
switches for the signal sent from the MIX
channel to the STEREO bus and MONO
bus.
Signal sent from the
odd-numbered MIX
channel to the STE-
REO (L) bus
Use the SELECTED CHANNEL section
12
[PAN] encoder to adjust the pan/balance of
the signal sent from the MIX channel to the
STEREO bus.
L
C
R
TO ST BALANCE knob
You can obtain the same result by using the TO ST
PAN/TO ST BALANCE knob in the TO STEREO/
MONO popup window.
● For a MIX channel set to LCR mode
Signal sent from the
even-numbered MIX
channel to the STE-
REO (R) bus
Use the LCR button in the TO STEREO/
11
MONO popup window as an on/off switch
for the signal sent from the MIX channel to
the STEREO bus and MONO bus.
For a MIX channel that is set to LCR mode, the signal
sent to the STEREO bus and MONO bus can be
switched on/off in a single operation.
L
C
R
TO ST BALANCE knob
Use the CSR knob in theTO STEREO/MONO
12
popup window to adjust the proportion
between the signal level sent from that MIX
channel to the STEREO (L/R) bus and the
signal level sent to the MONO (C) bus.
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Sending signals from MIX channels to the STEREO/MONO bus
If the CSR knob is set to 100%, operating the TO ST
If you want to operate a channel that is not
currently shown in the popup window, use
the [SEL] key to select that channel, and
then make settings for it.
14
PAN knob will change the signal levels sent to the
STEREO (L/R) bus and MONO (C) bus as shown in
the following illustration.
For example if MIX channels 1–8 are shown in the
popup window, pressing the MIX channel 9 [SEL] key
will change the popup window to MIX channels 9–16.
Signal sent to the
MONO (C) bus
When you’ve finished making settings,
move the cursor to the CLOSE button (or
the × symbol in the upper right of the win-
dow) and press the [ENTER] key.
15
Signal sent to the
STEREO (L) bus
Signal sent to the
STEREO (R) bus
L
C
R
PAN knob
If a stereo MIX channel is selected, operating the TO
ST BALANCE knob will change the signal levels sent
from the MIX channel to the STEREO (L/R) bus and
MONO (C) bus as shown in the following illustration.
Signal sent from the
odd-numbered MIX
channel to the STE-
REO (L) bus
Signal sent from the
odd-numbered MIX
channel to the
MONO (C) bus
L
C
R
TO ST BALANCE knob
Signal sent from the
even-numbered MIX
channel to the
MONO (C) bus
Signal sent from the
even-numbered MIX
channel to the STE-
REO (R) bus
L
C
R
TO ST BALANCE knob
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Sending signals from MIX channels and STEREO/MONO channels to MATRIX buses
Sending signals from MIX channels and STEREO/MONO channels
to MATRIX buses
This section explains how to send the signal from a MIX channel or STEREO/MONO channel to
MATRIX buses 1–8.You can do this in any of the following three ways.
■ Using the SELECTED CHANNEL section • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
In this method, you use the SELECTED CHANNEL section [SELECTED SEND] encoder to adjust the level of
the signal sent to the MATRIX bus.
■ Using a popup window • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
In this method, you use the MATRIX SEND popup window to adjust the send levels from eight channels to a
MATRIX bus.
This method lets you control the send level, on/off setting, and send point for the signals sent from a set of eight
channels to a specific MATRIX bus.
6
■ Using the top panel faders• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
In this method, you switch the LS9 to SENDS ON FADER mode and use the top panel faders to adjust the send
levels to the MATRIX bus. This method lets you simultaneously control the send levels and on/off switching for
the signals sent from MIX, STEREO (L/R), and MONO channels to a specific MATRIX bus.
1 TO MATRIX field
If a MIX, STEREO (L/R), or MONO channel is
selected, this area of the SELECTED CH VIEW
screen will show the TO MATRIX field, allowing you
to switch the on/off status and adjust the send level of
Using the SELECTED CHANNEL sec-
tion
In this method, you use the SELECTED CHANNEL sec-
tion [SELECTED SEND] encoder to adjust the level of
the signals sent to the MATRIX buses.
the signal sent to the MATRIX bus.
B TO MATRIX LEVEL knobs
You can either control the signals sent from a desired
MIX, STEREO (L/R), or MONO channel to all MATRIX
buses, or control the signals sent from all MIX channels to
a specific MATRIX bus.
These adjust the send level of the signals sent from the
MIX, STEREO (L/R), or MONO channel to the
MATRIX buses. These knobs are the same color as the
corresponding keys of the MIX/MATRIX SEND sec-
tion.
To adjust the send level in this field, move the cursor to
the knob and use the dial or the [DEC]/[INC] keys. To
switch the on/off status of a signal sent to a MATRIX
bus, move the cursor to the corresponding knob and
press the [ENTER] key.
■ Controlling the signals sent from a MIX,
STEREO (L/R), or MONO channel to all
MATRIX buses
Press the SELECTED CHANNEL section
[HOME] key.
1
Use the LAYER section keys and the chan-
nel module section [SEL] keys to select the
send-source MIX, STEREO (L/R), or MONO
channel.
2
The SELECTED CH VIEW screen will appear in the
display.
1
HINT
• In order to select a MONO channel on the LS9-16, you must
first select the custom fader layer to which you’ve assigned
that MONO channel, and then press the corresponding [SEL]
key.
2
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Sending signals from MIX channels and STEREO/MONO channels to MATRIX buses
Use the MIX/MATRIX SELECT section keys
to select the send-destination MATRIX bus.
3
HINT
• If PRE is selected as the send position to the MATRIX bus,
When a MIX, STEREO (L/R), or MONO channel is
selected, the keys of the MIX/MATRIX SELECT sec-
tion are used to select the send-destination MATRIX
bus.
then you will also be able to select either PRE EQ (immedi-
ately before the attenuator) or PRE FADER (immediately
before the fader) for each two adjacent odd-numbered/even-
• If desired, the pan/balance setting of the signal sent to a ste-
reo MATRIX bus can be linked with the TO ST PAN/TO ST
When you press a key to select the send-destination
MATRIX bus, only the LED of the corresponding key
will blink, indicating that it is selected as the send-des-
tination. The cursor will move to the corresponding
TO MATRIX LEVEL knob in the TO MATRIX field
of the screen.
• If you want to monitor the signal that is being sent to a specific
MATRIX bus, select the fader layer that includes that MATRIX
channel, and press the corresponding [CUE] key.
NOTE
• If a MIX, STEREO (L/R), or MONO channel is selected, MIX/
MATRIX SELECT section keys 9–16 are inactive.
■ Controlling the signals sent from MIX, STE-
REO (L/R), or MONO channels to a specific
MATRIX bus
• If the LED of only the specified key is blinking in the MIX/
MATRIX SELECT section and the LEDs of the remaining keys
are lit, the LS9 is in SENDS ON FADER mode. Press the
desired key of the MIX/MATRIX SELECT section so that only
the LED of that key is blinking.
Press the SELECTED CHANNEL section
1
[HOME] key.
The SELECTED CH VIEW screen will appear in the
display.
Use the SELECTED CHANNEL section
[SELECTED SEND] encoder to adjust the
send level from that channel to the MATRIX
bus you selected in step 3.
If the send-destination MATRIX bus is set to stereo,
the function of the [SELECTED SEND] encoder will
change depending on which of the two adjacent keys
of the MIX/MATRIX SELECT section are lit.
4
Use the LAYER section keys and the [SEL]
2
keys of the channel module section to
select the send-destination MATRIX chan-
nel.
The SELECTED CH VIEW screen will change as fol-
lows.
1
● If the left key is lit
Use the [SELECTED SEND] encoder to adjust the
pan (or balance, for a STEREO channel) of the signal
that is sent from that channel to the two MATRIX
buses.
2
● If the right key is lit
Use the [SELECTED SEND] encoder to adjust the
send level shared by the two MATRIX buses.
To switch the on/off status of a signal sent
to a MATRIX bus, move the cursor to theTO
MATRIX LEVEL knob in the screen and
press the [ENTER] key.
5
If you switch this off, the knob will turn grey. To turn
it back on, press the [ENTER] key once again.
1 FROM MIX field
Use the top panel [SEL] keys to select
another channel, and adjust the send level
to the selected MATRIX bus in the same
way.
6
7
If a MATRIX channel is selected, this area of the
SELECTED CH VIEW screen will show the FROM
MIX field, allowing you to switch the on/off status and
adjust the send level of the signals sent from each MIX
channel to the MATRIX bus.
Use the keys of the MIX/MATRIX SELECT
section to select another MATRIX bus as
the send-destination, and adjust the send
level in the same way.
B FROM MIX LEVEL knobs
These knobs indicate and control the send level of the
signals sent from MIX channels 1–16 to the currently
selected MATRIX bus.
HINT
• In order to select a MATRIX channel on the LS9-16, you must
first select the custom fader layer to which you’ve assigned
that MATRIX channel, and then press the corresponding
[SEL] key.
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Sending signals from MIX channels and STEREO/MONO channels to MATRIX buses
To adjust the send level from a MIX channel
Use the LAYER section keys and the chan-
nel module section [SEL] keys to select the
send-source MIX, STEREO (L/R), or MONO
channel.
3
4
2
3
4
to the selected MATRIX bus, move the cur-
sor to the corresponding knob of the FROM
MIX field, and operate the [SELECTED
SEND] encoder.
You can obtain the same result by operating the dial or
the [DEC]/[INC] keys.
If the send-destination MATRIX bus is set to stereo,
the send level to the two adjacent odd-numbered/even-
numbered MATRIX buses will be linked.
Use the MIX/MATRIX SELECT section keys
to select the send-destination MATRIX bus.
Only the LED of the corresponding key will blink,
indicating that it is selected as the send-destination.
Move the cursor to the SEND popup button
in the screen, and press the [ENTER] key to
access the MATRIX SEND popup window.
In the MATRIX SEND popup window you can view
eight MIX channels or the STEREO (L/R) and MONO
channels at once, and control the send level, on/off sta-
tus, and send point for the signals sent to the MATRIX
bus.
To switch the on/off status of a signal sent
from a MIX channel to the selected MATRIX
bus, move the cursor to the corresponding
knob of the FROM MIX field and press the
[ENTER] key.
6
If you switch this off, the knob will turn grey. To turn
it back on, press the [ENTER] key once again.
The MATRIX SEND popup window shows the param-
eters for a maximum of eight channels that include the
channel you selected in step 3.
NOTE
• When the SELECTED CH VIEW screen for MATRIX channels
is displayed, the keys of the MIX/MATRIX section will operate
as keys that select the send-destination MIX bus for the input
channels.
1
2
3
Use the top panel [SEL] keys to switch the
send-destination MATRIX channel and con-
trol the send level to a specific MATRIX bus
in the same way.
5
4
Using a popup window
Here’s how you can use the MATRIX SEND popup win-
dow to adjust the send levels from up to eight channels to
a MATRIX bus.
1 Channel number / Channel name
This indicates the number and name of the send-
source channel.
B PRE button
Press the SELECTED CHANNEL section
[HOME] key.
The SELECTED CH VIEW screen will appear in the
display.
1
This switches the position from which the signal is
sent from the send-source channel to the currently
selected MATRIX bus. If this button is on, the pre-EQ
or pre-fader signal will be sent; if this button is off, the
signal from immediately after the [ON] key will be
sent.
1
C TO MATRIX ON/OFF button
This is an on/off switch for the signal that is sent from
the send-source channel to the currently selected
MATRIX bus.
D TO MATRIX LEVEL knob
This adjusts the level of the signal that is sent from the
send-source channel to the currently selected
MATRIX bus.
1 SEND popup button
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Sending signals from MIX channels and STEREO/MONO channels to MATRIX buses
If the send-destination MATRIX bus is set to stereo,
the screen will change as follows.
To switch the on/off status of a signal sent
to the MATRIX bus, move the cursor to the
TO MATRIX ON/OFF button in the screen
and press the [ENTER] key.
7
If the send-destination MATRIX bus is set to stereo,
operation of the adjacent left/right pair of buttons is
linked.
5
If you want to operate a channel that is not
currently shown in the popup window, use
the [SEL] key to select that channel, and
then make settings for it.
8
9
E TO MATRIX PAN/TO MATRIX BALANCE
knob
This knob adjusts the panning (or the balance, if the
send-source is a STEREO channel or a MIX channel
set to stereo) of the signal sent from this channel to the
two MATRIX buses.
If you want to adjust the send level to
another MATRIX bus, use the keys of the
MIX/MATRIX SELECT section to select
another MATRIX bus, and make settings in
the same way.
When you’ve finished making settings,
move the cursor to the CLOSE button (or
the × symbol in the upper right of the win-
dow) and press the [ENTER] key.
10
HINT
• If you’ve turned on POPUP APPEARS WHEN PRESSING
can also access the above popup window by pressing the
SELECTED CHANNEL section [SELECTED SEND] encoder.
• If PRE is selected as the send position to the MATRIX bus,
then you will also be able to select either PRE EQ (immedi-
ately before the attenuator) or PRE FADER (immediately
before the fader) for each two adjacent odd-numbered/even-
Using the faders (SENDS ON FADER
mode)
Here’s how to use the top panel faders and [ON] keys to
adjust the send level and turn the signal on/off for the sig-
nals sent from the MIX, STEREO (L/R), and MONO
channels to a specific MATRIX bus.
• If desired, the pan/balance setting of the signal sent to a ste-
reo MATRIX bus can be linked with the TO ST PAN/TO ST
To adjust the send level from each channel
to the selected MATRIX bus, move the cur-
sor to a TO MATRIX LEVEL knob in the
screen, and operate the dial or the [DEC]/
[INC] keys.
If the send-destination MATRIX bus is set to stereo,
move the cursor to the TO MATRIX PAN (TO
MATRIX BAL) knob and adjust the pan (or balance,
for a STEREO channel or MIX channels set to stereo)
of the signal sent from each channel to the two
MATRIX buses.
5
6
Press the SELECTED CHANNEL section
[HOME] key.
1
The SELECTED CH VIEW screen will appear in the
display.
1
To switch the send position of a signal sent
to the MATRIX bus, move the cursor to the
PRE button in the screen and press the
[ENTER] key.
If the PRE button is on, the pre-EQ or pre-fader signal
will be sent; if this button is off, the signal from imme-
diately after the [ON] key will be sent.
HINT
• If the PRE button is on, then you will be able to select either
PRE EQ (immediately before the attenuator) or PRE FADER
(immediately before the fader) for each two adjacent odd-
1 SEND popup button
Use the LAYER section keys and the chan-
nel module section [SEL] keys to select a
MIX, STEREO (L/R), or MONO channel.
2
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Sending signals from MIX channels and STEREO/MONO channels to MATRIX buses
Use the MIX/MATRIX SELECT section keys
to select the send-destination MATRIX bus.
Only the LED of the corresponding key will blink,
indicating that it is selected as the send-destination.
Repeat steps 3–6 to adjust the send level
and switch the on/off status for other
MATRIX buses in the same way.
3
4
7
8
When you’ve finished setting the MATRIX
send levels, press the key that is currently
blinking in the MIX/MATRIX SELECT sec-
tion.
Press the same key of the MIX/MATRIX
SELECT section once again.
The key will change from lit to blinking, and the LEDs
of the remaining keys in the MIX/MATRIX SELECT
section will light. This indicates that the LS9 is now in
SENDS ON FADER mode, allowing you to use the
faders to control the send levels to the MIX bus /
MATRIX bus.
The LS9 will return to normal mode.
HINT
• You can assign the SENDS ON FADER function to a user-
defined key. This allows you quickly switch to SENDS ON
FADER mode for a specific MATRIX bus, or quickly return to
the previous state.
In SENDS ON FADER mode, the faders and [ON]
keys of the channel module section will change their
operation as follows.
• You can also use the [HOME] key to cancel SENDS ON
FADER mode.
6
● Faders
In SENDS ON FADER mode (when the send-destina-
tion is a MATRIX bus), the STEREO MASTER mod-
ule will operate differently depending on the selected
fader layer.
The faders will adjust the send level of the signal sent
from each channel to the currently selected MATRIX
bus. When you switch from normal mode to SENDS
ON FADER mode, the fader positions will move to the
value of the send levels to the currently selected
MATRIX bus.
Fader layer
Function
Send-destination MATRIX channel
module
1-16 {1-32}/17-32 {33-64}
[SEL] key, [CUE] key:
STEREO channel
● [ON] keys
These keys will function as on/off switches for the sig-
nal sent from each channel to the currently selected
MATRIX bus. When you switch from normal mode to
SENDS ON FADER mode, the [ON] keys will light or
go dark according to the on/off status of the signals
being sent to the currently selected MATRIX bus.
MASTER/
CUSTOM FADER
[ON] key, fader:
Adjust the on/off status and
send level of signals sent to
MATRIX buses
NOTE
• If you switch the fader layer from 1-16 {1-32}, 17-32 {33-64},
or CUSTOM FADER to MASTER while in SENDS ON FADER
mode (when the send-destination is a MATRIX bus), SENDS
ON FADER mode will be cancelled.
● [SEL] keys
The [SEL] key of the selected channel will blink, and
the [SEL] keys of channels that are not selected will
light. However, the [SEL] keys of unassigned modules
will go dark.
• You cannot operate the fader or [ON] key of a channel that is
not a send-source (a channel that does not have a MATRIX
SEND parameter) or of a channel that is not a send-destina-
tion bus master.
Use the channel module faders to adjust
the send levels from the channels to the
MATRIX bus you selected in step 3.
As necessary, switch fader layers to access the layer
that contains the desired send-source channel.
5
6
To switch the on/off status of a signal sent
to the MATRIX bus, press the top panel [ON]
key.
If the send-destination MATRIX bus is set to stereo,
on/off operations will be linked for the signal sent to
the two adjacent odd-numbered/even-numbered
MATRIX buses.
NOTE
• While SENDS ON FADER mode is active with a MATRIX bus
as the send-destination, the faders/encoders and [ON] keys
of input channels will be disabled. If you want to operate an
input channel, you must first disable the above SENDS ON
FADER mode.
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Chapter 7
Operations in the SELECTED CHANNEL
section
This chapter explains how you can use the SELECTED CHANNEL section
and the SELECTED CH VIEW screen to control the parameters of a selected
channel.
About the SELECTED CHANNEL section
The SELECTED CHANNEL section located at the right of the display corresponds to a channel
module of a conventional analog mixer, and allows you to manually adjust all the major parame-
ters of the currently selected channel.
7
Operations in this section will affect the channel that is currently selected by its [SEL] key.You
can use the encoders and keys on the panel to control mix parameters such as head amp gain,
EQ settings, the threshold setting of the dynamics processors, pan/balance settings, and send
levels to the MIX/MATRIX buses.
For a ST IN channel or STEREO channel, either the L or the R channel is selected, and the
major parameters are linked.
LS9-16
SELECTED CHANNEL section
HINT
• If you want to use the SELECTED CHANNEL section to set the send levels to the MIX/MATRIX buses,
use the keys of the MIX/MATRIX SELECT section located at the left of the display.
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About the SELECTED CH VIEW screen
About the SELECTED CH VIEW screen
When you press the [HOME] key, the SELECTED CH VIEW screen will appear in the display.
This screen shows most of the parameters of the channel currently selected by its [SEL] key.You
can use the SELECTED CH VIEW screen to check the values when operating the encoders of
the SELECTED CHANNEL section, or when you need to edit more detailed parameters.
The SELECTED CH VIEW screen contains the following
items.
D PAN field
● When an INPUT channel or monaural MIX
channel is selected
1
4
23
This functions as an on/off switch for the signal sent
from that channel to the STEREO/MONO bus. Here
you can also view or edit the panning of the signal sent
to the STEREO bus.
5
● When a ST IN channel or a stereo MIX channel
is selected
This functions as an on/off switch for the signal sent
from that channel to the STEREO/MONO bus. This
also lets you view or edit the balance of the left/right
signals sent from that channel to the STEREO bus.
6
9
K
● When a stereo MATRIX channel is selected
This shows the balance of the signals sent from the
two MATRIX channels.
● When a STEREO channel is selected
This shows the balance of the left/right signals sent
from the STEREO channel.
7
8
J
L
M
E DYNA1 field
F DYNA2 field (input channels only)
Here you can view or edit the Dynamics 1/2 parameters.
This also accesses the DYNAMICS 1 / DYNAMICS 2
popup windows where you can edit detailed dynamics
parameters that cannot be edited in the SELECTED
CHANNEL section.
1 SEND field
● When an input channel is selected
Here you can switch the on/off status of the signals
sent from that channel to each MIX bus (if the MIX
bus is set to the FIXED type), and view or edit the
send levels.
G EQ field
Here you can switch the four-band EQ on/off, and view or
edit its parameters. For input channels, you can also
switch the HPF (high-pass filter) on/off, and view or
adjust its cutoff frequency.
● When a MIX, STEREO, or MONO channel is
selected
Here you can switch the on/off status of the signals
sent from that channel to each MATRIX bus, and view
or edit the send levels.
H EQ graph field
This shows the response of the EQ/HPF.
● When a MATRIX channel is selected
Here you can switch the on/off status of the signals
sent from each MIX channel to that MATRIX bus, and
view or edit the send levels.
I INSERT field (INPUT channels 1–32 and MIX/
MATRIX/STEREO/MONO channels only)
The signal route for insertion in the channel can be
switched on/off here.
B HA field (input channels only)
In this field you can view or edit the input port patched to
the input channel, the head amp gain, the phantom power
on/off status, and the phase setting. The input level OVER
indicator is also shown here.
J DIRECT field (INPUT channels only)
This is an on/off switch for the signal that is directly out-
put from the channel. You can also view and edit the out-
put level here.
K SAFE field
Switches the Recall Safe status on/off for that channel. If
only some of the channel parameters are set to Recall
Safe, the PARTIAL indicator will light.
3
L FADER field
Here you can view and edit the input/output level of the
channel, and switch the channel on/off.
C PATCH field (output channels only)
For output channels, the PATCH field is shown in the 2
area. In this field you can view and edit the output port
that is patched to the output channel. For channels to
which two or more output ports are patched, only one will
be shown as a representative.
M MUTE field
Here you can select the mute group to which that channel
is assigned. SAFE indicator will light if the corresponding
channel is set to Mute Safe.
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Operations in the SELECTED CHANNEL section
Operations in the SELECTED CHANNEL section
This section explains how you can use the SELECTED CHANNEL section to control all of the
parameters for a specific channel.
Even if a screen other than the SELECTED CH VIEW
screen is selected, the encoders of the SELECTED
CHANNEL section always affect the currently
selected channel. When you operate an encoder, a
small popup window indicating the value of that
parameter will appear in the screen.
Press the SELECTED CHANNEL section
[HOME] key.
The SELECTED CH VIEW screen will appear in the
display. If you leave this screen displayed, you will
always be able to view the settings in the screen while
operating an encoder of the SELECTED CHANNEL
section.
1
HINT
• You can also access the SELECTED CH VIEW screen by
pressing any one of the encoders in the SELECTED CHAN-
NEL section.
7
Use the LAYER section to select the desired
fader layer.
2
3
Press a [SEL] key in the channel module
section, ST IN section, or STEREO MASTER
section to select a channel.
Operations in the SELECTED CHANNEL section
will affect the channel that is currently selected by its
[SEL] key. The number and name of the currently
selected channel is shown in the upper left of the dis-
play.
Use the encoders of the SELECTED CHAN-
NEL section and the buttons and knobs in
the SELECTED CH VIEW screen to edit the
parameters of the selected channel.
4
1
2
1 Channel number
B Channel name
HINT
• In the case of ST IN channels or STEREO channels, you can
switch between L and R by repeatedly pressing the same
[SEL] key.
• In order to select a MATRIX/MONO channel on the LS9-16,
you must first select the custom fader layer to which you’ve
assigned that channel, and then press the corresponding
[SEL] key.
• You can also move the cursor to the selected channel in the
upper left of the display, and use the dial or the [DEC]/[INC]
keys to change the selected channel.
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Operations in the SELECTED CHANNEL section
To adjust the send level to a MIX bus / MATRIX bus, use
the keys of the MIX/MATRIX SELECT section to select
the send-destination bus, and use the SELECTED CHAN-
NEL section [SELECTED SEND] encoder. (Alternatively,
move the cursor to the TO MIX LEVEL/TO MATRIX
LEVEL knob in the screen, and operate the dial or the
[DEC]/[INC] keys.)
Subsequent operations will differ depending on the
parameters you want to adjust.
● Adjusting the send levels from a spe-
cific channel to the MIX buses / MATRIX
buses
If desired, you can use the TO MIX ON/OFF buttons to
switch the signal sent to each bus on/off (if the MIX bus is
the FIXED type).
Use the SEND field when you want to send the signal
from an INPUT/ST IN channel to a MIX bus, or from a
MIX, STEREO, or MONO channel to a MATRIX bus.
At the left side of these buttons is shown the position from
which the signal is sent from the current channel. (For
1
2
HINT
• If you want to make send level settings for eight channels at a
time, use the SEND popup button in the screen to access the
• If you’ve turned on POPUP APPEARS WHEN PRESSING
also access the above popup window by pressing the SELECTED
CHANNEL section [SELECTED SEND] encoder.
• You can access the SEND popup window by moving the cursor to
the To MIX SEND knob of a VARI type, and pressing the [ENTER]
key.
• For MIX buses that are set to STEREO, the left knob indicates the
PAN of the MIX SEND, and the right knob indicates the SEND
LEVEL.
1 SEND popup button
This accesses a popup window where you can make send
level settings for eight channels at a time.
B TO MIX LEVEL (TO MATRIX LEVEL) knobs
These knobs indicate the send level of the signal sent from
that input channel to each MIX bus or MATRIX bus. If the
send-destination MIX bus / MATRIX bus is set to stereo,
the left knob of the two adjacent knobs will operate as a
PAN knob. (For a ST IN channel, a stereo MIX channel, or
STEREO channel, it will operate as the BALANCE knob.)
3
C TO MIX ON/OFF button
If the send-destination MIX bus is a FIXED type, the TO
MIX LEVEL knob will not appear; instead, the TO MIX
ON/OFF button will be shown. By moving the cursor to
the TO MIX ON/OFF button and pressing the [ENTER]
key, you can turn the signal sent from that channel to the
MIX button on/off.
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Operations in the SELECTED CHANNEL section
● Adjusting the send level from the MIX
1
5
channels to a specific MATRIX bus
To adjust the send level from the MIX channels to a spe-
cific MATRIX bus, access the send-destination MATRIX
channel in the SELECTED CH VIEW screen.
2
6
3 4
1
2
1 HA popup button
This button displays the HA/PATCH popup window
where you can make head amp settings for eight channels
B Input port select popup button
This accesses the PATCH/NAME popup window, where
you can select the input port and specify the channel name
and icon. The input port assigned to that channel is shown
inside this button.
7
C +48V button
This button switches the phantom power on/off for the
head amp assigned to that channel.
1 SEND popup button
This button displays a popup window where you can make
D ø (phase) button
This button switches the input assigned to that channel
between normal phase and reverse phase. The phase is
reversed when the button is on, and normal when the but-
ton is off.
send level settings for eight channels at a time.
B TO MATRIX LEVEL knobs
These adjust the send level of the signal sent from each
MIX channel to the currently selected MATRIX bus.
E OVER indicator
This will light when the input signal from the HA reaches
the overload point.
To adjust the send level to a MATRIX bus, use the keys of
the MIX/MATRIX SELECT section to select the MIX
channel you want to operate, and then operate the
SELECTED CHANNEL section [SELECTED SEND]
encoder. (Alternatively, move the cursor to the TO
MATRIX LEVEL knob in the screen, and operate the dial
or the [DEC]/[INC] keys.)
At the left side of each of these knobs is shown the posi-
tion from which the signal is sent from the MIX channel.
F GAIN knob
This indicates the amount of gain for the head amp
assigned to that channel.
To adjust the gain value, use the SELECTED CHANNEL
section [HA GAIN] encoder. (Alternatively, move the cur-
sor to the GAIN knob and operate the dial or the [DEC]/
[INC] keys.) The indicator above the GAIN knob in the
screen shows whether the signal of the patched input port
has overloaded.
When you move the cursor to the input port select popup
button and press the [ENTER] key, the PATCH/NAME
popup window will appear, allowing you to select the
input port and specify the channel name and icon. (For
HINT
• If you want to make send level settings for eight channels at a
time, use the SEND popup button in the screen to access the
• If you’ve turned on POPUP APPEARS WHEN PRESSING
also access the above popup window by pressing the SELECTED
CHANNEL section [SELECTED SEND] encoder.
HINT
• You can access the SEND popup window by moving the cursor to
the To MATRIX SEND knob and pressing the [ENTER] key.
• If you want to make head amp settings for eight channels at a
time, use the HA popup button in the screen to access the HA/
• For MATRIX buses that are set to STEREO, the left knob indicates
the PAN of the MATRIX SEND, and the right knob indicates the
SEND LEVEL.
• If you’ve turned on POPUP APPEARS WHEN PRESSING
also access the above popup window by pressing the SELECTED
CHANNEL section [HA GAIN] encoder.
● Making HA settings (input channels
NOTE
only)
• The PAD will be internally switched on or off when the HA gain is
adjusted between -14 dB and -13 dB. Keep in mind that noise may
be generated if there is a difference between the Hot and Cold
output impedance of the external device connected to the INPUT
connector when using phantom power.
To control the head amp (HA) assigned to an INPUT/ST
IN channel, you will use the [HA GAIN] encoder of the
SELECTED CHANNEL section and the HA field of the
SELECTED CHANNEL VIEW screen. The HA field
includes the following items.
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Operations in the SELECTED CHANNEL section
B PAN/BAL knob
The following parameter will change, according to the
channel that is selected.
● Changing the output patching (Output
channels only)
To change the output patching of an output channel in the
SELECTED CH VIEW screen, use the PATCH popup but-
ton.
INPUT channel
TO STEREO PAN
TO STEREO BALANCE
TO STEREO PAN
MIX BALANCE
ST IN channel
MIX (MONO x 2) channel
MIX (STEREO) channel
MATRIX (MONO x 2) channel
MATRIX (STEREO) channel
STEREO channel
1
2
Not displayed
MATRIX BALANCE
STEREO BALANCE
Not displayed
MONO channel
HINT
• You can also access the TO STEREO/MONO popup window by
moving the cursor to the PAN/BAL knob and pressing the [ENTER]
key.
1 PATCH popup button
This button displays the HA/PATCH popup window
where you can make output port settings for eight chan-
C ST/MONO button (INPUT, ST IN, MIX channels
only)
This switches the on/off status of the signal sent from that
B Output port select popup button
This accesses the PATCH/NAME popup window, where
you can select the output port and specify the channel
name and icon. The output port assigned to that channel is
shown inside the button. For channels to which two or
more output ports are patched, only one will be shown as a
representative.
channel to the STEREO (L/R) bus and MONO (C) bus.
4
To select the output port and specify the channel name or
icon, move the cursor to the output port select popup but-
ton and press the [ENTER] key to access the PATCH/
D LCR button
If an INPUT, ST IN, or MIX channel is set to LCR mode,
the LCR button is displayed in location 3. The LCR but-
ton is an overall on/off switch for the signals sent from the
channel to the STEREO bus and MONO bus.
HINT
• If you want to make output port settings for eight channels at a
time, use the PATCH popup button in the screen to access the HA/
To adjust the pan/balance of each channel, use the ST/
MONO button or the LCR button to select the send-desti-
nation bus, and operate the SELECTED CHANNEL sec-
tion [PAN] encoder. (Alternatively, move the cursor to the
PAN/BAL knob in the screen, and operate the dial or the
[DEC]/[INC] keys.)
• If you’ve turned on POPUP APPEARS WHEN PRESSING
also access the above popup window by pressing the SELECTED
CHANNEL section [HA GAIN] encoder.
● Setting the pan/balance
HINT
To adjust the pan/balance of the signal sent from that
channel to the STEREO bus, use the [PAN] encoder of the
SELECTED CHANNEL section and the PAN field of the
SELECTED CH VIEW screen. The PAN field includes
the following items.
• If you want to make pan/balance settings for eight channels at a
time, use the PAN popup button in the screen to access the TO
move the cursor to the PAN/BAL knob and press the [ENTER] key
to access it.
• If you’ve turned on POPUP APPEARS WHEN PRESSING
also access the above popup window by pressing the SELECTED
CHANNEL section [PAN] encoder.
1
2
3
1 PAN popup button
This button displays the TO STEREO/MONO popup win-
dow where you can make pan/balance settings for eight
channels at a time.
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Operations in the SELECTED CHANNEL section
● Making dynamics settings
HINT
To operate the dynamics of the currently selected channel,
use the SELECTED CHANNEL section [DYNAMICS 1]/
[DYNAMICS 2] encoder, and the DYNA1/DYNA2 field
of the SELECTED CH VIEW screen.
• If you’ve turned on POPUP APPEARS WHEN PRESSING
also access the above popup window by pressing the SELECTED
CHANNEL section [DYNAMICS 1]/[DYNAMICS 2] encoder.
NOTE
• The DYNA 2 field of the SELECTED CH VIEW screen and the
[DYNAMICS 2] encoder of the SELECTED CHANNEL section are
valid only if an input channel is selected.
● Making HPF/EQ settings
To operate the HPF/EQ of the currently selected channel,
use the SELECTED CHANNEL section EQ encoders,
and the EQ field of the SELECTED CH VIEW screen.
The EQ field of the SELECTED CH VIEW screen con-
tains the following items.
The DYNA1/DYNA2 field of the SELECTED CH VIEW
screen contains the following items.
3
4
5
1
5
1
2
6
7
2
4
3
6
1 DYNA1/DYNA2 popup buttons
These buttons access the DYNAMICS 1/DYNAMICS 2
popup window, where you can make detailed settings for
dynamics.
1 EQ popup button
B THRESH knob
This button accesses the ATT/HPF/EQ popup window,
where you can make detailed HPF/EQ settings.
This indicates the setting of the threshold parameter of a
gate or compressor. To adjust the value, use the
SELECTED CHANNEL section [DYNAMICS 1]/
[DYNAMICS 2] encoder. (Alternatively, move the cursor
to the knob and operate the dial or the [DEC]/[INC] keys.)
B EQ ON/OFF button
Switches the EQ on/off.
C HPF ON/OFF button
Switches the HPF on/off.
C DYNAMICS ON/OFF button
These buttons turn dynamics processors 1/2 on/off.
D HPF FREQ knob
Indicates the cutoff frequency of the HPF.
D OVER indicator
This will light if the output level of the dynamics reaches
E OVER indicator
the overload point.
This will light when the post-EQ signal reaches the over-
load point.
E Level meter
This displays a bar graph indication of the signal level
being input to the dynamics (on=green, off=gray) and the
amount of gain reduction (orange). The threshold setting
is shown as a vertical line.
F Q/F/G knobs
These knobs indicate the Q, F (center frequency), and G
(amount of boost/cut) settings for each band (LOW, L-
MID, H-MID, and HIGH).
F Parameter knobs
These knobs indicate the values of parameters other than
threshold.
To operate the EQ, switch the EQ ON/OFF button on, and
use the EQ [Q], EQ [FREQUENCY], and EQ [GAIN]
knobs of the SELECTED CHANNEL section to adjust the
Q, center frequency, and the amount of boost/cut. (Use the
EQ [HIGH], EQ [HIGH MID], EQ [LOW MID], and EQ
[LOW] keys to select the band you want to operate.)
Alternatively, move the cursor to the knobs of the EQ field
in the screen, and use the dial or the [DEC]/[INC] keys.
To operate the dynamics, turn the DYNAMICS ON/OFF
button on, and use the SELECTED CHANNEL section
[DYNAMICS 1]/[DYNAMICS 2] encoders to adjust the
threshold parameters. (Alternatively, move the cursor to
the DYNA1/DYNA2 field, and operate the dial or the
[DEC]/[INC] keys.)
To make detailed EQ settings, move the cursor to the EQ
popup button or the knobs of the EQ field, and press the
[ENTER] key to access the ATT/HPF/EQ popup window.
To make detailed dynamics settings, move the cursor to
the DYNA1/DYNA2 popup button or the DYNA1/
DYNA2 field, and press the [ENTER] key to access the
DYNAMICS 1/DYNAMICS 2 popup window. (For
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Operations in the SELECTED CHANNEL section
●
Making direct output settings (INPUT
channels only)
HINT
• You can also use the cursor keys to switch bands.
Use the DIRECT field to make direct-output related set-
tings for an INPUT channel in the SELECTED CH VIEW
screen. This field includes the following items.
• If you’ve turned on POPUP APPEARS WHEN PRESSING
also access the above popup window by pressing an EQ encoder
in the SELECTED CHANNEL section.
1
NOTE
• The type of the LOW band EQ or HIGH band EQ cannot be
switched in the SELECTED CH VIEW screen. If necessary, you
can access the ATT/HPF/EQ popup window and switch the EQ
type.
2
1 DIRECT popup button
• If the HIGH band EQ type is set to Low Pass Filter, the HIGH band
Q knob will not be displayed, and the GAIN knob will function as
an on/off switch for the Low Pass Filter.
This button accesses the DIRECT OUT popup window,
where you can assign an output port to the direct output
and adjust the output level for eight channels at a time.
B DIRECT OUT ON/OFF button
Turns the direct output on/off.
● Making insert settings (INPUT channels
1–32 and MIX/MATRIX/STEREO/MONO
channels only)
To make direct output settings, move the cursor to the
DIRECT popup button, and press the [ENTER] key to
access the DIRECT OUT popup window. (For details on
Use the INSERT field to make insert-related settings in the
SELECTED CH VIEW screen. This field includes the fol-
lowing items.
When you’ve assigned an output port to direct output in
the popup window, turn on the DIRECT OUT ON/OFF
button.
1
2
3
● Setting a channel to Recall Safe
In the SELECTED CH VIEW screen, use the SAFE field
to set the currently selected channel to the Recall Safe sta-
tus (in which that channel will not be affected by Recall
operations). This field includes the following items.
1 INSERT popup button
This accesses the INSERT popup window, where you can
assign input/output ports to insert-in/insert-out and specify
the signal insertion points for eight channels at a time.
B IN indicator
1
This indicates the signal level of the input port that is
patched to insert-in.
3
2
C INSERT ON/OFF button
Switches the insert on/off.
1 SAFE popup button
This opens the RECALL SAFE screen, where you can
make settings related to Recall Safe.
To make insert settings, move the cursor to the INSERT
popup button, and press the [ENTER] key to access the
INSERT popup window. (For details on the popup win-
When you’ve assigned input/output ports to insert-in/out
in the popup window, turn on the INSERT ON/OFF but-
ton.
B PARTIAL indicator
This indicator will light if only some of the parameters of
that channel are set to Recall Safe.
C RECALL SAFE ON/OFF button
Switches the Recall Safe status on/off for the channel.
To set all parameters of the channel to Recall Safe mode,
press the RECALL SAFE ON/OFF button to turn it on.
If you want to set only specific parameters of the channel
to Recall Safe mode, use the SAFE popup button to access
the RECALL SAFE screen, and select the parameters that
you want to be in Recall Safe mode. (For details on the
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Operations in the SELECTED CHANNEL section
● Turning a channel on/off
● Assigning a channel to a mute group
Use the FADER field to switch the channel on/off in the
SELECTED CH VIEW screen. This field includes the fol-
lowing items.
In the SELECTED CH VIEW screen, use the MUTE field
to assign a channel to a mute group (a group that allows
multiple channels to be muted/unmuted simultaneously).
This field includes the following items.
1
2
3
1
4
3
2
1 ∑ CLIP indicator
This indicator will light if an overload occurs at even one
of the level detection points in that channel.
1 MUTE popup button
This accesses the MUTE GROUP screen, where you can
select the channels to be assigned to each mute group.
B Fader
7
This indicates and adjusts the input/output level of the
channel. This is linked with the fader on the top panel.
B MUTE buttons 1–8
C Input/output level
These buttons select the mute group(s) to which this chan-
This indicates the current setting of the fader.
nel is assigned.
D CH ON/OFF button
C MUTE SAFE indicator
This button switches the channel on/off. This is linked
This will light if the corresponding channel is set to Mute
Safe (the state in which it will not be affected by Mute
operations). Mute Safe settings can be made in the MUTE
GROUP screen.
with the [ON] button of the top panel.
When you press the CH ON/OFF button in the FADER
field, that channel will be switched on/off. If you move the
cursor to the fader and operate the dial or the [DEC]/[INC]
keys, the level of that channel will change.
If a fader layer that includes the corresponding channel is
recalled to the top panel, the corresponding [ON] key and
fader will be linked with these operations.
To assign the channel to a mute group, turn on the desired
mute button 1–8 (multiple selections are allowed).
To check the channels that are assigned to each mute
group, move the cursor to the MUTE popup button and
press the [ENTER] key to access the MUTE GROUP
screen. (For details on the MUTE GROUP screen →
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Chapter 8
Custom fader layer
This chapter explains how to assign the desired channels to the custom
fader layer.
About the custom fader layer
The channel module section and ST IN channel section on the top panel of the LS9 consists of
four layers called “fader layers.”
8
Fader layer 1-16 {1-32}
Fader layer 17-32 {33-64}
Master fader layer
Custom fader layer
When you switch between these fader layers, you are changing the channels that will be controlled by the faders, encoders,
[ON] keys, and [SEL] keys of the channel module section and ST IN channel section.
Use the keys of the LAYER section to switch fader layers.
Fader layer 1-16
Fader layer 17-32
Custom fader layer
Fader layer 1-32
Fader layer 33-64
Custom fader layer
Master fader layer
Master fader layer
LS9-16
LS9-32
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Of the above fader layers, channels are pre-assigned to
fader layer 1-16 {1-32}, fader layer 17-32 {33-64}, and
However, you are free to assign desired channels to the
custom fader layer that is recalled when you press the
LAYER [CUSTOM FADER] key.
For example, INPUT channels belonging to different fader
layers could be assigned to consecutive modules so that
they can be operated together. Alternatively, input chan-
nels and output channels can both be assigned, so that you
could simultaneously operate the send level from an
INPUT channel to a specific MIX bus at the same time
that you adjust the master level of that MIX bus itself.
CH1 CH5 CH10 CH13 CH17 CH19 MIX1 MIX2
Assigning channels to the custom fader layer
To assign the desired channels to the custom fader layer, proceed as follows.
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
Move the cursor to the CUSTOM FADER
LAYER popup button in the screen, and
press the [ENTER] key.
1
2
The CUSTOM FADER LAYER popup window will
appear, allowing you to select the channel that will be
assigned to each channel module or ST channel.
1
1
2
LS9-32
1 CUSTOM FADER LAYER popup button
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Assigning channels to the custom fader layer
● Channels that can be selected in the ST IN
channel select field
1 Channel module select field
Select the channels that will be assigned to the top
panel channel modules 1–16 {1–32}.
• ST IN channels 1–4
B ST IN channel select field
HINT
Select the channels that will be assigned to the top
panel ST IN channels 1–2 {1–4}.
• As an alternative to using the dial or the [DEC]/[INC] keys,
you can move the cursor to the field you want to edit and
press a [SEL] key to select a channel.
Move the cursor to the channel module
select field or the ST IN channel select field,
use the dial or the [DEC]/[INC] keys to
select the channel that you want to assign
to that field, and press the [ENTER] key.
3
Assign channels to other fields in the same
way.
4
5
To recall the custom fader layer you’ve cre-
ated, press the LAYER [CUSTOM FADER]
key in the LAYER section.
The field will show the name of the selected channel.
The channels you selected in step 3 will be assigned to
the channel module section and ST IN channel section
of the panel.
HINT
• Custom fader layer settings are remembered for each user.
When a user logs-in, their previous settings will be repro-
duced.
8
The following channels can be selected for each field.
● Channels that can be selected in the chan-
nel module select field
• INPUT channels 1–32 {1–64}
• ST IN channels 1–4
• STEREO channel
• MONO channels
• MIX channels 1–16
• MATRIX channels 1–8
• MONITOR LEVEL
If you select a ST IN channel 1–4 or the STEREO
channel in the channel module select field, the L/R
channels will be assigned together. In this case, the
channel module will operate as follows.
• The fader and [ON] key will operate the L and R
channels together.
• The L and R channels will be selected alter-
nately each time you press the [SEL] key.
• The meter LEDs will indicate the signal level of
the L or R channel, whichever level is greater.
If you select one of a pair of MIX/MATRIX channels
set to stereo in the channel module select field, the
channel module will operate as follows.
• The fader and [ON] key will operate the two
MIX/MATRIX channels together.
• Pressing the [SEL] key will select only the MIX/
MATRIX channel that you assigned.
• The meter LEDs will indicate the signal level of
the L or R channel, whichever level is greater.
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Chapter 9
Input/output patching
This chapter explains how to edit the input patching and output patching,
how to connect inserts, and how to use direct outputs.
Changing the output patching
When the LS9 is in the initial state, the output ports (jacks and internal ports) are patched to the
following output channels.
● Selecting the output port for each out-
For the LS9-16
put channel
Output port (jack / internal port)
OMNI OUT jacks 1–6
Output channels
MIX channels 1–6
STEREO L/R channel
MIX channels 1–8
MIX channels 9–16
Here’s how to select the output port that will be the output
destination for each output channel.
OMNI OUT jacks 7–8
9
Slot output channels 1–8
Slot output channels 9–16
Press the [HOME] key to access the
SELECTED CH VIEW screen, and use the
[SEL] keys to select an output channel.
1
Rack inputs 5A (L), 6A (L), 7A (L), 8A (L) MIX channels 13–16
2TR OUT DIGITAL jack (L/R)
STEREO L/R channel
STEREO L/R channel
USB memory recorder input (L/R)
1
2
3
For the LS9-32
Output port (jack / internal port)
OMNI OUT jacks 1–12
Output channels
MIX channels 1–12
MATRIX channels 1–2
STEREO L/R channel
MIX channels 1–8
OMNI OUT jacks 13–14
OMNI OUT jacks 15–16
Slot 1 output channels 1–8
Slot 1 output channels 9–16
Slot 2 output channels 1–8
Slot 2 output channels 9–16
MIX channels 9–16
MIX channels 1–8
MIX channels 9–16
Rack inputs 5A (L), 6A (L), 7A (L), 8A (L) MIX channels 13–16
2TR OUT DIGITAL jack (L/R)
STEREO L/R channel
STEREO L/R channel
USB memory recorder input (L/R)
However, the above patching can be modified as needed.
If you want to change the output patching, you can either
select the output port that will be the output destination for
each channel, or you can select the channel that will be the
output source for each output port.
1 Channel number / Channel name
B PATCH popup button
C Port select popup button
HINT
• As an alternative to using the PATCH popup button, you can
also select the output port in the PATCH/NAME popup win-
dow that appears when you move the cursor to the port select
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Changing the output patching
1 Category tab
Move the cursor to the PATCH popup button
in the screen, and press the [ENTER] key.
The HA/PATCH popup window will appear. This
popup window shows the output port assigned to the
output channels, in groups of eight channels.
2
This selects the type of output ports that are shown in
the lower part of the popup window. Each tab corre-
sponds to the following output ports.
● OMNI/2TR OUT
Shows the OMNI OUT jacks 1–8 {1–16} and 2TR
OUT DIGITAL jack.
1
2
3
● SLOT {1/2}
Shows output channels 1–16 of the slot(s) {1/2}.
● RACK
Shows the inputs of racks 1–8. Use this when you
want to send the signal of an output channel to the
input of a GEQ or effect.
HINT
1 Channel number
This is the number of the output channel.
B Channel name
These are the names of each channel.
● REC IN
Shows the input of the USB memory recorder. Use
this when you want to send the signal of an output
channel to the input of the USB memory recorder.
C Port select popup button
This button selects the output port assigned to the
channel. The currently selected output port is shown.
B Port select button
This selects the output port that is assigned to the cor-
HINT
responding channel.
• Even if multiple output ports are assigned, only one output
port is shown.
C Level indicator
This indicates the state of the port’s signal using the
following colors.
Make sure that the cursor is located at the
3
output port for the desired channel, and
press the [ENTER] key.
The OUTPUT PORT SELECT popup window will
appear, allowing you to select the output port for the
output channel.
• -60 dB or below........... black
• -60 dB to -18 dB .......... green
• -18 dB to 0 dB.............. yellow
• OVER............................ red‘
This popup window contains the following items.
Move the cursor to the desired tab in the
upper part of the window, and press the
[ENTER] key.
4
The type of ports shown in the lower part of the win-
dow will change according to the tab you selected.
1
3
2
Move the cursor to the desired port select
button, and press the [ENTER] key.
That port will be selected as the output destination.
You can select more than one output port.
5
6
Move the cursor to the CLOSE button and
press the [ENTER] key to return to the pre-
vious screen.
LS9-16
HINT
• As an alternative to using the CLOSE button, you can return
to the previous screen by pressing the SELECTED CHAN-
NEL section [HOME] key once.
If necessary, perform the same steps for
other output channels.
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Changing the output patching
● Selecting the output channel for each
2
3
1
output port
Here’s how to select the output channel that will be the
output source for each output port.
4
5
6
In the DISPLAY ACCESS section, press the
1
[SETUP] key repeatedly to access the SYS-
TEM SETUP screen.
7
8
9
J
1 INITIALIZE button
This initializes the settings for the displayed output
ports. When you move the cursor to this button and
press the [ENTER] key, a dialog box will ask you to
confirm the Initialize operation.
B I/O card type
If the output channel of a slot is selected for opera-
tions, this area indicates the type of I/O card installed
in that slot.
LS9-16
9
C DELAY SCALE field
Use the following buttons to select the units for the
delay time displayed below the delay time setting
knob (6).
● METER
The delay time is displayed as a distance in meters,
calculated as the speed of sound at an air tempera-
ture of 20°C (68°F) (343.59 m/s) × delay time
(seconds).
● FEET
The delay time is displayed as a distance in feet,
calculated as the speed of sound at an air tempera-
ture of 20°C (68°F) (1127.26 feet/s) × delay time
(seconds).
LS9-32
● SAMPLE
In the OUTPUT PORT SETUP field in the center of
the screen, you can select the output port assigned to
the output channel from the following choices.
The delay time is displayed in units of samples. If
you change the sampling frequency on which the
LS9 operates, the number of samples will change
accordingly.
● OMNI 1-8 {1-8/9-16}
Select the output channels assigned to OMNI OUT
jacks 1–8 {1–16}.
● msec
The delay time is displayed in units of millisec-
onds.
● SLOT {1/2} 1-8/9-16
Select the output channels assigned to output chan-
nels 1–16 of the slot(s) {1/2}.
D Output port
● 2TR OUT
This is the type and number of the output port to
which the channel is assigned.
Select the output channel assigned to the 2TR
OUT DIGITAL jack.
E Channel select button
This button selects the channel assigned to the output
port. The number of the currently selected channel is
shown.
In the OUTPUT PORT SETUP field, move
2
the cursor to the button for the output ports
that you want to set, and press the [ENTER]
key.
The OUTPUT PORT popup window will appear,
allowing you to make output port settings.
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Changing the output patching
F Delay time setting knob
Use the category tabs and the channel
select buttons to select the send-source
channel.
4
5
This knob sets the delay time of the output port. Move
the cursor to this knob and use the dial or the [DEC]/
[INC] keys to adjust the setting. The delay time value
is shown below the knob, using the units selected in
the DELAY SCALE field (3).
Move the cursor to the CLOSE button and
press the [ENTER] key to return to the pre-
vious screen.
If PATCH is turned on in the CONFIRMATION field
of the PREFERENCE popup window, a confirmation
dialog box will appear when you attempt to modify the
patching.
If STEAL PATCH is turned on, a confirmation dialog
box will appear if you attempt to change a location
that is already patched to another location. (For
G DELAY button
Switches the delay on/off for the output port.
H ø (phase) button
Switches the phase of the signal assigned to the output
port between normal phase (black) and reverse phase
(orange).
I ATT knob
Adjusts the amount of attenuation/boost for the signal
assigned to the output port. To change the setting,
move the cursor to this knob in the screen, and use the
dial or the [DEC]/[INC] keys.You can adjust the value
in 1.0 dB steps in a range of -96 – +24 dB. The current
value is shown immediately below the knob.
HINT
• If you assign CH 1-32 {1-32/33-64} to an output port, the
selected INPUT channel will be output directly from the corre-
sponding output port. In this case, the channel select button
in the OUTPUT PORT popup window will indicate “DIR CH
xx” (xx = channel number). (For details on direct output →
J Level meter
This meter shows the signal level of the channel
assigned to the output port.
Make settings for delay, phase, and
attenuator as necessary.
6
7
8
To assign a channel to an output port, move
the cursor to the channel number field of
that port, and press the [ENTER] key.
The OUTPUT CH SELECT popup window will
appear. This popup window contains the following
items.
3
Repeat steps 3–6 to assign channels to
other output ports.
When you’ve finished making settings,
move the cursor to the CLOSE button (or to
the × symbol in the upper right of the win-
dow), and press the [ENTER] key to return
to the previous screen.
1
2
LS9-32
1 Category tab
This selects the type of channel that will be shown in
the lower part of the window. Each tab corresponds to
the following channels.
● OUT CH
Output channels (MIX channels 1–16, MATRIX
channels 1–8, STEREO L/R channel, and MONO
(C) channel) will be shown.
● MONITOR OUT
The MONITOR OUT L/R/C channels will be
shown.
● CH 1-32 {1-32/33-64}
INPUT channels 1–32 {1–64} will be shown.
B Channel select button
This selects the channel that is assigned to the output
port.
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Changing the input patching
Changing the input patching
When the LS9 is in the initial state, the following input ports (jacks / internal ports) are patched to
each input channel.
Move the cursor to the HA popup button in
the screen, and press the [ENTER] key.
The HA/PATCH popup window will appear. In this
popup window, you can view the input port and name
selected for each input channel, turn the phantom
power on/off, adjust the gain, and switch between nor-
mal/reversed phase, in groups of eight channels.
For the LS9-16
2
Input channels
Input port (jack / internal port)
INPUT jacks 1–16
INPUT channels 1–16
INPUT channels 17–32
ST IN channels 1–4 (L/R)
Slot input channels 1–16
Rack outputs 5–8 (L/R)
For the LS9-32
Input channels
INPUT channels 1–32
INPUT channels 33–48
INPUT channels 49–64
ST IN channels 1–4 (L/R)
Input port (jack / internal port)
INPUT jacks 1–32
1
Slot 1 input channels 1–16
Slot 2 input channels 1–16
Rack outputs 5–8 (L/R)
2
3
4
5
6
However, the above patching can be modified as needed.
Here’s how to change the patching of each input channel.
9
Press the [HOME] key to access the
SELECTED CH VIEW screen, and use the
[SEL] keys to select an input channel.
1
1 Channel number
This is the number of the input channel.
1
2
3
B Channel name
This is the name of the input channel.
C Port select popup button
This button selects the input port assigned to the chan-
nel. The currently selected input port is shown.
D +48V button
This button switches the phantom power on (red) or
off (black) for the head amp assigned to that channel.
E GAIN knob
This indicates the amount of gain for the head amp
assigned to that channel. Move the cursor to the knob
and use the dial or the [DEC]/[INC] keys to adjust the
setting. The level meter located immediately to the
right of the knob shows the input level of the corre-
sponding port.
1 Channel number / Channel name
B HA popup button
NOTE
C Port select popup button
• The PAD will be internally switched on or off when the HA
gain is adjusted between -14 dB and -13 dB. Keep in mind
that noise may be generated if there is a difference between
the Hot and Cold output impedance of the external device
connected to the INPUT connector when using phantom
power.
HINT
• As an alternative to using the HA popup button, you can also
select the input port in the PATCH/NAME popup window that
appears when you move the cursor to the port select popup
F ø (phase) button
This button switches the head amp assigned to that
channel between normal phase (black) and reverse
phase (orange).
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Changing the input patching
Move the cursor to the port select popup
button for the desired channel, and press
the [ENTER] key.
The INPUT PORT SELECT popup window will
appear, allowing you to select the input port for the
input channel.
Use the category tabs and the port select
buttons to select the input-source port.
3
4
5
Move the cursor to the CLOSE button and
press the [ENTER] key to return to the pre-
vious screen.
This popup window contains the following items.
HINT
• As an alternative to using the CLOSE button, you can return
to the previous screen by pressing the SELECTED CHAN-
NEL section [HOME] key once.
1
2
If necessary, perform the same steps for
other input channels.
6
LS9-16
1 Category tab
These tabs select the input ports that are shown in the
popup window. Each tab corresponds to the following
input ports.
● IN 1-16 {1-32}
Shows INPUT jacks 1–16 {1–32}.
● SLOT {1/2}
Shows input channels 1–16 of the slot(s) {1/2}.
● RACK
Shows the outputs of racks 1–8. Use this when you
want to send the output of a GEQ or effect to an
input channel.
HINT
● 2TR IN/PB OUT
Shows the 2TR IN DIGITAL jack and the USB
memory recorder’s output. Use this when you
want to send the input signal from the 2TR IN
DIGITAL jack or the output signal of the USB
memory recorder to an input channel.
B Port select button
This selects the input port that is assigned to the chan-
nel.
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Inserting an external device into a channel
Inserting an external device into a channel
If necessary, you can insert an internal effect/GEQ or an external device such as an effect pro-
cessor into the signal path of INPUT channels 1–32 or any output channel (MIX, MATRIX, STE-
REO, MONO). When doing so, the type of input/output port used for the insertion and the signal
patch location of the insertion can be specified individually for each channel.
Here we will explain how an external device connected to an I/O card in a slot can be inserted
into the desired channel.
Connect your external device to the I/O card
installed in a slot {1/2}.
Move the cursor to the INSERT popup but-
ton in the screen, and press the [ENTER]
key.
1
3
NOTE
DIGITAL OUT
DIGITAL IN
• For the INPUT channels, insert connections can be made
only for channels 1–32. If an INPUT channel 33–64 is
selected on the LS9-32, the INSERT popup button is not
shown.
DIGITAL OUT
DIGITAL IN
Digital I/O
card
Effect processor
The INSERT popup window will appear. In this popup
window, you can view the insert input/output port,
change the insert position and switches the insert on/
off, in groups of eight channels.
9
LS9
1
2
3
4
5
7
6
NOTE
• If you install a digital I/O card in a slot and digitally connect an
external device, you must synchronize the word clock of the
Press the [HOME] key to access the
SELECTED CH VIEW screen, and use the
[SEL] keys to select the channel into which
you want to insert an external device.
2
1 Channel block diagram
This shows the direct output position (only for INPUT
channels) and the position of the insert connection for
the selected channel.
B Channel number
This is the channel number.
C Channel name
This is the channel name.
1
D Insert point select box
This selects the insert point for the signal. Move the
cursor to this box and use the dial or the [DEC]/[INC]
keys to switch between PRE EQ (immediately before
the EQ) or PRE FADER (immediately before the
fader).
1 INSERT popup button
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Inserting an external device into a channel
E Output port select popup button
F Input port select popup button
Move the cursor to the input port select
popup button, and press the [ENTER] key.
7
These buttons select the output port and input port that
are patched to insert-out and insert-in. The currently
selected output port and input port are shown.
The INPUT PORT SELECT popup window will
appear, allowing you to select the input port that will
be patched to insert-in.
G INSERT ON/OFF button
This button turns the insert on/off. To switch this on/
off, move the cursor to this button and use the [DEC]/
[INC] keys or the [ENTER] key.
1
2
Move the cursor to the output port select
popup button, and press the [ENTER] key.
4
The OUTPUT PORT SELECT popup window will
appear, allowing you to select the output port that will
be patched to insert-out.
LS9-16
1
2
1 Category tab
These tabs select the input ports that are shown in the
popup window. Each tab corresponds to the following
input ports.
● SLOT {1/2}
Shows input channels 1–16 of the slot(s) {1/2}.
● RACK
Shows the outputs of racks 1–8. Use these when
you want to insert a GEQ or effect into the chan-
nel.
LS9-16
1 Category tab
These tabs select the output ports that are shown in the
popup window. Each tab corresponds to the following
output ports.
B Port select button
This selects the input port that is assigned to insert-in.
● SLOT {1/2}
Shows output channels 1–16 of the slot(s) {1/2}.
Use the category tabs and the port select
buttons to select the insert-in port.
8
9
● RACK
Move the cursor to the CLOSE button and
press the [ENTER] key to return to the pre-
vious screen.
Shows the inputs of racks 1–8. Use these when you
want to insert a GEQ or effect into that channel.
B Port select button
This selects the output port that is assigned to insert-
out.
Move the cursor to the insert point select
box, and use the dial or the [DEC]/[INC]
keys to select the insert point.
10
You can select PRE EQ (immediately before the EQ)
or PRE FADER (immediately before the fader).
Use the category tabs and the port select
buttons to select the insert-out port.
5
Move the cursor to the INSERT ON/OFF but-
ton, and press the [DEC]/[INC] keys or the
[ENTER] key to turn it ON.
11
Move the cursor to the CLOSE button and
press the [ENTER] key to return to the pre-
vious screen.
6
This enables the insertion you specified.
HINT
• After moving the cursor to the insert-out patch select box in
step 4, you can also select the output port by using the dial or
the [DEC]/[INC] keys instead of pressing the [ENTER] key.
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Directly outputting an INPUT channel
Directly outputting an INPUT channel
The signal of an INPUT channel can be output directly from the desired OMNI OUT jack or from
the output channel of a desired slot. For example by sending signals to an external digital
recorder via a digital I/O card installed in a slot, you can make a live recording without affecting
the LS9’s internal mixing.
Connect your external device to an OMNI
OUT jack or to an I/O card installed in a slot
{1/2}.
Move the cursor to the DIRECT popup but-
ton in the screen, and press the [ENTER]
key.
1
3
The DIRECT OUT popup window will appear. In this
popup window you can view the name of each chan-
nel, switch the direct output point, and adjust the out-
put level, in groups of eight channels.
DIGITAL OUT
DIGITAL IN
Digital I/O
card
Digital recorder
1
2
3
4
5
9
6
7
LS9
NOTE
1 Channel block diagram
This shows the direct output point for the selected
channel.
• If you install a digital I/O card in a slot and digitally connect an
external device, you must synchronize the word clock of the
B Channel number
This is the channel number.
Press the [HOME] key to access the
2
C Channel name
This is the channel name.
SELECTED CH VIEW screen, and use the
[SEL] keys to select the INPUT channel
from which you want to take a direct output.
D Direct out point select box
This selects the point from which the signal will be
directly output. Move the cursor to this box and use
the dial or the [DEC]/[INC] keys to switch between
PRE HPF (immediately before the high pass filter),
PRE EQ (immediately before the EQ), or PRE
FADER (immediately before the fader).
E DIRECT ON/OFF button
This button turns direct output on/off. To switch this
on/off, move the cursor to this button and use the
[DEC]/[INC] keys or the [ENTER] key.
1
F Port select popup button
This button selects the output port that will be patched
to direct output. The currently selected output port is
shown.
1 DIRECT popup button
G DIRECT OUT LEVEL knob
This knob adjusts the level of the direct output.
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Directly outputting an INPUT channel
Move the cursor to the port select popup
button, and press the [ENTER] key.
The OUTPUT PORT SELECT popup window will
appear, allowing you to select the output port that will
be patched to direct output.
Move the cursor to the DIRECT OUT ON/
OFF button, and press the [DEC]/[INC] keys
or the [ENTER] key to turn it ON.
4
8
9
This enables the direct output you specified.
As necessary, move the cursor to the
DIRECT OUT LEVEL knob and use the dial
or the [DEC]/[INC] keys to adjust the level of
the direct output.
1
2
HINT
• As an alternate method of specifying a direct output, you can
select an INPUT channel as the output source of an output
LS9-16
1 Category tab
These tabs select the output ports that are shown in the
popup window. Each tab corresponds to the following
output ports.
● OMNI / 2TR OUT
Shows OMNI OUT jacks 1–8 {1–16} and 2TR
OUT DIGITAL jack.
● SLOT {1/2}
Shows output channels 1–16 of the slot(s) {1/2}.
● REC IN
Shows USB memory recorder input channels.
B Port select button
This selects the output port that is assigned to direct
output.
Use the category tabs and the port select
buttons to select the port that will be the
direct output.
5
Move the cursor to the CLOSE button and
press the [ENTER] key to return to the pre-
vious screen.
6
Move the cursor to the direct out point
select box, and use the dial or the [DEC]/
[INC] keys to select the direct out point.
7
You can choose PRE HPF (immediately before the
high-pass filter), PRE EQ (immediately before the
EQ), or PRE FADER (immediately before the fader).
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Chapter 10
USB memory recorder
This chapter explains how to use the USB memory recorder.
About the USB memory recorder
The LS9 provides a USB memory recorder function that lets you easily record internal signals to
USB memory, or play back audio files recorded on USB memory.
As the file format for recording, it uses MP3 (MPEG-1 Audio Layer-3). For playback, it supports
MP3 as well as WMA (Windows Media Audio) and AAC (MPEG-4 AAC) files. However, DRM
(Digital Rights Management) is not supported.
By using the USB memory recorder, the output from the STEREO bus or a MIX bus can be
recorded to USB memory, or background music or sound effects saved in USB memory can be
played back via an assigned input channel.
10
■ Signal flow for the USB memory recorder
MIX 1–16
RECORDER
INPUT
PLAYBACK
OUT
MATRIX 1–8
STEREO L/R
MONO
L
L
INPUT 1–32 {1–64}
USB memory
recorder
ST IN 1L/1R–
ST IN 4L/4R
R
R
INPUT 1–32 {1–64}
DIRECT OUT
NOTE
• Recording and playback cannot be done simultaneously.
• The signal being recorded cannot be input to an INPUT channel.
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Assigning channels to the input/output of the recorder
Assigning channels to the input/output of the recorder
Here’s how to patch the desired channels to the input and output of the USB memory recorder.
You can patch any desired output channel or the direct output of an INPUT channel to the
recorder input, and you can patch the recorder output to any desired input channel.
F PLAYBACK OUT field
Here you can make settings for the recorder outputs.
In the DISPLAY ACCESS section, press the
[RECORDER] key repeatedly to access the
RECORDER screen.
In this screen you can assign signals to the input and
output of the USB memory recorder, and perform
recording and playback operations.
1
G PLAYBACK OUT popup buttons L/R
These buttons access the INPUT CH SELECT popup
window, where you can patch channels to the L/R out-
puts of the recorder.
H Output level meter
2
1
3
4
8
6
7
This level meter indicates the level of the signal being
output from the recorder.
I OUTPUT CUE button
This button cue-monitors the signal that is being out-
put from the recorder. Move the cursor to the button
and press the [ENTER] key to turn cue on/off.
To assign channels to the recorder inputs,
move the cursor to the RECORDER INPUT
popup button L or R, and press the
[ENTER] key.
2
The OUTPUT CH SELECT popup window will
appear.
5
9
1
1 RECORDER INPUT field
Here you can make settings for the recorder inputs.
B RECORDER INPUT popup buttons L/R
These buttons access the OUTPUT CH SELECT
popup window, where you can patch channels to the L/
R inputs of the recorder.
2
C ATT (attenuator) knob
This knob adjusts the amount of attenuation/boost for
the signal that is input to the recorder. You can adjust
the value in 0.1 dB steps in a range of -96 to +24 dB.
The current value is shown immediately below the
knob.
LS9-32
1 Category tabs
These tabs select the type of channels shown in the
lower part of the window.
D Input level meter
This level meter indicates the level of the signal being
● OUT CH
Output channels will be shown.
input to the recorder.
● CH 1-32 {1-32/33-64}
E INPUT CUE button
Direct outputs of INPUT channels 1–32 {1–32/
33–64} will be shown.
This button cue-monitors the signal that is being input
to the recorder. Move the cursor to the button and
press the [ENTER] key to turn cue on/off.
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Assigning channels to the input/output of the recorder
B Channel select buttons
Select the channels that will be assigned to the USB
memory recorder’s inputs, from the following choices.
To assign channels to the recorder outputs,
6
move the cursor to the PLAYBACK OUT
popup button L or R, and press the
[ENTER] key.
● MIX 1–16
The OUTPUT CH SELECT popup window will
appear.
MIX channels 1–16
● MTRX 1–8
MATRIX channels 1–8
● ST L/R
STEREO channel L/R
1
2
● ST L+C
STEREO channel L mixed with the MONO (C)
channel
● ST R+C
STEREO channel R mixed with the MONO (C)
channel
● MONO
MONO channel
LS9-32
● CH1–32 {1–64}
Direct output of an INPUT channel 1–32 {1–64}
1 Category tabs
These tabs select the type of channels shown in the
lower part of the window.
Use the category tabs and the port select
buttons to select the channel that you want
to patch to the USB memory recorder input.
If you select a channel to which another port is already
patched, a dialog box will ask you to confirm the patch
change. Move the cursor to the OK button of the
dialog box and press the [ENTER] key.
3
● CH 1-32 {1-32/33-64}
INPUT channels 1–32 {1–32/33–64} will be
shown
10
● ST IN
L/R channels of ST IN channels 1–4 will be
shown.
NOTE
B Channel select buttons
• You cannot assign multiple channels to a single input.
Select the channels that will be patched to the USB
memory recorder’s outputs, from the following
choices.
When you’ve finished making the assign-
ment, move the cursor to the CLOSE button
and press the [ENTER] key.
4
5
● CH 1–32 {1–64}
INPUT channels 1–32 {1–64}
● STIN 1L/1R–STIN 4L/4R
L/R channels of ST IN channels 1–4
You will return to the RECORDER screen.
Assign a channel to the other input in the
same way.
Use the category tabs and the channel
7
select buttons to select the channel that
you want to patch to the USB memory
recorder input.
If you select a channel to which another signal is
already patched, a dialog box will ask you to confirm
the patch change. Move the cursor to the OK button of
the dialog box and press the [ENTER] key.
HINT
• The USB memory recorder always records and plays back in
stereo. If you want to record in monaural, with the same signal
for left and right, you must assign both of the recorder inputs
to the same channel.
HINT
• You can patch multiple channels to the recorder output.
When you’ve finished making the assign-
ment, move the cursor to the CLOSE button
and press the [ENTER] key.
8
You will return to the RECORDER screen.
Assign a channel to the other output in the
same way.
9
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Recording to USB memory
Recording to USB memory
Here’s how to record the signal of the desired output channels as an audio file (MP3) onto the
USB memory inserted in the USB connector located at the right of the display.
For playback as well, you will only be able to play
back audio files that are saved in the SONGS folder or
in the currently selected folder below that level.
In the DISPLAY ACCESS section, press the
[RECORDER] key repeatedly to access the
RECORDER screen.
1
■ USB memory folder structure
YPE folder
Root directory
SONGS folder
Songs
(Audio files)
1
2
3
4
5
6
1 Audio file display field
The track number, title, artist, format (MP3/WMA/
AAC), and bit rate of during playback or the most
recently played audio file are displayed.
Assign the desired channels to the input
and output of the USB memory recorder (→
B REMAIN/ELAPSE button
3
This button selects the content that is shown in the
TIME FIELD (3). When you move the cursor to this
button and press the [ENTER] key, the field will alter-
nate between showing REMAIN (remaining time dis-
play) and ELAPSE (elapsed time display).
So that you can monitor the signal being
4
recorded on the recorder, raise the fader of
the channel(s) that are patched to the input/
output of the recorder.
The level meter in the RECORDER screen shows the
signal level before and after the recorder. If necessary,
use the ATT knob in the RECORDER INPUT field to
adjust the input level to the recorder.
C TIME (remaining time / elapsed time) field
According to the setting in (2), this shows either the
remaining time that can be recorded to USB memory,
or the elapsed time.
D Transport
These buttons perform record/play/stop operations for
the USB memory recorder.
NOTE
• The signal being recorded will not be output from the recorder
output jacks (PLAYBACK OUT).
E REC RATE (bit depth) button
This selects the bit depth for recording.
HINT
F FREE SIZE field
• Operating the ATT knob will not affect the level of the signal
being output to other ports from the corresponding output
channel.
This indicates the amount of free capacity in USB
memory, in terms of MB and as a percentage.
Connect USB memory with sufficient free
capacity to the USB connector.
The FREE SIZE field indicates the amount of free
capacity.
2
Move the cursor to the REC RATE field in
5
the lower right of the screen, and use the
dial or the [DEC]/[INC] keys to select the bit
depth of the audio file that will be recorded.
You can choose 96 kbps, 128 kbps, or 192 kbps.
Higher bit rates will improve the audio quality, but
will increase the size of the data.
When you connect USB memory to the USB connec-
tor, aYPE folder and a SONGS folder within thatYPE
folder will be created automatically in the root direc-
tory of the USB memory.
The files created by recording operations will be saved
in the above SONGS folder, or in the currently
selected folder below that level.
HINT
• The word clock rate at which the LS9 is currently operating
(44.1 kHz or 48 kHz) will automatically be selected as the
sampling rate of the audio file.
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Recording to USB memory
D FF ( ) button
Move the cursor to the REC button (●) at
the bottom of the screen, and press the
[ENTER] key.
You will use the transport at the bottom of the screen
to perform record/play/stop operations for the
recorder.
6
● When you move the cursor to this button,
and press and immediately release the
[ENTER] key
You will move to the beginning of the next song in
the title list.
● When you move the cursor to this button,
and press and hold the [ENTER] key for
two seconds or longer
1
2
3
4
5
The song will be fast-forwarded.
In either of the above cases, operating this button dur-
ing playback will cause playback to resume from the
current location when you release the [ENTER] key.
Each button has the following function.
1 REW ( ) button
E REC (●) button
● When you move the cursor to this button,
and press and immediately release the
[ENTER] key
You will return to the beginning of the song. If you
were already at the beginning, you will return to
the beginning of the preceding song in the title list
● When you move the cursor to this button
and press the [ENTER] key while stopped
The recorder will be in record-ready mode, and the
PLAY/PAUSE (
) button will blink.
HINT
• You can also assign the function of each button to a user-
● When you move the cursor to this button,
and press and hold the [ENTER] key for
two seconds or longer
While stopped, move the cursor to the REC (●) button
The song will rewind.
10
and press the [ENTER] key; the PLAY/PAUSE (
button will blink, and the recorder will be in record-
ready mode.
)
In either of the above cases, operating this button dur-
ing playback will cause playback to resume from the
current location when you release the [ENTER] key.
To begin recording, move the cursor to the
7
8
B STOP (■) button
PLAY/PAUSE (
) button in the lower part
●
When you move the cursor to this button
and press the [ENTER] key during playback
of the screen, and press the [ENTER] key.
During recording, the REC (●) button and the PLAY/
Playback will stop.
PAUSE (
) button will light. The TIME field will
indicate the elapsed time.
●
When you move the cursor to this button
and press the [ENTER] key during recording
To stop recording, move the cursor to the
STOP (■) button and press the [ENTER]
key.
Recording will stop, and the recorded content will
be saved in a file (the file name and title will be
assigned a default name).
The audio file will be saved to USB memory.
● When you move the cursor to this button
and press the [ENTER] key in record-ready
mode
HINT
• In the default state, the recorded audio file will be saved in the
SONGS folder within the YPE folder. However, you may also
specify a folder of a level below the SONGS folder.
Record-ready mode will be defeated.
C PLAY/PAUSE (
) button
• The recorded file will be given a default title and file name.
You can change this later.
● When you move the cursor to this button
and press the [ENTER] key while stopped
Playback will start.
●
When you move the cursor to this button
and press the [ENTER] key during playback
To audition the recorded content, proceed
as follows.
9
Playback will pause.
1 Move the cursor to the PLAY/PAUSE (
)
● When you move the cursor to this button
and press the [ENTER] key in record-ready
mode
button and press the [ENTER] key.
The recorded content will be played back via the input
channel you specified in step 3.
Recording will start.
B To stop playback, move the cursor to the
STOP (■) button and press the [ENTER]
key.
●
When you move the cursor to this button
and press the [ENTER] key during recording
Recording will pause.
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Playing back audio files from USB memory
Playing back audio files from USB memory
Here’s how to play back audio files that have been saved on USB memory. In addition to files that
were recorded on the LS9 console, you can also play files that were copied from your computer
to USB memory.
Three types of audio file format can be played: MP3 (MPEG-1 Audio Layer-3), WMA (Windows
Media Audio), and AAC (MPEG-4 AAC). The sampling rate can be either 44.1 kHz or 48 kHz,
and the bit rate can be between 64 kbps and 320 kbps.
C Playback selection check field
Connect the USB memory containing the
audio files to the USB connector.
1
This field lets you select the files that will be played
back during consecutive playback. When you move
the cursor to this field and press the [ENTER] key, the
check mark will alternately appear or disappear.
NOTE
• If you want to play back an audio file, you must save it in the
SONGS folder within the YPE folder, or in a folder you’ve cre-
ated below the SONGS folder. Files located in other folders
and files of unsupported formats will not be recognized.
D Status
This field shows a symbol to indicate whether the cur-
rently selected file is playing ( ) or paused ( ).
E SONG TITLE/FILE NAME
In the DISPLAY ACCESS section, press the
[RECORDER] key repeatedly to access the
TITLE LIST screen.
2
This field shows the title or file name of the song. If
the title is too long to be displayed, a “~” character is
shown at the end.
F ARTIST
9
J
K
This field shows the artist of the song. If the artist
name is too long to be displayed, a “~” character is
shown at the end.
G TIME
This field shows the length of the song in hours : min-
1
4
utes : seconds.
H MODE button
This button switches the playback mode.You can play
back one song or all songs, and play them only once or
repeatedly.
I Change directory button
When you move the cursor to this button and press the
[ENTER] key, the list will show the contents of the
directory at the next higher level.
2 3
5
6
7
8
J PATH (current path) field
This shows the full pathname of the folder (directory)
that is currently selected as the recording destination
and playback source.
1 Title list
This list shows the playable audio files and the folders
that are saved in the selected folder of USB memory.
The row with the blue background in the center of the
list indicates the file/folder that is selected for opera-
tions.
K JPN button
If this button is on, the titles or artist names in the list
or of the currently-playing song will be displayed in
Japanese characters compatible with Shift-JIS charac-
ter encoding (double-byte code).
This setting will also be reflected in the RECORDER
screen and in the TITLE/ARTIST EDIT popup win-
dow.
B No. (track number)
This number indicates the order of each file for con-
secutive playback. If there is a lower-level folder, a
folder icon (
) is shown here. If an icon (
) is
shown here, it indicates that an upper level exists.
Move the cursor to a displayed number and press the
[ENTER] key to play back that audio file.
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Playing back audio files from USB memory
You can use the change directory button in
the screen and the folder icon in the No.
field to view a content list of the folder that
includes the desired file.
Operate the dial or the [DEC]/[INC] keys so
that the desired file is shown in the center
of the list.
3
4
5
Move the cursor to the MODE button and
press the [ENTER] key to select the play-
back mode.
The setting will alternate between the following four
modes each time you press the [ENTER] key.
● To move to a folder below
Move the cursor to a folder icon shown in the No. field
of the list, and press the [ENTER] key.
●
Starting with the currently selected song in the title
list, songs will play back consecutively, and playback
will stop at the last song in the list.
●
Starting with the currently selected song in the title
list, songs will play back consecutively until the last
song; then playback will return to the first song and
will continue until you stop playback.
●
The currently selected song will play repeatedly until
you stop playback.
● To move to the folder above
Move the cursor to the change directory button and
press the [ENTER] key.
●
10
The currently selected song will play once and then
stop.
If you selected a consecutive playback
mode in step 5, move the cursor to the play-
back selection check field for each song
you want to play, and press the [ENTER]
key.
6
7
When performing consecutive playback, the files with
a check mark will be played.
Move the cursor to the PLAY/PAUSE (
button and press the [ENTER] key.
)
The song you selected in step 4 will begin playing.
HINT
HINT
• The USB memory recorder can play back audio files whose
sampling rate is 44.1 kHz or 48 kHz.
• When you move to a different folder in this way, that folder will
automatically be selected as the recording-destination.
• Even if the sampling rate at which the LS9 is operating differs
from the sampling rate of the audio file being played, the
SRC (Sampling Rate Converter) function will automatically
convert the rate so that the playback will be correct.
NOTE
• The folders that can be selected are restricted to the SONGS
folder inside the YPE folder, and folders located below the
SONGS folder.
NOTE
• The LS9 can recognize a file name that is a maximum of 64
characters. If the file name is longer than this, the desired file
may not play correctly.
• If
or
is selected as the playback mode,
playback will continue until you stop playback.
• A maximum of 300 songs can be managed in a single direc-
tory. A maximum of 64 songs can be managed in a subdirec-
tory.
To stop playback, move the cursor to the
STOP (■) button and press the [ENTER]
key.
8
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Editing the title list
Editing the title list
Here’s how you can change the order of the audio files shown in the title list, and edit the titles or
artist names.
Connect USB memory containing audio
files to the USB connector.
If you want to edit a title or file name in the
title list, move the cursor to the SONG
TITLE/FILE NAME EDIT button; if you want
to edit the artist name, move the cursor to
the ARTIST EDIT button; then press the
[ENTER] key.
1
2
4
In the DISPLAY ACCESS section, press the
[RECORDER] key repeatedly to access the
TITLE LIST screen.
A popup window will appear, allowing you to edit the
text.
1
4
7
5
6
2
3
NOTE
• If the title or artist name contains characters that cannot be
displayed, these characters will be converted into
display.
for
↑
↓
1
/
buttons
These buttons move the track number of the song
selected in the list earlier ( ↑ ) or later ( ↓ ) in the
list.
• The title and the artist name can be edited only for MP3
format audio files.
B SONG TITLE/FILE NAME EDIT button
This button lets you edit the title or file name of the
song selected in the list.
Edit the title or artist name.
5
A maximum of 128 single-byte characters (64 double-
byte characters) can be input for both the title and for
the artist name. (For details on entering characters →
p. 34) If the text cannot be shown completely in the
input field, the text will scroll horizontally.
C ARTIST EDIT button
This button lets you edit the artist name of the song
selected in the list.
D TITLE SORT button
This button sorts the list in alphabetical order of the
title.
Move the cursor to the OK button and press
the [ENTER] key to close the popup window.
6
7
If necessary, use the SONG TITLE/FILE
NAME SORT button, ARTIST SORT button,
E ARTIST SORT button
This button sorts the list in alphabetical order of the
artist name.
↑ ↓
buttons in the screen to change
and
/
the order of the title list.
F SAVE LIST button
This button saves the list sorting data to USB memory.
Use the following buttons to change the order of the
title list.
● SONG TITLE/FILE NAME SORT button
When you move the cursor to this button and press the
[ENTER] key, the title list will be sorted in numerical
→ alphabetical order by title. Each time you press the
[ENTER] key, the list will alternate between ascend-
ing and descending order.
G SONG TITLE/FILE NAME buttons
These buttons switch the items (title or file name) that
are shown in the SONG TITLE/FILE NAME field.
Use the No. button and the change direc-
tory button in the screen to view a list of the
contents of the folder that includes the
desired file.
3
● ARTIST SORT button
When you move the cursor to this button and press the
[ENTER] key, the title list will be sorted in numerical
→ alphabetical order by artist name. Each time you
press the [ENTER] key, the list will alternate between
ascending and descending order.
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● SAVE LIST button
NOTE
When you move the cursor to this button and press the
[ENTER] key, the title list order and playback selec-
tions will be saved in USB memory. You should per-
form this operation if you want the title list to be
preserved even after you disconnect the USB memory
or turn off the power.
Since these settings are stored for each folder, a confir-
mation dialog box will ask you whether you want to
save them if you move to a different folder.
• Two-byte code or Latin-1 (ISO-8859-1) code characters will
not be sorted correctly.
↑
↓
●
/
buttons
When you move the cursor to these buttons and press
the [ENTER] key, the track number of the file cur-
rently selected in the title list will be moved upward or
downward by one.
Linking scene recall with audio file playback
You can make link settings so that a specific audio file from USB memory is played back when
you recall a certain scene. This is a convenient way to automatically play back a sound effect or
background music at a certain point in the performance.
To link scene recall with audio file playback, proceed as follows.
F LINK
Connect the USB memory containing the
audio file to the USB connector.
1
2
This indicates whether linking from the scene to an
audio file is enabled. The PLAY indicator is shown if
linking is enabled. If the PLAY indicator is off even
though a file is selected, the audio file will not play
when scene recall occurs.
In the DISPLAY ACCESS section, press the
[SCENE MEMORY] key repeatedly to
access the SCENE PLAYBACK LINK
screen.
10
G SONG TITLE/FILE NAME field
This shows the title or file name of the audio file.
1
2
3
4 6
7
8
5
NOTE
• The audio file to be played must be saved in the SONGS
folder within the YPE folder. Please note that you won’t be
able to specify a file that is in the root directory or another
folder. When you execute playback, the path in the TITLE
LIST screen will change to \YPE\SONGS\.
• The file name is shown in black if the specified file no longer
exists, and the song title or file name is shown in yellow if the
file can no longer be recognized.
• The file specified for linking is distinguished by its eight-char-
acter file name + three-character extension. If you change the
file name after specifying it for linking, or if you repeatedly
delete and copy the file, there may be rare cases in which the
linked file can no longer be recognized.
H OFFSET (Offset time)
This shows the time from the recall operation until the
corresponding audio file will begin playing.
9
J
I SONG TITLE/FILE NAME buttons
These buttons select the item that is shown in the
SONG TITLE/FILE NAME field.
1 Scene list
This is the list of scenes to which you can assign a
song (audio file). The line with the blue background in
the middle of the list is the scene that’s selected for
operation.
J JPN button
If this button is on, the song title will be displayed
using Shift-JIS code (double-byte character code) to
support Japanese.
B No. (scene number)
C TITLE (scene title)
D Protect
NOTE
These respectively indicate the scene number, title,
and protect status.
• Other items in the SCENE PLAYBACK LINK screen are the
E Song list
Operate the dial or the [DEC]/[INC] keys so
that the scene to which you want to assign
a song is displayed in the middle.
3
This is the list of songs (audio files) that can be linked.
The line with the blue background in the middle of the
list is the file that’s selected for operation.
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Linking scene recall with audio file playback
Move the cursor to the blue background
If necessary, move the cursor to the OFF-
SET knob and use the dial or the [DEC]/
[INC] keys to specify an offset time before
the audio file will play back.
You can specify the offset time in a range of 0–99 sec-
onds in 0.5 second units.
4
6
7
area in the middle of the list SONG TITLE/
FILE NAME field, and press the [ENTER]
key.
The SONG SELECT popup window will appear,
allowing you to select an audio file.
Move the cursor to the OK button and press
the [ENTER] key.
1
2
5
6
7
The popup window will close, and you will return to
the SCENE PLAYBACK LINK screen. The title or file
name of the file you selected will be displayed in the
center of the song list.
Alternatively, if you select the CANCEL button
instead of the OK button, the settings will be discarded
and you will return to the SCENE PLAYBACK LINK
screen.
3
4
Move the cursor to the LINK field and press
the [ENTER] key to turn on the link to the
audio file.
The PLAY indicator will appear in the LINK field.
The PLAY indicator will also appear in the STATUS
field of the SCENE LIST screen.
8
1 SONG TITLE/FILE NAME buttons
These buttons select the item (song title or file name)
that is shown in the song list.
B JPN button
If this button is on, the song title will be displayed
using Shift-JIS code (double-byte character code) to
support Japanese.
C PATH field
This indicates the path of the folder (\YPE\SONGS\)
in which the audio files are saved. This cannot be
changed.
D Song list
This shows the playable audio files in the SONGS
folder.
HINT
• A maximum of 300 audio files can be displayed.
• Files other than playable audio files will not be displayed.
Repeat steps 3–8 to assign audio files to
other scenes in the same way.
9
E SONG TITLE/FILE NAME button
When you move the cursor to this button and press the
[ENTER] key, the song list will be sorted in alphanu-
meric order by song tile or file name. Each time you
press the [ENTER] key, the list will alternate between
ascending and descending order.
HINT
• As other ways to control audio file playback, you can use MIDI
MMC commands for remote control from an external device
F TYPE
This indicates the type of the audio file. The signifi-
cance of this indication is as follows.
Recall a scene to which you’ve linked an
audio file.
After the offset time has elapsed, the audio file will
play only once.
10
• MP3.............MPEG-1 Audio Layer-3
• WMA ...........Windows Media Audio
• AAC.............MPEG4 AAC
NOTE
G OFFSET (Offset time)
• When you recall the scene, the constant display area will
show a count-down until the offset time has elapsed.
This specifies the time from the recall operation until
the corresponding audio file begins to play.
• You cannot play back during recording or in record-ready
mode.
Operate the dial or the [DEC]/[INC] keys to
scroll the song list so that the file you want
to link to the scene is shown in the center
with a blue background.
5
• If another song is playing when scene recall occurs, the cur-
rently-playing song will stop when recall occurs, regardless of
the offset time setting.
• The linked audio file will be played only once, regardless of
the playback mode setting.
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Chapter 11
EQ and Dynamics
This chapter explains the EQ (equalizer) and dynamics that are provided on
each channel of the LS9.
About EQ and dynamics
Each input channel and output channel of the LS9 provides a four-band EQ and dynamics.
EQ can be used on all input channels and all output channels. An attenuator is provided immedi-
ately before the EQ, allowing you to adjust the level of the input signal. In addition, input channels
provide a high-pass filter that is independent of the EQ.
Input channels provide two dynamics processors. Dynamics 1 can be used as gate, ducking,
compressor, or expander. Dynamics 2 can be used as compressor, compander hard, compander
soft, or de-esser. Output channels provide one dynamics processor, which can be used as com-
pressor, expander, compander hard, or compander soft.
11
Using EQ
This section explains the four-band EQ that is provided on input channels and output channels.
Press the SELECTED CHANNEL section
[HOME] key.
The SELECTED CH VIEW screen will appear in the
display.
Use the LAYER section to select the desired
fader layer.
1
2
3
Press a [SEL] key in the channel module
section, STEREO MASTER section, or ST IN
section to select the channel that you want
to operate.
1
In the screen, move the cursor to the EQ
popup button or any knob in the EQ field,
and press the [ENTER] key.
4
The ATT/HPF/EQ popup window will appear.
In the ATT/HPF/EQ popup window you can view and
edit all EQ parameters of the currently selected chan-
nel.
HINT
• If you’ve turned on POPUP APPEARS WHEN PRESSING
can access the above popup window by pressing either of the
EQ [Q], EQ [FREQUENCY], or EQ [GAIN] encoders while the
SELECTED CH VIEW screen is shown.
1 EQ popup button
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Using EQ
The window contains the following items.
H LOW shelving button
If this button is on, the LOW band EQ will switch to a
shelving type. In this case, the LOW band Q knob will
not be shown.
1
3
2
4
I Q/FREQ/GAIN knobs
For each of the LOW, LOW MID, HIGH MID, and
HIGH bands, these knobs adjust the Q (steepness),
FREQ (center frequency), and GAIN (amount of
boost/cut).
8
J
K
5
6
7
HINT
• You can move the cursor to one of the knobs in 9 and press
the [ENTER] key to switch the EQ on/off.
J HIGH shelving button
9
If this button is on, the HIGH band EQ will switch to a
shelving type. In this case, the HIGH band Q knob will
not be shown.
1 TYPE I, II buttons
K Low pass filter button
These buttons select the EQ type. If the TYPE I button
is on, the EQ will use the same algorithm as previous
Yamaha digital mixers; if the TYPE II button is on, a
newly-developed algorithm will be used. Using TYPE
II will reduce interference between bands.
If this button is on, the HIGH band EQ will operate as
a low-pass filter. In this case, the HIGH band Q knob
will not be shown, and the GAIN knob will operate as
a switch that turns the low-pass filter on/off.
B FLAT button
L
This button resets the GAIN parameter of all bands to
the initial value (0.0 dB). When you move the cursor
to this button and press the [ENTER] key, a dialog box
will ask you to confirm the operation.
C EQ graph
This graph shows the approximate response of the EQ
parameters. A pointer is shown at the peak of each
band. Operating the Q, FREQ, or GAIN knobs of each
band will change the response curve accordingly. If
EQ or high-pass filter is on, the response curve will be
highlighted.
D Level meter
L High-pass filter button (output channels
only)
If this button is on, the LOW band EQ will operate as a
high-pass filter. In this case, the LOW band Q knob
will not be shown, and the GAIN knob will operate as
a switch that turns the high-pass filter on/off.
This meter indicates the peak level before the EQ and
after the EQ. If the signal has overloaded before or
after the EQ, the OVER segment will light. If the cor-
responding channel is stereo (a ST IN channel, a MIX
channel / MATRIX channel that is set to stereo, or the
STEREO channel), level meters for two channels will
be displayed.
To turn the EQ on/off, move the cursor to
the EQ ON/OFF button and press the
[ENTER] key.
If you want to make settings in the ATT/HPF/EQ
popup window, move the cursor to the desired button/
knob and use the [ENTER] key, the dial, or the [DEC]/
[INC] keys.
5
E ATT knob
This knob specifies the amount of attenuation/gain
before entering the EQ, in a range of -96 dB–+24 dB.
Use this to compensate for level changes caused by the
EQ.
F HPF FREQ knob, HPF ON/OFF button
(input channels only)
This knob and button let you adjust the cutoff fre-
quency of the high-pass filter placed immediately after
the attenuation and before the EQ, and switch it on/off.
The cutoff frequency can be adjusted in a range of 20–
600 Hz.
HINT
• You can also adjust the Q, center frequency, and boost/cut
amount using the EQ [Q], EQ [FREQUENCY], and EQ [GAIN]
encoders of the SELECTED CHANNEL section. In this case,
use the EQ [HIGH], EQ [HIGH MID], EQ [LOW MID], and EQ
[LOW] keys to select the band that you want to adjust.You
can also switch EQ bands for editing by moving the cursor
onto a parameter of the desired band.
G EQ ON/OFF button
This switches the EQ on/off.
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If you want to use the high-pass filter on an
input channel, operate the HPF FREQ knob
or HPF ON/OFF button in the ATT/HPF/EQ
popup window.
If you want to initialize EQ settings or copy
them to another channel, use the tool but-
tons in the ATT/HPF/EQ popup window.
6
7
For details on how to use these buttons, refer to “Using
Input channels provide a high-pass filter that is inde-
pendent of the four-band EQ. Use the HPF ON/OFF
button to switch the high-pass filter on/off, and use the
HPF FREQ knob to specify the cutoff frequency.
HINT
• You can also use a dedicated library to save or load EQ set-
wide variety of presets suitable for various instruments or situ-
ations.
HINT
• Output channels do not provide a high-pass filter that is inde-
pendent of the EQ. However by turning on the high-pass filter
button in the popup window, you can use the LOW band EQ
as a high-pass filter.
• You can also use the encoders of the SELECTED CHANNEL
• For both input channels and output channels, you can turn on
the low-pass filter button and use the HIGH band EQ as a
low-pass filter.
Using dynamics
Input channels provide two dynamics processors, and output channels provide one dynamics
processor.
11
Press the SELECTED CHANNEL section
[HOME] key.
The SELECTED CH VIEW screen will appear in the
display.
Press a [SEL] key in the channel module
section, STEREO MASTER section, or ST IN
section to select the channel that you want
to operate.
1
3
In the screen, move the cursor to the
DYNA1/DYNA2 popup button or any knob in
the DYNA1/DYNA2 field, and press the
[ENTER] key.
4
2
1
The DYNAMICS 1/DYNAMICS 2 popup window
will appear. In this popup window you can view and
edit all dynamics parameters of the currently selected
channel.
HINT
• If you’ve turned on POPUP APPEARS WHEN PRESSING
can also access the above popup window by pressing any of
the [DYNAMICS 1]/[DYNAMICS 2] encoders while the
SELECTED CH VIEW screen is shown.
1 DYNA1 popup button
B DYNA2 popup button (input channels only)
Use the LAYER section to select the desired
fader layer.
2
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Using dynamics
The window contains the following items.
F KEY IN SOURCE box
You can select a key-in signal in this box. For details
on the procedure, refer to step 6.
1
2
3
G Other parameters
This area shows other dynamics parameters. The
parameters shown will depend on the currently
selected dynamics type.
HINT
6
4
8
9
• For details on parameters, refer to the appendix at the end of
• You can switch dynamics on/off by moving the cursor to one
of the knobs in 5 or 7 and pressing the [ENTER] key.
5
H KEY IN FILTER field (GATE and DUCKING
only)
7
This field lets you apply a filter to the key-in signal.
This field provides a FILTER box that lets you select
the filter type, a Q knob (which adjusts the Q of the fil-
ter), and a FREQ knob (which adjusts the cutoff fre-
quency or center frequency).
1 Dynamics type buttons
Use these buttons to select one of the following four
types of dynamics.
To change the filter type, move the cursor to the FIL-
TER BOX and use the dial or the [DEC]/[INC] keys to
select either HPF (high-pass filter), BPF (band-pass
filter), or LPF (low-pass filter); then press the
[ENTER] key. If you select “----” in the FILTER box,
no filter will be applied.
Input channels
GATE
DUCKING
DYNAMICS 1
COMPRESSOR
EXPANDER
COMPRESSOR
COMPANDER-H
DYNAMICS 2
NOTE
COMPANDER-S
• After changing the type of filter in the FILTER box, be sure to
press the [ENTER] key to apply the change.
DE-ESSER
Output channels
I KEY IN CUE (GATE and DUCKING only)
This button lets you cue-monitor the currently selected
key-in signal.
COMPRESSOR
EXPANDER
DYNAMICS 1
COMPANDER-H
COMPANDER-S
HINT
• Even if you’ve selected MIX CUE mode (when all channels
whose [CUE] key is on will be mixed for monitoring) as the
cue mode, turning on the KEY IN CUE button will give priority
to monitoring only the corresponding signal. All [CUE] keys
that had been turned on at that time will be forcibly defeated.
HINT
• For details on dynamics types, refer to the appendix at the
• KEY IN CUE will automatically be cancelled when you exit the
corresponding screen.
B Dynamics graph
This graph shows the approximate response of dynam-
ics processing.
To turn dynamics on/off, move the cursor to
the DYNAMICS ON/OFF button and press
the [ENTER] key.
If you want to make settings in the DYNAMICS 1/
DYNAMICS 2 popup window, move the cursor to the
desired button/knob and use the [ENTER] key, the
dial, or the [DEC]/[INC] keys.
5
C Level meters
These meters show the amount of gain reduction (GR),
and the peak levels before the gate (IN) and after the
gate (OUT). If the signal has overloaded, the OVER
segment will light. If the corresponding channel is ste-
reo (a ST IN channel, a MIX channel / MATRIX chan-
nel that is set to stereo, or the STEREO channel), level
meters for two channels will be displayed.
HINT
D DYNAMICS ON/OFF button
This switches dynamics on/off.
• You can also adjust the dynamics threshold by using the
[DYNAMICS 1]/[DYNAMICS 2] encoders of the SELECTED
CHANNEL section.
E THRESHOLD knob
This specifies the threshold level at which dynamics
will operate.
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Using dynamics
Select the key-in signal as necessary.
You can select one of the following as the key-in sig-
nal.
If you want to initialize dynamics settings or
copy them to another channel, use the tool
buttons in the DYNAMICS 1/DYNAMICS 2
popup window.
6
7
For an input channel
For details on how to use these buttons, refer to “Using
The signal immediately before the
EQ (attenuator) of the currently
selected input channel
SELF PRE EQ
HINT
The signal immediately after the EQ
of the currently selected input chan-
nel
• You can also use a dedicated library to save or load dynamics
of a wide variety of presets suitable for various instruments or
situations.
SELF POST EQ
CH 1–32 {64} POST
EQ,STIN1L/1R–4L/4R
POST EQ
The signal immediately after the EQ
of the corresponding input channel
(*1)
The signal immediately after the ON
of the corresponding MIX channel
MIX OUT 13–16
*1: The signals that you can select are limited to the group to which
that channel belongs, from the following five {nine} groups: CH
1–8, CH 9–16, CH17–24, CH25–32, {CH33–40, CH41–48,
CH49–56, CH57–64}, and STIN1L1R–4L4R.
For an output channel
The signal immediately before the
EQ (attenuator) of the currently
selected output channel
SELF PRE EQ
The signal immediately after the EQ
of the currently selected output chan-
nel
SELF POST EQ
MIX 1–16 POST EQ,
MTRX1–8 POST EQ,
ST L/R, MONO, POST
EQ
The signal immediately after the EQ
of the corresponding output channel
(*1)
The signal immediately after the ON
of the corresponding MIX channel
11
MIX OUT 13–16
*1: The signals that you can select are limited to the group to which
that channel belongs, from the following four groups: MIX 1–8,
MIX 9–16, MATRIX 1–8, and ST/MONO.
HINT
• If the dynamics type of DE-ESSER, the key-in signal is fixed
at SELF POST EQ and cannot be changed.
To select the key-in signal, make your selection in the
DYNAMICS 1/DYNAMICS 2 popup window.
1 Move the cursor to the KEY IN SOURCE box,
and use the dial or the [DEC]/[INC] keys to
select the desired key-in signal.
The newly selected key-in signal will blink.
B Press the [ENTER] key to confirm your selec-
tion of key-in signal.
NOTE
• If you move the cursor out of the KEY IN SOURCE box while
the key-in signal is blinking in the box, your change will be dis-
carded, and the key-in signal setting will revert to the previous
choice. To confirm your new choice of key-in signal, press the
[ENTER] key without moving the cursor.
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Using the EQ/Dynamics libraries
Using the EQ/Dynamics libraries
EQ or dynamics settings can be stored in or recalled from dedicated libraries.
EQ library
The EQ library consists of an input EQ library that lets
you store and recall EQ settings for input channels, and an
output EQ library that lets you store and recall EQ settings
for output channels.
To access each library, move the cursor to the LIB tool
button in the ATT/HPF/EQ popup window and press the
[ENTER] key.
Dynamics library
You can use the dynamics library to store and recall
dynamics settings.
All of the LS9’s dynamics processors use this library.
However, the types that can be selected will differ
between dynamics 1 and dynamics 2 for input channels,
and dynamics 1 for output channels. You can’t recall a
type that cannot be used.
To access the dynamics library, move the cursor to the LIB
tool button in the DYNAMICS 1/DYNAMICS 2 popup
window, and press the [ENTER] key.
LIB button
LIB button
HINT
• For both the input EQ library and the output EQ library, you can
recall 199 settings from each library. Input EQ provides 40 read-
only presets, and output EQ provides 3 read-only presets.
HINT
• For details on how to access the ATT/HPF/EQ popup window,
• You can recall 199 settings from this library. The library contains
41 read-only presets.
• For details on how to access the DYNAMICS 1/DYNAMICS 2
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Chapter 12
Grouping and linking
This chapter explains the Mute Group function that lets you simultaneously
control the muting of multiple channels, the Channel Link function that links
the parameters of multiple channels, and the operations that let you copy or
move parameters between channels.
About mute groups
Mute groups allow you to switch muting on/off for multiple channels together. For example, you
can use mute groups to cut out multiple non-adjacent channels simultaneously.
The LS9 has eight mute groups, and they can be used with both input channels and output chan-
nels. Both types of channel can exist in the same group.
Using mute groups
Here we will explain how to use mute groups.You will use the MUTE GROUP screen of the
CHANNEL JOB screens to assign channels to each mute group or switch muting on/off.You can
also use the SELECTED CH VIEW screen to specify the mute group(s) to which the currently
selected channel belongs.
12
HINT
• Mute group 1–8 on/off functions can also be assigned to user-defined keys. For more about
Using the MUTE GROUP screen to
operate mute groups
In the MUTE GROUP screen of the CHANNEL JOB
screens, you can select a specific mute group and specify
the channels that belong to that mute group. You can also
switch each mute group on/off.
[CHANNEL JOB] key
In the DISPLAY ACCESS section, press the
1
[CHANNEL JOB] key repeatedly to access
the MUTE GROUP screen of the CHANNEL
JOB screens.
The [CHANNEL JOB] key accesses various CHAN-
NEL JOB screens that allow you to perform opera-
tions on channels. The screen will change each time
you press the key.
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Using mute groups
The MUTE GROUP screen of the CHANNEL JOB
screen contains the following items.
Assign channels to other mute groups in
the same way.
4
5
HINT
1
2
4
• You are free to assign the same channel to more than one
mute group.
To mute the channels assigned to a mute
group, move the cursor to the MUTE
GROUP MASTER 1–8 button for the desired
mute group, and press the [ENTER] key
(multiple selections are allowed).
The selected MUTE GROUP MASTER button will
light, and all channels belonging to that mute group
will be muted. At this time, the [ON] key of the muted
channels will blink.
3
5
To defeat muting for a mute group, move
the cursor to the MUTE GROUP MASTER
button that you turned on in step 5, and
press the [ENTER] key to make the button
go dark.
6
1 Channel display field
Channels assigned to the mute group selected by the
1–8 buttons are highlighted in red. If the SAFE button
is selected, channels that are temporarily excluded
from all mute groups are highlighted in green.
NOTE
B CLEAR ALL button
• Mute group assignments are saved as part of the scene.
However, the mute on/off settings are not saved.
When you move the cursor to this button and press the
[ENTER] key, all channels that are currently high-
lighted in the channel display field will be cleared.
HINT
• If you assigned a mute group on/off function to a user-defined
key, you can switch mute on/off by pressing the correspond-
ing user-defined key to make it light or go dark.
C 1–8 buttons
These buttons select the mute group that is shown in
the channel display field.
• Even if a channel is assigned to a mute group, it will not be
affected by mute on/off operations if its [ON] key was off to
begin with.
D SAFE button
Use this button when you want to temporarily exclude
a specific channel from all mute groups. The channel
display field shows the channels that are temporarily
excluded from the mute groups. For more about mute
Using the SELECTED CH VIEW screen
to specify mute groups
In the SELECTED CH VIEW screen you can select a spe-
cific channel and assign the mute group(s) to which that
channel belongs (multiple assignments are allowed).
E MUTE GROUP MASTER buttons 1–8
These buttons switch muting on/off for mute groups
1–8.
To select the mute group to which you want
to assign channels, move the cursor to one
of the 1–8 buttons and press the [ENTER]
key.
2
3
HINT
• In the SELECTED CH VIEW screen you can only assign mute
groups. To switch muting on/off, you must either use the MUTE
assign the mute on/off function to a user-defined key and operate
Press the [SEL] key of the input channels /
output channels (you may select more than
one) that you want to assign.
The [SEL] keys of the assigned channels will light. In
the channel display field in the screen, the correspond-
ing channels will also be highlighted in red. To cancel
an assignment, press a lit [SEL] key once again to
make it go dark.
Press the SELECTED CHANNEL section
[HOME] key to access the SELECTED CH
VIEW screen.
1
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Using mute groups
Use the LAYER section keys and the [SEL]
keys to select the channel whose mute
group(s) you want to specify.
In the SELECTED CH VIEW screen you can use the
MUTE field to specify the mute group(s) to which the
currently selected channel belongs.
2
Using the Mute Safe function
If necessary, specific channels registered to a mute group
can be temporarily excluded from mute group operations
(Mute Safe).
In the DISPLAY ACCESS section, press the
1
[CHANNEL JOB] key repeatedly to access
the MUTE GROUP screen of the CHANNEL
JOB screens.
1
2
1
2
4
3
1 MUTE field
This shows the mute groups to which the currently
selected channel is assigned.
B MUTE popup button
When you move the cursor to this popup button and
press the [ENTER] key, the MUTE GROUP screen of
the CHANNEL JOB screen will appear. For details,
1 Channel display field
When the SAFE button is on, channels that are tempo-
rarily excluded from the mute group are highlighted in
this field.
12
C Mute group select buttons 1–8
These select the mute group(s) to which the currently
selected channel will be assigned.
B SAFE button
This lets you select the channels that will be set to
Mute Safe status.
D SAFE indicator
Move the cursor to the SAFE button and
press the [ENTER] key.
2
3
This will light if the currently selected channel is set to
Mute Safe. For more about mute safe, refer to “Using
Use the LAYER section keys and the chan-
nel module section [SEL] keys to select the
channels you want to exclude from mute
group operations (multiple selections are
allowed).
The [SEL] key will light, and the corresponding chan-
nel in the channel display field of the screen will be
highlighted in green. You can cancel the Mute Safe
status by pressing a lit [SEL] key once again to make it
go dark.
To select the mute group(s) to which this
channel will be assigned, move the cursor
to a mute group select button and press the
[ENTER] key (multiple selections are
allowed).
3
4
Select the mute group(s) for other channels
in the same way.
Channels that are set to Mute Safe will not be affected
when you mute a mute group to which that channel
belongs.
HINT
• Mute Safe settings are not saved in the scene. They will
remain valid until you cancel the settings.
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The Channel Link function
The Channel Link function
Channel Link is a function that links the operation of parameters such as fader and EQ between
input channels.
The parameters to be linked can be selected from the following choices.
• HA GAIN settings (linked while preserving the difference in level.)
• EQ settings
• Dynamics 1 and 2 settings
• On/off status of signals sent to MIX buses
• Send levels of signals sent to MIX buses
• Fader operations (linked while preserving the difference in level.)
• [ON] key operations
Two or more input channels that are linked are called a “link group.”The maximum number of link
groups you can create, and the maximum number of input channels that can be included in each
group, is 18 {34}. However, the selection of parameters for which operations of a channel are
linked for multiple link groups is shared by all link groups.
1 Channel display field
When you create a link group, the corresponding
channels will be highlighted. If there are two or more
link groups, each group is shown in a different color.
Linking the desired input channels
Here’s how to link specific parameters of input channels.
HINT
HINT
• Channel link settings are saved as part of the scene.
• For ST IN channels, all parameters of L and R are always
linked.
• Recall Safe does not affect channel link. When you recall a scene,
the link status saved in that scene will always be reproduced.
B LINK PARAMETER field
Use the buttons in this field to select the parameters
that you want to be linked. These settings are shared
by all link groups.
In the DISPLAY ACCESS section, press the
1
[CHANNEL JOB] key repeatedly to access
the CH LINK screen of the CHANNEL JOB
screens.
C SEND PARAMETER field
If you have turned on the MIX ON or MIX SEND but-
tons in the LINK PARAMETER field, use the buttons
of this field to specify the send-destination bus(es).
Use the buttons of the LINK PARAMETER
field to select the parameter(s) that will be
linked (multiple selections are allowed).
2
The table below lists the parameters you can select in
the LINK PARAMETER field.
1
HA button
Head amp settings
2
3
EQ button
EQ settings (including ATT/HPF)
Dynamics 1 and 2 settings
DYNA 1, 2 buttons
On/off status of signals sent to MIX
buses
MIX ON button
MIX SEND button
FADER button
CH ON button
Send levels of signals sent to MIX buses
Fader operations
[ON] key operations
HINT
• If you link Dynamics 1 or 2 for two or more input channels, the
parameter values will be linked, but the key-in signals are not
linked. For more about dynamics, refer to “EQ and Dynamics”
• If you turn on the EQ button or DYNA 1/2 buttons, library
recall operations will also be linked.
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The Channel Link function
If you turned on the MIX ON or MIX SEND
buttons in step 2, use the buttons of the
SEND PARAMETER field to specify the
bus(es) for which you want operations to be
linked (multiple selections are allowed).
3
4
HINT
• When you press the [SEL] key of a channel belonging to a link
group to make it light, the [SEL] keys of all channels belong-
ing to the same link group will blink.
• If you link an INPUT channel to a ST IN channel, parameters
that do not exist for a ST IN channel will be ignored.
The table below lists the parameters you can select in
the SEND PARAMETER field.
If you want to add a new channel to an
existing link group, do so as described in
step 4.
5
6
TO MIX 1–16 buttons
MIX buses 1–16
NOTE
• If nothing is selected in the SEND PARAMETER field, send
on/off and send level will not be linked.
HINT
• If the link-destination channel is already assigned to another
link group, its assignment to the previous group will be can-
celled, and it will be added to the newly assigned group.
To link channels, proceed as follows.
1 Select the fader layer that contains the link-desti-
To cancel a link, proceed as follows.
nation channel.
1 Select the fader layer that contains the channel you
B Use one of the following methods to select the
want to un-link.
link-source channel.
B Use one of the following methods to select any
● If the link-source and link-destination
channels are in the same fader layer
Hold down the link-source [SEL] key and select
the [SEL] key of the link-destination channel.
channel assigned to the link group.
● If the channel that you want to un-link is in
the same fader layer as another channel in
that link group
Hold down any [SEL] key registered in the link
group, and select the [SEL] key of the channel that
you want to un-link.
● If the link-source and link-destination
channels are in different fader layers
Use the cursor keys to move the white frame of the
channel display field to the link-source channel,
then hold down the [ENTER] key and select the
[SEL] key of the link-destination channel.
● If no other channel in that link group is in
the same fader layer as the channel you
want to un-link
12
At this time, the values of the parameters you selected
in steps 2 and 3 will be copied from the link-source to
the link-destination channel. Subsequent operations of
the parameters you selected in steps 2 and 3 will be
linked between channels belonging to the same link
group. The current link status is shown in the channel
display field of the window.
Use the cursor keys to move the white frame of the
channel display field to any channel registered in
the link group, then hold down the [ENTER] key
and select the [SEL] key of the channel you want
to un-link.
HINT
• You can temporarily exclude a channel from link groups in
order to adjust parameters that maintain their level balance
while linked, such as when you want to adjust the level bal-
ance between channels in a link group. Hold down the [SEL]
key of the channel whose balance you want to adjust, and edit
the desired parameter. HA GAIN and fader will not be linked
while you are holding down the [SEL] key. (However, this func-
tion will not work during the fade of a scene memory recall
operation.)
NOTE
• HA GAIN and fader values, which are linked while preserving
their level difference, will not be copied.
Link-source channel
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Copying, moving, or initializing a channel
Copying, moving, or initializing a channel
This section explains how you can copy or move mix parameters between channels, or restore
the parameters of a specific channel to their default settings.
E COPY TARGET field
If you’ve selected a MIX channel, MATRIX channel,
or STEREO/MONO channel as the copy-source, use
the buttons of this field to select the parameters that
will be copied. You may turn both buttons on if
Copying the parameters of a chan-
nel
You can copy the mix parameter settings of a channel to
desired.
another channel. When you execute the copy operation,
If both buttons are on, the following parameters will
the settings will overwrite the parameters of the copy-des-
be copied.
tination.
● MODULE PARAM button
All parameters of the copy-source channel
You can copy between the following combinations of
channels.
• Between input channels
●
WITH MIX SEND/WITH MATRIX SEND button
On/off status and send level settings of the send
signals sent to the copy-source channel
• Between the STEREO L/R channel and MONO chan-
nel
• Between MIX channels
F COPY button
• Between MATRIX channels
Executes the copy.
In the DISPLAY ACCESS section, press the
To select the copy-source channel, press the
corresponding [SEL] key to make it light.
The corresponding channel is highlighted in the
SOURCE CH field of the window.
When you choose the copy-source channel, the DES-
TINATION CHs field is automatically emboldened,
allowing you to select the copy-destination.
If you want to re-select the copy-source channel, move
the cursor to the CLEAR SOURCE button and press
the [ENTER] key.
1
2
3
[CHANNEL JOB] key repeatedly to access
the CH COPY screen of the CHANNEL JOB
screens.
2
5
NOTE
• Copy settings can be made only in the order of “copy-source”
→ “copy-destination.”
1
3
To select the copy-destination channel(s),
press the corresponding [SEL] key to make
it light (multiple selections are allowed).
The corresponding channel(s) is/are highlighted in the
DESTINATION CHs field of the window. The chan-
nels that can be selected as the copy-destination will
depend on the channel you selected in step 2.
If you want to re-select all of the copy-destination
channels, move the cursor to the CLEAR DEST button
and press the [ENTER] key.
4
6
1 SOURCE CH field
Indicates the channel that is selected as the copy-
source.
B CLEAR SOURCE button
This button clears the channels shown in the SOURCE
CH field and DESTINATION CHs field.
If you selected a MIX/MATRIX/STEREO/
MONO channel as the copy-source, use the
buttons of the COPYTARGET field to select
the parameters you want to copy.
4
5
C DESTINATION CHs field
Indicates the channels selected as the copy-destina-
tion.
To execute the Copy operation, move the
cursor to the COPY button and press the
[ENTER] key.
The copy will be executed, and the settings will over-
write the parameters of the copy-destination chan-
nel(s). After the copy has been executed, the SOURCE
CH field and DESTINATION CHs field will return to
an unset state.
D CLEAR DEST button
This button clears the channels shown in the DESTI-
NATION CHs field.
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Copying, moving, or initializing a channel
To select the move-source channel, press
the corresponding [SEL] key to make it light.
The corresponding channel is highlighted in the
SOURCE CH field of the window.
2
Moving the parameters of a chan-
nel
When you select the move-source channel, the DES-
TINATION CH field will automatically be embold-
ened, allowing you to select the move-destination.
If you want to re-select the move-source channel,
move the cursor to the CLEAR SOURCE button and
press the [ENTER] key.
The settings of a specific input channel can be moved to a
different input channel. When you execute a Move opera-
tion, the numbering of the channels between the move-
source and move-destination will move forward or back-
ward by one.
Move
NOTE
• Settings for the Move operation can be made only in the order
of “move-source” → “move-destination.”
1
1
2
5
3
2
4
5
4
To select the move-destination channel,
press the corresponding [SEL] key to make
it light.
The corresponding channel is highlighted in the DES-
TINATION CH field of the window. The channels that
can be selected will depend on the channel you
selected in step 2.
If you want to re-select the move-destination channel,
move the cursor to the CLEAR DEST button and press
the [ENTER] key.
3
4
3
Move by one
You can move settings between the following combina-
tions of channels.
• Between INPUT channels
• Between ST IN channels
In the DISPLAY ACCESS section, press the
1
To execute the Move operation, move the
cursor to the MOVE button and press the
[ENTER] key.
[CHANNEL JOB] key repeatedly to access
the CH MOVE screen of the CHANNEL JOB
screens.
The settings of the move-source channel will be
moved to the move-destination. The settings of all
channels between the move-source and move-destina-
tion will be moved by one channel in the direction of
the move-source. When the Move has been executed,
the SOURCE CH field and DESTINATION CH field
will return to an un-set state.
12
2
1
3
4
5
1 SOURCE CH field
This indicates the move-source channel.
B CLEAR SOURCE button
This button clears the channels shown in the SOURCE
CH field and DESTINATION CH field.
C DESTINATION CH field
This indicates the move-destination channel.
D CLEAR DEST button
This button clears all channels shown in the DESTI-
NATION CH field.
E MOVE button
Executes the move.
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Copying, moving, or initializing a channel
Initializing the parameters of a
channel
If desired, you can restore the parameters of any channel
to an initialized state. This operation can be performed on
any channel(s).
In the DISPLAY ACCESS section, press the
1
[CHANNEL JOB] key repeatedly to access
the CH CLEAR screen of the CHANNEL
JOB screens.
2
3
1
1 TARGET CHs field
In this field, select the channel(s) that you want to ini-
tialize.
B CLEAR TARGET button
This button clears the channels shown in the TARGET
CHs field.
C CLEAR button
Executes the initialization.
To select the channel(s) to be initialized,
press the corresponding [SEL] key to make
it light (multiple selections are allowed).
The corresponding channel(s) is/are highlighted in the
TARGET CHs field of the window.
If you want to de-select all channels, move the cursor
to the CLEAR TARGET button and press the
[ENTER] key.
2
3
To execute the Initialize operation, move the
cursor to the CLEAR button and press the
[ENTER] key.
The parameters of the selected channel(s) will be ini-
tialized. After initialization, the TARGET CHs field
will return to a state in which nothing is selected.
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Chapter 13
Scene memory
This chapter explains how to perform scene memory operations.
About scene memories
On the LS9, settings such as the mix parameters and input/output port patching can be assigned
a name and stored into memory (and later recalled from memory) as a “scene.”
Scenes are numbered with a scene number in the range of 000–300. Of these scenes, scene
000 is a read-only scene that restores the mix parameters to their default state, and scenes 001–
300 are rewritable.
Each scene contains the position of the top panel faders and [ON] keys, as well as the following
parameters.
• Input/output port patching
• Bus settings
• Pan/balance settings
• Insert/direct out settings
• Head amp settings
• EQ settings
• Dynamics 1 and 2 settings
• Rack (GEQ/effect) settings
• On/off status and send level of signals sent to MIX buses
• On/off status and send level of signals sent to MATRIX buses
• Mute group settings
• Channel link settings
13
Using scene memories
This section explains how to store and recall the LS9’s mix parameters as “scenes.”
Scene number and title
Storing a scene
To store the current mix settings as a scene memory, use
the SCENE MEMORY screen.
Use the various controllers of the top panel
or the buttons in the display to set the mix
parameters as desired.
1
The number and title of the currently selected scene
are shown in the center of the constant display area.
HINT
• You can also move the cursor to the scene number in the con-
stant display area and use the dial or the [DEC]/[INC] keys to
change the scene number. This scene number will blink if the
most recently stored or recalled scene is different than the
currently selected scene.
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Using scene memories
Make sure that the cursor is located some-
where other than the constant display area,
and use the dial or the [DEC]/[INC] keys to
select the store-destination scene number.
3
4
NOTE
• Simply changing the scene number does not actually execute
the store or recall operation. To execute the store or recall
operation, you must use the STORE/RECALL buttons in the
SCENE MEMORY screen as explained in step 2 and follow-
recall function.
NOTE
• Note that the scene number, channel number, or ST IN chan-
nel input level will change if you operate the dial or the [DEC]/
[INC] keys when the cursor is located in the constant display
area.
In the DISPLAY ACCESS section, press the
[SCENE MEMORY] key repeatedly to
access the SCENE LIST screen.
In this screen you can perform operations such as stor-
ing or recalling a scene.
2
Move the cursor to the STORE button and
press the [ENTER] key.
The SCENE STORE popup window will appear,
allowing you to assign a title to the scene.
1
[SCENE MEMORY]
key
1 SCENE TITLE field
This field lets you enter a title for the scene (a maxi-
mum of sixteen characters).
Assign a title to the scene as desired.
For details on entering text, refer to “Assigning a
5
6
1
Move the cursor to the STORE button
located at the bottom of the SCENE STORE
popup window, and press the [ENTER] key.
2
3
The SCENE STORE popup window will close, and a
dialog box will ask you to confirm the Store operation.
1 Scene list
This list shows the scenes that are stored in scene
memory. The row highlighted in blue indicates that
this scene number is selected for operations. A read-
only scene is indicated by the R symbol, and a write-
protected scene is indicated by the protect (lock) sym-
bol.
B STORE button
This stores the current mix settings into the location
currently selected in the scene list.
C STORE UNDO button
This button cancels (Undo) or re-executes (Redo) the
most recently performed scene Store operation. This
button is available from immediately after you over-
write (save) until the next time you store.
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Using scene memories
To execute the Store operation, move the
cursor to the OK button and press the
[ENTER] key.
The current mix settings will be stored to the scene
number you selected in step 3.
If you decide to cancel the Store operation, move the
cursor to the CANCEL button instead of the OK but-
ton, and press the [ENTER] key.
7
8
Recalling a scene
To recall a scene that was stored in scene memory, use the
SCENE MEMORY screen.
In the DISPLAY ACCESS section, press the
[SCENE MEMORY] key repeatedly to
access the SCENE LIST screen.
1
NOTE
• If you store to a scene number in which a scene is already
stored, the previous data will be overwritten.
HINT
• You have the option of making settings so that the Store Con-
1
If you want to cancel the scene overwrite-
store operation, move the cursor to the
STORE UNDO button and press the
[ENTER] key.
Immediately after overwrite-storing a scene, you can
use the STORE UNDO button to undo (cancel) the
most recently executed scene store operation. When
you execute the STORE UNDO button, a dialog box
will ask you to confirm the Undo operation. If you
want to execute the Undo, move the cursor to the OK
button and press the [ENTER] key. After executing the
Undo, you can use the STORE UNDO button once
again to Redo (re-execute) the store operation.
2
3
1 Scene list
This list shows the scenes that are stored in scene
memory. The row highlighted in blue indicates that
this scene number is selected for operations.
B RECALL button
NOTE
This recalls the scene that is currently selected in the
scene list.
• The STORE UNDO button is available only immediately after
overwrite-storing. Undo will no longer be possible if you sub-
sequently perform a scene store/recall operation.
13
C RECALL UNDO button
This button cancels (Undo) or re-executes (Redo) the
HINT
most recently performed scene Recall operation.
• You can use the same procedure to store a scene in other
SCENE MEMORY screens as well.
Make sure that the cursor is located some-
where other than the constant display area,
and use the dial or the [DEC]/[INC] keys to
select the recall-source scene number.
2
3
• The same function as the STORE button or STORE UNDO
Move the cursor to the RECALL button and
press the [ENTER] key.
A dialog box will ask you to confirm the Recall opera-
tion.
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Using scene memories
To execute the Recall operation, move the
cursor to the OK button and press the
[ENTER] key.
4
Using user-defined keys to recall
You can use the user-defined keys to directly recall a
selected scene with a single keystroke, or to step through
the scenes. To do this, you must first assign a scene recall
operation to a user-defined key.
The following recall operations can be assigned to a user-
defined key.
The scene you selected in step 2 will be recalled. If
you decide not to execute the Recall operation, move
the cursor to the CANCEL button instead of the OK
button, and press the [ENTER] key.
HINT
● INC RECALL
Recalls the scene of the number that follows the cur-
rently loaded scene.
• You have the option of making settings so that the Recall
If you decide to cancel the scene recall
operation, move the cursor to the RECALL
UNDO button and press the [ENTER] key.
● DEC RECALL
Recalls the scene of the number that precedes the cur-
rently loaded scene.
5
A dialog box will ask you to confirm the Undo opera-
tion. To execute the operation, move the cursor to the
OK button and press the [ENTER] key. After execut-
ing the Undo, you can use the RECALL UNDO button
once again to Redo (re-execute) the recall operation.
HINT
• If no scene is stored in the number that precedes or follows
the currently loaded scene, the closest scene number in
which a scene is stored will be recalled.
● DIRECT RECALL
HINT
Allows you to directly specify a certain scene number
and recall that scene.
• You can use the same procedure to recall a scene in other
SCENE MEMORY screens as well.
• Alternatively, you can recall a scene by moving the cursor to
the scene number in the constant display area, using the dial
or the [DEC]/[INC] keys to select a scene number, and press-
ing the [ENTER] key. A confirmation dialog box will appear if
RECALL CONFIRMATION is turned ON in the PREFER-
ENCE popup window.
To assign one of these functions to a user-defined key so
that a scene can be recalled in a single keystroke, proceed
as follows.
• The same function as the RECALL button or RECALL UNDO
button can also be assigned to a user-defined key.
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
1
• In addition, you can recall a scene by using MIDI messages
USER DEFINED KEYS button
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Using scene memories
Move the cursor to the USER DEFINED
KEYS button and press the [ENTER] key to
access the USER DEFINED KEYS popup
window.
The USER DEFINED KEYS popup window lets you
assign functions to user defined keys [1]–[12].
When you’ve finished making settings,
2
5
6
move the cursor to the OK button and press
the [ENTER] key to close the popup win-
dow.
If desired, assign scene-recall functions to other user-
defined keys in the same way.
Press the user-defined key to which you
assigned a recall function.
The corresponding scene will be recalled.
User defined keys popup buttons
Move the cursor to the popup button for the
user-defined key to which you want to
assign a function, and press the [ENTER]
key.
3
The USER DEFINED KEY SETUP popup window
will appear.
13
Move the cursor to the FUNCTION column,
and use the dial or the [DEC]/[INC] keys to
select “SCENE.”
4
In this popup window, you will proceed as follows
depending on the function you want to assign.
● To assign INC RECALL or DEC RECALL
Move the cursor to the PARAMETER 1 column, and
use the dial or the [DEC]/[INC] keys to select “INC
RECALL” or “DEC RECALL.”
● To assign DIRECT RECALL
Move the cursor to the PARAMETER 1 column, use
the dial or the [DEC]/[INC] keys to choose “DIRECT
RECALL,” and then choose “SCENE #xxx” (xxx is
the scene number) in the PARAMETER 2 column.
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Editing scene memories
Editing scene memories
This section explains how to sort the scenes stored in scene memory, edit their titles, and copy/
paste them.
B Scene number
This is the scene number 000–300.
Sorting and renaming scene memo-
ries
C TITLE
This is the name assigned to each scene (maximum 16
You can use a dedicated window to sort the saved scene
memories in alphabetical order of their titles or in order of
the date on which they were created. You can also edit
their titles.
characters). You can move the cursor to this area and
press the [ENTER] key to access the SCENE TITLE
EDIT popup window, where you can assign a title or
comment to the scene.
D R symbol (READ ONLY) / Protect symbol
A read-only scene is indicated by the R symbol, and a
write-protected scene is indicated by the protect (lock)
symbol. For scenes 001–300, you can move the cursor
to this area and press the [ENTER] key to switch
between protected and un-protected settings.
In the DISPLAY ACCESS section, press the
[SCENE MEMORY] key repeatedly to
access the SCENE LIST screen.
1
HINT
• The SCENE MEMORY screen consists of four screens, but
the left half (scene list, store/recall buttons) and the tool but-
tons are the same in all screens.
E Store/Recall buttons
These buttons are used to store/recall scenes. You can
also undo (cancel) or redo (re-execute) store/recall
operations. For details, refer to “Using scene memo-
2
3
4
6
F Tool buttons
Use these buttons to perform operations such as Copy
and Paste on the scenes stored in scene memory. For
G STATUS field
This field indicates the status of each scene. For scenes
for which something other than the ALL button is
for scenes for which the link with an audio file is
“PLAY” indications will respectively be lit.
1
H COMMENT/TIME STAMP field
5
8
9
7
This indicates the comment, or the date and time at
which the scene was last stored, as the year/month/
date and hours/minutes/seconds.
1 Scene list
I COMMENT/TIME STAMP tabs
These tabs switch the items (comment or time stamp)
that are shown in the COOMENT/TIME STAMP
field.
This lists the scenes that are stored in scene memory.
The line highlighted in blue indicates the scene cur-
rently selected for operations.
HINT
To select a scene number, make sure that
the cursor is located somewhere other than
the constant display area, and use the dial
or the [DEC]/[INC] keys.
2
• You can also change the default order in which the list is
The line highlighted in blue in the scene list indicates
the scene currently selected for operations.
HINT
• You can also assign user-defined keys to execute functions
such as incrementing or decrementing the scene number or
scrolling the scene list up or down (
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Editing scene memories
If you want the scenes to be listed in a dif-
ferent order, move the cursor to the“NO.”or
“TITLE” buttons located above the scene
list, or to “TIME STAMP” located above the
STATUS/TIME STAMP field, and press the
[ENTER] key.
To turn the protect setting on/off for a
3
5
scene, move the cursor to the R symbol /
protect symbol of the selected scene, and
press the [ENTER] key.
Each time you press the [ENTER] key, the indication
will alternate between the protect (lock) symbol, R
(read only) symbol, and no symbol.
1
2
3
● Protect (lock) symbol
The scene cannot be overwritten.
● R (read only) symbol
In addition to the protection described above, it will
also be impossible to overwrite the scene by loading a
file from USB memory, etc.
This setting can be selected only for consecutive scene
numbers from scene number 000.
1 NO.
Sorted in order of scene number.
B TITLE
Sorted in numeric/alphabetical order of title.
● No symbol
C COMMENT/TIME STAMP
The scene is not protected.
Sorted in order of comment or date of creation.
NOTE
HINT
• The R symbol for scene number 000 cannot be disabled.
• By leaving the cursor at the same button and pressing the
[ENTER] key again, you can change the direction (ascending
or descending) in which the list is sorted.
Use the tool buttons to edit the scene mem-
ory.
6
For details, refer to the section “Scene memory edit-
If you want to edit the title of a scene, move
the cursor to the TITLE field of the selected
scene, and press the [ENTER] key to
access the SCENE TITLE EDIT popup win-
dow.
4
For details on entering text, refer to “Assigning a
13
1
1 TITLE field
This field lets you enter a title for the scene. (The max-
imum is 16 characters.)
HINT
• You cannot edit the title of a read-only scene or a write-pro-
tected scene.
• If you want to edit the comment of a scene, use the COM-
MENT/TIME STAMP tabs to display the comments in the
scene list, move the cursor to the SCENE COMMENT field of
the selected scene, and press the [ENTER] key to access the
COMMENT EDIT popup window.
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Editing scene memories
Scene memory editing
The scenes stored in scene memory can be copied/pasted
Copying/pasting a scene
Here’s how to copy a scene into buffer memory, and then
to other scene numbers, or cleared (erased).
paste it to a different scene number.
In the DISPLAY ACCESS section, press the
[SCENE MEMORY] key to access any one of
the SCENE MEMORY screens.
In the DISPLAY ACCESS section, press the
[SCENE MEMORY] key to access any one of
the SCENE MEMORY screens.
1
1
Scene memories are edited using the buttons shown in
the upper part of the SCENE MEMORY screen.
Each button has the following function.
Make sure that the cursor is located some-
2
where other than the constant display area,
and use the dial or the [DEC]/[INC] keys to
select the copy-source scene number.
1
2
3
4
5
6
Move the cursor to the COPY button and
press the [ENTER] key.
3
A dialog box will ask you to confirm the Copy opera-
tion.
1 COPY button
Copies a scene into a memory buffer (a temporary
storage area). For details on how to use this, refer to
“Copying/pasting a scene” below.
B PASTE button
This button pastes a scene (previously copied into the
memory buffer) into another scene number. For details
below.
To execute the Copy operation, move the
cursor to the OK button and press the
[ENTER] key.
The scene you selected in step 2 will be saved in the
buffer memory.
4
C CLEAR button
This button clears (erases) the selected scene. For
details on how to use this, refer to “Clearing a scene”
D CUT button
HINT
Cuts a scene and places it in the memory buffer.
Scenes following the scene number you cut will be
moved forward. For details on how to use this, refer to
• Be aware that if you copy/cut another scene before you paste,
the other scene will be overwritten to the buffer memory.
Make sure that the cursor is located some-
5
E INSERT button
where other than the constant display area,
and use the dial or the [DEC]/[INC] keys to
select the paste-destination scene number.
Inserts a scene from the memory buffer at the location
of a different scene number. Scene numbers following
the inserted position will be moved backward. For
details on how to use this, refer to “Inserting a scene”
Move the cursor to the PASTE button and
press the [ENTER] key.
6
F UNDO button
A dialog box will ask you to confirm the Paste opera-
tion.
This button cancels the most recently-executed scene
editing operation. If you’ve accidentally cleared an
important scene, you can press this key to return to the
state prior to editing the scene.
Perform the desired editing operations.
For details on the procedure, refer to the explanations
that follow.
2
HINT
NOTE
• If nothing has been stored in the buffer memory, the PASTE
button is not available.
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Editing scene memories
To execute the Paste operation, move the
cursor to the OK button and press the
[ENTER] key.
The scene stored in the buffer memory will be pasted
to the scene number you selected in step 5. If you
decide to cancel the Paste operation, use the CANCEL
button instead of the OK button.
7
Clearing a scene
Here’s how to clear a specified scene.
In the DISPLAY ACCESS section, press the
1
[SCENE MEMORY] key to access any one of
the SCENE MEMORY screens.
NOTE
Make sure that the cursor is located some-
2
• Be aware that when you paste to a scene number in which a
scene has already been stored, the existing scene will be
overwritten.
where other than the constant display area,
and use the dial or the [DEC]/[INC] keys to
select the scene number that you want to
clear.
• Read-only scenes or write-protected scenes cannot be
pasted.
Move the cursor to the CLEAR button and
press the [ENTER] key.
3
A dialog box will ask you to confirm the Clear opera-
tion.
To execute the Clear operation, move the
cursor to the OK button and press the
[ENTER] key.
4
The scene number you selected in step 2 will be
cleared. If you decide to cancel the Clear operation,
use the CANCEL button instead of the OK button.
13
NOTE
• Read-only scenes or write-protected scenes cannot be
cleared.
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Editing scene memories
Cutting a scene
Here’s how to cut a scene. When you cut a scene, the
scenes of subsequent numbers will move forward. After
you cut a scene, you’ll be able to paste or insert it at the
desired location.
Inserting a scene
Here’s how a scene held in the buffer memory can be
inserted at the desired scene number location.
In the DISPLAY ACCESS section, press the
[SCENE MEMORY] key to access any one of
the SCENE MEMORY screens.
1
In the DISPLAY ACCESS section, press the
[SCENE MEMORY] key to access any one of
the SCENE MEMORY screens.
1
Cut operation so that the scene you want to
insert is placed in the buffer memory.
2
Make sure that the cursor is located some-
2
where other than the constant display area,
and use the dial or the [DEC]/[INC] keys to
select the scene number that you want to
cut.
Make sure that the cursor is located some-
3
where other than the constant display area,
and use the dial or the [DEC]/[INC] keys to
select the insert-destination scene number.
Move the cursor to the CUT button and
press the [ENTER] key.
3
Move the cursor to the INSERT button and
press the [ENTER] key.
4
A dialog box will ask you to confirm the Cut opera-
tion.
A dialog box will ask you to confirm the Insert opera-
tion.
NOTE
NOTE
• The CUT button cannot be used if the scene list is sorted in
any other way than by the “NO.” column.
• The INSERT button cannot be used if the scene list is sorted
in any other way than by the “NO.” column.
• If nothing has been stored in the buffer memory, the INSERT
button is not available.
To execute the Cut operation, move the cur-
sor to the OK button and press the [ENTER]
key.
4
• The INSERT button cannot be used if the Insert operation
would cause the number of stored scenes to exceed 300.
• You can’t insert in front of a scene for which the R symbol
(read only) is specified.
The scene you selected in step 2 will be cut, and the
scenes of subsequent numbers will be moved forward.
At this time, the scene that was cut will be stored in
buffer memory.
To execute the Insert operation, move the
cursor to the OK button and press the
[ENTER] key.
5
NOTE
• Read-only scenes or write-protected scenes cannot be cut.
The scene stored in the buffer memory will be insert at
the scene number you selected in step 3. The numbers
of scenes stored in locations preceding that scene will
be moved back by one.
the cut scene (that was held in the buffer
memory).
5
NOTE
• Be aware that if you copy or cut a different scene before you
paste or insert, the newly copied or cut scene will overwrite
the scene in the buffer memory.
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Using the Focus function
Using the Focus function
“Focus” is a function that lets you select the parameters that will be updated when you recall each
scene, so that only specific parameters will be updated when you recall that scene. For example, it
is convenient to use this if you want to recall only the input channel settings of a certain scene.
HINT
• As a function that is the converse of Focus, there is also a “Recall Safe” function that lets you select
function is specified for each scene, Recall Safe settings are common to all scenes.
In the DISPLAY ACCESS section, press the
[SCENE MEMORY] key repeatedly to
access the SCENE FOCUS screen.
In this screen you can make various settings for the
Focus function. The screen contains the following
items.
Use the buttons other than “ALL” to select
3
the parameters that will be subject to recall.
1
These buttons correspond to the following parameters
(multiple selections are allowed).
Button name
RACK
Corresponding parameters
Rack settings
HA
Head amp settings
1
2
IN (PATCH)
OUT (PATCH)
IN
Input port patching
Output port patching
Input channel parameters
Output channel parameters
OUT
On/off status and send level settings for sig-
nals sent from input channels to MIX buses
(shown only if the OUT button is on)
SEND
HINT
• The SEND button is shown only if the OUT button is on. How-
ever if both the IN button and OUT button are on, the parame-
ters corresponding to SEND will automatically be subject to
recall.
13
If you want to cancel the restrictions you
specified in step 3, so that all parameters
will be subject to recall, turn the ALL button
on.
When you turn on theALL button, all other buttons for
that scene will be turned off. Turning on any other but-
ton will turn off the ALL button.
4
1 FOCUS field
This field lets you make Focus function settings for a
scene saved in scene memory. Using the buttons
arrayed in the center, select the parameters that will be
updated when you recall the scene selected in the list
in the left side of the screen. For other scenes, you can
only check the on/off status of each parameter.
Make Focus function settings for other
scenes as described in steps 2–4.
5
6
B CURRENT field
This field lets you make Focus function settings for the
scene you’re currently operating. If you select a
parameter in this field and then store the scene, your
selections will be used the next time you recall that
scene. When you recall a scene, the Focus function
settings of that scene are shown in this field.
Recall a scene for which you’ve made
Focus settings.
If buttons other than ALL are turned on for the scene,
only the parameters whose buttons are on will be
recalled. If the ALL button is turned on for the scene,
all parameters will be updated.
Make sure that the cursor is located some-
where other than the constant display area,
and use the dial or the [DEC]/[INC] keys to
select the scene for which you want to
make Focus function settings.
2
HINT
• For scenes other than the scene number currently selected in
the scene list, check marks show the state of the Focus func-
tion settings.
• Scenes for which Focus settings are made are indicated by a
“FOCUS” indication in the STATUS field of the SCENE LIST
screen.
• The Focus function can be used in conjunction with the Recall
excluded from Recall operations by either Focus or Recall
Safe will not be recalled.
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Using the Recall Safe function
Using the Recall Safe function
“Recall Safe” is a function that excludes only specific parameters/channels from Recall opera-
Safe settings are common to all scenes.
1 CH RECALL SAFE field
In the DISPLAY ACCESS section, press the
[CHANNEL JOB] key repeatedly to access
the RECALL SAFE screen.
In this screen you can make settings for the Recall
Safe function. The window contains the following
items.
1
The channels for which Recall Safe is turned on are
highlighted in this field. If you turn on the SET BY
SEL button, you can turn on Recall Safe for a channel
simply by pressing the [SEL] key of that channel.
B CLEAR ALL button
This clears all Recall Safe settings for the channels
that are highlighted in the CH RECALL SAFE field.
C GLOBAL field
In this field, global parameters (parameters that affect
the entire mix, and are not specific to individual chan-
nels) can be excluded from Recall operations.
[CHANNEL JOB] key
D SAFE PARAMETER field
Here you can switch Recall Safe on/off for each chan-
nel, and choose the parameters that will be excluded
from Recall operations. If you select a channel by
pressing its [SEL] key, the Recall Safe settings of that
channel will be shown in this field.
E APPLY TO ALL INPUT button / APPLY TO
ALL OUTPUT button
2
3
If these buttons are on when you operate the SAFE
PARAMETER buttons, the changes will apply to all
input (or output) channels. This is convenient when
you want to make settings for all channels in a single
action.
HINT
1
• You can also access this screen from the SAFE field of the
5
4
To select the channel whose Recall Safe
settings you want to edit, press the corre-
sponding [SEL] key.
2
The corresponding channel in the CH RECALL SAFE
field will be enclosed by a white border. (However,
Recall Safe is not yet enabled at this point.) At this
time, the SAFE PARAMETER field will show the
Recall Safe settings of the selected channel.
LS9-16
2
3
HINT
• If the CH RECALL SAFE field’s SET BY SEL button is on,
Recall Safe will be enabled when you press the [SEL] key,
and the corresponding channel will be highlighted in the CH
RECALL SAFE field.You can select parameters as described
in step 3 even after turning Recall Safe on.
1
5
4
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Using the Recall Safe function
● If a STEREO/MONO channel is selected
With the exception of the types of button that are dis-
played, this is the same as for an input channel.
If you want to enable Recall Safe for spe-
cific parameters of the selected channel,
make the following settings in the SAFE
PARAMETER field.
3
● For an input channel
Use the buttons in the lower part of the SAFE
PARAMETER field (except for the “ALL” button) to
select the parameters that will be subject to Recall
Safe (multiple selections are allowed). If you want all
parameters to be subject to Recall Safe, turn on the
ALL button (this is the default setting).
These buttons correspond to the following parameters.
Button name
ALL
Corresponding parameters
All parameters
EQ
EQ settings (including ATT)
Dynamics 1 settings
DYNA 1
MTRX ON
MTRX SEND
FADER
On/off status of signals sent to MATRIX buses
Send levels of signals sent to MATRIX buses
Fader positions
LS9-16
CH ON
On/off status of [ON] keys
● If a MIX channel is selected
Use the buttons in the lower part of the SAFE
PARAMETER field (except for the “ALL” button) to
select the parameters that will be subject to Recall
Safe (multiple selections are allowed).
In addition, you can use the WITH MIX SEND button
to enable Recall Safe for the on/off status and send
level of the signals sent from input channels to MIX
buses.
13
If you want all parameters shown in the lower part of
the field to be subject to Recall Safe, turn on the ALL
button (this is the default setting).
LS9-32
These buttons correspond to the following parameters.
Button name
ALL
Corresponding parameters
All parameters
HA
Head amp settings (including external HA)
EQ settings (including ATT/HPF)
Dynamics 1 settings
EQ
DYNA 1
DYNA 2
MIX ON
MIX SEND
FADER
CH ON
Dynamics 2 settings
On/off status of signals sent to MIX buses
Send levels of signals sent to MIX buses
Fader positions
On/off status of [ON] keys
NOTE
• If you turn on the ALL button, all other buttons of the SAFE
PARAMETER field will be turned off.
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Using the Recall Safe function
These buttons correspond to the following parameters.
To enable Recall Safe for the selected chan-
nel, turn on the SAFE button in the SAFE
PARAMETER field.
Channels for which Recall Safe is enabled will be
highlighted in the CH RECALL SAFE field.
4
Button name
ALL
Corresponding parameters
All parameters (except for WITH MIX SEND)
EQ settings (including ATT)
EQ
DYNA 1
MTRX ON
MTRX SEND
FADER
Dynamics 1 settings
On/off status of signals sent to MATRIX buses
Send levels of signals sent to MATRIX buses
Fader positions
SAFE button
CH ON
On/off status of [ON] keys
WITH MIX
SEND
On/off status and send level of signals sent
from input channels to MIX buses
NOTE
• If the ALL button is on, all buttons will be turned off except for
the WITH MIX SEND button located in the lower part of the
SAFE PARAMETER field.
• You can switch the WITH MIX SEND button on/off while the
ALL button is left on.
● If a MATRIX channel is selected
LS9-16
With the exception of the types of button that are dis-
played, this is the same as for a MIX channel.
In addition, you can use the WITH MATRIX SEND
button to enable Recall Safe for the on/off status and
send level of the signals sent from output channels to
MATRIX buses.
SAFE button
LS9-32
NOTE
• Simply selecting a parameter in step 3 does not enable Recall
Safe. To turn Recall Safe on/off, you must also perform the
operation of step 4.
These buttons correspond to the following parameters.
Button name
Corresponding parameters
All parameters (except for WITH MATRIX
SEND)
HINT
ALL
EQ
EQ settings (including ATT)
Dynamics 1 settings
Fader positions
• In the CH RECALL SAFE field, the color of the highlight will
be green if the ALL button was selected in step 3, or blue if
buttons other than ALL were selected.
DYNA 1
FADER
CH ON
• If you press the CLEAR ALL button, Recall Safe will be
defeated for all channels for which it is enabled (i.e., the high-
lighted channels).
On/off status of [ON] keys
On/off status and send level of signals sent
from MIX channels / STEREO/MONO chan-
nels to MATRIX buses
WITH MATRIX
SEND
• You can also switch Recall Safe on/off in the SELECTED CH
NOTE
• If you turn on the ALL button, all buttons will be turned off
except for the WITH MATRIX SEND button located in the
SAFE PARAMETER field.
• You can switch the WITH MATRIX SEND button on/off while
the ALL button is left on.
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If you want to enable Recall Safe for global
parameters, turn on the desired buttons in
the GLOBAL field.
When you’ve finished making settings, exe-
cute a Recall operation.
Only the selected channel(s) and parameter(s) will be
excluded from Recall operations.
5
6
These buttons correspond to the following parameters.
not subject to Recall Safe; the settings of the recalled
scene will always be reproduced.
This means that if Recall Safe is enabled for one of
several channels included in a link group or one of two
MIX/MATRIX channels set to stereo, the parameter
settings of that channel may differ from those of the
other channel(s) when you recall a scene. In such
cases, the applicable parameter will be automatically
re-linked the next time it is operated.
Button name
INPUT PATCH
INPUT NAME
Corresponding parameters
Input port patching
Input channel name
OUTPUT
PATCH
Output port patching
OUTPUT NAME
1–8
Output channel name
Rack 1–8 settings
HINT
• The Recall Safe function can be used in conjunction with the
excluded from Recall operations by either Focus or Recall
Safe will not be recalled.
• By performing the Recall operation while holding down the
[SEL] key of a channel for which Recall Safe is disabled, you
can temporarily enable the Recall Safe settings for that chan-
nel.
Using the Fade function
“Fade” is a function that smoothly changes the faders of specified channels to their new values
over a specified duration when you recall a scene. This is convenient when you want to obtain a
fade-in/out effect, or when you want the levels to transition smoothly between two scenes.
The settings of the Fade function are made independently for each scene.
13
1 FADE TIME field
In the DISPLAY ACCESS section, press the
[SCENE MEMORY] key repeatedly to
access the SCENE FADE screen.
In this screen you can make various settings for the
Fade function. The screen contains the following
items.
1
This field lets you make Fade function settings for a
scene saved in scene memory. Use the buttons located
in the center to make Fade function settings for the
scene selected in the list shown in the left side of the
screen. For other scenes, you can only view the set-
tings.
B CURRENT field
1
2
This field lets you make Fade function settings for the
scene you’re currently operating.
When you recall a scene, the Fade function settings of
that scene are shown in this field.
C SETUP popup button
This button displays the FADE TIME popup window.
D FADING button
This button switches the Fade function on/off for each
scene.
E Fade time
This indicates the fade time (the time over which the
fader will reach the new value).
3
4
5
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Using the Fade function
Make sure that the cursor is located some-
To turn on the Fade function, move the cur-
sor to the FADING button and press the
[ENTER] key.
The Fade on/off setting is made individually for each
scene. Save the scene if necessary.
2
3
6
where other than the constant display area,
and use the dial or the [DEC]/[INC] keys to
select the scene for which you want to
make Fade function settings.
HINT
Move the cursor to the SET popup button,
and press the [ENTER] key to access the
FADE TIME popup window.
In this popup window you can select the channels to
which Fade will be applied, and adjust the fade time.
• Scenes for which Fade settings are made are shown by a
“FADING” indication in the STATUS field of the SCENE LIST
screen.
Make Fade function settings for other
scenes as described in steps 2–6.
7
8
1
3
2
Recall a scene for which the Fade function
is turned on.
The faders will begin to move immediately after
Recall occurs, and will reach the values of the recalled
scene over the course of the specified fade time.
NOTE
4
• The Fade function settings can be applied individually even if
faders are linked by Channel Link.
HINT
1 Channel display field
The channels to which Fade is applied are highlighted.
• If you stop a moving fader while you hold down the corre-
sponding [SEL] key, the fade effect will stop at that point.
• If you recall the same scene while faders are moving, all
channel faders will move immediately to their target positions.
B FADE TIME knob
This knob sets the fade time. Move the cursor to this
knob and use the dial or the [DEC]/[INC] keys to
adjust the setting.
C SET ALL button
If you press this button, the Fade effect will be enabled
for all faders/encoders of that scene.
D CLEAR ALL button
If you press this button, the Fade effect will be dis-
abled for all faders/encoders of that scene.
Press the [SEL] keys of the desired chan-
nels to select the channels to which the
Fade effect will be applied (multiple selec-
tions are allowed).
The [SEL] keys of the selected channels will light, and
those channels will be highlighted in the channel dis-
play field of the popup window. You can cancel a
selection by pressing a lit [SEL] key once again to
make it go dark.
4
5
Move the cursor to the FADE TIME knob,
and use the dial or the [DEC]/[INC] keys to
adjust the fade time.
The range is 0.0 sec–60.0 sec.
When you’ve finished making settings, move the cur-
sor to the OK button and press the [ENTER] key to
close the FADE TIME popup window.
HINT
• The fade time you specify here is used for all channels
selected in step 4.
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Chapter 14
Monitor/Cue
This chapter explains the LS9’s monitor/cue functions.
About the monitor/cue functions
The Monitor function lets you audition various signals through your nearfield monitors or head-
phones. The LS9’s front panel has a PHONES OUT jack for monitoring, and this jack always lets
you monitor the signal that is selected as the monitoring source. By assigning the MONITOR
OUT L/R/C channels to the desired output jacks, you can also monitor the same signal through
external speakers.You can select the following signals as the monitor source.
• STEREO channel output signal
• USB memory recorder output signal
• MONO channel output signal
• Any combination of up to eight signals from the STE-
REO, MONO, MIX, and MATRIX channels, the USB
memory recorder output signal, INPUT channel 15/
16 {31/32}, and the 2TR IN DIGITAL jack input signal
• STEREO + MONO channel output signal
• 2TR IN DIGITAL jack input signal
• INPUT channels 15/16 {31/32} input signal
The Cue function lets you check an individual selected channel by temporarily sending it from the
output jacks assigned to the MONITOR OUT channel or from the PHONES OUT jack. When you
press the top panel [CUE] key, the cue signal of the corresponding channel is sent as the monitor
output from the selected output port.
NOTE
• The cue signal is sent to the same output destination as the monitor signal. Be aware that for this reason,
the cue signal will no longer be sent to the connected monitor speakers if you turn off the Monitor output.
However, the cue signal will always be sent to the PHONES OUT jack.
14
The following diagram shows the monitor/cue signal flow.
CUE
L R
Tip
PHONES OUT LR
Ring
Sleeve
DA
CUE TRIM
[PHONES]
2
(INPUT/OUTPUT/DCA)
MONO
METER CUE L
METER CUE R
CUE L
CUE R
PHONES LEVEL
CUE LOGIC
PHONES
LEVEL LINK
PHONES L
PHONES R
To PHONES OUT
To PHONES OUT
2TRD L,R
INPUT 15,16{31,32}
PLAYBACK OUT
STEREO OUT L,R
MONO
METER MONITOR L
MONITOR OUT L
STEREO OUT MONO(C)
STEREO OUT L,C,R
MONITOR L
MONITOR R
To OUTPUT PATCH
To OUTPUT PATCH
To OUTPUT PATCH
METER MONITOR R
MONITOR OUT R
2TRD L,R
INPUT 15,16{31,32}
METER MONITOR MONO(C)
MONITOR OUT MONO(C)
MONITOR MONO(C)
PLAYBACK OUT
ON
+MONO(C)
DEFINE
MIX
(MAX:8ch)
TALKBACK ON
STEREO OUT
L,R
MONITOR DIMM ON MONITOR LEVEL
STEREO OUT
MONO(C)
MIX OUT1-16
MATRIX OUT1-8
● MONITOR SELECT
● MONITOR LEVEL
Selects the monitor source.
Adjusts the level of the monitor/cue signal. This affects
the output jacks that are assigned to the MONITOR OUT
L/R/C channels, and also the PHONES OUT jack.
● METER
Detects and indicates the level of the monitor signal or cue
signal.
● ON (On/off)
Turns the monitor output on/off.
● DIMMER
Attenuates the monitor/cue signal by a fixed amount.
● PHONES LEVEL (Headphone level)
Adjusts the output level of only the PHONES OUT jack.
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Using the Monitor function
Using the Monitor function
This section explains how to select the desired monitor source, and monitor it from the PHONES
OUT jack or external monitor speakers.
E MONITOR LEVEL knob
Adjusts the output level of the monitor signal.
Connect your monitor system to the rear
panel OMNI OUT jacks, 2TR OUT DIGITAL
jack, or an I/O card installed in a slot.
The monitor signal can be sent to any desired output
jack or output channel. If you’re monitoring through
headphones, make sure that your headphones are con-
nected to the front panel PHONES OUT jack.
1
F DIMMER field
The Dimmer function which temporarily attenuates
the monitor signal can be switched on/off here. Use
the knob in this field to adjust the amount of attenua-
tion.
G TALKBACK DIMMER field
In the DISPLAY ACCESS section, press the
[MONITOR] key repeatedly to access the
MONITOR screen.
In the MONITOR screen you can check the current
monitor settings, and turn monitoring on/off.
The screen contains the following items.
2
If Talkback is enabled, this will indicate the on/off sta-
tus of the Talkback Dimmer function which automati-
cally attenuates the monitor signal. Here you can also
specify the amount of attenuation applied by the talk-
back dimmer.
H Meter field
9
6 1
This indicates the level of the monitor signal. This
meter shows the level immediately before the dimmer.
If you move the cursor to the port select box located
below the level meter and press the [ENTER] key, a
popup window will appear, allowing you to select the
port that will output the monitor signal.
2
5 7
4
8
3
I MONO MONITOR button
This button allows monaural monitoring. If this button
is on, the signal sent from the PHONES OUT jack and
the MONITOR OUT L/R channels will be monaural.
HINT
• If the normal dimmer and the talkback dimmer are both
switched on simultaneously, the setting with the greatest
amount of attenuation will be applied.
1 OUTPUT button
Turns the monitor output on/off.
Use the buttons of the SOURCE SELECT
field to select a monitor source.
3
In the SOURCE SELECT field you can select only
one monitor source. However if you’ve selected
DEFINE, you can use the ASSIGN field to specify
multiple monitor sources.
The following table shows the monitor sources you
can select in the SOURCE SELECT field.
B SOURCE SELECT field
Use the buttons in this field to select the monitor
source.
C ASSIGN field
If you selected DEFINE in the SOURCE SELECT
field, use this field to specify the monitor source. You
can select up to eight monitor sources simultaneously.
If you want to clear all selections, move the cursor to
the CLEAR ALL button and press the [ENTER] key.
ST L/R button
MONO button
2TR L/R button
STEREO L/R channel output signal
MONO channel output signal
2TR IN DIGITAL jack input signal
STEREO L/R + MONO channel (LCR)
output signal
LCR button
D PHONES LEVEL LINK button
If this is on, the MONITOR LEVEL knob will adjust
the level of the signal sent to the PHONES OUT jack.
IN 15/16 {31/32}
button
INPUT channels 15/16 {31/32} input
signal
PLAYBACK OUT
button
USB memory recorder playback signal
The signal(s) selected in the ASSIGN
field
DEFINE button
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Using the Monitor function
If you’ve selected DEFINE in the SOURCE SELECT
field, you can use the ASSIGN field to select multiple
sources. The following table shows the monitor
sources you can select in the ASSIGN field.
To output the monitor signal, move the cur-
sor to the OUTPUT button of the MONITOR
screen and press the [ENTER] key to turn it
on.
The monitor source you selected in step 3 will be sent
to the output destination you specified in step 5.
6
7
MIX 1–16 buttons
MIX channels 1–16 output signals
MATRIX buses 1–8 output signals
MATRIX 1–8 but-
tons
HINT
STEREO L/R button STEREO L/R channel output signal
MONO button
MONO channel output signal
• The PHONES OUT jack will always output the monitor signal,
regardless of whether the OUTPUT button is on or off.
2TR L/R button
2TR IN DIGITAL jack input signal
INPUT 15/16 {31/32}
button
INPUT channels 15/16 {31/32} input
signal
PLAYBACK OUT
button
Move the cursor to the MONITOR LEVEL
knob in the MONITOR screen, and use the
dial or the [DEC]/[INC] keys to adjust the
monitor level.
If PHONES LEVEL LINK is ON, you can use both
the MONITOR LEVEL knob and the front panel
PHONES LEVEL control to adjust the monitor level
when monitoring through headphones.
USB memory recorder playback signal
NOTE
• You can select a maximum of eight monitor sources in the
ASSIGN field. If you select eight monitor sources, no further
selections will be possible. Please turn off the buttons for
unneeded sources.
Move the cursor to one of the port select
boxes (L/R/C) located below the level meter,
and press the [ENTER] key.
HINT
4
• If PHONES LEVEL LINK is on, the MONITOR LEVEL knob
will also affect the PHONES OUT jack.
The OUT PORT SELECT popup window will appear,
allowing you to specify the port from which the L, R,
and C monitor signals will be output.
• If you turn on MONITOR ON MASTER FADER that you’ve
assigned to a user-defined key, you’ll be able to use the mas-
ter fader to control the monitor.
Make settings for Dimmer and Monaural as
desired.
8
HINT
• Monitor on/off operations, selection of the monitor source,
and dimmer on/off operations can also be assigned to user-
14
LS9-16
Move the cursor to the output destination
port and press the [ENTER] key to select it;
then move the cursor to the CLOSE button
and press the [ENTER] key to close the
popup window.
5
The following table lists the output ports you can
select.
OMNI 1–8 {1–16}
2TR OUT L/R
OMNI OUT jacks 1–8 {1–16}
2TR OUT DIGITAL jack L, R
Output channels 1–16 of an I/O card
installed in a slot {1/2}
SLOT {1/2} 1–16
HINT
• If desired, you can specify output ports only for MONITOR
OUT L and R, and monitor through two speakers. If you have
not specified an output port for MONITOR OUT C, selecting
the MONO button or LCR button as the monitor source will
automatically cause the MONO channel signal to be distrib-
uted to MONITOR OUT L/R.
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Using the Cue function
Using the Cue function
This section explains how to use the LS9’s Cue function.
C Other CUE group
These are the Cue signals operated using buttons dis-
played in the screen. This group is enabled if you turn on a
CUE button in a RACK screen to which you’ve assigned
an effect, the CUE button of the RECORDER screen, or
the KEY IN CUE button of the DYNAMICS 1/2 popup
window. This group will automatically be disabled when
you exit the corresponding screen.
About cue groups
The LS9’s cue signals can be categorized into the follow-
ing three groups.
1 INPUT CUE group
The cue signals of input channels make up this group. To
enable Cue for this group, press to turn on the [CUE] key
of a channel module to which an INPUT channel is
assigned or the [CUE] key of a ST IN channel.
CUE button in the screen
It is not possible to simultaneously turn on Cue between
different groups. Normally, the group to which the most
recently pressed [CUE] key (or a CUE/KEY IN CUE but-
ton in the screen) belongs will take priority, and the [CUE]
keys of the previously selected group will be defeated.
However if you switch the Cue signal group in a specific
order, the state of the [CUE] keys of the previously-
selected group will be restored when the current Cue sig-
nal is defeated.
[CUE] key of a channel module to
which an INPUT channel is assigned
[CUE] key of a ST IN channel
The following illustration shows the priority order of the
[CUE] keys. After you have switched groups from lower
to upper levels, if you then defeat Cue for the upper group,
the previous [CUE] key status of the group immediately
below will be restored.
B OUTPUT CUE group
The cue signals of output channels make up this group. To
switch to Cue for this group, press to turn on the [CUE]
key of the STEREO MASTER section or the [CUE] key
of a channel module to which a MIX/MATRIX/MONO
channel is assigned.
Other CUE group
INPUT CUE group
OUTPUT CUE group
[CUE] key of the STEREO channel
For example if you switch groups in the order of OUT-
PUT CUE group → INPUT CUE group → Other CUE
group, you can then successively defeat the [CUE] keys
(CUE/KEY IN CUE buttons) to successively restore the
[CUE] key status of the previously selected group. How-
ever, if the CUE MODE is LAST CUE, the state of the
[CUE] key is not reproduced.
[CUE] key of a channel module to which a
MIX/MATRIX/MONO channel is assigned
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Using the Cue function
C OUTPUT field
Here you can select one of the following choices as the
position from which output channels will be cued.
Operating the Cue function
This section explains how you can use the [CUE] key of a
● PFL (Pre-Fader Listen) button
The pre-fader signal will be output
desired channel to monitor the Cue signal.
NOTE
● AFL (After-Fader Listen) button
The signal immediately after the [ON] key will be
output
• The cue signal is sent to the same output destination as the moni-
tor signal. Be aware that for this reason, the cue signal will not be
sent to the connected monitor speakers if you turn off the Monitor
output. However, the front panel PHONES OUT jack will always
output the cue signal regardless of the Monitor on/off setting. For
details on Monitor function settings, refer to “Using the Monitor
● PFL TRIM knob
If PFL is selected, you can adjust the output level
of the cue signal in a range of -20 dB to +10 dB.
D Meter field
In the DISPLAY ACCESS section, press the
[MONITOR] button repeatedly to access the
CUE screen.
1
● CUE meter
This indicates the level of the cue signal.
In the CUE screen you can check the Cue status, and
turn Cue on/off.
● ACTIVE CUE indicator
This indicates the currently-active CUE group.
● CLEAR CUE button
Clears all Cue selections.
1
2
3
4
Use the buttons of the CUE MODE section
to specify what will happen when multiple
[CUE] keys within the same CUE group are
turned on.
2
Use the following two buttons to choose the Cue
mode.
● MIX CUE button
All channels within the same CUE group whose
[CUE] key is on will be mixed for monitoring
(MIX CUE mode).
● LAST CUE button
Only the channel whose [CUE] key was last turned
on will be monitored (LAST CUE mode).
14
1 CUE MODE field
This specifies the mode of operation when multiple
HINT
[CUE] keys within the same group are turned on.
• [CUE] keys belonging to different CUE groups cannot be
turned on simultaneously. The CUE group to which the last-
pressed [CUE] key belongs will be turned on, allowing only
the signals of that group to be monitored.
B INPUT field
Here you can select one of the following positions
from which input channels will be cued.
● PFL (Pre-Fader Listen) button
The pre-fader signal will be output
Use the buttons and knobs of the INPUT
field and OUTPUT field to specify the out-
put position and output level for each CUE
group.
3
● AFL (After-Fader Listen) button
The signal immediately after the [ON] key will be
output
● POST PAN button
The post-pan signal will be output
● PFL TRIM knob
If PFL is selected, you can adjust the output level
of the cue signal in a range of -20 dB to +10 dB.
NOTE
• Be aware that if you turn the POST PAN button on, you can
no longer use input CUE to monitor the signal sent to the
MONO bus from an input channel that is set to LCR mode.
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Using the Cue function
Press the [CUE] key of a desired channel to
turn it on.
4
The Cue signal of the corresponding channel will be
sent to the monitor signal output destination.
You can also watch the Cue meter of the meter field to
check the output level of the cue signal. The ACTIVE
CUE indicator located below the Cue meter indicates
the CUE group (INPUT or OUTPUT) that is currently
turned on.
CUE meter
ACTIVE CUE indicator
HINT
• If you want Cue operations and channel select operations to
be linked, open the PREFERENCE popup window of the
USER SETUP screen, and turn “[CUE]>[SEL] LINK” on (→
Press the DISPLAY ACCESS section [MONI-
TOR] button to access the MONITOR
screen, and use the MONITOR LEVEL knob
in the screen to adjust the level of the cue
signal.
If PHONES LEVEL LINK is ON, you can use both
the MONITOR LEVEL knob and the front panel
PHONES LEVEL control to adjust the monitor level
when monitoring through headphones.
5
6
To defeat Cue, press the [CUE CLEAR] key
or the currently-on [CUE] key once again.
If you want to clear all Cue selections, move the cursor
to the CUE CLEAR button in the CUE screen, and
press the [ENTER] key.
HINT
• All Cue selections will be cleared if you switch between MIX
CUE mode and LAST CUE mode in the CUE MODE section.
• You can also assign the same function as the CLEAR CUE
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Chapter 15
Talkback / Oscillator
This chapter explains how to use the talkback and oscillator functions.
About talkback and oscillator
Talkback is a function that sends the signal of the selected INPUT jack to the desired bus.This is
used mainly to convey directions from the operator to the performers and staff.The LS9 also con-
tains an oscillator that allows a sine wave or pink noise to the desired bus, and this can be used
to check external equipment or to test the response of the room.
The diagram below shows the signal flow of the talkback and oscillator.
M
O
N
ST
MATRIX CUE
...
MIX
O
...
15 16
(C)
1
2
L
R
1
2
7
8
L
R
TALKBACK
INPUT 1-16{32}
INPUT
SELEECT
+48V MASTER
ON
ON
+48V
OSC
METER
OSCILLATOR
LEVEL
HA
ON
+48V
Sine Wave
Pink Noise
Burst Noise
METER
2
+
INPUT
HPF LPF
[INPUT]
1
AD
-
3
GAIN/TRIM
[1-16{32}]
Using talkback
Here’s how a signal received at an INPUT jack 1–16 {1–32} can be output to the desired bus.
B INPUT TO TALKBACK field
Of the INPUT jacks 1–16 {1–32}, the input sensitiv-
ity, input level, and phantom power on/off status of the
jack used for talkback is shown here. You can adjust
the input sensitivity by selecting the GAIN knob in
this field.
In the DISPLAY ACCESS section, press the
[MONITOR] button repeatedly to access the
TALKBACK screen.
In the TALKBACK screen you can check the status of
the talkback and turn it on/off.
1
15
2
● Input select popup button
This displays the INPUT PORT SELECT popup
window, where you can select the INPUT jack
used for talkback.
● +48V button
This is an on/off switch for the phantom power
(+48V) supplied to the INPUT jack used for talk-
back.
1
● GAIN knob
This adjusts the input sensitivity of the INPUT
jack used for talkback.
3
● Input level meter
This indicates the input level of the mic connected
to the INPUT jack used for talkback.
1 TALKBACK ON button
This switches talkback on/off.
C ASSIGN field
This selects the buses to which the talkback signal will
be sent. If you want to clear all selections, move the
cursor to the CLEAR ALL button and press the
[ENTER] key.
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Using talkback
To assign the input from the INPUT jack to
Using the buttons in the ASSIGN field,
select the bus(es) to which you want to
send the talkback signal. (You may select
more than one.)
2
6
7
talkback, move the cursor to the input
select popup window in the INPUT TO
TALKBACK field, and press the [ENTER]
key.
The INPUT PORT SELECT popup window will
appear.
The buttons correspond to the following buses.
MIX 1–16 buttons
MIX buses 1–16
MATRIX 1–8 buttons
MATRIX buses 1–8
ST L, ST R, MONO
buttons
STEREO bus L/R, MONO bus
HINT
• If you want to clear all selections, move the cursor to the
CLEAR ALL button and press the [ENTER] key.
To enable talkback, move the cursor to the
TALKBACK ON button and press the
[ENTER] key to turn it on.
The TALKBACK ON button will alternate between on
and off each time you press the [ENTER] key (latched
operation).
While talkback is on, the signal from the INPUT jack
selected as the TALKBACK jack will be output to the
send-destination bus.
LS9-32
Of the IN1–16 {1–32} buttons, move the cur-
sor to the port you want to use for talkback,
and press the [ENTER] key.To cancel the
selection, press the [ENTER] key once
again on the selected port.
3
HINT
• You can also assign the talkback on/off function to a user-
defined key. In this case, you can choose either latched oper-
ation or unlatched operation (i.e., talkback will be On only
You can select only one port at a time.
When you’ve selected the port, move the
cursor to the CLOSE button and press the
[ENTER] key to close the popup window.
4
5
• You can also use Talkback Dimmer to lower the monitor level
Connect your mic to the rear panel INPUT
jack, move the cursor to the TALKBACK
GAIN knob, and use the dial or the [DEC]/
[INC] keys to adjust the input sensitivity of
the mic.
The input level meter in the INPUT TO TALKBACK
field shows the input level of the mic connected to the
INPUT jack. If you want phantom power (+48V) to be
supplied to the INPUT jack, turn on the +48V button
in the INPUT TO TALKBACK field.
NOTE
• If you want to use phantom power, you must first turn ON the
+48V MASTER ON/OFF button located in the SYSTEM
SETUP screen.
• The PAD will be internally switched on or off when the HA
gain is adjusted between -14 dB and -13 dB. Keep in mind
that noise may be generated if there is a difference between
the Hot and Cold output impedance of the external device
connected to the INPUT connector when using phantom
power.
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Using the oscillator
Using the oscillator
Here’s how you can send a sine wave or pink noise from the internal oscillator to the desired bus.
In the DISPLAY ACCESS section, press the
[MONITOR] button repeatedly to access the
OSCILLATOR screen.
If you want to adjust the oscillator parame-
ters, use the dial or the [DEC]/[INC] keys to
operate the knobs shown in the field.
1
3
In the OSCILLATOR screen you can check the set-
tings of the oscillator and turn it on/off.
The parameters shown in the parameter field will
depend on the type of oscillator selected in the MODE
field.
The following table lists the oscillator types and the
parameters displayed for each type.
3
4
Oscillator type
SINE WAVE 1CH
PINK NOISE
Parameters
LEVEL, FREQ
1
LEVEL, HPF, LPF
BURST NOISE
LEVEL, HPF, LPF, WIDTH, INTERVAL
2
The following table describes each parameter in detail.
Parameter
LEVEL
Details
Oscillator output level
Frequency of the sine wave produced
by the oscillator
FREQ
HPF
5
High-pass filter (on/off switch, cutoff
frequency)
Low-pass filter (on/off switch, cutoff fre-
quency)
LPF
WIDTH
Duration of the noise
1 OUTPUT button
This switches the oscillator on/off.
INTERVAL
Length of silence between noise bursts
B MODE field
Move the cursor to a button in this field to select the
Level
desired type of oscillator.
INTERVAL
Pink noise output
C Parameter field
WIDTH
Here you can adjust the parameters of the oscillator
you selected in the MODE field. Use the dial or the
[DEC]/[INC] keys to operate the knobs shown in the
field.
15
D Oscillator level
This indicates the output level of the oscillator.
Time
The BURST NOISE button is on
E ASSIGN field
This selects the buses to which the oscillator signal
will be sent. If you want to clear all selections, move
the cursor to the CLEAR ALL button and press the
[ENTER] key.
Using the buttons in the ASSIGN field,
4
select the bus(es) to which you want to
send the oscillator signal. (You may select
more than one.)
Use the buttons in the MODE field to select
the type of signal you want to output.
2
The buttons correspond to the following buses.
You can choose from the following signals.
MIX 1–16 buttons
MIX buses 1–16
MATRIX 1–8 but-
tons
MATRIX buses 1–8
SINE WAVE 1CH
PINK NOISE
Sine wave, one channel
Pink noise
ST L, ST R, MONO
buttons
STEREO bus L/R, MONO bus
Burst noise (intermittently output pink
noise)
BURST NOISE
HINT
• If you want to clear all selections, move the cursor to the
CLEAR ALL button and press the [ENTER] key.
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Using the oscillator
To enable the oscillator, move the cursor to
the OUTPUT button and press the [ENTER]
key to turn it on.
5
The oscillator signal will be sent to the bus(es) you
selected in step 4. When you select the button and
press the [ENTER] key once again, the oscillator will
be turned off.
HINT
• You can also assign the oscillator on/off function to a user-
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Chapter 16
Meters
This chapter describes the meter screen which displays input/output level
meters for all channels.
Using the METER screen
By accessing the Meter screen you can view the input/output levels of all channels in the screen,
and switch the metering point (the location at which the level is detected) of the level meters.
In the DISPLAY ACCESS section, press the
[METER] key to access the Meter screen.
[ CUSTOM FADER screen ]
1
The Meter screen is divided into the METER CH1-32
screen, {METER CH 33-64 screen}, OUTPUT
METER screen, and CUSTOM FADER screen.
4
2
[ METER CH1-32 screen ]
5
1
2
3
LS9-16
1 Metering point select buttons
Use these three buttons to select the metering point for
the input/output channels.
B Level meters
These show the input/output levels or fader values.
The current fader value is shown in a range of -∞–10.
When you operate the corresponding fader, the value
will change in realtime.
16
[ OUTPUT METER screen ]
The ∑ segment will light if even one of the level detec-
tion points within each channel is overloaded.
The ∑ segment level detection points are as follows.
1
2
• Input channels
........... PRE HPF, PRE FADER, POST ON
• Output channels
........... PRE EQ, PRE FADER, POST ON
C PEAK HOLD button
If you turn this button on, the peak levels of the meters
will be held. When you turn this button off, the peak
level indications that had been held will be cleared.
3
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Using the METER screen
D Metering point select box
Use the dial or the [DEC]/[INC] keys to select the
metering point for the input/output channels.
E Channel name
This shows the first four characters of the channel
name for the channels assigned to the [CUSTOM
FADER] layer. Channels that are not assigned are
shown as “----”.
If desired, you can move the cursor to the
metering point select buttons and press the
[ENTER] key to switch the metering point.
In the CUSTOM FADER screen, move the
cursor to the metering point select box, use
the dial or the [DEC]/[INC] keys to make
your selection, and then press the [ENTER]
key.
2
The metering point for the level meters can be set
independently for input channels and output channels.
You can choose from the following metering points.
● Input channels
• PRE HPF............Immediately before the high-
pass filter
• PRE FADER.......Immediately before the fader
• POST ON ...........Immediately after the [ON] key
● Output channels
• PRE EQ..............Immediately before the
attenuator
• PRE FADER.......Immediately before the fader
• POST ON ...........Immediately after the [ON] key
For details on the metering points, refer to the block
diagram at the end of this manual.
If you want to hold the peak levels of the
level meters, move the cursor to the PEAK
HOLD button and press the [ENTER] key to
turn it on.
3
On/off operations of the PEAK HOLD button will
apply to both input channels and output channels.
When you turn this button off, the peak level indica-
tions that had been held will be cleared.
HINT
• You can also assign the PEAK HOLD button on/off function to
• If you turn on METER FOLLOW LAYER in the PREFERENCE
screen, the same meter screen as the selected layer will be
displayed when you press a LAYER key.
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Chapter 17
Graphic EQ and effects
This chapter explains how to use the built-in graphic EQ and effects, and how
to perform remote control operations via the dedicated protocol to control an
external head amp (Yamaha AD8HR) from the LS9.
About the virtual rack
The LS9 lets you insert the built-in graphic EQ (subsequently abbreviated as “GEQ”) and effects
into the desired signal route to process the signals.
You can use two types of GEQ; 31 Band GEQ which lets you freely adjust thirty-one bands (fre-
quency regions), and Flex15GEQ which lets you adjust any fifteen of thirty-one bands.You can
also use 48 different effect types.
In order to use a GEQ or effect, you must mount the GEQ or effect in one of the eight virtual racks provided in the screen,
and patch the input and output of that rack to the desired signal route. In other words, the operation is just as though you had
installed a signal processor or effect device in an actual rack, and used patch cords to connect it. Only GEQ can be mounted
in racks 1–4, and either GEQ or effects can be mounted in racks 5–8. [Figure 1]
Up to two channels of input and output can be used for each rack. (However if the “31 Band GEQ” is mounted in a rack,
there will be only one channel each for input and output.) [Figure 2] shows the signal flow for the virtual racks.
INSERT
IN
PATCH
RACK
RACK1
RACK
IN
PATCH
RACK IN
RACK OUT
METER
METER
31BandGEQ
RACK 1
RACK 2
RACK IN A
RACK IN B
RACK OUT A
RACK OUT B
METER
METER
METER
METER
RACK1 IN
A(L)/B(R)
Flex15GEQ
MIX OUT
1-16
RACK1 OUT
A(L)/B(R)
RACK2 IN
A(L)/B(R)
RACK2 OUT
A(L)/B(R)
RACK2 (same as RACK1)
RACK3 (same as RACK1)
MATRIX OUT
1-8
CH INSERT IN 1-32
RACK 3
RACK 4
To CH INSERT IN
RACK3 IN
A(L)/B(R)
RACK3 OUT
A(L)/B(R)
32
MIX INSERT IN 1-16
To MIX INSERT IN
16
3
STEREO OUT
L,R,MONO(C)
RACK4 IN
A(L)/B(R)
RACK4 OUT
A(L)/B(R)
STEREO INSERT IN L,R,MONO(C)
MATRIX INSERT IN 1-8
RACK4 (same as RACK1)
RACK5
To STEREO INSERT IN
To MATRIX INSERT IN
17
8
CH
INSERT OUT
1-32
RACK IN
RACK OUT
METER
METER
RACK 5
RACK 6
31BandGEQ
RACK IN A
RACK IN B
RACK OUT A
RACK OUT B
METER
METER
METER
METER
MIX
INSERT OUT
1-16
Flex15GEQ
RACK IN L
RACK IN R
RACK OUT L
RACK OUT R
METER
METER
METER
METER
STEREO
INSERT OUT
L,R,MONO(C)
EFFECT
RACK 7
RACK 8
EFFECT CUE
RACK5 IN
A(L)/B(R)
RACK5 OUT
A(L)/B(R)
RACK6 IN
A(L)/B(R)
RACK6 OUT
A(L)/B(R)
MATRIX
INSERT OUT
1-8
RACK6 (same as RACK5)
RACK7 (same as RACK5)
RACK8 (same as RACK5)
RACK7 IN
A(L)/B(R)
RACK7 OUT
A(L)/B(R)
RACK8 IN
A(L)/B(R)
RACK8 OUT
A(L)/B(R)
[Figure 1]
[Figure 2]
HINT
• In addition to the virtual rack for GEQ and effects, there is also a rack for mounting external head amps
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About the virtual rack
D INPUT button
This button displays the OUTPUT CH SELECT
popup window, where you can select the input source
for the rack.
Mounting a GEQ or effect in the vir-
tual rack
This section explains how to mount a GEQ or effect in the
E Virtual rack
virtual rack, and patch the input/output of the rack.
This area shows eight virtual racks in which GEQ or
effects can be mounted. Racks 1–4 are only for GEQ,
and either GEQ or effects can be mounted in racks 5–
8. (However depending on the type of internal effect,
some can be mounted only in rack 5 or 7.)
When you move the cursor to a virtual rack and press
the [ENTER] key, the result will depend on whether a
GEQ or effect is already mounted.
In the DISPLAY ACCESS section, press the
1
[RACK 1-4] key and [RACK 5-8] key simulta-
neously to access the VIRTUAL RACK
screen.
In the VIRTUAL RACK screen you can mount GEQ
or effects, and make input/output settings.
● If a GEQ/effect is already mounted in that
rack
HINT
• If you press only the [RACK 1-4] key or the [RACK 5-8] key,
the setting screen (RACK 1–RACK 8 screens) for the rack you
operated most recently will appear.To ensure that you access
the desired screen, hold down one of the keys and then press
the other key.
The RACK 1–RACK 8 screen will appear, allow-
ing you to edit the parameters of the GEQ or
effect.
● If the rack is vacant
The RACK MOUNTER popup window will
appear, allowing you to select the GEQ or effect
that will be mounted in the rack.
The screen contains the following items.
1
F OUTPUT button
This button displays the INPUT CH SELECT popup
window, where you can select the output destination of
the rack.
2
3
To mount a GEQ or effect in the rack, move
the cursor to the RACK button for that rack
and press the [ENTER] key.
2
The RACK MOUNTER popup window will appear.
3
1
2
4
5
6
1 GEQ/EFFECT field
In this field you can mount GEQ or effects in racks 1–
8, and edit the input/output patching for each rack.
4
5
B RACK button
This displays the RACK MOUNT popup window,
where you can select an item to mount in the rack.
Each of these buttons corresponds to the rack shown at
the immediate right.
1 Rack number
This indicates the number of the selected rack.
B Virtual rack
This is the virtual rack in which you can mount a GEQ
or effect.
C SAFE button
This button switches Recall Safe on/off for the rack.
Each of these buttons corresponds to the rack shown at
the immediate right.
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About the virtual rack
C MODULE SELECT buttons
Use these buttons to select the GEQ or effect that will
be mounted in the rack. Each button has the following
function.
To select the input source for a rack, move
the cursor to the INPUT button for that rack
and press the [ENTER] key.
The OUTPUT CH SELECT popup window will
appear, allowing you to select the input source for the
rack.
4
● BLANK button
Removes the GEQ or effect currently mounted in
the rack; the rack will be empty.
● 31 Band GEQ button
Mounts a 31 Band GEQ in the rack.
1
● Flex15GEQ button
Mounts a Flex15GEQ in the rack.
● EFFECT button
Mounts an effect in the rack. This button will not
operate for racks 1–4.
2
HINT
• Input/output patching will be cleared if you change the item
that is mounted or remove the mounted item.
3
D CANCEL button
Cancels the changes you made in the RACK
1 Channel select tabs
These tabs switch the type of channels that are shown
MOUNTER popup window, and closes the window.
in the lower part of the window.
E OK button
B Channel select buttons
Applies the changes you made in the RACK
Use these buttons to select the input source. Use the
three tabs to switch between groups of input sources
shown in the window.
MOUNTER popup window, and closes the window.
NOTE
• Be aware that if you remove a GEQ or effect that was
mounted in a rack and close the window, all parameter set-
tings for that GEQ or effect will be discarded. If you have not
yet closed the window, you can recover the settings by mount-
ing the same GEQ or effect once again.
C CLOSE button
Closes the popup window.
The following input sources can be selected in this
popup window.
HINT
Tab name
Button name
Input source
• You can also display the RACK MOUNTER popup window by
moving the cursor to a vacant rack in the GEQ/EFFECT field
and pressing the [ENTER] key.
MIX 1–16
MIX channel 1–16 outputs
MATRIX channel 1–8 out-
puts
MTRX 1–8
OUT CH (*1)
STEREO (L/R) channel
output, MONO (C) channel
output
ST L, ST R,
MONO
Use the MODULE SELECT buttons to select
the item you want to mount, move the cur-
sor to the OK button, and press the
[ENTER] key.
3
CH 1-32
(INSERT OUT)
INPUT channel 1–32
Insert Outs
CH 1–32
MIX 1–16
MTRX 1–8
17
MIX channel 1–16 Insert
Outs
MATRIX channel 1–8
Insert Outs
OUT CH
(INSERT OUT)
STEREO (L/R) channel
Insert Out, MONO (C)
channel Insert Out
ST L, ST R,
MONO
*1: This cannot be selected for 31 Band GEQ or Flex15GEQ.
HINT
• If you select Insert Out of a channel as the input source for 31
Band GEQ or Flex15GEQ, the Insert In of that same channel
will automatically be selected as the output destination for
that rack. When you defeat an Insert Out, the Insert In will
also be defeated automatically. For details on Insert Out/In,
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About the virtual rack
The following output destinations can be selected in
this popup window (multiple selections are allowed).
Switch the tabs as necessary, and select
the input source that you want to use.
5
When you select an input source in the OUTPUT CH
SELECT popup window, a dialog box will ask you to
confirm the change in patching. To confirm the opera-
tion, move the cursor to the OK button and press the
[ENTER] key.
Tab name
Button name
Output destination
INPUT channel 1–32
inputs
CH 1-32 (*1)
CH 1–32
CH33-64 (*1)
(LS9-32 only)
INPUT channel 33–64
inputs
CH 33–64
STIN1L/1R–
4L/4R
STIN (*1)
ST IN channel 1–4 inputs
HINT
CH 1-32
(INSERT OUT)
INPUT channel 1–32
Insert In
CH 1–32
MIX 1–16
MTRX 1–8
• You have the option of making settings so that the patch
MIX channel 1–16 Insert In
• If you selected 31 Band GEQ, you’ll be able to select one
channel of input; otherwise you’ll be able to select two chan-
nels of input.
MATRIX channel 1–8
Insert In
OUT CH
(INSERT OUT)
STEREO (L/R) channel
Insert In, MONO (C) chan-
nel Insert In
ST L, ST R,
MONO
*1: This cannot be selected for 31 Band GEQ or Flex15GEQ.
Move the cursor to the OUTPUT button for
that rack, and press the [ENTER] key.
6
HINT
The INPUT CH SELECT popup window will appear,
allowing you to select the output destination for the
rack.
• If you selected the Insert In of a certain channel as the output
destination for 31 Band GEQ or Flex15GEQ, the Insert Out of
the same channel will automatically be selected as the input
source of that rack. When you defeat an Insert In, the Insert
Out will also be defeated automatically.
1
Switch the tabs as necessary, and select
the output destination that you want to use.
When you select an output destination in the INPUT
CH SELECT popup window, a dialog box will ask you
to confirm the patching change. To confirm the opera-
tion, move the cursor to the OK button and press the
[ENTER] key.
7
8
2
HINT
3
• You have the option of making settings so that the patch
• You can specify multiple output destinations for a rack.
1 Channel select tabs
These tabs switch the type of channels that are shown
in the lower part of the window.
• If you selected 31 Band GEQ, you’ll be able to select one
channel of output; otherwise you’ll be able to select two chan-
nels of output.
B Channel select buttons
Use these buttons to select the output destination.
To turn Recall Safe on/off, move the cursor
to the SAFE button for that rack and press
the [ENTER] key.
C CLOSE button
Closes the popup window.
If Recall Safe is turned on for a rack, the contents and
parameters of that rack will not change when a scene
is recalled. For more about Recall Safe, refer to
HINT
• The type of GEQ or effect mounted in each rack, its parame-
ter settings, and the input-source/output-destination settings
are saved as part of the scene.
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Graphic EQ operations
Graphic EQ operations
About the graphic EQ
The LS9 lets you mount a GEQ in racks 1–8 and patch it
to the insert-out/in of a channel.You can use the top panel
faders and [ON] keys to operate the amount of boost/cut
for each band.
Inserting a GEQ in a channel
The LS9’s GEQ units can be patched to the insert-in/out
of any channel except the ST IN channels. Here’s how to
insert a GEQ into the selected channel for use.
mount a GEQ in a rack.
The following two types of GEQ are provided.
1
● 31 Band GEQ
This is a monaural 31-band GEQ. Each band is 1/3 octave
wide, the adjustable boost/cut range is 15 dB, and the
amount of boost/cut for each of the thirty-one bands can
be adjusted. If a 31 Band GEQ is mounted in a rack, one
channel of input and output can be used for that rack.
The GEQ/EFFECT field shows the approximate set-
tings and input/output levels of the GEQ. A rack in
which a Flex15GEQ is mounted will show informa-
tion for two GEQ units (A and B).
INPUT
OUTPUT
Rack
31 Band GEQ
● Flex15GEQ
This is a monaural 15-band GEQ. Each band is 1/3 octave
wide, and the adjustable boost/cut range is 15 dB. The
Flex 15GEQ lets you adjust the boost/cut amount for any
fifteen of the same bands as the thirty-one bands of the 31
Band GEQ. (Once you’ve used up fifteen bands of adjust-
ment, you won’t be able to adjust the boost/cut amount of
another band until you reset a previously-adjusted band to
the flat setting.)
A rack for which the Flex15GEQ is selected will have two
Flex15GEQ units (shown as “A” and “B” respectively)
mounted in that rack, and will allow two channels of input
and output. If you mount a Flex15GEQ in each rack,
you’ll be able to use up to sixteen GEQ units simulta-
neously.
2
1
3
1 Racks
B INPUT buttons
C OUTPUT buttons
HINT
• If you’re using a stereo source, you can mount a Flex15GEQ
in one rack, or mount two 31 Band GEQ units in adjacent odd-
numbered/even-numbered racks. This will let you link the two
GEQ units later.
INPUT
OUTPUT
17
Rack
Flex15GEQ (A)
Flex15GEQ (B)
Use the INPUT button to open the OUTPUT
CH SELECT popup window where you can
select the input-source for the rack, and
choose the insert-out of the desired chan-
nel.
2
The insert-out will be assigned to the input of the
GEQ. (For details on the OUTPUT CH SELECT
HINT
• If you select the Insert Out of a certain channel as the input
source, the Insert In of that same channel will automatically
be selected as the output destination for that rack. For details
on Insert Out/In, refer to “Inserting an external device into a
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Graphic EQ operations
E GEQ LINK button
Use the OUTPUT button to open the INPUT
3
This button links adjacent GEQ units. In the case of a
31 band GEQ, the GEQ units in adjacent odd-num-
bered/even-numbered racks will be linked. In the case
of a Flex15GEQ, the GEQ(A) and GEQ(B) within the
same rack will be linked.
CH SELECT popup window where you can
select the output-destination for the rack,
and choose the insert-in to which you want
to assign the output of the GEQ (multiple
selections are allowed).
The insert-in will be assigned to the output of the
GEQ. (For details on the INPUT CH SELECT popup
NOTE
• The GEQ LINK button is shown only if linking is possible.
HINT
If you want to link two GEQ units, turn on
the GEQ LINK button.
5
• If you select the Insert In of a certain channel as the output
source, the Insert Out of that same channel will automatically
be selected as the input source for that rack.
If you’ve selected 31 Band GEQ for two adjacent odd-
numbered/even-numbered racks, or if you’ve selected
a Flex15GEQ, you can use the GEQ LINK button to
link the two GEQ units. This is convenient when you
want to process a stereo source through GEQ units
with identical settings.
In the GEQ/EFFECT field, move the cursor
to the rack in which you mounted the GEQ
and press the [ENTER] key.
4
When you turn the GEQ LINK button on, a popup
window like the following will appear. The popup
window contains the following items.
The RACK screen will appear, allowing you to edit the
parameters of the GEQ or effect.
HINT
• You can also access the RACK screen by pressing the [RACK
1-4] key or [RACK 5-8] key. By repeatedly pressing the [RACK
1-4] key you can access the RACK 1–4 screens, and by
repeatedly pressing the [RACK 5-8] key you can access the
RACK 5–8 screens and EXTERNAL HA screen.
1
2
• The RACK screens for the 31 Band GEQ and the Flex15GEQ
are nearly identical. However, the Flex15GEQ individually dis-
plays two GEQ units (A and B) mounted in a single rack.
3
4
1
2
3
4
5
1 RACK x→y button (“x” and “y” are the rack
number, or the rack number and the alpha-
betical characters A or B)
The parameters of “x” will be copied to “y,” and then
linked.
B RACK y→x button
The parameters of “y” will be copied to “x,” and then
linked.
C RESET BOTH button
The parameters of both will be initialized, and then
linked.
D CANCEL button
Cancels the link and closes the popup window.
1 GEQ ON/OFF button
Switches the currently selected GEQ on/off.
To confirm the link, move the cursor to a button other
than CANCEL, and press the [ENTER] key. When
you link GEQ units, a symbol will appear in the GEQ/
EFFECT field to indicate the linked status.
B FLAT button
This returns all bands of the currently selected GEQ to
0 dB.
C INPUT button
This button displays the OUTPUT CH SELECT
popup window, where you can select the input source
of the rack. The operating procedure is the same as for
the INPUT button in the GEQ/EFFECT field.
D OUTPUT button
Symbol indicating
linked status
This button displays the INPUT CH SELECT popup
window, where you can select the output destination of
the rack. The operating procedure is the same as for
the OUTPUT button in the GEQ/EFFECT field.
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Graphic EQ operations
1 EQ graph
This indicates the approximate response of the current
31 Band GEQ settings.
To turn on the GEQ, move the cursor to the
GEQ ON/OFF button and press the [ENTER]
key.
After you’ve turned the GEQ on, adjust the bands of
the GEQ. For details on operating the GEQ, refer to
6
7
B Faders
These faders indicate the amount of boost/cut for each
band of the 31 Band GEQ. The frequency and value
for the fader currently selected by the cursor are
shown below the fader.
Check whether INSERT is turned on for the
patched channel.
For details, refer to “Inserting an external device into
C FADER ASSIGN field
Use this field when you want to operate the boost/cut
amount for each band using the top panel faders.
D GEQ ON/OFF button
Switches the currently selected GEQ on/off.
E FLAT button
This returns all bands of the currently selected GEQ to
0 dB.
Using the 31 Band GEQ
Here we will explain how to use the 31 Band GEQ.
F INPUT button
This button displays the OUTPUT CH SELECT
popup window, where you can select the input source
of the rack.
mount a GEQ in a rack.
A rack in which a 31 Band GEQ is mounted will show
the approximate settings.
1
G OUTPUT button
This button displays the INPUT CH SELECT popup
window, where you can select the output destination of
the rack.
H GEQ LINK button
This button links adjacent GEQ units.
NOTE
Rack image display
• The GEQ LINK button is shown only if linking is possible. For
a 31 Band GEQ, this button is displayed if a 31 Band GEQ is
mounted in two adjacent odd-numbered/even-numbered
racks.
In the GEQ/EFFECT field, move the cursor
to the rack in which you mounted the GEQ
and press the [ENTER] key.
2
After you’ve set the input-source and out-
put-destination correctly, use the GEQ ON/
OFF button to turn on the 31-band GEQ.
3
4
5
The RACK screen will appear, allowing you to edit the
parameters of the GEQ.
You can also access the RACK screen by pressing the
[RACK 1-4] key or [RACK 5-8] key. By repeatedly
pressing the [RACK 1-4] key you can access the
RACK 1–4 screens, and by repeatedly pressing the
[RACK 5-8] key you can access the RACK 5–8
screens and EXTERNAL HA screen.
To adjust the boost/cut of each band, move
the cursor to the desired fader and operate
the dial or the [DEC]/[INC] keys.
17
If you want to use the top panel faders to
adjust the boost/cut of each band, proceed
as follows.
4
5
6
7
8
1 Move the cursor to the button in the
FADER ASSIGN field and press the
[ENTER] key.
When this button is turned on, the faders in the screen
will turn white, and you will be able to use the top
panel faders to adjust the GEQ bands.
1
2
3
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Graphic EQ operations
● For the LS9-16
On the LS9-16, the bands that can be controlled
will depend on the button you selected. In order to
adjust all of the bands, you’ll need to switch these
buttons as you work.
If you want to copy the currently-displayed
31 Band GEQ settings to the GEQ of
another rack, or to initialize the settings,
you can do so using the tool buttons at the
top of the screen.
6
For details on how to use these buttons, refer to “Using
Button name
[20-630] button
[125-4k] button
[630-20k] button
Bands
16 bands from 20 Hz–630 Hz
16 bands from 125 Hz–4 KHz
16 bands from 630 Hz–20 KHz
NOTE
• If a 31 Band GEQ is using 15 or fewer bands, its settings can
also be copied to a Flex15GEQ.
HINT
• GEQ settings can be saved/loaded at any time using the ded-
Using the Flex15GEQ
Here we will explain how to use the Flex15GEQ.
1
● For the LS9-32
mount a GEQ in a rack.
A rack in which a Flex15GEQ is mounted will show
information for two GEQ units (A and B).
Only the [20-20k] button can be selected. When
this button is on, you can use the top panel faders
1–31 to operate all 31 bands.
B Operate the faders.
The corresponding frequency region will be boosted
1
2
or cut.
3
HINT
• When a top panel fader is in the center (flat) position, the cor-
responding [ON] key will go dark. This indicates that the cor-
responding band is not being modified. If you raise or lower
the fader even lightly, the [ON] key will light, indicating that this
band is being modified. If you press a lit [ON] key to make it
go dark, the corresponding band will immediately return to the
flat state.
1 GEQ (A)
B GEQ (B)
C Rack graphic display area
HINT
• When you mount a Flex15GEQ, two monaural 31 Band GEQ
units (A and B) are placed in a single rack. However, only up
to fifteen bands can be adjusted for each unit.
C When you’ve finished making settings,
turn off the button(s) of the FADER
ASSIGN field.
The top panel faders and [ON] keys will return to their
previous function.
Move the cursor to a rack in which a
Flex15GEQ is mounted, and press the
[ENTER] key.
2
The RACK screen will appear, allowing you to edit the
parameters of GEQ (A) or GEQ (B).
HINT
• If a button in the FADER ASSIGN field is on, switching the
display to another screen or rack will forcibly defeat the top
panel fader assignments.
To switch the RACK screen, repeatedly press the
[RACK 1-4] keys (RACK 1–4 screens) or [RACK 5-8]
key (RACK 5–8 screens / EXTERNAL HA screens).
For a rack in which a Flex15GEQ is mounted, the
RACK screen is shown separately as xA and xB (x is
the rack number).
• However if you once again display the same rack, the group of
bands you had previously been controlling will automatically
be assigned to the faders.
• FADER ASSIGN on/off settings apply to all GEQ units
together.
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Graphic EQ operations
4
5
Remaining number
of bands
1
If you want to use the top panel faders to
adjust the boost/cut of each band, proceed
as follows.
5
2
3
1 Move the cursor to the button in the
FADER ASSIGN field and press the
[ENTER] key.
For details on how operation and the buttons differ
When this button is turned on, the faders in the screen
will turn white, and you will be able to use the top
panel faders to adjust the GEQ bands.
1 EQ graph
This indicates the approximate response of the current
Flex15GEQ settings.
B Faders
These faders indicate the amount of boost/cut for each
band of the Flex15GEQ. The frequency and value for
the fader currently selected by the cursor are shown
below the fader.
B Operate the faders.
The corresponding frequency region will be boosted
or cut. A maximum of 15 bands can be controlled.
HINT
C FADER ASSIGN field
Use this field when you want to operate the boost/cut
amount for each band using the faders. At the right
side of “AVAILABLE BANDS,” there is always an
indication of the remaining number of bands (maxi-
mum 15) that can be controlled for the current
Flex15GEQ.
• The [ON] key will light if you raise or lower a fader even the
slightest amount. This indicates that the corresponding band
is being modified.
• To quickly return a boosted or cut band to the flat position,
press the corresponding [ON] key to make it go dark.
C When you’ve finished making settings,
turn off the button(s) of the FADER
ASSIGN field.
D GEQ ON/OFF button
Switches the currently selected GEQ on/off.
The top panel faders and [ON] keys will return to their
previous function.
E FLAT button
This returns all bands of the currently selected GEQ to
0 dB.
HINT
• If a button in the FADER ASSIGN field is on, switching the
display to another screen or rack will forcibly defeat the top
panel fader assignments. However if you once again display
the same rack, the group of bands you had previously been
controlling will automatically be assigned to the faders.
Use the [RACK 1-4] key (for RACK 1–4
screens) or the [RACK 5-8] key (for RACK
5–8 screens) to select either GEQ unit A or
B, make the correct input-source and out-
put-destination settings, and then turn on
the Flex15GEQ.
3
4
17
If you want to copy the currently-displayed
Flex15GEQ settings to the GEQ of another
rack, or to initialize the settings, you can do
so using the tool buttons at the top of the
screen.
6
To adjust the boost/cut of each band, move
the cursor to the desired fader and operate
the dial or the [DEC]/[INC] keys.
For each of a Flex15GEQ’s two GEQ units (A and B),
a maximum of fifteen bands can be controlled.
The remaining number of bands that can be controlled
is shown at the right of “AVAILABLE BANDS” in the
FADER ASSIGN field. If you have used all fifteen
bands, you will have to return one of the used bands
(i.e., a band for which a fader was raised or lowered)
to the flat position before you can operate any other
band.
For details on how to use these buttons, refer to “Using
HINT
• GEQ settings can be saved/loaded at any time using the ded-
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About the internal effects
About the internal effects
The internal effects of the LS9 can be mounted in racks 5–8. For each mounted effect you can
choose one of 48 effect types, and patch the effect to the output of an output channel or the input
of an input channel, or insert it into a channel.
With the default settings, the signals from MIX channels 13–16 are input to racks 5–8, and output
to ST IN 1–4 (L/R).
NOTE
• The internal effects cannot be mounted in racks 1–4.
• Some effect types can be mounted only in rack 5 or 7.
● STEREO type effects
To use an internal effect via send/return, assign the output
of a MIX channel etc. to the input of the effect, and assign
the output of the effect to an input channel.
In this case, the corresponding MIX bus is used as a mas-
ter channel for the effect send, and the input channel is
used as an effect return channel.
INPUT L
INPUT R
L RETURN
R RETURN
EFFECT L
EFFECT R
● MIX type effects
Rack 5
EFFECT
INPUT L
INPUT R
L RETURN
R RETURN
Rack 6
EFFECT
EFFECT
Output of the
output channel
Input of the
input channel
Rack 7
EFFECT
If a signal is assigned to only one input of a two-input
effect, it will be processed as mono-in/stereo-out regard-
less of whether a Stereo effect type or Mix effect type is
selected.
Rack 8
EFFECT
L RETURN
R RETURN
INPUT L
or R
Alternatively, you can assign the input and output of the
internal effect to the insert-out/in of a desired channel
(except for a ST IN channel), so that the effect is inserted
into that channel.
EFFECT
Insert-out of a
desired channel*
Insert-in of a
desired channel*
EFFECT
* Except for a ST IN channel
The internal effects fall into two categories; “STEREO
type” (2-in/2-out) effects that process the L/R channel
input signals independently, and “MIX type” (1-in/2-out)
effects that mix the two channels to monaural before pro-
cessing them.
If signals are assigned to both the L and R inputs of an
effect, the way in which the L/R channels are processed
will depend on whether a Stereo effect type or a Mix
effect type is selected, as follows.
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About the internal effects
Use the OUTPUT L button to open the
3
4
INPUT CH SELECT popup window, and
select the L input of the desired ST IN chan-
nel as the output-destination for the rack.
The L input of the ST IN channel used as the effect
return channel will be assigned to the L output of the
effect. For details on the INPUT CH SELECT popup
window, refer to step 6 of “Mounting a GEQ or effect
Using an internal effect via send/
return
Here we will explain how to use a MIX bus as an effect
send bus and a ST IN channel as an effect return channel,
so that the effect can be used in a send/return configura-
tion.
HINT
If you’re using the output of the effect in stereo, assign
the R input of the same ST IN channel to the R output
of the rack in the same way.
• If you want to use a MIX bus as an effect send bus, select “VARI”
level separately for each input channel.
HINT
• If you want to use the input to an effect in stereo, it is convenient to
• You can select more than one output destination for the effect.
Move the cursor to a rack in which an effect
is mounted in the GEQ/EFFECT field, and
press the [ENTER] key.
1
mount an effect in a rack.
The RACK screen will appear, allowing you to edit the
parameters of the effect.
You can also access the RACK 5–8 screens by repeat-
edly pressing the [RACK 5-8] key.
A rack in which an effect is mounted will indicate the
effect type used by that effect, and the bypass on/off
status.
HINT
• The EXTERNAL HA screen that appears when you operate
the [RACK 5-8] key is used when you’re using an external
1
3
2
4
2
1
3
1 Racks
B INPUT buttons
C OUTPUT buttons
17
Use the INPUT L button to open the OUT-
PUT CH SELECT popup window, and select
a MIX channel as the input source for the
rack.
The output of the MIX channel you’re using as the
effect send will be assigned to the L input of the effect.
For details on the OUTPUT CH SELECT popup win-
dow, refer to step 4 of “Mounting a GEQ or effect in
2
1 MIX BAL. knob
This knob adjusts the balance between the original
sound and effect sound included in the output signal
from the effect.
B Input/output meters
These indicate the level of the signals before and after
the effect.
C INPUT L/R buttons
If you’re using a stereo source, assign the L/R signals
of the stereo MIX channels to the L/R inputs of the
rack.
These buttons display the OUTPUT CH SELECT
popup window. The operating procedure is the same as
for the INPUT button in the GEQ/EFFECT field.
D OUTPUT L/R buttons
These buttons display the INPUT CH SELECT popup
window. The operating procedure is the same as for
the OUTPUT button in the GEQ/EFFECT field.
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About the internal effects
To change the mix balance of the original
To adjust the master level of the effect
send, call up the fader layer that includes
the MIX channel you specified as the input-
source of the rack in step 2, and adjust the
corresponding fader.
5
8
9
sound and effect sound, move the cursor to
the MIX BAL. knob and use the dial or the
[DEC]/[INC] keys.
The MIX BAL. knob adjusts the balance between the
original sound and effect sound included in the output
signal from the effect. This parameter is provided for
all effect types.
Set the level as high as possible without allowing the
post-effect signal to reach the overload point.
To adjust the effect return level, operate the
encoder of the ST IN channel you selected
as the output-destination of the rack in step
3.
If you’re using the effect via send/return, set this to
100% (effect sound only).
HINT
To adjust the effect send level of an input
channel, press the [HOME] key to access
the SELECTED CH VIEW screen, and
access the input channel that you want to
control.
6
Inserting an internal effect into a
channel
Here we will explain how to insert an effect into a channel
by assigning the input/output of the internal effect to the
input/output of the desired channel (except for a ST IN
channel).
1
1
2
mount an effect in a rack.
A rack in which an effect is mounted will indicate the
effect type used by that effect, and the bypass on/off
status.
1 SEND field
B TO MIX SEND LEVEL knob
Move the cursor to theTO MIX SEND LEVEL
knob for the desired MIX bus, and use the
dial or the [DEC]/[INC] keys to adjust the
send level.
7
With these settings, the signal will be sent from the
input channel to the internal effect. Adjust the send
level of other input channels in the same way.
By moving the cursor to the knob and pressing the
[ENTER] key, you can switch the signal sent from
each channel to the corresponding bus on/off, and
access a popup window where you can choose the
2
1
3
1 Racks
B INPUT buttons
C OUTPUT buttons
Use the INPUT L button to open the OUT-
PUT CH SELECT popup window, and select
the insert-out of a channel as the input-
source.
Insert-out will be assigned to the L input of the effect.
For details on the OUTPUT CH SELECT popup win-
dow, refer to step 4 of “Mounting a GEQ or effect in
2
NOTE
• Make sure that the send level from the ST IN channel you
selected in step 3 to the corresponding MIX bus is set to 0. If
you raise this send level, the output of the effect will be
returned to the input of the same effect, possibly causing
oscillation.
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About the internal effects
Use the INPUT L button to open the INPUT
CH SELECT popup window, and select the
insert-in of the same channel as the output-
destination.
Insert-in will be assigned to the L output of the effect.
If you are inserting in a channel that handles a stereo
source, use the same procedure to assign the insert-
out/insert-in of the other channel to the R input and R
output of the effect.
Repeatedly press the [RACK 5-8] key to
access the RACK screen for the rack you
inserted into the channel.
In this screen you can edit the parameters of the effect.
The screen contains the following items.
3
7
2
1
3
Press the [HOME] key to access the
SELECTED CH VIEW screen, and access
the channel into which you want to insert
the effect.
4
5
Move the cursor to the INSERT popup but-
ton, and press the [ENTER] key to access
the INSERT popup window.
Make sure that the desired rack is selected for the
input/output ports you’re using for the insertion. For
details on Insert Out/In, refer to “Inserting an external
1 Input/output meters
These indicate the level of the signals before and after
the effect.
B INPUT L/R buttons
These buttons display the OUTPUT CH SELECT
popup window. The operating procedure is the same as
for the INPUT button in the GEQ/EFFECT field.
1
C OUTPUT L/R buttons
These buttons display the INPUT CH SELECT popup
window. The operating procedure is the same as for
the OUTPUT button in the GEQ/EFFECT field.
1 INSERT ON/OFF button
Select the effect type and edit the effect
parameters.
For details on editing the effect parameters, refer to
8
9
HINT
• The INSERT popup window also lets you change the insert-
out/in position within the channel.
HINT
Make sure that the INSERT ON/OFF button
is turned on for the channel into which you
inserted the effect.
If this is off, turn it on. In this state, effect insertion is
enabled for the corresponding channel.
6
• The levels before and after the effect are shown by the input/
output meters at the upper right of the RACK screen.
17
NOTE
• Adjust the insert out signal level and the effect parameters so
that the signal does not reach the overload point at the input
or output stage of the effect.
Select the fader layer that includes the
channel you selected in step 3 as the out-
put destination of the rack, and operate the
corresponding fader to adjust the level
appropriately.
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About the internal effects
1 Effect type field
This shows the effect title, the name of the type that is
used, and a graphic. The number of input/output chan-
nels (1 IN/2 OUT or 2 IN/2 OUT) of this effect is also
shown. If you move the cursor to the effect type
graphic and press the [ENTER] key, the EFFECT
TYPE popup window will appear, allowing you to
select the effect type.
Editing the internal effect parame-
ters
This section explains how to change the effect type and
edit the parameters.
1
B BYPASS button
This button temporarily bypasses the effect.
mount an effect in a rack.
A rack in which an effect is mounted will indicate the
effect type used by that effect, and the bypass on/off
status.
C EFFECT CUE button
This button cue-monitors the output of the currently
displayed effect. This cue function is valid only while
this screen is displayed. The cue will be cancelled
automatically when you switch to a different screen.
D Special parameter field
This shows special parameters that are specific to
some effect types.
E Input/output meters
These indicate the level of the signals before and after
the effect.
F INPUT L/R buttons
These buttons display the OUTPUT CH SELECT
popup window.
G OUTPUT L/R buttons
These buttons display the INPUT CH SELECT popup
window.
1
2
H Effect parameter field
This area shows parameters for the currently selected
effect type.
1 Effect title/type
B Bypass on/off status
Move the cursor to the rack in which the
effect you want to edit is mounted, and
press the [ENTER] key.
The RACK screen will appear, allowing you to edit the
parameters of the effect.
2
If you want to change the effect type, pro-
ceed as follows.
3
1 Move the cursor to the effect type graphic,
and press the [ENTER] key.
The EFFECT TYPE popup window will appear.
You can also access the RACK 5–8 screens by repeat-
edly pressing the [RACK 5-8] key.
HINT
• The EXTERNAL HA screen that appears when you operate
the [RACK 5-8] key is used when you’re using an external
1
2
6
4
5
7
CLOSE button
3
8
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About the internal effects
● PLAY/REC
This is shown if FREEZE is selected as the effect type.
B Use the dial or the cursor keys to move the
cursor, and select the new effect type.
You can move the cursor up or down to select a new
type in steps of twelve.
If you decide not to change the effect type, use the cur-
sor keys to move the cursor to the CLOSE button, and
press the [ENTER] key.
1
C When you’ve selected a new effect type,
press the [ENTER] key.
The EFFECT TYPE popup window will close auto-
matically, and the new effect is now available for use.
1 PLAY button / REC button
These buttons are used to record (sample) and play
back when using the freeze effect. For details on
how to use this, refer to “Using the Freeze effect”
HINT
• You can also switch the effect type by recalling a library set-
ting.
● SOLO
NOTE
This is shown if M.BAND DYNA. or M.BAND
COMP. is selected as the effect type.
• Effect types “HQ.PITCH” and FREEZE” can be used only in
rack 5 or 7. Also, even if you copy these two effect types, you
will not be able to paste them to rack 6 or 8.
To edit the effect parameters, move the cur-
sor to the knobs in the effect parameter
field, and use the dial or the [DEC]/[INC]
keys.
4
5
1
2
HINT
1 HIGH/MID/LOW buttons
These buttons pass only the selected frequency
band (multiple selections are allowed).
• For details on the parameters of each effect type, refer to the
B Gain reduction meters
These show the amount of gain reduction for each
band.
Edit the settings in the special parameter
field as necessary.
For some effect types, parameters such as the follow-
ing will appear in the special parameter field.
If you want to monitor only the output sig-
nal of the currently displayed effect, press
the EFFECT CUE button to turn it on.
6
● TEMPO
This is shown if a tempo-type or modulation-type
effect is selected.
HINT
• If the Cue mode is set to MIX CUE mode (in which all chan-
nels whose [CUE] keys are on will be mixed for monitoring),
only the output signal of the effect will be monitored when you
turn on the EFFECT CUE button. (The [CUE] keys that had
been turned on until then will be temporarily defeated.)
1
2
17
If you want to bypass the currently dis-
played effect, turn the BYPASS button on.
7
8
1 MIDI CLK button
If you want to copy the currently-displayed
effect settings to the effect of another rack,
or to initialize the settings, you can do so
using the tool buttons at the top of the
screen.
If you turn this button on, the BPM parameter of
that effect will be set to match the tempo of the
MIDI timing clock being input from the currently-
enabled MIDI port.
B BPM knob
For details on how to use these buttons, refer to “Using
This knob sets the BPM parameter manually. You
can also assign the Tap Tempo function to a user-
HINT
• Effect settings can be stored and recalled at any time using
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About the internal effects
Select “TAP TEMPO” in the FUNCTION col-
umn, select “CURRENT PAGE” in the
PARAMETER 1 column, move the cursor to
the OK button, and press the [ENTER] key.
To select an item in each column, move the cursor to
the desired column and use the dial or the [DEC]/
[INC] keys. Move the cursor to the OK button and
press the [ENTER] key; the Tap Tempo function will
be assigned to the user-defined key you selected in
step 3, and you will return to the USER DEFINED
KEY SETUP page.
4
Using the Tap Tempo function
“Tap tempo” is a function that lets you specify the delay
time of a delay effect or the modulation speed of a modu-
lation effect by striking a key at the desired interval. To
use the Tap function, you must first assign Tap Tempo to a
user-defined key, and then operate that user-defined key.
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen within the SETUP screens.
1
1
HINT
• If you specify “CURRENT PAGE” in the PARAMETER 1 col-
umn, the Tap Tempo function can be used for the currently-
shown effect (rack).
• If you specify “RACK x” (x=5–8) in the PARAMETER 1 col-
umn, the Tap Tempo function can be used only for a specific
effect (rack).
1 USER DEFINED KEYS popup button
Move the cursor to the USER DEFINED
2
KEYS popup button and press the [ENTER]
key to access the USER DEFINED KEYS
popup window.
Repeatedly press the [RACK 5-8] key to
access the RACK screen for the rack in
which the effect you want to control is
mounted.
5
6
The USER DEFINED KEYS popup window lets you
assign functions to user defined keys [1]–[12].
Select an effect type that includes a BPM
parameter.
For details on selecting the effect type, refer to step 3
The BPM parameter is shown in the special parameter
field. It is included in delay-type and modulation-type
effects, and can be used to specify the delay time or
modulation speed.
1
1
1 User defined keys popup buttons
Move the cursor to the popup button for the
3
user-defined key to which you want to
assign the Tap Tempo function, and press
the [ENTER] key.
The USER DEFINED KEY SETUP popup window
will appear.
1 BPM parameter
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About the internal effects
Select “FREEZE” as the effect type.
4
HINT
For details on selecting the effect type, refer to step 3
If the “FREEZE” effect type is selected, a PLAY but-
ton, REC button, and progress bar are shown in the
special parameter field.
• For details on the parameters of each effect type, refer to the
At the desired tempo, repeatedly press the
user-defined key to which you assigned the
Tap Tempo function.
7
1
2 3
The average interval (BPM) at which you press the
key will be calculated, and that value will be reflected
by the BPM parameter.
The average interval will be input
(the average of a, b, and c)
a
b
c
1 PLAY button
B REC button
C Progress bar
First tap
Second tap
Third tap
Fourth tap
HINT
HINT
• If the average value is outside the range of 20–300 BPM, it
will be ignored.
• As an alternative to switching the effect type, you can also
recall settings that use the “FREEZE” effect type from the
effect library.
• If you turn on the MIDI CLK button in the special parameter
field, the BPM parameter value will change according to the
tempo of the MIDI timing clock received from the currently-
enabled MIDI port.
To begin recording (sampling), turn on the
REC button to make it light, and then turn
on the PLAY button.
The signal being input to the effect will be recorded.
The progress bar shows the current recording location.
When a fixed time has elapsed, the buttons will auto-
matically turn off.
5
6
Using the Freeze effect
Here’s how to use the “FREEZE” effect type, which pro-
vides the functionality of a simple sampler. When this
effect type is selected, you can perform operations in the
screen to record (sample) and play back a sound.
HINT
• You can adjust the parameters in the window to make detailed
settings for recording time, the way in which recording will
begin, and the way in which the sample will play back. For
details on the parameters, refer to the supplementary material
17
In the DISPLAY ACCESS section, press the
1
[RACK 1-4] key and [RACK 5-8] key simulta-
neously to access the VIRTUAL RACK
screen.
To play back the recorded sample, move the
cursor to the PLAY button and press the
[ENTER] key.
Mount an effect in rack 5 or rack 7.
2
NOTE
NOTE
• Effect types “FREEZE” and “HQ.PITCH” can be used only in
rack 5 or 7.
• If, after recording, you turn on the REC button again to enter
record-ready mode, the sampled content will be erased.
Move the cursor to the rack in which the
effect you want to edit is mounted, and
press the [ENTER] key.
3
The RACK screen will appear, allowing you to edit the
parameters of the effect.
You can also access the RACK 5–8 screens by repeat-
edly pressing the [RACK 5-8] key.
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Using the graphic EQ and effect libraries
Using the graphic EQ and effect libraries
You can use dedicated libraries to store and recall graphic EQ and effect settings.
GEQ library
Effect library
Use the “GEQ library” to store and recall GEQ settings.
This GEQ library can be referenced by all GEQ units used
in the LS9. (However, the 31 Band GEQ and Flex15GEQ
are different types. You cannot recall a GEQ library item
of a different type.)
200 items can be recalled from the library. Number 000 is
read-only, and the remaining library numbers can be
freely read or written.
Use the “Effect library” to store and recall effect settings.
199 items can be recalled from the effect library. Library
items 1–48 are read-only presets, and correspond to effect
types 1–48 respectively. Library items 49–57 are reserved
for use by the system. Other library item numbers can be
freely read and written.
To access the effect library, move the cursor to the LIB
toolbutton in the upper part of the screen when an effect is
shown in a RACK 5–8 screen, and press the [ENTER]
key.
To access the GEQ library, move the cursor to the LIB
toolbutton in the upper part of the screen when a GEQ is
shown in the RACK screen, and press the [ENTER] key.
1
1
1 LIB button
1 LIB button
For details on using the library, refer to “Using libraries”
For details on using the library, refer to “Using libraries”
NOTE
NOTE
• Library items using the “HQ.PITCH” or “FREEZE” effect types can
be recalled only into rack 5 or 7. They cannot be recalled into rack
6 or 8.
• Store/recall operations are performed on individual racks.You
can’t individually store/recall two Flex15GEQ units that are
mounted in the same rack.
HINT
• You can also use MIDI messages (program changes) to recall
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Using an external head amp
Using an external head amp
If an I/O card (expected to go on sale in the future) that supports the external head amp (Yamaha
AD8HR) remote protocol is installed in an LS9 slot, you’ll be able to remotely control parameters
such as the external head amp’s phantom power (+48V) on/off, gain, and HPF from the LS9.
For an example of actual connections, refer to the owner’s manual of the I/O card.
B ID / Model name / +48V master
This displays information for the external HA
mounted in the rack. The ID number is assigned auto-
matically as 1 to 2 {1 to 4} in the order in which
devices are connected to the I/O card. This area also
Remotely controlling an external
head amp
Here’s how to control the external head amp (subse-
quently called “external HA”) from the LS9 via an I/O
shows the on/off status of the master phantom power.
card installed in a slot.
C Virtual racks
These are two {four} racks in which remotely control-
lable external HA units can be mounted. If an external
HA is mounted, its settings (gain setting, phantom
power on/off, HPF on/off) are shown. When you move
the cursor to a rack and press the [ENTER] key, the
EXTERNAL HA popup window for that rack will
appear.
Connect the LS9 and external HA.
Refer to the owner’s manual for the I/O card and for
the external head amp.
1
Repeatedly press the [RACK 5-8] key to
access the EXTERNAL HA screen.
2
The EXTERNAL HA screen includes the following
items.
D EXTERNAL HA PORT SELECT popup but-
ton
This button accesses the EXTERNAL HA PORT
SELECT popup window, where you can specify the
input ports to which the external HA mounted in the
rack will be connected.
1
To select the communication port for the I/O
card, move the cursor to the COMM PORT
box, use the dial or the [DEC]/[INC] keys to
select a port, and press the [ENTER] key.
3
4
To specify the input ports for an external
HA, move the cursor to the EXTERNAL HA
PORT SELECT popup button for that rack,
and press the [ENTER] key.
The EXTERNAL HA PORT SELECT popup window
will appear. The popup window includes the following
items.
2
3
4
17
1 COMM PORT box
This box lets you select the communication port for
1
2
the currently-installed I/O card(s).
NOTE
• When installing an MY16-ES64 or similar EtherSound inter-
face card in an LS9-32, be sure to install it in SLOT 1.
● SLOT {SLOT1}
Select the communication port for the I/O card
installed in the slot {slot 1}.
1 PORT SELECT buttons
These buttons specify the input ports to which the
● SLOT2 (LS9-32 only)
external HA is connected.
Select the communication port for the I/O card
installed in slot 2.
B NO ASSIGN button
This button defeats the port selection.
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Using an external head amp
Use the PORT SELECT buttons to specify
the input ports to which the audio output of
the external HA is connected.
When you’ve finished making settings, move the cur-
sor to the CLOSE button and press the [ENTER] key
to close the popup window.
To remotely control the external HA in an
LS9 input channel, press the [HOME] key to
access the SELECTED CH VIEW screen,
and access the channel that you want to
control.
5
7
1
NOTE
• If an external HA is connected to one of the LS9’s slots, you
must specify the appropriate input port manually. If this is set
incorrectly, the external HA will not be detected correctly
when you patch input ports to input channels.
To remotely control an external HA, move
6
the cursor to the rack in which the external
HA you want to control is mounted, and
press the [ENTER] key.
The EXTERNAL HA popup window will appear.
Here you can remotely control the external HA by
using the knobs and buttons in the LS9’s display or the
dial etc. of the top panel.
1 HA popup button
2
Move the cursor to the HA popup button,
and press the [ENTER] key to access the
HA/PATCH popup window.
8
1
3
4
1
5
1 Rack select buttons
These switch the rack that is displayed in the EXTER-
NAL HA popup window.
1 Input port popup button
B +48V MASTER
Press the input port popup button, and
select the input port assigned to the exter-
nal HA.
With these settings, the external HA can be used in the
same way as the LS9’s own HA. For details on the
9
If an external HA is connected to the REMOTE con-
nector, the on/off status of the master phantom power
is shown here. (Switching this on/off is performed on
the external HA itself.)
C +48V buttons
These switch phantom power on/off for each channel.
D GAIN knobs
HINT
These indicate the gain of the external HA. Move the
cursor to the knob and use the dial or the [DEC]/[INC]
keys to adjust the setting.
• Settings for the external HA are saved as part of the scene
(However, master phantom on/off, HPF on/off, and cutoff fre-
quency settings are excepted).
E HPF knobs / ON buttons
These controls switch the external HA’s built-in high-
• When you adjust the brightness of the LS9’s panel LEDs, this
will also affect the LEDs of the external HA.
pass filter on/off, and adjust its cutoff frequency.
HINT
• When you newly connect an AD8HR, the above screen will
reflect the state of the AD8HR’s settings.
• Since the above knobs and buttons will be shown even if an
AD8HR is not connected, you can use them to make settings
even without the AD8HR, and store these settings in a scene.
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Chapter 18
MIDI
This chapter explains how MIDI messages can be transmitted from an exter-
nal device to control the LS9’s parameters, and conversely how operations
on the LS9 can be transmitted as MIDI messages.
MIDI functionality on the LS9
The LS9 can use MIDI to perform the following operations.
● Program Change transmission and reception
When you execute a specific event (scene/effect library recall) on the LS9, a program change message of the cor-
responding number can be transmitted to an external device. Conversely, the corresponding event can be exe-
cuted when a program change message is received from an external device.
● Control Change transmission and reception
When you execute a specific event (fader/encoder or key operation) on the LS9, the corresponding control
change message can be transmitted to an external device. Conversely, events can be executed when control
change messages are received from an external device. This allows you to record fader and key operations on a
MIDI sequencer or other external device, and play them back later.
● Parameter change (SysEx) transmission and reception
When specific events (fader/encoder or key operations, changes in system settings or user settings) are executed
on the LS9, “parameter change” system exclusive messages can be transmitted to an external device. Conversely,
events can be executed when parameter changes are received from an external device.
Using this capability, LS9 operations can be recorded and played back on a MIDI sequencer or other external
device, or changes in system settings and user settings can be reflected on another LS9 console.
NOTE
• As the MIDI port used for transmitting and receiving MIDI messages, you can select either the rear panel MIDI IN/OUT
connectors or an I/O card installed in the slot {1, 2}. (If you select an I/O card, you can also select a port number.) All of
the above functionality will be common to the selected port.
• MMC (MIDI Machine Control) messages can be received to control the transport of the USB memory recorder.
18
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Basic MIDI settings
Basic MIDI settings
Here’s how to select the type of MIDI messages the LS9 will transmit and receive, the MIDI port
that will be used, and the MIDI channel.
C Channel select box
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the MISC
SETUP screen within the SETUP screens.
1
Use the dial or the [DEC]/[INC] keys to select the
MIDI message transmit (Tx) channel and receive (Rx)
channel.
MIDI SETUP popup button
D PROGRAM CHANGE field
Here you can make settings for program change trans-
mission and reception.
● Tx button
Switches program change transmission on/off.
● Rx button
Switches program change reception on/off.
● ECHO button
This selects whether incoming program changes
are echoed-out from the transmission port.
HINT
• For details on how to assign the scene or effect for each pro-
gram number, refer to “Using program changes to recall
Move the cursor to the MIDI SETUP popup
button, and press the [ENTER] key to
access the MIDI SETUP popup window.
2
E PROGRAM CHANGE MODE field
Here you can select the program change transmit/
receive mode.
2
3
5
7
● SINGLE button
If this button is on, program changes will be trans-
mitted and received on a single MIDI channel.
1
4
● OMNI button
If this button is on, program changes of all MIDI
channels will be received in Single mode. (Multi
mode transmission/reception and Single mode
transmission are disabled.)
6
8
9
● BANK button
If this button is on, bank select messages can be
transmitted and received in Single mode. (This is
disabled for Multi mode transmission/reception.)
● MULTI button
In the MIDI SETUP page you can select the type of
MIDI messages that will be transmitted and received,
and choose the port that will be used. This page
includes the following items.
If this button is on, program changes will be trans-
mitted/received on multiple MIDI channels (Multi
mode).
1 PORT/CH field
F CONTROL CHANGE field
Here you can make settings for control change trans-
mission/reception.
Here you can select the port and MIDI channel that
will be used to transmit and receive MIDI messages. If
MIDI messages are being transmitted or received, the
SIGNAL indicators at the top of this field will light.
● Tx button
Switches control change transmission on/off.
B Port select box
● Rx button
Switches control change reception on/off.
Use the dial or the [DEC]/[INC] keys to select the
MIDI message transmit (Tx) port and receive (Rx)
port. If you select the same port as used by another
function such as cascade link or HA remote, a confir-
mation dialog box will appear. If you select OK, the
port setting for the other function will be disabled.
● ECHO button
This selects whether incoming control changes are
echoed-out from the transmission port.
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Basic MIDI settings
G CONTROL CHANGE MODE field
Here you can select the control change transmission/
reception mode.
To specify the channel (CH1–CH16) on
4
5
which MIDI messages will be transmitted or
received, move the cursor to the channel
selection box, use the dial or the [DEC]/
[INC] keys to specify the setting, and press
the [ENTER] key.
● NRPN button
If this button is on, the LS9’s mix parameters will
be transmitted/received as NRPN messages on one
MIDI channel (NRPN mode).
● TABLE button
If this button is on, the LS9’s mix parameters will
be transmitted/received as control change mes-
sages on one MIDI channel (TABLE mode).
HINT
• When transmitting or receiving parameter changes, the chan-
nel number you specify here is used as the device number (a
number that identifies the transmitting or receiving unit).
H PARAMETER CHANGE field
Here you can make settings for transmission/reception
of “parameter change” system exclusive messages.
● Tx button
Switches parameter change transmission on/off.
Turn transmission/reception on or off for
each MIDI message.
● Rx button
HINT
Switches parameter change reception on/off.
● ECHO button
This selects whether incoming parameter changes
are echoed-out from the transmission port.
I OTHER COMMAND field
Here you can specify how MIDI messages other than
program changes, control changes, and parameter
changes (i.e., messages such as note-on/off and MIDI
timing clock) will be received.
● ECHO button
Selects whether other MIDI messages that are
received will be echoed out from the transmit port.
To specify the port that will transmit or
receive each type of MIDI message, move
the cursor to the transmit (Tx) or receive
(Rx) port selection box, use the dial or the
[DEC]/[INC] keys to specify the setting, and
then press the [ENTER] key.
3
18
You can choose from the following items.
Item
Description
No port will be used.
----
Rear panel MIDI IN (Rx) / OUT (Tx)
connector
MIDI
SLOT {1/2} -1–8
A card that supports serial trans-
mission, installed in a rear panel
slot {1/2} (MY16-CII is valid in
SLOT {1–2})
(The number of available
ports will depend on the
card that is installed.)
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Using program changes to recall scenes and library items
Using program changes to recall scenes and library items
The LS9 lets you assign a specific event (scene recall or effect library recall) to each program
change number, so that when this event is executed on the LS9, a program change message of
the corresponding number will be transmitted to an external device. Conversely, the correspond-
ing event can be executed when a program change message is received from an external device.
Connect the LS9 to your external device.
Move the cursor to the PROGRAM CHANGE
popup button, and press the [ENTER] key
to access the PROGRAM CHANGE popup
window.
1
6
The following illustration shows an example of using
the MIDI IN/OUT connectors to transmit and receive
MIDI messages.
In the PROGRAM CHANGE popup window you can
specify how program changes will be transmitted and
received, and choose the event (scene recall or effect
library recall) that will be assigned to each program
number.
MIDI IN
MIDI OUT
MIDI IN
MIDI OUT
This page includes the following items.
external device
1
2
LS9
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the MISC
SETUP screen.
3
2
4
5
1 PROGRAM CHANGE field
Here you can switch program change transmission/
reception on/off, and specify whether program
changes will be echoed out. This setting is linked with
the PROGRAM CHANGE field of the MIDI SETUP
popup window.
B PROGRAM CHANGE MODE field
Here you can select the program change transmit/
receive mode. This setting is linked with the PRO-
GRAM CHANGE MODE field of the MIDI SETUP
page popup window.
Move the cursor to the MIDI SETUP popup
button, and press the [ENTER] key to
access the MIDI SETUP popup window.
3
4
C List
This list shows the event (scene recall / effect library
recall) assigned to each program number. The list
shows the following items.
p. 178), select the ports and MIDI channels
that will be used to transmit/receive pro-
gram changes.
● CH/BANK
Indicates the MIDI channel 1–16 on which pro-
gram changes are transmitted/received. In Single
mode if the BANK button is on, this will be
labeled BANK, and the numerical value in this
column will correspond to the bank number.
When you’ve finished making settings,
move the cursor to the CLOSE button and
press the [ENTER] key to close the popup
window.
5
● NO.
Indicates the program number 1–128.
You will return to the MISC SETUP screen.
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Using program changes to recall scenes and library items
● PROGRAM CHANGE EVENT
If you turn on the OMNI button / BANK button in Sin-
gle mode, operation will change as follows.
Indicates the type/number/title of the event
assigned to the program number for each MIDI
channel (bank number). By pressing the popup
button for an individual event, you can access the
PROGRAM CHANGE EVENT popup window,
where you can change the assignment for each
program number.
● When the OMNI button is on
Program changes of all MIDI channels will be
received. However, regardless of the MIDI channel
that is received, the event assigned to the corre-
sponding program number of the Rx channel will
be executed.
Turning on the OMNI button will not change the
operation for program change transmission.
D CLEAR ALL button
Pressing this button will clear all event assignments in
● When the BANK button is on
the list.
The CH indication in the list will change to BANK
(bank number), and bank select (control change
#0, #32) + program change messages can be trans-
mitted and received. This is convenient when you
want to control more than 128 events on a single
MIDI channel.
E INITIALIZE ALL button
Pressing this button will restore all event assignments
in the list to their default state.
Use the buttons of the PROGRAM CHANGE
MODE field to select the program change
transmission/reception mode.
You can select one of the following two program
change transmission/reception modes.
7
When bank select and then program change messages
(in that order) are received on the Rx channel, the
event assigned to that bank number and program num-
ber in the list will be executed.
When you execute a specific event on the LS9, bank
select + program change messages for the bank num-
ber and program number assigned to that event will be
transmitted on the Tx channel. (If the same event is
assigned more than once in the list, the lowest-num-
bered bank number and program number will be trans-
mitted.)
● Multi mode (when the MULTI button is on)
Program changes of all MIDI channels will be trans-
mitted and received. (The transmit/receive channel
specified in the MIDI SETUP popup window will be
ignored.)
When a program change is received, the event
assigned to the corresponding MIDI channel and pro-
gram number in the list will be executed.
When you execute the specified event on the LS9, the
program change of the corresponding MIDI channel
and program number in the list will be transmitted.
NOTE
• The settings of the OMNI and BANK buttons are ignored in
Multi mode.
● Single mode (when the SINGLE button is on)
Only program changes of the transmit (Tx) and
receive (Rx) channels specified in the MIDI SETUP
popup window will be transmitted and received.
When a program change on the Rx channel is
received, the event assigned to that program number of
the corresponding channel in the list will be executed.
When you execute a specific event on the LS9, the
program change of the corresponding program number
will be transmitted on the Tx channel shown in the list.
(If an event is assigned to more than one program
number on the same channel, the lowest-numbered
program number will be transmitted.)
• If the BANK button is on and only a program change on an
applicable MIDI channel is received, the last-selected bank
number will be used.
HINT
• If the BANK button is on, the OMNI button can also be turned
on at the same time. In this case, bank select + program
change messages of all MIDI channels will be received.
Use the buttons of the PROGRAM CHANGE
field to turn transmission and reception on/
off, and make settings for echo output.
8
18
This field includes the following items.
● Tx button
Switches program change transmission on/off.
● Rx button
Switches program change reception on/off.
● ECHO button
This selects whether incoming program changes are
echoed-out from the transmission port.
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Using program changes to recall scenes and library items
To change the event assignment for each
Assign events to other program numbers in
11
the same way.
9
program number, move the cursor to the
popup button for the corresponding event
in the list, and press the [ENTER] key.
The PROGRAM CHANGE EVENT popup window
will appear. In this window you can specify the event
assigned to each program number. This popup window
contains the following items.
With these settings, executing the specified event on
the LS9 will cause the corresponding program change
(or bank select + program change) message to be
transmitted to the external device.
When an external device transmits a program change
(or bank select + program change) message on the
appropriate channel, the event assigned to that pro-
gram number of the corresponding MIDI channel (or
bank number) will be executed.
1
2
HINT
• You can use the CLEAR ALL button to erase all assignments
to program numbers.The INITIALIZE ALL button will return all
program number assignments to their default state.
• Assignments to program numbers are maintained as settings
for the entire system, rather than for individual scenes.
NOTE
• In Single mode, if the same event is assigned to more than
one program number on a Tx channel, only the lowest pro-
gram number will be transmitted. (If the BANK button is on,
only the program number of the lowest bank number will be
transmitted.)
1 TYPE field
Select the type of event.
• In Multi mode, if the same event is assigned to more than one
MIDI channel and more than one program number, only the
lowest program number on each MIDI channel will be trans-
mitted.
The following table lists the events you can select.
Item
NO ASSIGN
SCENE
Content
No assignment
Scene memory recall operations
Effect library recall operations for racks 5–8
(only if an effect is mounted)
RACK 5–8
B LIBRARY NAME field
Select the number and title of the scene or library item
to recall. If you selected SCENE in the TYPE field,
this shows the scene number and its title. If you
selected RACK 5–8, this shows the library number
and its title.
Use the TYPE field to select the type of
event you want to assign, and use the
LIBRARY NAME field to select the scene/
library number that will be recalled.
10
To select an item, use the dial or the [DEC]/[INC]
keys. Move the cursor to the OK button and press the
[ENTER] key to finalize the changes and close the
PROGRAM CHANGE EVENT popup window.
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Using control changes to control parameters
Using control changes to control parameters
You can use MIDI control change messages to control specified events (fader/encoder opera-
tions, [ON] key on/off operations etc.) on the LS9.This capability can be used to record fader and
key operations on a MIDI sequencer or other external device, and play back this data later.
You can use control changes to control events in either of the following two ways.
● Using control changes
This method uses typical control changes (control numbers 1–31, 33–95, 102–119).You can freely assign an
event to each control number.
● Using NRPN (Non Registered Parameter Number)
This method uses a special type of control change messages called NRPN.
NRPN uses control change numbers 62 and 63 to specify the MSB (Most Significant Byte) and LSB (Least Sig-
nificant Byte) of the parameter number, and subsequently-transmitted control change messages of control
change number 6 (or 6 and 26) to specify the value of that parameter.
The event assigned to each combination of MSB and LSB is pre-defined, and cannot be changed.
HINT
Connect the LS9 to your external device.
Move the cursor to the CONTROL CHANGE
popup button, and press the [ENTER] key
to access the CONTROL CHANGE popup
window.
In the CONTROL CHANGE popup window you can
specify how control changes will be transmitted and
received, and assign the event (fader/encoder opera-
tion, [ON] key on/off operation, etc.) assigned to each
control number. This page includes the following
items.
1
2
6
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the MISC
SETUP screen.
Move the cursor to the MIDI SETUP popup
button, and press the [ENTER] key to
access the MIDI SETUP popup window.
3
4
p. 178), select the ports and MIDI channels
that will be used to transmit/receive control
changes.
1
2
When you’ve finished making settings,
move the cursor to the CLOSE button and
press the [ENTER] key to close the popup
window.
5
3
You will return to the MISC SETUP screen.
18
4
5
1 CONTROL CHANGE field
Here you can switch control change transmission/
reception on/off, and specify whether control changes
will be echoed out. This setting is linked with the
CONTROL CHANGE field of the MIDI SETUP
popup window.
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Using control changes to control parameters
B CONTROL CHANGE MODE field
Here you can select the control change transmission/
reception mode. This setting is linked with the CON-
TROL CHANGE MODE field of the MIDI SETUP
popup window.
To change the event assignment for each
control number, move the cursor to the
popup button for the corresponding event
in the list, and press the [ENTER] key.
The CONTROL CHANGE EVENT popup window
will appear. In this window you can specify the event
assigned to each control number. The window contains
the following items.
9
C List
This list shows the event (fader/encoder pattern, [ON]
key on/off operation, etc.) assigned to each control
number.
1
2
● NO.
This indicates the control number. You can use
control numbers 1–31, 33–95, and 102–119.
● CONTROL CHANGE EVENT
Indicates/selects the type of event assigned to each
control number. When you press the popup button
for an event, the CONTROL CHANGE EVENT
popup window will appear, allowing you to change
the control number assignment.
D CLEAR ALL button
Pressing this button will clear all event assignments in
the list.
1 MODE field
Select the type of event.
E INITIALIZE ALL button
Pressing this button will restore all event assignments
in the list to their default state.
B PARAMETER 1/2 field
In conjunction with the MODE field, this specifies the
type of event.
Use the buttons of the CONTROL CHANGE
MODE field to select the control change
transmission/reception mode.
7
NOTE
• If NRPN mode is selected as the control change transmis-
sion/reception mode, the settings in this window are ignored.
You can choose one of the following two modes for
control change transmission/reception.
HINT
• For details on the events that can be assigned to control
● NRPN mode (when the NRPN button is on)
The LS9’s various mix parameters will be transmitted
and received on a single MIDI channel as NRPN mes-
sages. If you select this mode, the assignments in the
list will be ignored.
In the order of the MODE field → PARAME-
TER 1 field → PARAMETER 2 field, specify
the type of event you want to assign.
To select an item, use the dial or the [DEC]/[INC]
keys. Move the cursor to the OK button and press the
[ENTER] key to finalize the changes and close the
CONTROL CHANGE EVENT popup window.
10
11
● TABLE mode (when the TABLE button is on)
The LS9’s various mix parameters will be transmitted
and received on a single MIDI channel as control
change messages.
HINT
• The channel on which control changes are transmitted and
received is specified by the MIDI SETUP popup window
Assign events to other control numbers in
the same way.
When you operate the parameters you assigned on the
LS9, control change messages will be transmitted to
external devices. Similarly, if the corresponding con-
trol change messages are sent from an external device
on the appropriate channel, the parameters assigned to
those control numbers will change.
Use the buttons of the CONTROL CHANGE
field to turn transmission and reception on/
off, and make settings for echo output.
8
Each button has the following function.
HINT
● Tx button
Switches control change transmission on/off.
• You can use the CLEAR ALL button to erase all assignments
to control numbers. The INITIALIZE ALL button will return all
control number assignments to their default state.
● Rx button
Switches control change reception on/off.
• Assignments to control numbers are maintained as settings
for the entire system, rather than for individual scenes.
● ECHO button
This selects whether incoming control changes are
echoed-out from the transmission port.
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Using parameter changes to control parameters
Using parameter changes to control parameters
On the LS9, you can use a type of system exclusive messages called “parameter changes” to
control specific events (fader/encoder operations, [ON] key on/off operations, etc.) as an alterna-
tive to using control changes or NRPN messages.
For details on the parameter changes that can be transmitted and received, refer to “MIDI Data
Format” in the appendix.
Connect the LS9 to your external device.
1
2
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the MISC
SETUP screen.
Move the cursor to the MIDI SETUP popup
button, and press the [ENTER] key to
access the MIDI SETUP popup window.
3
4
p. 178), select the ports and MIDI channels
(device numbers) that will be used to trans-
mit/receive parameter changes.
NOTE
• Parameter changes include a “device number” that specifies
the transmitting or receiving device.The transmit (Tx) channel
and receive (Rx) channel specified in the MIDI SETUP page
are used as the device number.
• Please be aware that if the device number included in the
transmitted parameter change does not match the device
number of the receiving LS9 console, the message will be
ignored.
• If parameter change and control change transmission/recep-
tion are turned on at the same time, a large amount of data
will flood the MIDI port and cause overflows or other prob-
lems, so you should avoid this.
Use the Tx button and Rx button of the
PARAMETER CHANGE field to turn on
5
parameter change transmission/reception.
In this state when you operate specific parameters on
the LS9, the corresponding parameter change mes-
sages will be transmitted. If valid parameter change
messages are transmitted from an external device, the
parameters assigned to those parameter changes will
be controlled.
18
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Using MMC (MIDI Machine Control) to operate the USB memory recorder
Using MMC (MIDI Machine Control) to operate the USB
memory recorder
You can use MMC (MIDI Machine Control) messages to operate the LS9’s USB memory
recorder from an external device.
MMC is only received (not transmitted). For details on the MMC messages that can be received,
Connect the LS9 to your external device.
1
2
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the MISC
SETUP screen within the SETUP screens.
Move the cursor to the MIDI SETUP popup
button, and press the [ENTER] key to
access the MIDI SETUP popup window.
3
4
p. 178), select the port and MIDI channel
(device number) that will be used to receive
MMC messages.
NOTE
• MMC messages include a “device number” that specifies the
receiving device. The receive (Rx) channel specified in the
MIDI SETUP page is used as the device number.
• Please be aware that if the device number included in the
transmitted MMC message does not match the device num-
ber of the receiving LS9 console, the message will be
ignored.
Prepare the USB memory recorder for use.
For details on using the USB memory
recorder, see p.105.
5
In this state, an external device will be able to control
operations such as play, record, stop, and pause on the
LS9’s USB memory recorder.
The following MMC commands are supported.
Command
MMC#
Content
Stop
01
Stop playback or recording.
Begins playback of the selected file.
The file to be played can be selected
beforehand in the TITLE LIST
screen, or the desired track number
can be selected using a MIDI Song
Select message (F3).
Play
Play
02
03
Begins playback of the selected file.
The file to be played can be selected
beforehand in the TITLE LIST
screen, or the desired track number
can be selected using a MIDI Song
Select message (F3).
Record
Pause
06
09
Begins recording.
Pauses playback or recording.
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Chapter 19
User settings (Security)
This chapter explains the User Level settings that allow restrictions on the
parameters that can be operated by each user, the Console Lock function
that temporarily disables operation of the console, the Preferences settings
that allow the operating environment to be customized, and Save/Load oper-
ations using USB memory.
User Level settings
User Level settings allow you to restrict the parameters that be operated by each user, or to
change the settings of the custom fader layer, user-defined keys, and preference settings for
each user. Settings for each user can be stored as a “user authentication key” on USB memory,
allowing users to be switched easily, simply by connecting the memory device to a USB connec-
tor. This is convenient in the following situations.
• Unintended or mistaken operation can be prevented.
• The range of functionality operable by an outside engineer (guest engineer) can be limited.
• In situations in which multiple operators alternate with each other, output settings etc. can
be locked to prevent unintended operations.
• Preferences of each operator can easily be switched.
User types and user authentication keys
There are three types of user, as follows. In order to operate the LS9, you must log-in as some type of user.
● Administrator
This is the administrator of the LS9, and can use all of its functionality. Only one set of Administrator
settings is internally maintained in the console. The Administrator can create user authentication keys
for other users.
● Guest
A User can use only the range of functionality permitted by the Administrator. Only one set of Guest
settings is internally maintained in the console.
● User
19
A User can use only the range of functionality permitted by the Administrator. User settings are saved
on USB memory as a user authentication key. Multiple sets of User settings can be saved with different
user names. Custom fader layer, user-defined key, and preference settings can be edited, and these set-
tings stored in the user authentication key.
In addition, a User who has Power User privileges can create or edit user authentication keys with a
specified user level.
When a user logs on, the user settings for that user are applied. User settings include the following informa-
tion.
• Password (except for Guest)
• User level (except for Administrator)
• Preferences
• User-defined keys
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User Level settings
Privileges for each user are as follows.
User authentication key
(USB memory)
Custom fader layer / user-
defined keys / preference
setting editing
Password
setting
Comment
editing
Logged-in user
Administrator
User Level setting
Create new Overwrite-save
Available
Available
(Can edit the settings for
Administrator and for
Guest.)
(Cannot edit the user level, since
the administrator can always
perform all operations. Can edit
the user level for Guest.)
Available
—
Available
—
Power user
Available
Available
Available
Available
Available
Available
Available
—
Available
Normal user (a
Available
(Only settings
other than User
Level)
User
user without
Power User
privileges)
N/A
(View only)
Available
N/A
(View only)
Guest
Available
—
Available
—
—
Enter the password in the NEW PASSWORD
field; then move the cursor to the OK button
and press the [ENTER] key.
The password can be up to eight characters. For details
on entering a password, refer to “Assigning a name”
3
Setting the Administrator pass-
word
With the factory settings, the Administrator password is
not set, meaning that anyone can log in withAdministrator
privileges and perform all operations. If you want to
restrict the operations of other users, you must specify an
Administrator password.
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
1
Creating a user authentication key
Here’s how to create a user authentication key and save it
on USB memory. A user authentication key can be created
only by an Administrator or Power User. The user level
can be specified when the authentication key is created,
but the custom fader layer, user-defined key settings, and
preference settings will be carried over from the user who
is currently logged-in.
PASSWORD CHANGE popup button
Connect USB memory to the USB connec-
tor.
1
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
2
CREATE USER KEY button
Move the cursor to the PASSWORD
CHANGE popup button, and press the
[ENTER] key.
2
A keyboard window will appear, allowing you to enter
a password.
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User Level settings
Move the cursor to the CREATE USER KEY
button and press the [ENTER] key.
The CREATE USER KEY popup window will appear.
3
Logging-in
In order to operate the LS9, you must log in as the Admin-
1
2
3
istrator, Guest, or a User.
User settings for the Administrator and Guest are saved in
the console itself, but in order to log in as a User you must
connect USB memory on which a user authentication key
has been saved. If you disconnect the USB memory after
logging-in, your access privileges will forcibly revert to
Guest.
NOTE
• If the power is turned off and then on again, the console will gener-
ally start up in the log-in state in which the power was turned off. If
a user password has been assigned, you will need to enter the
password. However if you cancel the input, you will be forcibly
logged-in as Guest. Similarly, you will also be forcibly logged-in as
Guest if you had been logged-in as a user requiring a user authen-
tication key, but USB memory is no longer connected.
4
1 USER NAME
The user name of up to eight characters is shown (and
can be edited) here. When you move the cursor to this
field and press the [ENTER] key, a keyboard window
will appear, allowing you to enter a user name (→
● Logging-in as Administrator
In the DISPLAY ACCESS section, press the
1
[SETUP] key repeatedly to access the USER
SETUP screen.
B PASSWORD
Specify a password of up to eight characters. Press this
to access a keyboard window where you can enter the
Log-in popup button
C POWER USER
Specifies whether Power User privileges will be
granted to this user.
D Access permission settings
These settings specify the range of operations that the
user can perform. For details on each item, refer to
When you have specified the user name,
password, power user privileges on/off, and
user rights, move the cursor to the CREATE
button and press the [ENTER] key.
4
Move the cursor to the log-in popup button
and press the [ENTER] key.
The LOGIN popup window will appear.
If you are logged-in as the Administrator, the user
authentication key will be saved on USB memory.
If you are logged-in as a Power User, a dialog box will
ask you to confirm the store-destination USB memory.
If you want to save the user authentication key on dif-
ferent USB memory, connect the desired USB mem-
ory and then press [OK].
2
19
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User Level settings
Move the cursor to the ADMINISTRATOR
LOGIN button and press the [ENTER] key.
If no Administrator password has been set, you will
simply be logged-in. If a password has been set, a key-
board window will appear, allowing you to enter the
password.
● Logging-in as a User
3
To log-in as a User, you will use a user authentication key
saved on USB memory. You may also log-in using a user
authentication key that was created on a different LS9
console.
Connect the USB memory to the USB con-
nector.
1
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
2
Move the cursor to the log-in popup button
and press the [ENTER] key.
3
The LOGIN popup window will appear.
Enter the password, move the cursor to the
OK button, and press the [ENTER] key.
4
For details on entering a password, refer to “Assigning
If the password was incorrect, a message of “WRONG
PASSWORD” will appear in the bottom of the screen.
Move the cursor to the LOAD USER KEY
button and press the [ENTER] key.
The SAVE/LOAD popup window will appear, and the
files and folders saved on the USB memory will be
displayed. User authentication keys have a file name
of “User name.L9U”.
● Logging-in as Guest
4
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
1
Move the cursor to the log-in popup button
and press the [ENTER] key.
2
The LOGIN popup window will appear.
File list
LOAD button
Move the cursor to the GUEST LOGIN but-
ton and press the [ENTER] key.
3
Move the cursor to the file list, and turn the
dial to select the user authentication key of
the user as whom you want to log-in.
5
The highlighted line in the file list indicates the file
that is selected for operations.
For details on loading from USB memory, refer to
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User Level settings
Move the cursor to the LOAD button and
press the [ENTER] key.
If no password has been set, you will simply be
logged-in. If a password has been set, a keyboard win-
dow will appear, allowing you to enter the password.
6
Changing the password
Here’s how to change the password of the logged-in user.
A change in the Administrator password is updated imme-
diately. A change in a User password will be discarded if
the user simply logs-out; it must be applied to the user
authentication key before the user logs-out. The Guest
account does not have a password.
NOTE
• If you select a user authentication key that was created on a
different LS9 console, a keyboard window will appear, allow-
ing you to enter the Administrator password of the LS9 con-
sole that you will be using. (If the Administrator passwords are
identical, this window will not appear.) When you enter the
correct Administrator password, another keyboard window will
appear, allowing you to enter the password for the selected
user.
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
1
• If you re-save the user authentication key, you will not be
PASSWORD CHANGE popup button
Move the cursor to the PASSWORD
CHANGE popup button, and press the
[ENTER] key.
A keyboard window will appear, allowing you to enter
the password.
2
Enter the password, move the cursor to the
OK button, and press the [ENTER] key.
For details on entering a password, refer to “Assigning
If the password was incorrect, a message of “WRONG
PASSWORD” will appear in the bottom of the screen.
7
19
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User Level settings
Enter the current password, move the cur-
sor to the OK button, and press the
[ENTER] key.
For details on entering a password, refer to “Assigning
When you enter the correct password, a keyboard win-
dow will appear, allowing you to enter the new pass-
word.
Move the cursor to the SAVE KEY popup
button, and press the [ENTER] key.
A dialog box will ask whether you really want to over-
write (save) the user authentication key.
3
3
4
To overwrite (save), move the cursor to the
OK button and press the [ENTER] key.
HINT
• If you attempt to log-in as a different user after changing the
settings but not saving them, a message will ask you whether
you want to save the user authentication key. In this case, you
can also save the user authentication key by moving the cur-
sor to the OK button and pressing the [ENTER] key.
Changing the user level
Here’s how to view/change the user level of the logged-in
user.
Enter the password in the NEW PASSWORD
field; then move the cursor to the OK button
and press the [ENTER] key.
• For the Administrator
4
...............There is no such setting for the
Administrator himself, but the set-
ting for the Guest account can be
changed.
• For the Guest..........The setting of the Guest account
can be viewed. It cannot be
changed.
Editing a user authentication key
• For a normal User...The setting of that User account
can be viewed. It cannot be
If you are logged-in as a user, you can edit your custom
fader layer, user-defined keys, and preference settings, and
overwrite (save) them onto your user authentication key. If
you are logged-in as a Power User, you can also change
the user level.
changed.
• For a Power User....The setting of that User account
can be changed.
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
1
Log-in as a user, and edit the custom fader
1
If you are logged-in as a Power User, you can also
change the user level.
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
2
SAVE KEY popup button
USER LEVEL popup button
Move the cursor to the USER LEVEL popup
button and press the [ENTER] key to
2
access the USER LEVEL popup window.
NOTE
• If you are logged in as Administrator, you can move the cursor
to the “for Guest” USER LEVEL popup button and press the
[ENTER] key to access the USER LEVEL popup window,
where you can view or change the guest’s user level.
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User Level settings
● BUS SETUP
1
8
2
Restricts operations for bus setup.
● RACK 1–8
Restricts operations for the racks (1–8).
● MUTE GROUP ASSIGN / MASTER
Restricts operations for mute group assignment
and mute group master.
C SCENE LIST field
This specifies the operations that can be performed on
scene memories.
● STORE / SORT operations
● RECALL operations
3
4
5
7
6
D LIBRARY LIST field
This specifies the operations that can be performed on
This page includes the following items.
libraries.
1 CH OPERATION field
Here you can specify (for each channel) the operations
that will be permitted for input channels and output
channels. The settings will apply to the currently
selected channel. Use the panel [SEL] keys to select
the channel for which you want to make settings.
Channels that have the same settings are shown with
the same color in the channel display field. The
selected channel is shown with a frame around it.
● STORE / CLEAR operations
● RECALL operations
E FILE LOAD field
This specifies the types of file that can be loaded from
USB memory.
● USER SETUP (user-defined keys and pref-
erence settings)
● SYSTEM SETUP / MONITOR SETUP
● CURRENT SCENE
● SCENE LIST
● HA
Restricts operation of the HA (HeadAmp) patched
to that channel.
● LIBRARY LIST
● PROCESSING
Restricts operation of all signal processing param-
eters for that channel (except for fader and [ON]
key).
F MONITOR field
This specifies the monitor setup operations that can be
performed.
● OSCILLATOR
● TALKBACK
HINT
• For the channel parameters included in PROCESSING,
G SYSTEM SETUP field
This specifies the system setup operations that can be
performed.
● FADER / ON
Restricts operation of that channel’s fader and
[ON] key.
● MIXER SETUP
● OUTPUT SETUP
● MIDI
● SET BY SEL
If this button is on, you can use the [SEL] keys of
the panel to turn all settings of the corresponding
channel on or off.
H SET ALL/CLEAR ALL buttons
These buttons set or clear all items in the window.
19
B CURRENT SCENE field
This specifies the operations that can be performed on
the current scene memory.
Specify the user level by turning-on the but-
ton for each item that will be permitted.
3
4
● INPUT PATCH / NAME
Restricts operations for input channel patching and
names.
When you’ve finished making settings,
move the cursor to the CLOSE button and
press the [ENTER] key to close the popup
window.
● OUTPUT PATCH / NAME
Restricts operations for output channel patching
and names.
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Preferences
Preferences
Settings related to the operating environment (such as whether or not certain messages are dis-
played, or whether key operations are linked) can be made according to the preferences of each
user. These settings are changed for the user who is logged-in, but if you are logged-in as the
Administrator, you will also be able to change the Guest settings.
This page includes the following items.
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
1
1 CONFIRMATION field
Here you can select whether confirmation messages
will appear when you perform scene or patch opera-
tions.
PREFERENCE popup button
● STORE
● RECALL
If these buttons are on, a confirmation message
will appear when you perform a scene Store or
Recall operation respectively.
● PATCH
If this button is on, a confirmation message will
appear when you edit an input patch or output
patch.
● STEAL PATCH
If this button is on, a confirmation message will
appear when you edit an input patch or output
patch item that is already patched.
Move the cursor to the PREFERENCE
2
B ERROR MESSAGE field
Here you can select whether an error message will be
displayed when the following problems occur.
popup button, and press the [ENTER] key
to access the PREFERENCE popup win-
dow.
● DIGITAL I/O
When an error is detected in the digital input/out-
put.
NOTE
• If you are logged in as Administrator, you can move the cursor
to the “for Guest” PREFERENCE popup button and press the
[ENTER] key to access the PREFERENCE popup window,
where you can view or change the guest’s preference set-
tings.
● MIDI I/O
When an error is detected in MIDI transmission/
reception.
C PANEL OPERATION field
Here you can make settings for options related to
panel operation.
2
1
3
● AUTO CHANNEL SELECT—INPUT
● AUTO CHANNEL SELECT—OUTPUT
These specify whether the corresponding channel
will be selected when you operate a channel’s
[ON] key or fader. This can be turned on/off sep-
arately for INPUT (input channels) and OUT-
PUT (output channels).
● [CUE] → [SEL] LINK
Specifies whether channel selection will be linked
with cue operations. If this button is on, pressing
the [CUE] key of a channel will simultaneously
select that channel and light its [SEL] key.
● [LAYER] → [SEL] LINK
Specifies whether channel selection will be linked
with fader layer selection. If this button is on, and
you press a panel LAYER key to switch the fader
layer, the last-selected channel of that fader layer
will be selected, and its [SEL] key will light.
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Preferences
● POPUP APPEARS WHEN PRESSING
KNOBS
Specifies whether pressing a knob of the
SELECTED CHANNEL section when the
SELECTED CHANNEL VIEW screen is shown
will cause the popup window for that parameter to
appear.
If this button is on, a popup window will appear
(or close) whenever you press a knob.
● LIST ORDER
This specifies the order in which scene memories
and library items will appear in the screen.
• NORMAL.............. Show the list in ascending
numerical order.
• REVERSE ............ Show the list in ascending
numerical order.
● STEREO / MONO LINK
This specifies whether STEREO channel and
MONO channel on/off and fader operations will
be linked.
If you turn this button on, the STEREO channel
on/off setting will be copied to the MONO chan-
nel, and subsequently on/off operations will be
linked. Faders will be linked while preserving the
difference in level.
● METER FOLLOW LAYER
Specifies whether the meter screen will be linked
with fader layer selection. If this button is on,
switching the fader layer will cause the meter
screen to switch to the corresponding fader layer,
regardless of which screen had been displayed.
Turn each button on or off to make the
desired preference settings.
3
4
When you’ve finished making settings,
move the cursor to the CLOSE button and
press the [ENTER] key to close the popup
window.
19
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User-defined keys
User-defined keys
Here’s how you can assign the desired functions to the user defined keys in the USER DEFINED
section of the top panel, and press these keys to execute the defined function.
This assignment procedure will define the user-defined keys for the user who is currently logged-
in, but if you are logged-in as the Administrator, you can also make user-defined key settings for
the Guest account.
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
Move the cursor to the button for the user-
defined key whose function you want to
assign, and press the [ENTER] key.
1
3
The USER DEFINED KEY SETUP popup window
will appear. In this window you can select a function
to assign to the user defined key, and select option
parameters.
USER DEFINED KEYS popup button
Make sure that the FUNCTION field is
enclosed by a yellow frame, and then use
the dial or the [DEC]/[INC] keys of the panel
to select the function you want to assign.
4
Move the cursor to the USER DEFINED
KEYS popup button, and press the [ENTER]
key.
2
The USER DEFINED KEYS popup window will
appear.
If the selected function has additional parameters, the
parameters are shown in the PARAMETER 1/2 fields.
For details on the assignable functions and their
If the selected function has parameters,
move the cursor to the PARAMETER 1 or 2
field and select parameters 1 and 2 in the
same way.
5
6
Move the cursor to the OK button and press
the [ENTER] key to close the USER
DEFINED KEY SETUP popup window.
Assign the desired functions to other user-
defined keys in the same way.
7
8
The twelve buttons in the screen correspond to user-
defined keys [1]–[12] on the panel, and the function or
parameter assigned to each one is shown at the right of
the corresponding button. If nothing is assigned to the
button, an indication of “----” is shown.
To execute an assigned function, press the
corresponding USER DEFINED [1]–[12] key
on the panel.
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Console lock
Console lock
You can temporarily prohibit console operations in order to prevent unwanted operation. This set-
ting completely disables operations of the panel and touch screen, so that controls cannot be
operated by an accidental touch or by an unauthorized third party while the operator is taking a
break.
If a password is set for the currently logged-in user, that password will be used for the Console
Lock function. If you power-cycle the console while it is locked, you will be asked to enter the
password if you had been logged-in as a user for whom a password is assigned. If you had been
logged-in as the Guest, the console will start up normally.
NOTE
• The Guest cannot set a password.
• Even while the console is locked, control from an external device via MIDI or LS9 Editor will still operate as usual.
Enter the password of the logged-in user,
move the cursor to the OK button, and
3
Locking the console
press the [ENTER] key.
The CONSOLE LOCK screen will appear, the Con-
sole Lock function will be enabled, and all controls
will become inoperable.
In the DISPLAY ACCESS section, press the
1
[SETUP] key repeatedly to access the MISC
SETUP screen.
HINT
• If an image file is loaded from USB memory, the CONSOLE
LOCK screen will show that image.
CONSOLE LOCK button
Move the cursor to the CONSOLE LOCK
button and press the [ENTER] key.
2
If you are logged-in as a user for whom a password is
set, a keyboard window will appear, allowing you to
enter the password. For details on entering a password,
19
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Console lock
Unlocking the console
Specifying the CONSOLE LOCK
screen image
When the CONSOLE LOCK screen is dis-
played, press the [ENTER] key.
1
If an image file is saved in USB memory, the CONSOLE
If you are logged-in as a user for whom no password is
set, the console will be unlocked. If you are logged-in
as a user for whom a password is set, a keyboard win-
dow will appear, allowing you to enter the password.
LOCK screen can display that image.
In the SAVE/LOAD popup window, specify the image file
that you want to display and load it from USB memory.
For the procedure of loading from USB memory, refer to
NOTE
• The image file is not backed-up in internal memory. Each time you
turn on the power, you will need to reload it from USB memory.
• The image file will be converted into 320 x 240 pixels, 216 colors
for display.
• The image file is limited to 8/16/24/32-bit color, un-compressed,
and a maximum of 307,256 bytes.
Enter the password of the logged-in user,
move the cursor to the OK button, and
press the [ENTER] key.
2
The console will be unlocked, you will return to the
MISC SETUP screen, and the controls will be opera-
ble once again.
HINT
• You may disconnect the USB memory device while the con-
sole is locked. Insert the USB memory device before you
defeat Console Lock.
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Using USB memory to save/load data
Using USB memory to save/load data
This section explains how you can connect commercially-available USB memory to the USB con-
nector located at the right side of the display, and use it to save or load data such as internal set-
tings for the LS9.
NOTE
• Operation is guaranteed only with USB flash memory.
• The operation of storage media with capacities of up to 16GB has been verified. (However, this does not necessarily
guarantee the operation of all USB storage media.) The FAT12, FAT16 and FAT32 formats are supported. On the LS9
V1.10 or higher, storage media with a capacity of 4GB or larger will be formatted in FAT32 and storage media with a
capacity of 2GB or smaller will be formatted in FAT16. Long file names are not supported.
CAUTION
• The ACCESS indicator will appear in the constant display area of the screen while data is being accessed,
such as during saving, loading, or deleting. Do not disconnect the USB memory or power-off the LS9 while this
indicator is shown. Doing so may damage the data in USB memory.
If you want to move to a different directory,
move the cursor to the icon of the column
3
Saving the LS9’s internal data on
USB memory
of the desired directory, and press the
[ENTER] key.
To move to the next higher level, move the cursor to
the arrow button in the PATH field and press the
[ENTER] key.
Here’s how all of the LS9’s internal data (except for the
data included in a user authentication key) can be saved on
USB memory as a file. The saved file will have an exten-
sion of “.L9A”.
Move the cursor to the SAVE button and
press the [ENTER] key.
A keyboard window will appear, allowing you to enter
a file name and comment.
4
In the DISPLAY ACCESS section, press the
1
[SETUP] key repeatedly to access the USER
SETUP screen.
SAVE/LOAD button
Enter a file name of up to eight characters
and a comment of up to 32 characters; then
move the cursor to the SAVE button and
press the [ENTER] key.
5
19
Move the cursor to the SAVE/LOAD button
and press the [ENTER] key.
2
The SAVE/LOAD popup window will appear.
When the file has finished being saved, the popup win-
dow showing the save progress indication and the type
of data will close.
SAVE button
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Using USB memory to save/load data
Move the cursor to the SAVE/LOAD button
and press the [ENTER] key.
The SAVE/LOAD popup window will appear.
If an image file is saved in USB memory, the CON-
SOLE LOCK screen can display that image (→
2
Loading a file from USB memory
Here’s how to load an LS9 settings file (extension .L9A)
from USB memory into the LS9.
You can use the same procedure to load the following files
other than the settings files.
Extension
.L9A
Type
ALL
Contents of file
LS9 internal settings file
.L9U
KEY
XML
TXT
LS9 user authentication key
XML file for displaying help
Text file for displaying help
.XML
.TXT
Image file for display in the CONSOLE
LOCK screen
.BMP
BMP
CAUTION
• Press the [HOME] key to access the SELECTED CH VIEW
screen, and use the [SEL] keys to select the INPUT channel
from which you want to take a direct output. Before you load,
turn off the power of the equipment connected to the LS9
and/or lower the volume so that there will not be a problem
even if a signal is output from the LS9.
File list
LOAD button
Move the cursor to the file list, and use the
dial on the panel to select the file you want
to load.
3
4
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
1
The highlighted line in the file list indicates the file
that is selected for operations.
SAVE/LOAD button
When you move the cursor to the LOAD
button and press the [ENTER] key, a dialog
box will ask you to confirm the operation.
Move the cursor to the OK button and press
the [ENTER] key; loading will begin.
5
When the file has finished being loaded, the popup
window showing the progress indication and the type
of data will close.
Even if you cancel while the settings file is still being
loaded, the data up to that point will have been loaded.
The type of file that can be loaded will depend on the
User Level setting at the time you load the file.
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Using USB memory to save/load data
D MAKE DIR button
Editing the files saved on USB mem-
ory
Here’s how you can perform editing operations such as
sorting the files and directories on USB memory, editing
the file names or comments, copying, or pasting.
E VOLUME NAME
This indicates the volume name of the USB memory.
If the USB memory is write-protected, a protect sym-
bol is shown in the VOLUME NAME field.
F FREE SIZE
This indicates the amount of free space in the USB
memory.
● File editing
G PATH
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
1
This shows the name of the current directory. You can
move the cursor to the arrow button and press the
[ENTER] key to move to the next upper level. If the
current directory is the top level, the arrow button is
dimmed.
NOTE
• You cannot save if the directory name would exceed 237
characters.
H File list
This area lists the files that are saved on USB memory.
The highlighted line indicates the file selected for
operations.
The file list contains the following items. If you move
the cursor to the name of an item and press the
[ENTER] key, that item name will turn orange, and the
list will be sorted according to the character strings for
those items. Each time you press the [ENTER] key,
the sorting order will alternate between ascending and
descending order.
Move the cursor to the SAVE/LOAD button
and press the [ENTER] key.
The SAVE/LOAD popup window will appear, and the
saved files and sub-directories will be shown in a list.
2
● FILE NAME
Indicates the file name or directory name, and
shows an icon indicating its type.
8
5
1
2
3
4
6
7
● READ ONLY
A lock symbol is shown to indicate protected files.
You can press this area to enable or disable the
protect setting.
● FILE TYPE
ALL indicates a file containing LS9 internal set-
tings, KEY indicates a user authentication key,
XML indicates a help file, BMP indicates a bitmap
image file, MP3 indicates an MP3 file, and [DIR]
indicates a directory.
● COMMENT
19
For LS9 files, the comment is displayed here.
When you move the cursor to this area and press
the [ENTER] key, a keyboard window will appear,
allowing you to enter a comment for the file.
9
J
K
L
M
1 COPY button
This button copies a file into buffer memory (a tempo-
● TIME STAMP
This shows the date and time at which the file was
last modified.
B PASTE button
This button pastes the file from buffer memory (→
NOTE
• You can use the COMMENT/TIME STAMP button located at
the lower right of the file list to toggle the display between
COMMENT and TIME STAMP.
C DELETE button
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Using USB memory to save/load data
I SAVE button
Saves all of the LS9’s internal settings together (→
If you want to edit the file name or com-
ment, move the cursor to the FILE NAME
field or COMMENT field of each file and
press the [ENTER] key to access the key-
board window.
4
J LOAD button
For details on entering text, refer to “Assigning a
K CREATE USER KEY button
NOTE
L FORMAT button
• If the COMMENT field is not displayed, use the COMMENT/
TIME STAMP button located at the lower right of the file list to
turn COMMENT on.
M COMMENT/TIME STAMP button
Toggles the item shown at the far right of the file list
between COMMENT and TIME STAMP.
Perform the desired editing operation.
For details on the procedure, refer to the explanations
that follow.
3
● Sorting files and editing file names/
comments
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
1
Move the cursor to the SAVE/LOAD button,
and press the [ENTER] key to access the
SAVE/LOAD popup window.
2
To sort the files, move the cursor to the
3
“FILE NAME,” lock symbol, “FILE TYPE,”
“COMMENT,” or “TIME STAMP” field at the
top of the file list, and press the [ENTER]
key.
The list will be sorted as follows, according to the col-
umn title you selected.
Enter a file name / comment, move the cur-
sor to the RENAME button or the SET but-
ton, and press the [ENTER] key.
5
6
1
2
3
4 5
To turn the Protect setting on/off, move the
cursor to the lock symbol for that file and
press the [ENTER] key.
A lock symbol is displayed for protected files; these
files cannot be overwritten.
1 FILE NAME
Sort the list in alphanumerical order of file name.
B Lock symbol
Sort the list according to Write Protect on/off status.
NOTE
C FILE TYPE
• You cannot edit the file name or comment of a protected file.
Sort the list according to file type.
D COMMENT
Sort the list in alphanumeric order of the comment.
E TIME STAMP
Sort the list in order of date of creation.
HINT
• By pressing the [ENTER] key again, you can change the
direction (ascending or descending) in which the list is sorted.
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Using USB memory to save/load data
● Copying/pasting a file
● Deleting a file
Here’s how to copy a desired file into buffer memory, and
then paste it with a different file name.
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
1
2
3
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
1
Move the cursor to the SAVE/LOAD button,
and press the [ENTER] key to access the
SAVE/LOAD popup window.
Move the cursor to the SAVE/LOAD button,
and press the [ENTER] key to access the
SAVE/LOAD popup window.
2
Move the cursor to the file list, use the
panel dial to select the file that you want to
delete, move the cursor to the DELETE but-
ton, and press the [ENTER] key.
A dialog box will ask you to confirm the Delete opera-
tion.
Move the cursor to the file list, use the
3
panel dial to select the file that you want to
copy, move the cursor to the COPY button,
and press the [ENTER] key.
The highlighted line in the file list indicates the file
that is selected for operations.
If you want to move to a different directory,
4
move the cursor to the icon of the column
of the desired directory, and press the
[ENTER] key.
To move to the next higher level, move the cursor to
the arrow button in the PATH field and press the
[ENTER] key.
To execute the Delete operation, move the
cursor to the OK button and press the
[ENTER] key.
4
Move the cursor to the PASTE button and
press the [ENTER] key.
5
NOTE
• You can’t delete a protected file.
A keyboard window will appear, allowing you to enter
the paste-destination file name.
For details on entering text, refer to “Assigning a
● Creating a directory
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
1
Move the cursor to the SAVE/LOAD button,
and press the [ENTER] key to access the
SAVE/LOAD popup window.
2
If you want to move to a different directory,
3
move the cursor to the icon of the column
of the desired directory, and press the
[ENTER] key.
To move to the next higher level, move the cursor to
the arrow button in the PATH field and press the
[ENTER] key.
19
Enter the paste-destination file name, move
the cursor to the PASTE button, and press
the [ENTER] key.
6
If you specified an existing file name, a confirmation
message will appear.
NOTE
• If you attempt to paste using the file name of an existing copy-
protected file, the Paste operation will not be executed.
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Using USB memory to save/load data
Move the cursor to the MAKE DIR button
and press the [ENTER] key.
A keyboard window will appear, allowing you to enter
a directory name.
Move the cursor to the SAVE/LOAD button,
and press the [ENTER] key to access the
SAVE/LOAD popup window.
4
2
For details on entering text, refer to “Assigning a
FORMAT button
Move the cursor to the FORMAT button and
press the [ENTER] key.
A keyboard window will appear, allowing you to enter
the volume name that will be applied after formatting.
For details on entering text, refer to “Assigning a
3
Enter a name for the directory you want to
create, move the cursor to the MAKE but-
ton, and press the [ENTER] key.
If you specified an existing file name, a confirmation
message will appear.
5
Formatting USB memory media
Here’s how to format USB memory media using the
FAT16 file system. USB memory up to 2 Gbytes in capac-
ity is supported.
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
1
Enter the volume name, move the cursor to
the FORMAT button, and press the [ENTER]
key.
A dialog box will ask you to confirm the Format oper-
ation.
4
5
To execute the Format operation, move the
cursor to the OK button and press the
[ENTER] key.
Formatting will require several tens of seconds.
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Chapter 20
Other functions
This chapter explains other functionality of the LS9 not covered elsewhere.
About the SETUP screen
In the SETUP screen you can make various settings that apply to the entire LS9. The SETUP
screen includes the following three screens. Repeatedly press the DISPLAY ACCESS section
[SETUP] key to access the desired screen.
● USER SETUP screen
● SYSTEM SETUP screen
In this screen you can restrict the functionality that is
available to each user, and make settings that affect the
operating environment. Here you can also save or load
user settings to or from USB memory, and create user
authentication keys.
In this screen you can make settings related to buses and
output ports, and settings related to word clock and cas-
cade connections.
2
1
3
LS9-32
HINT
• For details on functions and operation in the USER SETUP
1 BUS SETUP field
Here you can make basic settings for MIX/MATRIX
B OUTPUT PORT field
In this field you can assign an output channel to each out-
put port. For details, refer to chapter 9 “Selecting the out-
20
C MIXER SETUP field
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C NETWORK field
Here you can make various network-related settings (→
● MISC SETUP screen
In this screen you can make various other settings.
2
3
D CONSOLE LOCK field
This enables or disables Console Lock. For details, refer
E CPU/BATTERY field
The firmware version and the state of the internal memory
backup battery are shown here. This will indicate OK if
operation is normal, or LOW or NO if the voltage is low.
1
4
NOTE
• The LOW or NO indication will appear if the battery runs down. If
this occurs, immediately save your data on a USB memory and
contact your Yamaha dealer.
F CONTRAST/BRIGHTNESS field
Here you can adjust the contrast and brightness of the dis-
play, the brightness of the top panel LEDs, and the bright-
ness of the lamp connected to the LAMP connector (→
LS9-32
5
6
1 MIDI field
Here you can make various MIDI-related settings. For
For details on the function and operations for each screen,
refer to the second half of this chapter or to the corre-
sponding other chapter.
B DATE/TIME field
Word clock settings
“Word clock” refers to the clock that provides the basis of timing for digital audio signal processing.
If you connect external equipment such as a DAW system or HDR (Hard Disk Recorder) to a dig-
ital I/O card installed in a rear panel slot, this equipment must be synchronized to the same word
clock in order for digital audio signals to be sent and received. If digital audio signals are trans-
ferred in an unsynchronized state, the data will not be transmitted or received correctly, and noise
may be present in the signal, even if the sampling rates are the same.
Specifically, you must first decide which device will transmit the reference word clock for the
entire system (the word clock master), and then set the remaining devices (the word clock
slaves) so that they synchronize to the word clock master. If you wish to use the LS9 as a word
clock slave that is synchronized to the word clock supplied from an external device, you must
specify the appropriate clock source (the port through which the word clock is obtained).
The following steps show how to select the clock source that the LS9 will use.
1 MIXER SETUP field
B WORD CLOCK button
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the SYS-
TEM SETUP screen.
1
Move the cursor to the WORD CLOCK but-
ton of the MIXER SETUP field in the lower
part of the screen, and press the [ENTER]
key.
2
The WORD CLOCK popup window will appear,
allowing you to make word clock settings.
This popup window contains the following items.
1
2
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Word clock settings
● LOCK, BUT NOT SYNC’ED (yellow)
A valid clock is being input, but is not synchronized
with the selected clock source. If an external device is
connected to the corresponding connector, input/out-
put cannot occur correctly between that device and the
LS9.
1
2
3
● SRC ON (green)
This is a special status that is unique to a digital I/O
card with SRC (Sampling Rate Converter) functional-
ity installed in the slot {slots 1/2}; it indicates that
SRC is enabled for the corresponding channel. If this
status is displayed, normal input/output with the LS9
is occurring even if the signal is not synchronized.
LS9-32
1 Clock frequency
This indicates the frequency of the currently selected
clock source. This field will indicate “UNLOCKED”
while synchronization is lost, such as immediately
after switching the master clock.
● UNLOCK (red)
A valid clock is not being input. If an external device
is connected to the corresponding connector, input/
output cannot occur correctly between that device and
the LS9.
B Clock select buttons
These buttons select the master clock source. You can
choose from the internal clock, the word clock signal
supplied from the WORD CLOCK IN connector, or
the word clock data included in the input signal from
an I/O card in a slot.
● UNKNOWN (black)
This indicates that the clock status cannot be detected
because no external device is connected or because
there is no valid clock input. You will be able to select
this connector/slot, but successful synchronization
cannot occur until a valid connection is established.
C Card type {Card type / Slot number}
This area shows the type of I/O card installed in the
slot. {On the LS9-32, this area shows the slot number
and the type of I/O card.}
If the symbol for the port selected in step 3 has turned
light blue, and the clock frequency is shown in the
upper left of the window, this indicates that the LS9 is
operating correctly with the new clock.
Use the clock select buttons to select a
clock source.
3
You can choose one of the following clock sources.
HINT
● INT 48 k
● INT 44.1 k
• If you use a digital I/O card that contains a sampling rate con-
verter (e.g., MY8-AE96S), input and output can occur nor-
mally with the LS9 even when unsynchronized. In this case,
turn on the SRC button for the slot/channel that is receiving
The LS9’s internal clock (sampling rate 48 kHz or
44.1 kHz, respectively) will be the clock source.
Choose one of these if you want to use the LS9 as the
word clock master.
NOTE
● WORD CLOCK IN
• If the symbol for the selected clock does not turn light blue,
make sure that the external device is correctly connected,
and that the external device is set to transmit clock data.
The word clock signal supplied from the rear panel
WORD CLOCK IN jack will be used as the clock
source. In this case, the LS9 will operate as a word
clock slave.
• Noise may occur at the output jacks when the word clock set-
ting is changed. In order to protect your speaker system, be
sure to turn down the power amp volume before changing the
word clock setting.
● SLOT {SLOT 1/2}
The clock data included in the digital audio input sig-
nal from a digital I/O card in the slot {slots 1/2} will
be used as the clock source. (Select this in two-chan-
nel units.) In this case, the LS9 will operate as a word
clock slave.
• If you attempt to select a channel whose SRC is on as the
word clock source, a message will appear, warning you that
the sampling rate converter will be disabled.
To close the WORD CLOCK popup window,
move the cursor to the CLOSE button (or
the × symbol in the upper right) and press
the [ENTER] key.
20
4
The status (operating state) of the clock data being
received from each port is indicated by the color of the
symbol displayed immediately above. Each color has
the following significance.
You will return to the SYSTEM SETUP screen.
● LOCK (light blue)
This indicates that a clock synchronized with the
selected source is being input. If an external device is
connected to the corresponding connector or slot,
input/output is occurring normally between that device
and the LS9. If the sampling frequency is close, this
status may be displayed even if not synchronized.
207
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Switching a digital I/O card’s SRC on/off
Switching a digital I/O card’s SRC on/off
If a digital I/O card with SRC (Sampling Rate Converter) functionality (such as the MY8-AE96S)
is installed in the slot {slot 1/2}, you can use the SLOT SETUP popup window to turn the card’s
SRC on/off. In this window you can also check the operating status of the I/O card(s) installed in
the slot(s).
C SRC buttons
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the SYS-
TEM SETUP screen.
1
For digital I/O cards that contain a built-in SRC (Sam-
pling Rate Converter), the SCR can be switched on/off
in groups of two channels.
D EMPHASIS
This area indicates whether emphasis processing is
applied to the input signals of a slot in which an AES/
EBU format digital I/O card is installed, in units of
two channels.
This indication is displayed as follows.
Item
Description
No signal, or a signal without emphasis is being
input
----
A valid digital audio signal is being input, and
emphasis is turned On for that signal
ON
A valid digital audio signal is being input, and
emphasis is turned Off for that signal
OFF
LS9-32
1
To turn on the SRC that is built-into the dig-
ital I/O card, move the cursor to the corre-
sponding SRC button and press the
[ENTER] key.
The SRC can be turned on/off in units of two channels.
For channels whose SRC is turned on, input/output
can occur correctly even if the input signal is not syn-
chronized with the LS9’s clock source.
3
4
1 SLOT SETUP button
Move the cursor to the SLOT SETUP button
of the MIXER SETUP field in the lower part
of the screen, and press the [ENTER] key.
The SLOT SETUP popup window will appear, allow-
ing you to make slot-related settings. This popup win-
dow contains the following items.
2
To close the WORD CLOCK popup window,
move the cursor to the CLOSE button (or
the × symbol in the upper right) and press
the [ENTER] key.
1
You will return to the SYSTEM SETUP screen.
2
3
4
LS9-32
1 Card type {Card type / Slot number}
This area shows the type of I/O card installed in the
slot. {On the LS9-32, this area shows the slot number
and the type of I/O card in each slot.}
B FREQ (Frequency)
This indicates the sampling frequency of the signal
being input to each channel of an MY8-AE96 or
MY8-AE96S digital I/O card, in sets of two channels.
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Using cascade connections
Using cascade connections
By cascade-connecting two or more LS9 consoles or an LS9 with an external mixer (such as the
Yamaha M7CL) you can share the buses. For example this is convenient when you want to use
an external mixer to increase the number of inputs.
If you are cascading two LS9 consoles, you can use the “Cascade Link” function to link cue oper-
ations, scene recall/store operations, and fader layer selections. In this case, you can operate the
two LS9 consoles as if they were a single mixer.
Here we will explain cascade connections and operation, using an example in which two LS9
consoles are cascade-connected.
To cascade two LS9 consoles, you will install digital I/O
cards in their respective slots, and connect the output ports
HINT
• You can also cascade-connect the LS9 with digital mixers that
have a Mini-YGDAI slot, such as the Yamaha M7CL or PM5D.
However, this only allows you to cascade the audio signals; linking
via control signals is not possible.
of the sending unit (the cascade slave) to the input ports of
the receiving unit (the cascade master).
The following illustration shows an example in which one
sixteen-channel digital I/O card for each console are
installed in the cascade slave LS9 and in the cascade mas-
• You can also use an AD/DA card to make cascade connections
with an analog mixer.
ter LS9, and the DIGITAL OUT jacks of the sending unit
connected to the DIGITAL IN jacks of the receiving unit.
• There is no limit to the number of units that can be cascade-con-
nected, but the signal delay from each cascade-slave will increase
according to the number of units between it and the cascade-mas-
ter.
Digital audio signal
Audio signals of
unit A
Audio signals of
A + B
Digital I/O
card
Digital I/O
card
LS9 A
(Cascade slave)
LS9 B
(Cascade master)
MIDI
OUT
MIDI
IN
MIDI
OUT
MIDI
IN
Control signals for cascade link
In this example, up to sixteen buses chosen from MIX
buses 1–16, MATRIX buses 1–8, STEREO bus (L/R),
MONO (C) bus, and CUE bus (L/R) can be shared, and
the mixed signals transmitted from the cascade master
LS9. {If you’re cascade-connecting two LS9-32 consoles,
you will be able to share all buses if you install two 16-
channel digital I/O cards in each LS9-32 console.}
Control signals for the Cascade Link function are trans-
mitted and received via the MIDI IN/OUT connectors. In
this type of setup, performing a cue operation, scene
recall/store operation, or fader layer selection on either
console will cause the same to occur on the other console.
20
When using a cascade connection, you must specify the
slot(s)/channels on each LS9 console that will send and
receive audio signals. Similarly, in order to use the Cas-
cade Link function, you must specify the port that will
transmit and receive control signals, and specify the
parameters and events that will be linked. The following
pages explain the required settings for cascade connection
and the method of operation, separately for the cascade
slave and the cascade master.
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Using cascade connections
Move the cursor to the port select popup
button for the bus whose port you want to
assign, and press the [ENTER] key.
The OUTPUT PORT SELECT popup window will
appear.
3
Operations on the cascade slave
LS9
In the DISPLAY ACCESS section, press the
1
[SETUP] key repeatedly to access the SYS-
TEM SETUP screen.
[ OUTPUT PORT SELECT popup window for
the LS9-32 ]
2
1
[ OUTPUT PORT SELECT popup window for
the LS9-16 ]
LS9-32
1
1 CASCADE OUT button
In the MIXER SETUP field located at the
2
lower part of the SYSTEM SETUP screen,
move the cursor to the CASCADE OUT but-
ton and press the [ENTER] key.
1
The CASCADE OUT PATCH popup window will
appear. This window contains the following items.
1
This popup window contains the following items.
1 Port select buttons
These buttons select the output port for the selected
bus.
B Slot select tabs (LS9-32 only)
These tabs select slots 1/2.
2
3
Use the port select buttons {slot select tabs
and port select buttons} to select an output
port, move the cursor to the CLOSE button
and press the [ENTER] key.
The port will be assigned to the bus you selected in
step 3.
4
5
1 Port select popup buttons
These buttons access an OUTPUT PORT SELECT
popup window where you can select the output port
for each bus.
Repeat steps 3 and 4 to assign output ports
to other buses.
B CASCADE LINK PORT field
When using the Cascade Link function, this specifies
the port by which control signals will be transmitted
and received between the two LS9 consoles.
NOTE
• You can’t assign two or more buses to the same output port. If
you select a bus to which a signal route has already been
assigned, the previous assignment will be cancelled.
C CASCADE COMM LINK field
Here you can select the parameters and events that will
be linked by the Cascade Link function.
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Using cascade connections
● ALL
If you want to use the Cascade Link func-
tion to link parameters and events between
two LS9 consoles, proceed as follows.
6
All linkable parameters and events (including cue-
related parameters) will be linked.
• Cue-related parameters and events (see above)
• Scene recall operations
• Scene store operations
• DIMMER (MONITOR screen) operations
• Switching the fader layer
1 Move the cursor to the CASCADE LINK PORT
field, and use the dial or the [DEC]/[INC] keys to
select the port that will transmit/receive control
signals for cascade link.
You can choose from the following items.
• Panel LED and display brightness (MISC
SETUP screen) operations
LS9-16
Item
----
Description
No port will be used.
• Master mute group operations
MIDI
Rear panel MIDI IN/OUT connectors
To close the OUTPUT PORT SELECT popup
window, move the cursor to the CLOSE but-
ton (or the × symbol in the upper right) and
press the [ENTER] key.
7
Input/output channels 1–8 of a card supporting
serial communication, installed in the rear panel
slot
SLOT-1–
SLOT-8
LS9-32
Item
----
Description
No port will be used.
MIDI
Rear panel MIDI IN/OUT connectors
Input/output channels 1–8 of a card supporting
serial communication, installed in rear panel slot
1
SLOT1-1–
SLOT1-8
Input/output channels 1–8 of a card supporting
serial communication, installed in rear panel slot
2
SLOT2-1–
SLOT2-8
NOTE
• Control signals for cascade link and MIDI messages cannot
share the same port. If you select a port that is already speci-
fied for transmission/reception of MIDI messages, a dialog
box will ask whether it is OK to cancel the existing settings.
B Move the cursor to the CASCADE COMM LINK
field, and use the dial or the [DEC]/[INC] keys to
select the item you want to link.
You can choose from the following items.
● OFF
Linking will not occur.
● CUE
The following cue-related parameters and events
will be linked.
• Cue enable/disable
• Cue mode (MIX CUE or LAST CUE)
• Cue point settings for input channels and out-
put channels
20
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Using cascade connections
[ INPUT PORT SELECT popup window for
the LS9-32 ]
Operations on the cascade master
LS9
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the SYS-
TEM SETUP screen.
1
2
1
In the MIXER SETUP field located at the
2
lower part of the SYSTEM SETUP screen,
move the cursor to the CASCADE IN button
and press the [ENTER] key to access the
CASCADE IN PATCH popup window.
The CASCADE IN PATCH popup window contains
the following items.
[ INPUT PORT SELECT popup window for
the LS9-16 ]
1
1
2
3
This popup window contains the following items.
1 Port select popup buttons
1 Port select buttons
Here you can select the input port whose signal will be
added to the selected bus.
These buttons access the INPUT PORT SELECT
popup window, where you can select the input port
whose signal will be added to the bus.
B Slot select tabs (LS9-32 only)
These tabs select slots 1/2.
B CASCADE LINK PORT field
Here you can select the port that will transmit and
receive control signals when using the Cascade Link
function to link specific operations and parameter
changes between two LS9 consoles.
Use the port select buttons {slot select tabs
and port select buttons} to select an input
port, move the cursor to the CLOSE button
and press the [ENTER] key.
The input port will be assigned to the bus you selected
in step 3. The signal input from this port will be mixed
with the signal of the corresponding bus inside the cas-
cade master.
4
5
C CASCADE COMM LINK field
Here you can select the parameters and events that will
be linked by the Cascade Link function.
Move the cursor to the port select popup
button for the bus whose port you want to
assign, and press the [ENTER] key.
The INPUT PORT SELECT popup window will
appear.
This popup window contains the following items.
3
Repeat steps 3 and 4 to assign input ports
to other buses.
NOTE
• You can’t assign the same input port to two or more buses. If
you select a bus to which a signal route has already been
assigned, the previous assignment will be cancelled.
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If you want to link specific parameters or
events between two LS9 consoles, proceed
as follows.
To close the INPUT PORT SELECT popup
window, move the cursor to the CLOSE but-
ton (or the × symbol in the upper right) and
press the [ENTER] key.
In this state, the bus signals of the cascade slave will
be sent via the slot to the buses of the cascade master,
and the combined signals of both buses will be output
from the cascade master. If the Cascade Link function
is enabled, the specified operations or parameter
changes performed on either LS9 console will be fol-
lowed by the other LS9 console.
6
7
1 Move the cursor to the CASCADE LINK PORT
field, and use the dial or the [DEC]/[INC] keys to
specify the port that will transmit/receive control
signals for cascade link.
The items you can select are the same as in the
NOTE
• Control signals for cascade link and MIDI messages cannot
share the same port. If you select a port that is already speci-
fied for transmission/reception of MIDI messages, a dialog
box will ask whether it is OK to cancel the existing settings.
B Move the cursor to the CASCADE COMM LINK
field, and use the dial or the [DEC]/[INC] keys to
specify the item(s) you want to link, so that they
match the settings of the cascade slave. The items
you can select are the same as in the CASCADE
Basic settings for MIX buses and MATRIX buses
This section explains how to change the basic settings for MIX buses and MATRIX buses, such
as switching between stereo and monaural, and selecting the position from which the signal is
sent from an input channel.
The settings you make in the following procedure are saved as part of the scene.
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the SYS-
TEM SETUP screen.
To make MIX bus settings, move the cursor
to the MIX button of the BUS SETUP field
and press the [ENTER] key.
1
2
The MIX BUS SETUP popup window will appear.
1
2
3
1
2
3
20
LS9-32
1 BUS SETUP field
B MIX button
C MATRIX button
1 SIGNAL TYPE (Signal processing method)
This selects whether two adjacent odd-numbered/
even-numbered MIX buses will be used as stereo
channels whose main parameters are linked (STE-
REO) or as two monaural channels (MONO × 2).
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Basic settings for MIX buses and MATRIX buses
● If the PAN LINK button is on
B BUS TYPE / PRE FADER SEND POINT
For two adjacent odd-numbered/even-numbered
buses, this selects the position from which the signal
will be sent from the input channel. You can also
switch the MIX bus type (VARI or FIXED) here.
The PAN knob that appears in the location of the TO
MIX SEND LEVEL knob of the input channel’s
SELECTED CH VIEW screen when the send-destina-
tion MIX bus is stereo will be linked with the TO ST
PAN (BAL) knob.
C PAN LINK
● If the PAN LINK button is off
This specifies whether the panning at which the signal
is sent from an input channel to the stereo bus will be
linked with the TO ST PAN setting.
The PAN (BALANCE) knob displayed in the position
of the TO MIX SEND LEVEL knob in the input chan-
nel SELECTED CH VIEW screen can be operated
independently of the TO ST PAN (BAL) knob.
Use the buttons in the SIGNALTYPE field to
3
specify for each two adjacent odd-num-
bered/even-numbered MIX buses whether
they will function as STEREO (main param-
eters linked for the two MIX channels) or
MONO × 2 (used as two monaural chan-
nels).
NOTE
• The PAN LINK button is not displayed for MIX buses whose
SIGNAL TYPE is set to MONO × 2, or MIX buses whose BUS
TYPE is set to FIXED.
To close the popup window and return to
the SYSTEM SETUP screen, move the cur-
sor to the CLOSE button (or the × symbol in
the upper right) and press the [ENTER] key.
6
7
Use the buttons of the BUS TYPE / SEND
4
POINT field to select the position from
which the signal of the input channel will be
sent.
In this field you can switch the MIX bus type (VARI or
FIXED). The following items can be selected for each
bus.
To make basic settings for MATRIX buses,
move the cursor to the MATRIX button of
the BUS SETUP field and press the
[ENTER] key.
The MATRIX BUS SETUP popup window will
appear.
● VARI PRE EQ
The MIX bus will be a VARI type (adjustable send
level). Choose this if you want to use the MIX bus as
an external effect send or as a foldback output. If the
MIX send point of the input channel is set to PRE, the
signal will be sent from immediately before the EQ
(attenuator).
1
● VARI PRE FADER
The MIX bus will be a VARI type. Choose this if you
want to use the MIX bus as an external effect send or
as a foldback output. If the MIX send point of the
input channel is set to PRE, the signal will be sent
from immediately before the fader.
NOTE
• Even if you select VARI PRE EQ or VARI PRE FADER, input
channels whose MIX send position is set to POST will send
the post-fader signal to the MIX bus.
1 SIGNAL TYPE (Signal processing method)
This selects whether two adjacent odd-numbered/
even-numbered MATRIX buses will be used as stereo
channels whose main parameters are linked (STE-
REO) or as two monaural channels (MONO × 2).
● FIXED
The MIX bus will be a FIXED type (send level is fixed
at nominal level = 0.0 dB).
Choose this if you want to use the MIX bus as a group
output or as a bus output for recording on a multitrack
recorder. If the bus is set to MONO, the signal will be
sent from immediately before the pan/balance of the
input channel; if the bus is set to STEREO, the signal
will be sent from immediately after the pan/balance.
Use the buttons in the SIGNALTYPE field to
specify for each two adjacent odd-num-
bered/even-numbered MATRIX buses
whether they will function as STEREO
(main parameters linked for the two MATRIX
channels) or MONO × 2 (used as two mon-
aural channels).
8
9
As desired, turn the buttons of the PAN
LINK field on/off.
5
For two MIX buses whose SIGNAL TYPE = STE-
REO and BUS TYPE = VARI, the PAN LINK button
is displayed in this position.
This button specifies whether the panning at which the
signal is sent from an input channel to the stereo MIX
bus will be linked with the TO ST PAN setting.
To close the popup window and return to
the SYSTEM SETUP screen, move the cur-
sor to the CLOSE button (or the × symbol in
the upper right) and press the [ENTER] key.
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Setting the date and time of the internal clock
Setting the date and time of the internal clock
This section explains how to set the date and time of the clock built into the LS9, and how to view
the date and time. The date and time you specify here will affect the time stamp used when sav-
ing a scene.
In the DISPLAY ACCESS section, press the
[SETUP] key to access the MISC SETUP
screen.
Move the cursor to the DATE MODE button
and press the [ENTER] key to select the
date format.
1
3
You can select from the following formats.
1
2
• MM/DD/YYYY (Month/Day/Year)
• DD/MM/YYYY (Day/Month/Year)
• YYYY/MM/DD (Year/Month/Day)
Move the cursor to each field of the DATE
field, and use the dial or the [DEC]/[INC]
keys to specify the date.
4
5
Move the cursor to the TIME MODE button
and press the [ENTER] key to select the
time format.
You can select from the following formats.
• 24Hours (hours shown in a range of 0–23)
• 12Hours (hours shown from AM 0–AM 11 and
PM 0–PM 11)
LS9-32
1 DATE/TIME field
This indicates the currently specified date and time.
Move the cursor to each field of the TIME
field, and use the dial or the [DEC]/[INC]
keys to specify the time.
6
7
B DATE/TIME SET popup button
This button accesses the DATE/TIME popup window,
where you can set the date and time.
When you have finished making settings,
move the cursor to the OK button and press
the [ENTER] key.
The date, time, and display format you specified will
be finalized, and the popup window will close. If you
select the CANCEL button or the × symbol instead of
the OK button, your changes will be discarded and the
popup window will close.
Move the cursor to the DATE/TIME SET
popup button in the DATE/TIME field, and
press the [ENTER] key.
2
The DATE/TIME popup window will appear.
1
3
2
4
20
1 DATE field
Specifies the date of the internal clock.
B DATE MODE button
Specifies the format in which the date will be dis-
played.
C TIME field
Specifies the time of the internal clock.
D TIME MODE button
Specifies the format in which the time will be dis-
played.
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Setting the network address
Setting the network address
Here’s how to set the network address that will be required when you use the LS9’s NETWORK
connector to connect it to a Windows computer.
NOTE
• The network address can be changed only by users who have administrative privileges.
• For details on network settings, refer to the LS9 Editor installation guide which can be downloaded from the following Yamaha website.
1 IP ADDRESS field
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the MISC
SETUP screen.
1
This is a number (IP address) assigned to identify each
device on the Internet or within an LAN (Local Area
Network).
1
2
B GATEWAY ADDRESS field
This specifies the number (gateway address) that iden-
tifies a device (gateway) that allows data of differing
media or protocol to be exchanged within a network to
allow communication.
C SUBNET MASK field
This defines the number of bits (of the IP address used
within the network) that will be used as the network
address that distinguishes the network.
3
D LINK MODE field
Select either 100BASE-TX (transmission speed: max-
imum 100 Mbps) or 10BASE-T (transmission speed:
max 10 Mbps) as the specification used for communi-
cation via the NETWORK connector.
LS9-32
1 NETWORK field
This shows the values of network-related parameters.
Move the cursor to the LINK MODE field,
and use the dial or the [DEC]/[INC] keys to
select a communication protocol for the
NETWORK connector as appropriate for the
network to which the LS9 is connected.
3
4
B NETWORK SET button
This accesses the NETWORK popup window, where
you can make network-related settings.
NOTE
C MAC ADDRESS field
This is the MAC (Machine Access Control) address
specified for identifying a host within a network. This
field is only for display, and cannot be edited.
• Be aware that if the specification does not match, communi-
cation will not occur correctly.
Move the cursor to each remaining field in
the screen, and use the dial or the [DEC]/
[INC] keys to specify each address.
If you are connecting the LS9 to your computer in a
one-to-one connection, we recommend that you make
the following initial settings.
Move the cursor to the NETWORK SET but-
ton in the NETWORK field, and press the
[ENTER] key to access the NETWORK
popup window.
2
1
3
● IP address
192.168.0.128 or similar (it must not conflict with the
IP address of any other device on the network)
● Gateway address
192.168.0.1 or similar (it must not conflict with the IP
address of any other device on the network)
● Subnet mask
255.255.255.0 or similar
2
4
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When you have finished making settings,
move the cursor to the OK button and press
the [ENTER] key.
5
The changes will be finalized, and the popup window
will close.
If you select the CANCEL button or the × symbol
instead of the OK button, your changes will be dis-
carded and the popup window will close.
Specifying the brightness or contrast of the display, LEDs,
and lamps
Here you can specify the contrast and brightness of the display, the brightness of the top panel
LEDs, and the brightness of the lamp connected to the rear panel LAMP connector.
In the DISPLAY ACCESS section, press the
[SETUP] key to access the MISC SETUP
screen.
Move the cursor to a knob of the CON-
TRAST/BRIGHTNESS field, and use the dial
or the [DEC]/[INC] keys to set the following
parameters.
1
2
● CONTRAST field
• SCREEN knob
........ Specifies the contrast of the display
backlight.
HINT
• You can also adjust the contrast by holding down the [HOME]
key and turning the dial.
● BRIGHTNESS field
• SCREEN knob
........ Specifies the brightness of the display
backlight.
LS9-32
1
2
• PANEL knob
........ Adjusts the brightness of the top panel
LEDs. If aYamaha AD8HR is connected
to an I/O card that provides a REMOTE
connector, the brightness of the
AD8HR’s LEDs will also change.
1 CONTRAST field
B BRIGHTNESS field
• LAMP knob (LS9-32 only)
........ Adjusts the brightness of the lamp con-
nected to the rear panel LAMP jack.
20
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Using the Help function
Using the Help function
You can view Help files provided by Yamaha, or display any desired text file created by the user.
* We accept no responsibility for any damages that may result from the use of Help files created by a third
party other than Yamaha.
Move the cursor to the SAVE/LOAD button
and press the [ENTER] key.
3
Loading a Help file from a USB mem-
ory
The SAVE/LOAD popup window will appear.
The help file is not backed up in internal memory. Each
time you turn on the power, you must reload it from your
USB memory. It is convenient to save your help file on the
USB memory that contains your user authentication key.
Before you proceed, save the Help file
1
(extension .xml) provided byYamaha on
your USB memory.You can download the
most recent version of the Help file from the
Yamaha website.
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
want to load.
2
Move the cursor to the file list, and use the
dial on the panel to select the help file you
4
SAVE/LOAD button
Move the cursor to the LOAD button and
press the [ENTER] key, and a confirmation
dialog box will appear.
5
Move the cursor to the OK button and press
the [ENTER] key to begin loading the file.
6
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Using the Help function
Loading a text file from a USB mem-
ory
Assigning the Help function to a
user-defined key
Using a commercially available text editor
Before you proceed, load the Help file from
your USB memory.
1
1
or the “Notepad” included with the
Microsoft Windows series, create a text file
(extension .txt) and save it on your USB
memory.
By default, the character code set of the text file will
be detected as UTF-8. However by adding a line con-
sisting of [ISO-8859-1] or [Shift_JIS] at the beginning
of the file, you can force recognition of the file using
that character code set. You can specify the desired
character code set when using your text editor to save
the text file. The Help function is able to display the
following text files (character code sets / languages).
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
2
• Text files written in the ISO-8859-1 character code
set (English, German, French, Spanish, etc.)
• Text files written in the Shift_JIS character code set
(Japanese)
• Text files of the above languages written in the
UTF-8 character code set.
USER DEFINED KEYS popup button
In the DISPLAY ACCESS section, press the
[SETUP] key repeatedly to access the USER
SETUP screen.
2
3
4
5
6
Move the cursor to the USER DEFINED
KEYS popup button, and press the [ENTER]
key.
3
Move the cursor to the SAVE/LOAD button
and press the [ENTER] key.
The SAVE/LOAD popup window will appear.
The USER DEFINED KEYS popup window will
appear.
Move the cursor to the file list, and use the
dial on the panel to select the text file you
want to load.
Move the cursor to the LOAD button and
press the [ENTER] key, and a confirmation
dialog box will appear.
Move the cursor to the OK button and press
the [ENTER] key to begin loading the file.
Move the cursor to the button for the user-
defined key whose function you want to
assign, and press the [ENTER] key.
4
20
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Using the Help function
Use the panel dial or the [DEC]/[INC] keys
Move the cursor to the desired section, and
use the panel dial to scroll the contents.
Links in the selected text will be high-
lighted.
5
6
3
4
to select “HELP.” Move the cursor to the OK
button and press the [ENTER] key to close
the USER DEFINED KEY SETUP popup win-
dow.
Select a link (underlined portion) in the doc-
ument, and press the [ENTER] key to jump
to the link destination. By selecting a text
link in INDEX mode and pressing the
“ENTER” key, you can switch to CON-
TENTS mode and scroll to the correspond-
ing section.
Move the cursor to the CLOSE button and
press the [ENTER] key to close the USER
DEFINED KEY popup window.
Move the cursor a window link and press the
[ENTER] key (a location with an
underlined text), you can close the HELP window and
open the corresponding window.
symbol and
Viewing Help
Before you proceed, load the help file or
text file from your USB memory.
1
To return from CONTENTS mode to INDEX
mode, move the cursor to the INDEX button
and press the [ENTER] key.
5
6
Press the user-defined key to which the
Help function is assigned; the HELP popup
window will appear.
2
As necessary, you can also scroll by using
the buttons in the tool bar.
● < INDEX button
Jumps to the table of contents.
If the cursor is at the table of contents, you can use the
panel
cursor key as an alternative.
● CONTENTS > button
Jumps to the content (article).
If the cursor is at the table of contents, you can use the
panel
cursor key as an alternative.
●
button
Scrolls to the chapter that precedes the currently-dis-
played location.
INDEX mode
●
button
Returns to the previous link in the link history.
If the cursor is at the table of contents or within an
article, you can use the panel [DEC] key as an alterna-
tive.
●
button
Proceeds to the next link in the link history.
If the cursor is at the table of contents or within an
article, you can use the panel [INC] key as an alterna-
tive.
To close the window, once again press the
user-defined key to which the Help function
is assigned.
7
CONTENTS mode
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Using the Help function
■ Directly recalling the Help for a specific
■ Directly recalling the Help for a specific
panel controller • • • • • • • • • • •
controller in the LCD screen • • • • •
While holding down the user-defined key to
While holding down the user-defined key to
1
1
which you’ve assigned the Help function,
press (or turn) the panel controller whose
function you want to learn about.
Panel controllers (other than the faders) will not func-
tion as long as you continue holding down the user-
defined key to which the Help function is assigned.
which you’ve assigned the Help function,
move the cursor to the on-screen controller
whose function you want to read and press
the [ENTER] key.
The on-screen buttons and tabs will not function as
long as you continue holding down the user-defined
key to which the Help function is assigned.
If the corresponding controller has an
2
explanation associated with it, the HELP
popup window will appear, and you will
automatically scroll to the corresponding
item.
If there is a corresponding Help item, the
2
HELP popup window will appear and you
will automatically scroll to the correspond-
ing item.
If there are multiple explanations for the same control-
ler, you can repeat step 1 to successively display these
explanations.
If there are multiple explanations for the same control-
ler, close the HELP popup window and then repeat
step 1 to successively view these explanations.
To close the window, once again press the
user-defined key to which the Help function
is assigned.
To close the window, once again press the
user-defined key to which the Help function
is assigned.
3
3
20
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Initializing the LS9’s internal memory
Initializing the LS9’s internal memory
If an error occurs in the LS9’s internal memory, or if you have forgotten the password, you can
use the following procedure to initialize the internal memory.
CAUTION
• The entire contents of memory will be lost if you initialize the internal memory. Proceed with the following
operation only if you are very sure you want to do this.
While holding down the [SCENE MEMORY]
key of the DISPLAY ACCESS section, turn
on the power.
After the opening screen, the following startup menu
screen will appear.
Move the cursor to the OK button of the
dialog box and press the [ENTER] key.
Initialization will begin.
1
4
5
NOTE
• Do not press any key until initialization has been completed.
1
When initialization has been completed,
move the cursor to the EXIT button and
press the [ENTER] key.
2
3
The console will start up in normal operating mode.
NOTE
• If the backup battery voltage is low, or if an error occurs in the
internal memory, a warning dialog box will appear, and then
the initialization menu will appear. If the warning dialog box
appears, and you select the EXIT button to start up in normal
operating mode, Yamaha cannot guarantee that the unit will
operate correctly.
HINT
• Instead of using the EXIT button, you can also select a differ-
ent button of the MODE SELECT field.
1 MODE SELECT field
B INITIALIZE ALL MEMORIES button
C INITIALIZE CURRENT MEMORIES button
According to the desired type of initializa-
tion, move the cursor to one of the buttons
in the MODE SELECT field, and press the
[ENTER] key.
2
3
● INITIALIZE ALL MEMORIES button
The entire memory including scene memories and
libraries will be returned to their factory-set condition.
● INITIALIZE CURRENT MEMORIES button
The contents of memory except for scene memories
and libraries will be returned to its factory-set condi-
tion.
To execute the Initialize operation, move the
cursor to the INITIALIZE button located in
the dialog box at the left side of the screen,
and press the [ENTER] key.
A dialog box will ask you to confirm the operation.
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Adjusting the faders (Calibration function)
Adjusting the faders (Calibration function)
Depending on the environment in which you use the console, discrepancies may occur in the
motion of the motor faders.You can use the Calibration function to correct these discrepancies.
While holding down the [SCENE MEMORY]
key of the DISPLAY ACCESS section, turn
on the power.
After the opening screen, the following startup menu
screen will appear.
Move the cursor to the START button and
press the [ENTER] key.
A dialog box will ask you to confirm the operation.
1
4
5
Move the cursor to the OK button of the
dialog box and press the [ENTER] key.
Each of the specified faders will move to the target
positions in the following sequence.
1 -∞ (push down to the minimum value)
B -20 dB
C 0 dB
D +10 dB (push up to the maximum value)
If there are any faders that are not in the
positions shown in the screen, manually
move them to the appropriate position.
6
7
1
When you have set all faders to the target
location, move the cursor to the OK button
and press the [ENTER] key.
1 FADER CALIBRATION button
The process will proceed to the next fader position.
Move the cursor to the FADER CALIBRA-
TION button and press the [ENTER] key.
The FADER CALIBRATION MODE popup window
will appear, where you can adjust the faders.
2
Repeat steps 6–7 to adjust the faders for
positions 1 through 4.
8
9
When you have finished the calibration pro-
cess and the APPLY button has appeared,
move the cursor to the APPLY button and
press the [ENTER] key.
The calibration settings will be saved in internal mem-
ory.
NOTE
• If the RESTART button appears when calibration ends, cali-
bration has failed. Move the cursor to the RESTART button
and press the [ENTER] key to execute calibration once again.
Move the cursor to the EXIT button and
press the [ENTER] key.
10
The console will start up in normal operating mode.
HINT
HINT
• This window will also appear if a problem is detected in the
fader settings while the LS9 is started up.
20
• Alternatively, you can continue by selecting a different menu
instead of using the EXIT button.
Use the top panel [SEL] keys to select the
fader for which you want to perform calibra-
tion.
3
Fader calibration is performed semi-automatically for
the faders you specify using their [SEL] keys. Each
fader selected by its [SEL] key is shown in red in the
popup window.
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Adjusting the input/output gain (Calibration function)
Adjusting the input/output gain (Calibration function)
If necessary, you can make fine adjustments to the input/output gain.
● OUTPUT PORT TRIM (fine adjustment of the
output ports) button
This makes fine adjustments in 0.01 dB steps to the
gain of the specified output port. When you press this
button, the screen will change as follows.
While holding down the [SCENE MEMORY]
key of the DISPLAY ACCESS section, turn
on the power.
After the opening screen, the following startup menu
screen will appear.
1
1
2
3
LS9-32
● SLOT OUTPUT TRIM (fine adjustment of the
output ports) button
This makes fine adjustments in 0.01 dB steps to the
output port gain of the specified slot. When you press
this button, the screen will change as follows.
1 INPUT PORT TRIM button
B OUTPUT PORT TRIM button
C SLOT OUTPUT TRIM button
In the MODE SELECT field, move the cursor
to one of the following buttons to select the
target you want to adjust, and press the
[ENTER] key.
2
● INPUT PORT TRIM (fine adjustment of the ana-
log input gain) button
This makes fine adjustments in 0.1 dB steps to the gain
of the specified analog input port. When you press this
button, the screen will change as follows.
LS9-32
Move the cursor to the desired knob in the
screen, and use the dial or the [DEC]/[INC]
keys to adjust the value.
If you move the cursor to the RESET ALL button in
the screen, and press the [ENTER] key, all knobs in
that screen will be reset to 0 dB (the factory-set default
value).
3
4
LS9-32
When you have finished making adjust-
ments, move the cursor to the EXIT button
and press the [ENTER] key.
The console will start up in normal operating mode.
HINT
• Alternatively, you can continue by selecting a different menu
instead of using the EXIT button.
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Appendices
EQ Library List
Parameter
L-MID H-MID
PEAKING PEAKING PEAKING H.SHELF
Parameter
L-MID H-MID
PEAKING PEAKING PEAKING H.SHELF
#
Title
#
Title
LOW
HIGH
LOW
HIGH
G
F
+3.5 dB
100 Hz
1.25
–3.5 dB
265 Hz
10.0
0.0 dB
+4.0 dB
G
F
+3.5 dB
224 Hz
5.6
–8.5 dB
600 Hz
10.0
+1.5 dB
3.15 kHz 5.30 kHz
0.70
+3.0 dB
01 Bass Drum 1
02 Bass Drum 2
03 Snare Drum 1
04 Snare Drum 2
05 Tom-tom 1
06 Cymbal
14 Piano 2
1.06 kHz 5.30 kHz
Q
0.90
—
Q
—
PEAKING PEAKING PEAKING
LPF
ON
PEAKING PEAKING PEAKING H.SHELF
G
F
+8.0 dB
80.0 Hz
1.4
–7.0 dB
400 Hz
4.5
+6.0 dB
G
F
+2.0 dB
265 Hz
0.18
–5.5 dB
400 Hz
10.0
+0.5 dB
1.32 kHz 4.50 kHz
6.3
+2.5 dB
15 E. G. Clean
16 E. G. Crunch 1
17 E. G. Crunch 2
18 E. G. Dist. 1
19 E. G. Dist. 2
20 A. G. Stroke 1
21 A. G. Stroke 2
22 A. G. Arpeg. 1
23 A. G. Arpeg. 2
24 Brass Sec.
2.50 kHz 12.5 kHz
2.2
Q
—
Q
—
PEAKING PEAKING PEAKING H.SHELF
PEAKING PEAKING PEAKING PEAKING
G
F
–0.5 dB
132 Hz
1.25
0.0 dB
1.00 kHz 3.15 kHz 5.00 kHz
4.5 0.11
+3.0 dB
+4.5 dB
G
F
+4.5 dB
140 Hz
8.0
0.0 dB
1.00 kHz 1.90 kHz 5.60 kHz
4.5 0.63 9.0
+4.0 dB
+2.0 dB
Q
—
Q
L.SHELF PEAKING PEAKING PEAKING
PEAKING PEAKING PEAKING H.SHELF
G
F
+1.5 dB
180 Hz
—
–8.5 dB
335 Hz
10.0
+2.5 dB
2.36 kHz 4.00 kHz
0.70 0.10
+4.0 dB
G
F
+2.5 dB
125 Hz
8.0
+1.5 dB
450 Hz
0.40
+2.5 dB
3.35 kHz 19.0 kHz
0.16
0.0 dB
Q
Q
—
PEAKING PEAKING PEAKING PEAKING
L.SHELF PEAKING PEAKING H.SHELF
G
F
+2.0 dB
212 Hz
1.4
–7.5 dB
670 Hz
10.0
+2.0 dB
4.50 kHz 6.30 kHz
1.25 0.28
+1.0 dB
G
F
+5.0 dB
355 Hz
—
0.0 dB
950 Hz
9.0
+3.5 dB
3.35 kHz 12.5 kHz
10.0
0.0 dB
Q
Q
—
L.SHELF PEAKING PEAKING H.SHELF
L.SHELF PEAKING PEAKING H.SHELF
G
F
–2.0 dB
106 Hz
—
0.0 dB
425 Hz
8.0
0.0 dB
1.06 kHz 13.2 kHz
0.90
+3.0 dB
G
F
+6.0 dB
315 Hz
—
–8.5 dB
1.06 kHz 4.25 kHz 12.5 kHz
10.0 4.0
+4.5 dB
+4.0 dB
Q
—
Q
—
L.SHELF PEAKING PEAKING H.SHELF
PEAKING PEAKING PEAKING H.SHELF
G
F
–4.0 dB
95.0 Hz
—
–2.5 dB
425 Hz
0.50
+1.0 dB
2.80 kHz 7.50 kHz
1.0
+0.5 dB
G
F
–2.0 dB
106 Hz
0.90
0.0 dB
1.00 kHz 1.90 kHz 5.30 kHz
4.5 3.5
+1.0 dB
+4.0 dB
07 High Hat
Q
—
Q
—
L.SHELF PEAKING PEAKING H.SHELF
L.SHELF PEAKING PEAKING H.SHELF
G
F
–4.5 dB
100 Hz
—
0.0 dB
400 Hz
4.5
+2.0 dB
2.80 kHz 17.0 kHz
0.56
0.0 dB
G
F
–3.5 dB
300 Hz
—
–2.0 dB
750 Hz
9.0
0.0 dB
2.00 kHz 3.55 kHz
4.5
+2.0 dB
08 Percussion
09 E. Bass 1
Q
—
Q
—
L.SHELF PEAKING PEAKING H.SHELF
L.SHELF PEAKING PEAKING PEAKING
G
F
–7.5 dB
35.5 Hz
—
+4.5 dB
112 Hz
5.0
+2.5 dB
2.00 kHz 4.00 kHz
4.5
0.0 dB
G
F
–0.5 dB
224 Hz
—
0.0 dB
1.00 kHz 4.00 kHz 6.70 kHz
4.5 4.5 0.125
0.0 dB
+2.0 dB
Q
—
Q
PEAKING PEAKING PEAKING H.SHELF
L.SHELF PEAKING PEAKING H.SHELF
G
F
+3.0 dB
112 Hz
0.10
0.0 dB
112 Hz
5.0
+2.5 dB
2.24 kHz 4.00 kHz
6.3
+0.5 dB
G
F
0.0 dB
180 Hz
—
–5.5 dB
355 Hz
7.0
0.0 dB
4.00 kHz 4.25 kHz
4.5
+4.0 dB
10 E. Bass 2
Q
—
Q
—
PEAKING PEAKING PEAKING H.SHELF
PEAKING PEAKING PEAKING PEAKING
G
F
+3.5 dB
85.0 Hz
0.10
+8.5 dB
950 Hz
8.0
0.0 dB
4.00 kHz 12.5 kHz
4.5
0.0 dB
G
F
–2.0 dB
90.0 Hz
2.8
–1.0 dB
850 Hz
2.0
+1.5 dB
2.12 kHz 4.50 kHz
0.70 7.0
+3.0 dB
11 Syn. Bass 1
12 Syn. Bass 2
13 Piano 1
Q
—
Q
PEAKING PEAKING PEAKING H.SHELF
PEAKING PEAKING PEAKING PEAKING
G
F
+2.5 dB
125 Hz
1.6
0.0 dB
180 Hz
8.0
+1.5 dB
1.12 kHz 12.5 kHz
2.2
0.0 dB
G
F
–0.5 dB
190 Hz
0.11
0.0 dB
1.00 kHz 2.00 kHz 6.70 kHz
4.5 0.56 0.11
+2.0 dB
+3.5 dB
25 Male Vocal 1
26 Male Vocal 2
Q
—
Q
L.SHELF PEAKING PEAKING H.SHELF
PEAKING PEAKING PEAKING H.SHELF
G
F
–6.0 dB
95.0 Hz
—
0.0 dB
950 Hz
8.0
+2.0 dB
3.15 kHz 7.50 kHz
0.90
+4.0 dB
G
F
+2.0 dB
170 Hz
0.11
–5.0 dB
236 Hz
10.0
–2.5 dB
2.65 kHz 6.70 kHz
5.6
+4.0 dB
Q
—
Q
—
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EQ Library List
Parameter
L-MID H-MID
PEAKING PEAKING PEAKING PEAKING
#
Title
LOW
HIGH
G
F
–1.0 dB
118 Hz
0.18
+1.0 dB
400 Hz
0.45
+1.5 dB
2.65 kHz 6.00 kHz
0.56 0.14
+2.0 dB
27 Female Vo. 1
28 Female Vo. 2
Q
L.SHELF PEAKING PEAKING H.SHELF
G
F
–7.0 dB
112 Hz
—
+1.5 dB
335 Hz
0.16
+1.5 dB
2.00 kHz 6.70 kHz
0.20
+2.5 dB
Q
—
PEAKING PEAKING PEAKING PEAKING
G
F
–2.0 dB
90.0 Hz
2.8
–1.0 dB
850 Hz
2.0
+1.5 dB
2.12 kHz 4.50 kHz
0.70 7.0
+3.0 dB
Chorus &
29
Harmo
Q
PEAKING PEAKING PEAKING H.SHELF
G
F
–0.5 dB
95.0 Hz
7.0
0.0 dB
950 Hz
2.2
+3.0 dB
2.12 kHz 16.0 kHz
5.6
+6.5 dB
30 Total EQ 1
31 Total EQ 2
32 Total EQ 3
33 Bass Drum 3
34 Snare Drum 3
35 Tom-tom 2
36 Piano 3
Q
—
PEAKING PEAKING PEAKING H.SHELF
G
F
+4.0 dB
95.0 Hz
7.0
+1.5 dB
750 Hz
2.8
+2.0 dB
1.80 kHz 18.0 kHz
5.6
+6.0 dB
Q
—
L.SHELF PEAKING PEAKING H.SHELF
G
F
+1.5 dB
67.0 Hz
—
+0.5 dB
850 Hz
0.28
+2.0 dB
1.90 kHz 15.0 kHz
0.70
+4.0 dB
Q
—
PEAKING PEAKING PEAKING PEAKING
+3.5 dB –10.0 dB +3.5 dB 0.0 dB
4.25 kHz 20.0 kHz
0.40 0.40
G
F
118 Hz
2.0
315 Hz
10.0
Q
L.SHELF PEAKING PEAKING PEAKING
G
F
0.0 dB
224 Hz
—
+2.0 dB
560 Hz
4.5
+3.5 dB
4.25 kHz 4.00 kHz
2.8 0.10
0.0 dB
Q
L.SHELF PEAKING PEAKING H.SHELF
G
F
–9.0 dB
90.0 Hz
—
+1.5 dB
212 Hz
4.5
+2.0 dB
5.30 kHz 17.0 kHz
1.25
0.0 dB
Q
—
PEAKING PEAKING PEAKING H.SHELF
+4.5 dB –13.0 dB +4.5 dB +2.5 dB
2.36 kHz 10.0 kHz
9.0
G
F
100 Hz
8.0
475 Hz
10.0
Q
—
PEAKING PEAKING PEAKING H.SHELF
G
F
–5.5 dB
190 Hz
10.0
+1.5 dB
400 Hz
6.3
+6.0 dB
6.70 kHz 12.5 kHz
2.2
0.0 dB
37 Piano Low
38 Piano High
39 Fine-EQ Cass
40 Narrator
Q
—
PEAKING PEAKING PEAKING PEAKING
G
F
–5.5 dB
190 Hz
10.0
+1.5 dB
400 Hz
6.3
+5.0 dB
6.70 kHz 5.60 kHz
2.2 0.10
+3.0 dB
Q
L.SHELF PEAKING PEAKING H.SHELF
–1.5 dB 0.0 dB +1.0 dB +3.0 dB
75.0 Hz 1.00 kHz 4.00 kHz 12.5 kHz
4.5 1.8
PEAKING PEAKING PEAKING H.SHELF
G
F
Q
—
—
G
F
–4.0 dB
106 Hz
4.0
–1.0 dB
710 Hz
7.0
+2.0 dB
2.50 kHz 10.0 kHz
0.63
0.0 dB
Q
—
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DYNAMICS Library List
DYNAMICS Library List
#
1
Title
Type
Parameter
Threshold (dB)
Range (dB)
Attack (ms)
Hold (ms)
Value
–26
–56
0
#
Title
Type
Parameter
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
Value
–17
2.5
8
Gate
GATE
12 A. Dr. SN
13 A. Dr. SN
14 A. Dr. SN
15 A. Dr. Tom
16 A. Dr. OverTop
17 E. B. Finger
18 E. B. Slap
19 Syn. Bass
20 Piano1
COMPRESSOR
2.56
331
–19
–22
93
3.5
2
Decay (ms)
Threshold (dB)
Range (dB)
Attack (ms)
Hold (ms)
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
12
–23
2
2
3
Ducking
DUCKING
1.20 S
6.32 S
–11
–53
0
0
EXPANDER
Decay (ms)
Threshold (dB)
Range (dB)
Attack (ms)
Hold (ms)
0.5
2
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Width (dB)
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
151
–8
A. Dr. BD
GATE
1.93
400
–8
1.7
11
Decay (ms)
Threshold (dB)
Range (dB)
Attack (ms)
Hold (ms)
COMPANDER-S
0.0
10
–23
1
4
5
A. Dr. SN
De-Esser
GATE
128
–20
2
0.63
238
–8
Decay (ms)
Threshold (dB)
2
DE-ESSER
EXPANDER
Frequency (kHz) 2.00
5.0
2
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
–8
2.5
30
0.0
2
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Width (dB)
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
749
–24
2
6
7
8
9
Comp
COMPRESSOR
38
COMPANDER-S
COMPRESSOR
COMPRESSOR
COMPRESSOR
COMPRESSOR
COMPRESSOR
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
250
–23
1.7
1
–3.5
54
842
–12
2
Expand
EXPANDER
3.5
2
15
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Width (dB)
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Width (dB)
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
70
–10
3.5
1
4.5
2
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
470
–12
1.7
6
Compander (H) COMPANDER-H
0.0
6
250
–8
4.0
hard
133
–10
3.5
9
4
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
25
0.0
24
180
–24
3
Compander (S) COMPANDER-S
3.0
hard
250
–9
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
9
10 A. Dr. BD
COMPRESSOR
5.5
2
2.5
17
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Width (dB)
Release (ms)
58
–11
3.5
1
1.0
hard
238
–18
3.5
7
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
11 A. Dr. BD
COMPANDER-H
–1.5
7
21 Piano2
192
6.0
2
Release (ms)
174
227
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DYNAMICS Library List
#
Title
Type
Parameter
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
Value
–8
#
Title
Type
Parameter
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Width (dB)
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
Value
–23
20
3.5
7
15
22 E. Guitar
COMPRESSOR
32 Hip Comp
33 Solo Vocal1
34 Solo Vocal2
35 Chorus
COMPANDER-S
2.5
4
0.0
15
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
261
–10
2.5
5
163
–20
2.5
31
23 A. Guitar
COMPRESSOR
COMPRESSOR
COMPRESSOR
COMPRESSOR
COMPRESSOR
COMPRESSOR
COMPANDER-S
COMPRESSOR
COMPRESSOR
COMPRESSOR
COMPRESSOR
COMPRESSOR
EXPANDER
1.5
2
2.0
1
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
238
–11
2
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
342
–8
2.5
26
33
24 Strings1
1.5
2
1.5
3
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
749
–12
1.5
93
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
331
–9
1.7
39
25 Strings2
1.5
4
2.5
2
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
1.35 S
–17
1.5
76
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
226
–33
2
1
26 Strings3
36 Click Erase
37 Announcer
38 Limiter1
2.5
2
2.0
2
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
186
–18
1.7
18
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Width (dB)
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Width (dB)
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
284
–14
2.5
1
27 BrassSection
COMPANDER-H
COMPANDER-S
COMPRESSOR
COMPRESSOR
COMPRESSOR
4.0
1
–2.5
18
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
226
–13
2
180
–9
3
58
20
28 Syn. Pad
2.0
1
–3.0
90
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Width (dB)
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
238
–18
1.7
8
3.91 s
0
∞
0
29 SamplingPerc
30 Sampling BD
31 Sampling SN
39 Limiter2
–2.5
18
0.0
hard
319
–18
3.5
94
238
–14
2
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
2
40 Total Comp1
3.5
4
2.5
hard
447
–16
6
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
35
Release (ms)
Threshold (dB)
Ratio ( :1)
Attack (ms)
Out gain (dB)
Knee
–18
4
8
11
41 Total Comp2
8.0
hard
354
6.0
1
Release (ms)
Release (ms)
180
* At fs=44.1 kHz
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Dynamics Parameters
Dynamics Parameters
Input channels provide DYNAMICS section 1 and DYNAMICS section 2. Output channels provide
DYNAMICS section 1. An input channel’s DYNAMICS section 1 provides the following four types: GATE,
DUCKING, COMPRESSOR, and EXPANDER. An input channel’s DYNAMICS section 2 provides the fol-
lowing four types: COMPRESSOR, COMPANDER-H (Compander Hard), COMPANDER-S (Compander
Soft), and DE-ESSER. An output channel’s DYNAMICS section 1 provides the following four types:
COMPRESSOR, EXPANDER, COMPANDER-H (Compander Hard), and COMPANDER-S (Compander
Soft).
■ GATE • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
A gate attenuates signals below a set THRESHOLD level by a specified amount (RANGE).
Parameter
THRESHOLD (dB)
RANGE (dB)
Range
–54 to 0 (55 points)
Description
This determines the level at which the gate effect is applied.
This determines the amount of attenuation when the gate closes.
–∞, –69 to 0 (71 points)
This determines how fast the gate opens when the signal exceeds the threshold
level.
ATTACK (ms)
HOLD (ms)
DECAY (ms)
0–120 (121 points)
44.1kHz: 0.02 ms – 2.13 sec
This determines how long the gate stays open once the trigger signal has fallen
48kHz: 0.02 ms – 1.96 sec (160 points) below the threshold.
44.1kHz: 6 ms – 46.0 sec
48kHz: 5 ms – 42.3 sec (160 points)
This determines how fast the gate closes once the hold time has expired. The value
is expressed as the duration required for the level to change by 6 dB.
• I/O Characteristics
• Time Series Analysis
Input Signal
Output Signal
HOLD
DECAY
THRESHOLD
ATTACK
THRESHOLD
RANGE
RANGE
Input Level
Time
Time
■ DUCKING • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Ducking is commonly used for voice-over applications in which the background music level is reduced automatically when an
announcer speaks. When the KEY IN source signal level exceeds the specified THRESHOLD, the output level is attenuated by a
specified amount (RANGE).
Parameter
THRESHOLD (dB)
RANGE (dB)
Range
–54 to 0 (55 points)
Description
This determines the level of trigger signal (KEY IN) required to activate ducking.
This determines the amount of attenuation when ducking is activated.
This determines how soon the signal is ducked once the ducker has been triggered.
This determines how long ducking remains active once the trigger signal has fallen
–70 to 0 (71 points)
ATTACK (ms)
0–120 (121 points)
44.1kHz: 0.02 ms – 2.13 sec
48kHz: 0.02 ms – 1.96 sec (160 points) below the THRESHOLD level.
HOLD (ms)
This determines how soon the ducker returns to its normal gain once the trigger sig-
nal level drops below the threshold. The value is expressed as the duration required
for the level to change by 6 dB.
44.1kHz: 6 ms – 46.0 sec
48kHz: 5 ms – 42.3 sec (160 points)
DECAY (ms)
• I/O Characteristics
• Time Series Analysis
Input Signal
Output Signal
HOLD
DECAY
THRESHOLD
ATTACK
THRESHOLD
RANGE
RANGE
Input Level
Time
Time
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Dynamics Parameters
■ COMPRESSOR• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
The COMP processor attenuates signals above a specified THRESHOLD by a specified RATIO. The COMP processor can also
be used as a limiter, which, with a RATIO of ∞:1, reduces the level to the threshold. This means that the limiter’s output level
never actually exceeds the threshold.
Parameter
Range
–54 to 0 (55 points)
Description
THRESHOLD (dB)
This determines the level of input signal required to trigger the compressor.
1.0:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2.0:1,
2.5:1, 3.0:1, 3.5:1, 4.0:1, 5.0:1, 6.0:1,
8.0:1, 10:1, 20:1, ∞:1 (16 points)
This determines the amount of compression, that is, the change in output signal
level relative to change in input signal level.
RATIO
This determines how soon the signal will be compressed once the compressor has
been triggered.
ATTACK (ms)
0–120 (121 points)
This determines how soon the compressor returns to its normal gain once the trigger
signal level drops below the threshold. The value is expressed as the duration
required for the level to change by 6 dB.
44.1kHz: 6 ms – 46.0 sec
RELEASE (ms)
OUT GAIN (dB)
KNEE
48kHz: 5 ms – 42.3 sec (160 points)
0.0 to +18.0 (181 points)
Hard, 1–5 (6 points)
This sets the compressor’s output signal level.
This determines how compression is applied at the threshold. For higher knee set-
tings, compression is applied gradually as the signal exceeds the specified threshold,
creating a more natural sound.
• I/O Characteristics
(KNEE= hard, OUT GAIN=0.0dB)
• Time Series Analysis (RATIO= ∞:1)
Input signal
Output Signal
ATTACK RELEASE
THRESHOLD
RATIO
THRESHOLD
Input Level
Time
Time
■ EXPANDER • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
An expander attenuates signals below a specified THRESHOLD by a specified RATIO.
Parameter
Range
–54 to 0 (55 points)
1.0:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2.0:1,
Description
THRESHOLD (dB)
This determines the level of input signal required to trigger the expander.
RATIO
2.5:1, 3.0:1, 3.5:1, 4.0:1, 5.0:1, 6.0:1, This determines the amount of expansion.
8.0:1, 10:1, 20:1, ∞:1 (16 points)
This determines how soon the expander returns to its normal gain once the trigger
signal level exceeds the threshold.
ATTACK (ms)
0–120 (121 points)
This determines how soon the signal is expanded once the signal level drops below
the threshold. The value is expressed as the duration required for the level to change
by 6 dB.
44.1kHz: 6 ms – 46.0 sec
RELEASE (ms)
OUT GAIN (dB)
KNEE
48kHz: 5 ms – 42.3 sec (160 points)
0.0 to +18.0 (181 points)
Hard, 1–5 (6 points)
This sets the expander’s output signal level.
This determines how expansion is applied at the threshold. For higher knee settings,
expansion is applied gradually as the signal falls below the specified threshold, creat-
ing a more natural sound.
• I/O Characteristics
(KNEE= hard, OUT GAIN= 0.0dB)
• Time Series Analysis (RATIO= ∞:1)
Input Signal
Output Signal
ATTACK RELEASE
THRESHOLD
THRESHOLD
Input Level
Time
Time
RATIO
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Dynamics Parameters
■ COMPANDER HARD (COMPANDER-H), COMPANDER SOFT (COMPANDER-S)• • • • • • • • • • • • • • • • • • • •
The hard and soft companders combine the effects of the compressor, expander and limiter.
THRESHOLD
Input Level
0dB
WIDTH
The companders function differently at the following levels:
1 0 dB and higher . . . . . . . . . . . . . . . . . . Functions as a limiter.
2 Exceeding the threshold . . . . . . . . . . Functions as a compressor.
3 Below the threshold and width . . . . Functions as an expander.
The hard compander has an expansion ratio of 5:1, while the soft compander has an expansion ratio of 1.5:1. The expander is
essentially turned off when the width is set to maximum. The compressor has a fixed knee setting of 2.
* The gain is automatically adjusted according to the ratio and threshold values, and can be increased by up to 18 dB.
* The OUT GAIN parameter enables you to compensate for the overall level change caused by the compression and expan-
sion processes.
Parameter
Range
–54 to 0 (55 points)
1.0:1, 1.1:1, 1.3:1, 1.5:1, 1.7:1, 2.0:1,
2.5:1, 3.0:1, 3.5:1, 4.0:1, 5.0:1, 6.0:1, This determines the amount of compression.
8.0:1, 10:1, 20:1 (15 points)
Description
THRESHOLD (dB)
This determines the level at which compression is applied.
RATIO
This determines how soon the signal is compressed or expanded once the com-
ATTACK (ms)
RELEASE (ms)
0–120 (121 points)
pander has been triggered.
This determines how soon the compressor or expander returns to the normal gain
once the trigger signal level drops below or exceeds the threshold respectively. The
value is expressed as the duration required for the level to change by 6 dB.
44.1kHz: 6 ms – 46.0 sec
48kHz: 5 ms – 42.3 sec (160 points)
OUT GAIN (dB)
WIDTH (dB)
–18.0 to 0.0 (181 points)
1–90 (90 points)
This sets the compander’s output signal level.
This determines how far below the threshold expansion will be applied. The
expander is activated when the level drops below the threshold and width.
■ DE-ESSER • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
This detects and compresses only the sibilants and other high-frequency consonants of the vocal.
Parameter
THRESHOLD
FREQUENCY
Range
–54 to 0 (55 points)
1kHz – 12.5kHz (45 points)
Description
Threshold level at which the de-esser effect applies.
Cutoff frequency of the HPF used to detect the high frequencies.
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Effect Type List
Effect Type List
Title
Type
Description
Title
Type
Description
Concert hall reverberation simula-
tion with gate
Rev→Chorus
Rev+Flange
Rev→Flange
REV→CHORUS
REV+FLANGE
REV→FLANGE
Reverb and chorus in series
Reverb and flanger in parallel
Reverb and flanger in series
Reverb and symphonic in parallel
Reverb Hall
REVERB HALL
Room reverberation simulation
with gate
Reverb Room REVERB ROOM
Rev+Sympho. REV+SYMPHO.
Reverb designed for vocals, with
gate
Reverb Stage
Reverb Plate
Early Ref.
REVERB STAGE
REVERB PLATE
EARLY REF.
Rev→Sympho. REV→SYMPHO. Reverb and symphonic in series
Rev→Pan
REV→PAN
Reverb and auto-pan in series
Plate reverb simulation with gate
Delay and early reflections in par-
allel
Early reflections without the sub-
sequent reverb
Delay+Er.
DELAY+ER.
Delay and early reflections in
series
Gate Reverb
Reverse Gate
Mono Delay
Stereo Delay
GATE REVERB
REVERSE GATE
MONO DELAY
STEREO DELAY
Gated early reflections
Gated reverse early reflections
Simple mono delay
Delay→Er.
DELAY→ER.
Delay+Rev
Delay→Rev
Dist→Delay
DELAY+REV
DELAY→REV
DIST→DELAY
Delay and reverb in parallel
Delay and reverb in series
Distortion and delay in series
Simple stereo delay
Simple repeat delay with modula-
tion
Mod.Delay
Delay LCR
Echo
MOD.DELAY
DELAY LCR
ECHO
3-band parallel filter (24 dB/
octave)
Multi Filter
MULTI FILTER
3-tap (left, center, right) delay
Freeze
FREEZE
Simple sampler
Stereo reverb
Stereo delay with crossed left/
right feedback
Stereo Reverb ST REVERB
M.Band Dyna. M.BAND DYNA. Multi-band dynamics processor
M.Band Comp M.BAND COMP Multi-band compressor
Chorus
Flange
CHORUS
FLANGE
Chorus
Flanger
Proprietary Yamaha effect that
produces a richer and more com-
plex modulation than normal
chorus
New reverb algorithm that deliv-
REV-X Hall
REV-X Room
REV-X Plate
REV-X HALL
REV-X ROOM
REV-X PLATE
ers dense and rich reverberation,
smooth decay, and provides a
spaciousness and depth that
enhances the original sound.
Choose from three types depend-
ing on your location and needs;
REV-X HALL, REV-X ROOM, and
REV-X PLATE.
Symphonic
SYMPHONIC
Phaser
PHASER
16-stage stereo phase shifter
Auto-panner
Auto Pan
Tremolo
AUTO PAN
TREMOLO
Tremolo
Mono pitch shifter, producing
stable results
HQ. Pitch
HQ.PITCH
Dual Pitch
Rotary
DUAL PITCH
ROTARY
Stereo pitch shifter
Rotary speaker simulation
Ring modulator
Ring Mod.
Mod.Filter
Distortion
RING MOD.
MOD.FILTER
DISTORTION
Modulated filter
Distortion
Amp Simulate AMP SIMULATE Guitar amp simulation
Dyna.Filter
DYNA.FILTER
Dynamically controlled filter
Dynamically controlled flanger
Dyna.Flange
DYNA.FLANGE
Dynamically controlled phase
shifter
Dyna.Phaser
Rev+Chorus
DYNA.PHASER
REV+CHORUS
Reverb and chorus in parallel
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Effects Parameters
Effects Parameters
■ REVERB HALL, REVERB ROOM, REVERB STAGE,
■ GATE REVERB, REVERSE GATE
One input, two output early reflections with gate, and early
reflections with reverse gate.
REVERB PLATE
One input, two output hall, room, stage, and plate reverb
simulations, all with gates.
Parameter
TYPE
Range
Description
Type of early reflection simulation
Reflection spacing
Type-A, Type-B
Parameter
REV TIME
Range
0.3–99.0 s
Description
Reverb time
ROOMSIZE 0.1–20.0
Early reflections decay characteris-
tics (0 = dead, 10 = live)
Initial delay before reverb
begins
LIVENESS
INI. DLY
DIFF.
0–10
INI. DLY
0.0–500.0 ms
0.1–1.0
0.0–500.0 ms
0–10
Initial delay before reverb begins
High-frequency reverb time
ratio
HI. RATIO
Reflection diffusion (left–right
reflection spread)
Low-frequency reverb time
ratio
LO. RATIO 0.1–2.4
DENSITY
HI. RATIO
ER NUM.
FB GAIN
0–100%
0.1–1.0
Reflection density
High-frequency feedback ratio
Number of early reflections
Feedback gain
Reverb diffusion (left–right
reverb spread)
DIFF.
0–10
1–19
DENSITY
E/R DLY
0–100%
0.0–100.0 ms
Reverb density
–99 to +99%
Delay between early reflec-
tions and reverb
THRU, 21.2 Hz–
8.00 kHz
HPF
LPF
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
Balance of early reflections
and reverb
(0% = all reverb, 100% = all
early reflections)
50.0 Hz–16.0 kHz,
THRU
E/R BAL.
0–100%
■ MONO DELAY
High-pass filter cutoff fre-
quency
HPF
LPF
THRU, 21.2 Hz–8.00 kHz
50.0 Hz–16.0 kHz, THRU
One input, one output basic repeat delay.
Low-pass filter cutoff fre-
quency
Parameter
DELAY
Range
Description
GATE LVL
ATTACK
HOLD
OFF, –60 to 0 dB
0–120 ms
*1
Level at which gate kicks in
Gate opening speed
Gate open time
0.0–2730.0 ms
Delay time
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feedback)
FB. GAIN
–99 to +99%
0.1–1.0
*2
DECAY
Gate closing speed
HI. RATIO
HPF
High-frequency feedback ratio
*1. 0.02 ms–2.13 s (fs=44.1 kHz), 0.02 ms–1.96 s (fs=48 kHz)
*2. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)
THRU, 21.2 Hz–
8.00 kHz
High-pass filter cutoff frequency
50.0 Hz–16.0 kHz,
THRU
LPF
Low-pass filter cutoff frequency
Tempo parameter sync on/off
■ EARLY REF.
SYNC
NOTE
OFF/ON
One input, two output early reflections.
Used in conjunction with TEMPO
to determine DELAY
*1
Parameter
TYPE
Range
Description
*1.
S-Hall, L-Hall, Random,
Revers, Plate, Spring
Type of early reflection sim-
ulation
(Max. value depends on tempo setting)
ROOMSIZE 0.1–20.0
Reflection spacing
Early reflections decay char-
acteristics (0 = dead, 10 =
live)
■ STEREO DELAY
Two input, two output basic stereo delay.
LIVENESS
0–10
Initial delay before reverb
begins
Parameter
DELAY L
Range
Description
Left channel delay time
Right channel delay time
INI. DLY
DIFF.
0.0–500.0 ms
0–10
0.0–1350.0 ms
0.0–1350.0 ms
Reflection diffusion (left–
right reflection spread)
DELAY R
Left channel feedback (plus values
for normal-phase feedback, minus
values for reverse-phase feedback)
DENSITY
ER NUM.
FB GAIN
0–100%
1–19
Reflection density
FB. G L
FB. G R
–99 to +99%
Number of early reflections
Feedback gain
–99 to +99%
Right channel feedback (plus val-
ues for normal-phase feedback,
minus values for reverse-phase
feedback)
High-frequency feedback
ratio
HI. RATIO
HPF
0.1–1.0
–99 to +99%
0.1–1.0
High-pass filter cutoff fre-
quency
THRU, 21.2 Hz–8.00 kHz
50.0 Hz–16.0 kHz, THRU
HI. RATIO
HPF
High-frequency feedback ratio
Low-pass filter cutoff fre-
quency
THRU, 21.2 Hz–
8.00 kHz
LPF
High-pass filter cutoff frequency
50.0 Hz–16.0 kHz,
THRU
LPF
Low-pass filter cutoff frequency
Tempo parameter sync on/off
SYNC
NOTE L
OFF/ON
Used in conjunction with TEMPO
to determine left channel DELAY
*1
Used in conjunction with TEMPO
to determine right channel DELAY
*1
NOTE R
*1.
(Maximum value depends on the tempo setting)
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Effects Parameters
■ MOD. DELAY
■ ECHO
One input, two output basic repeat delay with modulation.
Two input, two output stereo delay with crossed feedback
loop.
Parameter
DELAY
Range
Description
0.0–2725.0 ms
Delay time
Parameter
DELAY L
DELAY R
FB.DLY L
FB.DLY R
Range
Description
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feedback)
0.0–1350.0 ms
0.0–1350.0 ms
0.0–1350.0 ms
0.0–1350.0 ms
Left channel delay time
FB. GAIN
–99 to +99%
Right channel delay time
Left channel feedback delay time
Right channel feedback delay time
HI. RATIO
FREQ.
0.1–1.0
High-frequency feedback ratio
Modulation speed
0.05–40.00 Hz
0–100%
Left channel feedback gain (plus
values for normal-phase feedback,
minus values for reverse-phase
feedback)
DEPTH
WAVE
Modulation depth
FB. G L
–99 to +99%
–99 to +99%
–99 to +99%
Sine/Tri
Modulation waveform
THRU, 21.2 Hz–
8.00 kHz
HPF
High-pass filter cutoff frequency
Right channel feedback gain (plus
values for normal-phase feedback,
minus values for reverse-phase
feedback)
50.0 Hz–16.0 kHz,
THRU
FB. G R
LPF
Low-pass filter cutoff frequency
Tempo parameter sync on/off
SYNC
OFF/ON
Left to right channel feedback
gain (plus values for normal-phase
feedback, minus values for
reverse-phase feedback)
Used in conjunction with TEMPO
to determine DELAY
*1
DLY.NOTE
L→R FBG
R→L FBG
Used in conjunction with TEMPO
to determine FREQ
*2
MOD.NOTE
Right to left channel feedback
gain (plus values for normal-phase
feedback, minus values for
reverse-phase feedback)
*1.
*2.
–99 to +99%
0.1–1.0
(Maximum value depends on the tempo setting)
HI. RATIO
HPF
High-frequency feedback ratio
THRU, 21.2 Hz–
8.00 kHz
High-pass filter cutoff frequency
■ DELAY LCR
One input, two output 3-tap delay (left, center, right).
50.0 Hz–16.0 kHz,
THRU
LPF
Low-pass filter cutoff frequency
Tempo parameter sync on/off
Parameter
DELAY L
DELAY C
DELAY R
FB. DLY
LEVEL L
LEVEL C
LEVEL R
Range
Description
Left channel delay time
Center channel delay time
Right channel delay time
Feedback delay time
SYNC
NOTE L
OFF/ON
0.0–2730.0 ms
0.0–2730.0 ms
0.0–2730.0 ms
0.0–2730.0 ms
–100 to +100%
–100 to +100%
–100 to +100%
Used in conjunction with TEMPO
to determine DELAY L
*1
Used in conjunction with TEMPO
to determine DELAY R
*1
*1
*1
NOTE R
Used in conjunction with TEMPO
to determine FB. D L
NOTE FBL
NOTE FBR
Left channel delay level
Center channel delay level
Right channel delay level
Used in conjunction with TEMPO
to determine FB. D R
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feedback)
*1.
FB. GAIN
–99 to +99%
0.1–1.0
(Maximum value depends on the tempo setting)
HI. RATIO
HPF
High-frequency feedback ratio
■ CHORUS
Two input, two output chorus effect.
THRU, 21.2 Hz–
8.00 kHz
High-pass filter cutoff frequency
50.0 Hz–16.0 kHz,
THRU
LPF
Low-pass filter cutoff frequency
Tempo parameter sync on/off
Parameter
FREQ.
Range
Description
Modulation speed
SYNC
NOTE L
OFF/ON
0.05–40.00 Hz
Used in conjunction with TEMPO
to determine DELAY L
AM DEPTH 0–100%
PM DEPTH 0–100%
MOD. DLY 0.0–500.0 ms
Amplitude modulation depth
Pitch modulation depth
Modulation delay time
*1
Used in conjunction with TEMPO
to determine DELAY C
*1
*1
*1
NOTE C
NOTE R
NOTE FB
WAVE
SYNC
Sine, Tri
OFF/ON
Modulation waveform
Used in conjunction with TEMPO
to determine DELAY R
Tempo parameter sync on/off
Used in conjunction with TEMPO
to determine FREQ.
Used in conjunction with TEMPO
to determine FB. DLY
*1
NOTE
LSH F
LSH G
EQ F
21.2 Hz–8.00 kHz Low shelving filter frequency
–12.0 to +12.0 dB Low shelving filter gain
*1.
(Maximum value depends on the tempo setting)
100 Hz–8.00 kHz
–12.0 to +12.0 dB EQ (peaking type) gain
10.0–0.10 EQ (peaking type) bandwidth
EQ (peaking type) frequency
EQ G
EQ Q
HSH F
HSH G
50.0 Hz–16.0 kHz High shelving filter frequency
–12.0 to +12.0 dB High shelving filter gain
*1.
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Effects Parameters
■ FLANGE
Two input, two output flange effect.
■ PHASER
Two input, two output 16-stage phaser.
Parameter
FREQ.
Range
0.05–40.00 Hz
0–100%
Description
Modulation speed
Parameter
FREQ.
Range
0.05–40.00 Hz
0–100%
Description
Modulation speed
DEPTH
Modulation depth
DEPTH
Modulation depth
MOD. DLY 0.0–500.0 ms
Modulation delay time
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feedback)
FB. GAIN
–99 to +99%
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feedback)
FB. GAIN
–99 to +99%
Lowest phase-shifted frequency
offset
OFFSET
PHASE
0–100
WAVE
SYNC
Sine, Tri
OFF/ON
Modulation waveform
0.00–354.38
degrees
Left and right modulation phase
balance
Tempo parameter sync on/off
Used in conjunction with TEMPO
to determine FREQ.
*1
NOTE
2, 4, 6, 8, 10, 12,
14, 16
STAGE
SYNC
NOTE
Number of phase shift stages
Tempo parameter sync on/off
LSH F
LSH G
EQ F
21.2 Hz–8.00 kHz Low shelving filter frequency
–12.0 to +12.0 dB Low shelving filter gain
OFF/ON
Used in conjunction with TEMPO
to determine FREQ.
*1
100 Hz–8.00 kHz
–12.0 to +12.0 dB EQ (peaking type) gain
10.0–0.10 EQ (peaking type) bandwidth
EQ (peaking type) frequency
EQ G
EQ Q
HSH F
HSH G
LSH F
LSH G
HSH F
HSH G
21.2 Hz–8.00 kHz Low shelving filter frequency
–12.0 to +12.0 dB Low shelving filter gain
50.0 Hz–16.0 kHz High shelving filter frequency
–12.0 to +12.0 dB High shelving filter gain
50.0 Hz–16.0 kHz High shelving filter frequency
–12.0 to +12.0 dB High shelving filter gain
*1.
*1.
■ SYMPHONIC
Two input, two output symphonic effect.
■ AUTOPAN
Two input, two output autopanner.
Parameter
FREQ.
Range
0.05–40.00 Hz
0–100%
Description
Modulation speed
Parameter
FREQ.
Range
0.05–40.00 Hz
0–100%
Description
Modulation speed
DEPTH
Modulation depth
DEPTH
DIR.
Modulation depth
MOD. DLY 0.0–500.0 ms
Modulation delay time
Modulation waveform
Tempo parameter sync on/off
*1
Panning direction
WAVE
SYNC
Sine, Tri
OFF/ON
WAVE
Sine, Tri, Square
OFF/ON
Modulation waveform
Tempo parameter sync on/off
SYNC
Used in conjunction with TEMPO
to determine FREQ.
*1
Used in conjunction with TEMPO
to determine FREQ.
NOTE
*2
NOTE
LSH F
LSH G
EQ F
21.2 Hz–8.00 kHz Low shelving filter frequency
–12.0 to +12.0 dB Low shelving filter gain
LSH F
LSH G
EQ F
21.2 Hz–8.00 kHz Low shelving filter frequency
–12.0 to +12.0 dB Low shelving filter gain
100 Hz–8.00 kHz
–12.0 to +12.0 dB EQ (peaking type) gain
10.0–0.10 EQ (peaking type) bandwidth
EQ (peaking type) frequency
100 Hz–8.00 kHz
–12.0 to +12.0 dB EQ (peaking type) gain
10.0–0.10 EQ (peaking type) bandwidth
EQ (peaking type) frequency
EQ G
EQ Q
HSH F
HSH G
EQ G
EQ Q
HSH F
HSH G
50.0 Hz–16.0 kHz High shelving filter frequency
–12.0 to +12.0 dB High shelving filter gain
50.0 Hz–16.0 kHz High shelving filter frequency
–12.0 to +12.0 dB High shelving filter gain
*1.
*1. L↔R, L→R, L←R, Turn L, Turn R
*2.
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Effects Parameters
■ TREMOLO
Two input, two output tremolo effect.
■ DUAL PITCH
Two input, two output pitch shifter.
Parameter
FREQ.
Range
0.05–40.00 Hz
0–100%
Description
Modulation speed
Parameter
PITCH 1
FINE 1
Range
Description
–24 to +24 semitones Channel #1 pitch shift
DEPTH
WAVE
Modulation depth
–50 to +50 cents
–100 to +100%
Channel #1 pitch shift fine
Sine, Tri, Square
OFF/ON
Modulation waveform
Tempo parameter sync on/off
Channel #1 level (plus values
for normal phase, minus values
for reverse phase)
LEVEL 1
SYNC
Used in conjunction with TEMPO
to determine FREQ.
*1
NOTE
PAN 1
L63 to R63
Channel #1 pan
DELAY 1
0.0–1000.0 ms
Channel #1 delay time
LSH F
LSH G
EQ F
21.2 Hz–8.00 kHz Low shelving filter frequency
–12.0 to +12.0 dB Low shelving filter gain
Channel #1 feedback gain (plus
values for normal-phase feed-
back, minus values for
FB. G 1
–99 to +99%
1–10
100 Hz–8.00 kHz
–12.0 to +12.0 dB EQ (peaking type) gain
10.0–0.10 EQ (peaking type) bandwidth
EQ (peaking type) frequency
reverse-phase feedback)
EQ G
EQ Q
HSH F
HSH G
MODE
PITCH 2
FINE 2
Pitch shift precision
–24 to +24 semitones Channel #2 pitch shift
50.0 Hz–16.0 kHz High shelving filter frequency
–12.0 to +12.0 dB High shelving filter gain
–50 to +50 cents
Channel #2 pitch shift fine
Channel #2 level (plus values
for normal phase, minus values
for reverse phase)
*1.
LEVEL 2
–100 to +100%
PAN 2
L63 to R63
Channel #2 pan
■ HQ. PITCH
DELAY 2
0.0–1000.0 ms
Channel #2 delay time
One input, two output high-quality pitch shifter.
Channel #2 feedback gain (plus
values for normal-phase feed-
back, minus values for
Parameter
PITCH
Range
Description
FB. G 2
–99 to +99%
–12 to +12 semitones Pitch shift
reverse-phase feedback)
FINE
–50 to +50 cents
0.0–1000.0 ms
Pitch shift fine
Delay time
SYNC
OFF/ON
*1
Tempo parameter sync on/off
DELAY
Used in conjunction with
TEMPO to determine Channel
#1 delay
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
NOTE 1
FB. GAIN
–99 to +99%
Used in conjunction with
TEMPO to determine Channel
#2 delay
*1
NOTE 2
MODE
SYNC
1–10
Pitch shift precision
OFF/ON
Tempo parameter sync on/off
*1.
Used in conjunction with
TEMPO to determine DELAY
(Maximum value depends on the tempo setting)
*1
NOTE
*1.
■ ROTARY
(Maximum value depends on the tempo setting)
One input, two output rotary speaker simulator.
Parameter
ROTATE
Range
Description
Rotation stop, start
STOP, START
Rotation speed (see SLOW and
FAST parameters)
SPEED
SLOW, FAST
SLOW
FAST
0.05–10.00 Hz
0.05–10.00 Hz
0–100
SLOW rotation speed
FAST rotation speed
Overdrive level
DRIVE
ACCEL
LOW
0–10
Acceleration at speed changes
Low-frequency filter
High-frequency filter
0–100
HIGH
0–100
■ RING MOD.
Two input, two output ring modulator.
Parameter
SOURCE
Range
OSC, SELF
Description
Modulation source: oscillator or
input signal
OSC FREQ 0.0–5000.0 Hz
FM FREQ. 0.05–40.00 Hz
Oscillator frequency
Oscillator frequency modulation
speed
Oscillator frequency modulation
depth
FM DEPTH 0–100%
SYNC
OFF/ON
*1
Tempo parameter sync on/off
Used in conjunction with TEMPO
to determine FM FREQ
FM NOTE
*1.
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Effects Parameters
■ MOD. FILTER
Two input, two output modulation filter.
■ DYNA. FILTER
Two input, two output dynamically controlled filter.
Parameter
FREQ.
Range
0.05–40.00 Hz
0–100%
Description
Modulation speed
Parameter
SOURCE
SENSE
Range
INPUT, MIDI
0–100
Description
Control source: input signal or
MIDI Note On velocity
DEPTH
Modulation depth
Sensitivity
Left-channel modulation and
PHASE
0.00–354.38 degrees right-channel modulation
phase difference
Upward or downward frequency
change
DIR.
UP, DOWN
Filter type: low pass, high pass,
Filter frequency change decay
speed
*1
TYPE
LPF, HPF, BPF
band pass
DECAY
OFFSET
RESO.
LEVEL
SYNC
0–100
0–20
Filter frequency offset
Filter resonance
TYPE
LPF, HPF, BPF
0–100
Filter type
OFFSET
RESO.
LEVEL
Filter frequency offset
Filter resonance
Output Level
0–100
OFF/ON
Output level
0–20
Tempo parameter sync on/off
0–100
Used in conjunction with
TEMPO to determine FREQ
*1
*1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)
NOTE
*1.
■ DYNA. FLANGE
Two input, two output dynamically controlled flanger.
■ DISTORTION
One input, two output distortion effect.
Parameter
SOURCE
SENSE
Range
INPUT, MIDI
0–100
Description
Control source: input signal or
MIDI Note On velocity
Parameter
DST TYPE
Range
Description
DST1, DST2, OVD1, Distortion type (DST = distortion,
OVD2, CRUNCH
0–100
Sensitivity
OVD = overdrive)
Distortion drive
Master volume
Tone
Upward or downward frequency
change
DIR.
UP, DOWN
DRIVE
*1
MASTER
TONE
0–100
DECAY
OFFSET
Decay speed
–10 to +10
0–20
0–100
Delay time offset
N. GATE
Noise reduction
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feedback)
FB.GAIN
–99 to +99%
■ AMP SIMULATE
One input, two output guitar amp simulator.
LSH F
LSH G
EQ F
21.2 Hz–8.00 kHz Low shelving filter frequency
–12.0 to +12.0 dB Low shelving filter gain
100 Hz–8.00 kHz
–12.0 to +12.0 dB EQ (peaking type) gain
10.0–0.10 EQ (peaking type) bandwidth
EQ (peaking type) frequency
Parameter
AMP TYPE
Range
Description
EQ G
EQ Q
HSH F
HSH G
*1
Guitar amp simulation type
DST1, DST2, OVD1, Distortion type (DST = distortion,
OVD2, CRUNCH
DST TYPE
50.0 Hz–16.0 kHz High shelving filter frequency
–12.0 to +12.0 dB High shelving filter gain
OVD = overdrive)
DRIVE
MASTER
BASS
0–100
Distortion drive
0–100
Master volume
*1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)
0–100
Bass tone control
MIDDLE
TREBLE
N. GATE
CAB DEP
EQ F
0–100
Middle tone control
High tone control
0–100
0–20
Noise reduction
0–100%
Speaker cabinet simulation depth
EQ (peaking type) frequency
EQ (peaking type) gain
EQ (peaking type) bandwidth
100 Hz–8.00 kHz
–12.0 to +12.0 dB
10.0–0.10
EQ G
EQ Q
*1. STK-M1, STK-M2, THRASH, MIDBST, CMB-PG, CMB-VR, CMB-
DX, CMB-TW, MINI, FLAT
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Effects Parameters
■ DYNA. PHASER
Two input, two output dynamically controlled phaser.
■ REV→CHORUS
One input, two output reverb and chorus effects in series.
Parameter
SOURCE
SENSE
Range
INPUT, MIDI
0–100
Description
Parameter
REV TIME
INI. DLY
HI. RATIO
DIFF.
Range
0.3–99.0 s
Description
Reverb time
Control source: input signal or
MIDI Note On velocity
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Spread
Sensitivity
Upward or downward frequency
change
0–10
DIR.
UP, DOWN
*1
DENSITY
0–100%
Reverb density
DECAY
OFFSET
Decay speed
Reverb and chorused reverb bal-
ance (0% = all chorused reverb,
100% = all reverb)
Lowest phase-shifted frequency
offset
REV.BAL
HPF
0–100%
0–100
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feedback)
THRU, 21.2 Hz–
8.00 kHz
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
FB.GAIN
STAGE
–99 to +99%
50.0 Hz–16.0 kHz,
THRU
LPF
2, 4, 6, 8, 10, 12,
14, 16
Number of phase shift stages
FREQ.
0.05–40.00 Hz
Modulation speed
LSH F
LSH G
HSH F
HSH G
21.2 Hz–8.00 kHz Low shelving filter frequency
–12.0 to +12.0 dB Low shelving filter gain
50.0 Hz–16.0 kHz High shelving filter frequency
–12.0 to +12.0 dB High shelving filter gain
AM DEPTH 0–100%
PM DEPTH 0–100%
MOD. DLY 0.0–500.0 ms
Amplitude modulation depth
Pitch modulation depth
Modulation delay time
Modulation waveform
Tempo parameter sync on/off
WAVE
SYNC
Sine, Tri
OFF/ON
*1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)
Used in conjunction with TEMPO
to determine FREQ.
*1
NOTE
■ REV+CHORUS
One input, two output reverb and chorus effects in parallel.
*1.
Parameter
REV TIME
INI. DLY
HI. RATIO
DIFF.
Range
0.3–99.0 s
Description
Reverb time
■ REV+FLANGE
One input, two output reverb and flanger effects in parallel.
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Spread
Parameter
REV TIME
INI. DLY
HI. RATIO
DIFF.
Range
0.3–99.0 s
Description
Reverb time
0–10
DENSITY
0–100%
Reverb density
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Spread
Reverb and chorus balance (0% =
all reverb, 100% = all chorus)
REV/CHO
HPF
0–100%
0–10
THRU, 21.2 Hz–
8.00 kHz
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
DENSITY
0–100%
Reverb density
Reverb and flange balance (0% =
all reverb, 100% = all flange)
50.0 Hz–16.0 kHz,
THRU
REV/FLG
HPF
0–100%
LPF
THRU, 21.2 Hz–
8.00 kHz
FREQ.
0.05–40.00 Hz
Modulation speed
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
AM DEPTH 0–100%
PM DEPTH 0–100%
MOD. DLY 0.0–500.0 ms
Amplitude modulation depth
Pitch modulation depth
Modulation delay time
Modulation waveform
Tempo parameter sync on/off
50.0 Hz–16.0 kHz,
THRU
LPF
FREQ.
0.05–40.00 Hz
0–100%
Modulation speed
Modulation depth
Modulation delay time
WAVE
SYNC
Sine, Tri
OFF/ON
DEPTH
MOD. DLY 0.0–500.0 ms
Used in conjunction with TEMPO
to determine FREQ.
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feedback)
*1
NOTE
FB. GAIN
–99 to +99%
*1.
WAVE
SYNC
Sine, Tri
OFF/ON
Modulation waveform
Tempo parameter sync on/off
Used in conjunction with TEMPO
to determine FREQ.
*1
NOTE
*1.
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Effects Parameters
■ REV→FLANGE
■ REV→SYMPHO.
One input, two output reverb and flanger effects in series.
One input, two output reverb and symphonic effects in
series.
Parameter
REV TIME
INI. DLY
HI. RATIO
DIFF.
Range
0.3–99.0 s
Description
Reverb time
Parameter
REV TIME
INI. DLY
HI. RATIO
DIFF.
Range
0.3–99.0 s
Description
Reverb time
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Spread
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Spread
0–10
DENSITY
0–100%
Reverb density
0–10
Reverb and flanged reverb bal-
ance (0% = all flanged reverb,
100% = all reverb)
DENSITY
0–100%
Reverb density
REV.BAL
0–100%
Reverb and symphonic reverb bal-
ance (0% = all symphonic reverb,
100% = all reverb)
REV.BAL
0–100%
THRU, 21.2 Hz–
8.00 kHz
HPF
LPF
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
THRU, 21.2 Hz–
8.00 kHz
HPF
LPF
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
50.0 Hz–16.0 kHz,
THRU
50.0 Hz–16.0 kHz,
THRU
FREQ.
0.05–40.00 Hz
0–100%
Modulation speed
Modulation depth
Modulation delay time
DEPTH
FREQ.
0.05–40.00 Hz
0–100%
Modulation speed
MOD. DLY 0.0–500.0 ms
DEPTH
Modulation depth
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feedback)
MOD. DLY 0.0–500.0 ms
Modulation delay time
Modulation waveform
Tempo parameter sync on/off
FB. GAIN
–99 to +99%
WAVE
SYNC
Sine, Tri
OFF/ON
WAVE
SYNC
Sine, Tri
OFF/ON
Modulation waveform
Used in conjunction with TEMPO
to determine FREQ.
*1
NOTE
Tempo parameter sync on/off
Used in conjunction with TEMPO
to determine FREQ.
*1
NOTE
*1.
*1.
■ REV→PAN
This is a 1-in/2-out series-connected reverb and auto-pan
effect.
■ REV+SYMPHO.
One input, two output reverb and symphonic effects in
parallel.
Parameter
REV TIME
INI. DLY
HI. RATIO
DIFF.
Range
0.3–99.0 s
Description
Reverb time
Parameter
REV TIME
INI. DLY
HI. RATIO
DIFF.
Range
0.3–99.0 s
Description
Reverb time
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Spread
0.0–500.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Spread
0–10
DENSITY
0–100%
Reverb density
0–10
Reverb and panned reverb bal-
ance (0% = all panned reverb,
100% = all reverb)
DENSITY
0–100%
Reverb density
REV.BAL
0–100%
Reverb and symphonic balance
(0% = all reverb, 100% = all sym-
phonic)
REV/SYM
0–100%
THRU, 21.2 Hz–
8.00 kHz
HPF
LPF
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
THRU, 21.2 Hz–
8.00 kHz
50.0 Hz–16.0 kHz,
THRU
HPF
LPF
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
50.0 Hz–16.0 kHz,
THRU
FREQ.
DEPTH
DIR.
0.05–40.00 Hz
0–100%
*1
Modulation speed
Modulation depth
FREQ.
0.05–40.00 Hz
0–100%
Modulation speed
Panning direction
DEPTH
Modulation depth
WAVE
SYNC
Sine, Tri, Square
OFF/ON
Modulation waveform
Tempo parameter sync on/off
MOD. DLY 0.0–500.0 ms
Modulation delay time
Modulation waveform
Tempo parameter sync on/off
WAVE
SYNC
Sine, Tri
OFF/ON
Used in conjunction with TEMPO
to determine FREQ.
*2
NOTE
Used in conjunction with TEMPO
to determine FREQ.
*1
NOTE
*1. L↔R, L→R, L←R, Turn L, Turn R
*2.
*1.
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Effects Parameters
■ DELAY+ER.
One input, two output delay and early reflections effects in
parallel.
■ DELAY→ER.
One input, two output delay and early reflections effects in
series.
Parameter
DELAY L
DELAY R
FB. DLY
Range
Description
Left channel delay time
Right channel delay time
Feedback delay time
Parameter
DELAY L
DELAY R
FB. DLY
Range
Description
Left channel delay time
Right channel delay time
Feedback delay time
0.0–1000.0 ms
0.0–1000.0 ms
0.0–1000.0 ms
0.0–1000.0 ms
0.0–1000.0 ms
0.0–1000.0 ms
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feedback)
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feedback)
FB. GAIN
HI. RATIO
DLY/ER
–99 to +99%
0.1–1.0
FB. GAIN
HI. RATIO
DLY.BAL
–99 to +99%
0.1–1.0
High-frequency feedback ratio
High-frequency feedback ratio
Delay and early reflections bal-
ance (0% = all delay, 100% = all
early reflections)
Delay and early reflected delay
balance (0% = all early reflected
delay, 100% = all delay)
0–100%
0–100%
THRU, 21.2 Hz–
8.00 kHz
THRU, 21.2 Hz–
8.00 kHz
HPF
LPF
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
HPF
LPF
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
50.0 Hz–16.0 kHz,
THRU
50.0 Hz–16.0 kHz,
THRU
S-Hall, L-Hall, Ran-
dom, Revers, Plate, Type of early reflection simulation
Spring
S-Hall, L-Hall, Ran-
dom, Revers, Plate, Type of early reflection simulation
Spring
TYPE
TYPE
ROOMSIZE 0.1–20.0
Reflection spacing
ROOMSIZE 0.1–20.0
Reflection spacing
Early reflections decay characteris-
tics (0 = dead, 10 = live)
Early reflections decay characteris-
tics (0 = dead, 10 = live)
LIVENESS
0–10
LIVENESS
0–10
INI. DLY
DIFF.
0.0–500.0 ms
0–10
Initial delay before reverb begins
Spread
INI. DLY
DIFF.
0.0–500.0 ms
0–10
Initial delay before reverb begins
Spread
DENSITY
ER NUM.
SYNC
0–100%
1–19
Reverb density
DENSITY
ER NUM.
SYNC
0–100%
1–19
Reverb density
Number of early reflections
Tempo parameter sync on/off
Number of early reflections
Tempo parameter sync on/off
OFF/ON
OFF/ON
Used in conjunction with TEMPO
to determine left channel DELAY L
Used in conjunction with TEMPO
to determine left channel DELAY L
*1
*1
NOTE L
NOTE R
NOTE FB
NOTE L
NOTE R
NOTE FB
Used in conjunction with TEMPO
to determine right channel DELAY
R
Used in conjunction with TEMPO
to determine right channel DELAY
R
*1
*1
*1
*1
Used in conjunction with TEMPO
to determine FB. DLY
Used in conjunction with TEMPO
to determine FB. DLY
*1.
*1.
(Maximum value depends on the tempo setting)
(Maximum value depends on the tempo setting)
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Effects Parameters
■ DELAY+REV
One input, two output delay and reverb effects in parallel.
■ DELAY→REV
One input, two output delay and reverb effects in series.
Parameter
DELAY L
DELAY R
FB. DLY
Range
Description
Left channel delay time
Right channel delay time
Feedback delay time
Parameter
DELAY L
DELAY R
FB. DLY
Range
Description
Left channel delay time
Right channel delay time
Feedback delay time
0.0–1000.0 ms
0.0–1000.0 ms
0.0–1000.0 ms
0.0–1000.0 ms
0.0–1000.0 ms
0.0–1000.0 ms
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feedback)
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feedback)
FB. GAIN
–99 to +99%
FB. GAIN
DELAY HI
DLY.BAL
–99 to +99%
0.1–1.0
Delay high-frequency feedback
ratio
Delay high-frequency feedback
ratio
DELAY HI
DLY/REV
HPF
0.1–1.0
Delay and reverb balance (0% =
all delay, 100% = all reverb)
Delay and delayed reverb balance
(0% = all delayed reverb, 100% =
all delay)
0–100%
0–100%
THRU, 21.2 Hz–
8.00 kHz
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
THRU, 21.2 Hz–
8.00 kHz
HPF
LPF
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
50.0 Hz–16.0 kHz,
THRU
LPF
50.0 Hz–16.0 kHz,
THRU
REV TIME
INI. DLY
REV HI
DIFF.
0.3–99.0 s
0.0–500.0 ms
0.1–1.0
Reverb time
REV TIME
INI. DLY
REV HI
DIFF.
0.3–99.0 s
0.0–500.0 ms
0.1–1.0
Reverb time
Initial delay before reverb begins
High-frequency reverb time ratio
Spread
Initial delay before reverb begins
High-frequency reverb time ratio
Spread
0–10
0–10
DENSITY
SYNC
0–100%
OFF/ON
Reverb density
DENSITY
SYNC
0–100%
OFF/ON
Reverb density
Tempo parameter sync on/off
Tempo parameter sync on/off
Used in conjunction with TEMPO
to determine left channel DELAY L
*1
NOTE L
NOTE R
NOTE FB
Used in conjunction with TEMPO
to determine left channel DELAY L
*1
NOTE L
NOTE R
NOTE FB
Used in conjunction with TEMPO
to determine right channel DELAY
R
*1
*1
Used in conjunction with TEMPO
to determine right channel DELAY
R
*1
*1
Used in conjunction with TEMPO
to determine FB. DLY
Used in conjunction with TEMPO
to determine FB. DLY
*1.
*1.
(Maximum value depends on the tempo setting)
(Maximum value depends on the tempo setting)
■ DIST→DELAY
One input, two output distortion and delay effects in series.
Parameter
DST TYPE
Range
Description
DST1, DST2, OVD1, Distortion type (DST = distortion,
OVD2, CRUNCH
0–100
OVD = overdrive)
Distortion drive
DRIVE
MASTER
TONE
0–100
Master volume
–10 to +10
0–20
Tone control
N. GATE
SYNC
Noise reduction
OFF/ON
Tempo parameter sync on/off
Used in conjunction with TEMPO
to determine DELAY
*1
DLY.NOTE
MOD.NOT
E
Used in conjunction with TEMPO
to determine FREQ.
*2
DELAY
0.0–2725.0 ms
Delay time
Feedback gain (plus values for
normal-phase feedback, minus
values for reverse-phase feed-
back)
FB. GAIN
–99 to +99%
HI. RATIO
FREQ.
0.1–1.0
High-frequency feedback ratio
Modulation speed
0.05–40.00 Hz
0–100%
DEPTH
Modulation depth
Distortion and delay balance (0%
= all distortion, 100% = all
delayed distortion)
DLY.BAL
0–100%
*1.
*2.
(Maximum value depends on the tempo setting)
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Effects Parameters
■ MULTI FILTER
Two input, two output 3-band multi-filter (24 dB/octave).
■ STEREO REVERB
Two input, two output stereo reverb.
Parameter
TYPE 1
Range
Description
Parameter
REV TIME
Range
0.3–99.0 s
Description
Reverb time
Filter 1 type: high pass, low pass,
band pass
LPF, HPF, BPF
Hall, Room, Stage,
Plate
REV TYPE
Reverb type
FREQ. 1
LEVEL 1
RESO. 1
28.0 Hz–16.0 kHz Filter 1 frequency
0–100
0–20
Filter 1 level
INI. DLY
0.0–100.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Low-frequency reverb time ratio
Filter 1 resonance
HI. RATIO
Filter 2 type: high pass, low pass,
band pass
LO. RATIO 0.1–2.4
TYPE 2
LPF, HPF, BPF
Reverb diffusion (left–right reverb
spread)
DIFF.
0–10
FREQ. 2
LEVEL 2
RESO. 2
28.0 Hz–16.0 kHz Filter 2 frequency
0–100
0–20
Filter 2 level
DENSITY
0–100%
Reverb density
Filter 2 resonance
Balance of early reflections and
reverb (0% = all reverb, 100% =
all early reflections)
E/R BAL.
0–100%
Filter 3 type: high pass, low pass,
band pass
TYPE 3
LPF, HPF, BPF
THRU, 21.2 Hz–
8.00 kHz
FREQ. 3
LEVEL 3
RESO. 3
28.0 Hz–16.0 kHz Filter 3 frequency
HPF
LPF
High-pass filter cutoff frequency
Low-pass filter cutoff frequency
0–100
0–20
Filter 3 level
50.0 Hz–16.0 kHz,
THRU
Filter 3 resonance
■ FREEZE
■ M. BAND DYNA.
Two input, two output 3-band dynamics processor, with
individual solo and gain reduction metering for each band.
One input, two output basic sampler.
Parameter
Range
Description
In MANUAL mode, recording is
started by pressing the REC and
PLAY buttons. In INPUT mode,
Parameter
Range
Description
Low band level
LOW GAIN –96.0 to +12.0 dB
MID GAIN –96.0 to +12.0 dB
REC MODE MANUAL, INPUT Record-Ready mode is engaged by
pressing the REC button, and
Mid band level
High band level
HI. GAIN
–96.0 to +12.0 dB
actual recording is triggered by the
input signal.
For positive values, the thresh-
old of the high band is low-
ered and the threshold of the
low band is increased. For
negative values, the opposite
will occur. When set to 0, all
three bands are affected the
same.
Recording delay. For plus values,
recording starts after the trigger is
received. For minus values, record-
ing starts before the trigger is
received.
–1000 to +1000
PRESENCE –10 to +10
REC DLY
ms
In MOMENT mode, the sample
plays only while the that the PLAY
button is pressed. In CONT mode,
playback continues once the PLAY
button has been pressed. The
number of times the sample plays
is set using the LOOP NUM param-
eter. In INPUT mode, playback is
triggered by the input signal.
L–M XOVR 21.2 Hz–8.00 kHz
M–H XOVR 21.2 Hz–8.00 kHz
Low/mid crossover frequency
Mid/high crossover frequency
Filter slope
MOMENT,
CONTI., INPUT
PLY MODE
TRG LVL
SLOPE
–6 dB, –12 dB
Specifies the maximum output
level
CEILING
–6.0 dB to 0.0 dB, OFF
CMP. THRE –24.0 dB to 0.0 dB
Compressor threshold
Compressor ratio
Compressor attack
Compressor release time
Compressor knee
Compressor bypass
Lookup delay
CMP. RAT
CMP. ATK
CMP. REL
1:1 to 20:1
0–120 ms
*1
Input trigger level (i.e., the signal
level required to trigger recording
or playback)
–60 to 0 dB
Once playback has been triggered,
subsequent triggers are ignored for
the duration of the TRG MASK
time.
CMP. KNEE 0–5
TRG MASK 0–1000 ms
CMP. BYP
LOOKUP
OFF/ON
0.0–100.0 ms
*1
START
Playback start point in milliseconds
Playback end point in milliseconds
Loop start point in milliseconds
EXP. THRE –54.0 dB to –24.0 dB
Expander threshold
Expander ratio
*1
*1
END
EXP. RAT
EXP. REL
EXP. BYP
1:1 to ∞:1
LOOP
*1
Expander release time
Expander bypass
Limiter threshold
Limiter attack
LOOP
NUM
OFF/ON
0–100
Number of times the sample plays
Playback pitch shift
LIM. THRE –12.0 dB to 0.0 dB
–12 to +12 semi-
tones
PITCH
FINE
LIM. ATK
LIM. REL
0–120 ms
*1
Limiter release time
Limiter knee
–50 to +50 cents Playback pitch shift fine
LIM. KNEE 0–5
LIM. BYP OFF/ON
PLAY button can be triggered by
using MIDI Note on/off messages.
MIDI TRG OFF, C1–C6, ALL
Limiter bypass
START
*1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)
0–131000
[SAMPLE]
Playback start point in samples
Playback end point in samples
Loop start point in samples
END
0–131000
[SAMPLE]
LOOP
0–131000
[SAMPLE]
*1. 0.0–5941.0 ms (fs=44.1 kHz), 0.0 ms–5458.3 ms (fs=48 kHz)
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Effects Parameters
■ M.BAND COMP
Two input, two output 3-band compressor, with individ-
ual solo and gain reduction metering for each band.
Parameter
Range
Description
Low band level
LOW GAIN –96.0 to +12.0 dB
MID GAIN –96.0 to +12.0 dB
Mid band level
HI. GAIN
–96.0 to +12.0 dB
High band level
L-M XOVR 21.2 Hz–8.00 kHz
M-H XOVR 21.2 Hz–8.00 kHz
Low/mid crossover frequency
Mid/high crossover frequency
Filter slope
SLOPE
–6 dB, –12 dB
Specifies the maximum output
level
CEILING
LOOKUP
–6.0 dB to 0.0 dB, OFF
0.0–100.0 ms
Lookup delay
LOW THRE –54.0 dB to 0.0 dB
MID THRE –54.0 dB to 0.0 dB
Low band threshold level
Mid band threshold level
High band threshold level
Compression ratio
HI. THRE
RATIO
–54.0 dB to 0.0 dB
1:1 to 20:1
0–120 ms
*1
ATTACK
RELEASE
KNEE
Compressor attack time
Compressor release time
Compressor knee
0–5
BYPASS
OFF/ON
Bypasses the compressor
*1. 6.0 ms–46.0 s (fs=44.1 kHz), 5.0 ms–42.3 s (fs=48 kHz)
■ REV-X HALL, REV-X ROOM, REV-X PLATE
Newly-developed two input, two output reverb algorithm.
Delivers dense and rich reverberation, smooth decay, and
provides a spaciousness and depth that enhances the origi-
nal sound. Choose from three types depending on your
location and needs; REV-X HALL, REV-X ROOM, and
REV-X PLATE.
Parameter
REV TIME
INI. DLY
Range
Description
Reverb time
0.28–27.94 s*1
0.0–120.0 ms
0.1–1.0
Initial delay before reverb begins
High-frequency reverb time ratio
Low-frequency reverb time ratio
HI. RATIO
LO. RATIO 0.1–2.4
Frequency point for LO.RATIO set-
ting
LO.FREQ
DIFF.
22.0 Hz–18.0 kHz
Reverb diffusion (left–right reverb
spread)
0–10
ROOM
SIZE
0–28
0–53
Size of room
DECAY
Gate closing speed
THRU, 22.0 Hz–
8.00 kHz
HPF
High-pass filter cutoff frequency
1.00 kHz–
18.0 kHz, THRU
LPF
Low-pass filter cutoff frequency
*1. These values are for when the effect type is REV-X HALL and the
ROOM SIZE=28. The range will differ depending on the effect type
and ROOM SIZE setting.
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Effects and tempo synchronization
Effects and tempo synchronization
Some of the LS9’s effects allow you to synchronize the effect with the tempo. There are two such types
of effect; delay-type effects and modulation-type effects. For delay-type effects, the delay time will
change according to the tempo. For modulation-type effects, the frequency of the modulation signal will
change according to the tempo.
• Parameters related to tempo synchronization
The following five parameters are related to tempo synchronization.
1) SYNC 2) NOTE 3) TEMPO 4) DELAY 5) FREQ.
SYNC:.............................This is the on/off switch for tempo synchronization.
NOTE and TEMPO: .....These are the basic parameters for tempo synchronization.
DELAY and FREQ.:.......DELAY is the delay time, and FREQ. is the frequency of the modulation signal. These directly affect the
way in which the effect sound will change. DELAY is relevant only for delay-type effects, and FREQ. is
relevant only for modulation-type effects.
• How the parameters are related
Tempo synchronization uses TEMPO and NOTE to calculate a value that will be the basis for the tempo, and continues making
adjustments so that this tempo basis stays essentially the same as the DELAY (or FREQ.). This means that when TEMPO, NOTE, and
DELAY (or FREQ.) are synchronized, and you change any of these values, the other parameters will be re-set in order to maintain the
correct relationship. The parameters that are re-set and the calculation method(*a) used are as follows.
If you turn SYNC on → NOTE will be set
If you edit NOTE → DELAY (or FREQ.) will be set
In this case, the DELAY (or FREQ.) value is calculated as follows.
DELAY (or FREQ.) = NOTE x 4 x (60/TEMPO)
If you edit TEMPO → DELAY (or FREQ.) will be set
In this case, the DELAY (or FREQ.) value is calculated as follows.
DELAY (or FREQ.) = original DELAY (or FREQ.) x (previous TEMPO/new TEMPO)
Example 1: When SYNC=ON, DELAY=250 ms, TEMPO=120, you change NOTE from 8th note to quarter note
DELAY= new NOTE x 4 x (60/TEMPO)
= (1/4) x 4 x (60/120)
= 0.5 (sec)
= 500 ms
Thus, the DELAY will change from 250 ms to 500 ms.
Example 2: When SYNC=ON, DELAY=250 ms, NOTE=8th note, you change TEMPO from 120 to 121
DELAY= original DELAY x (previous TEMPO/new TEMPO)
= 250 x (120/121)
= 247.9 (ms)
Thus, the TEMPO will change from 250 ms to 247.9 ms.
*a Rounded values are used for the calculation results.
• Ranges of the NOTE and TEMPO values
The ranges of the NOTE and TEMPO values are limited by the ranges of the DELAY or FREQ. values. You cannot set NOTE or
TEMPO values that would cause DELAY or FREQ. to exceed their maximum possible values when synchronized to tempo. This lim-
itation also applies even when SYNC is OFF.
• Special characteristics of the TEMPO parameter
The TEMPO parameter has the following characteristics that are unlike other parameters.
• It is a common value shared by all effects
• You cannot stored it to or recall it from the Effects Library. (You can store it to and recall it from a Scene.)
This means that the TEMPO value may not necessarily be the same when an effect is recalled as when that effect was stored. Here is
an example.
Store the effect: TEMPO=120 → Change TEMPO to 60 → Recall the effect: TEMPO=60
Normally when you change the TEMPO, the DELAY (or FREQ.) will be re-set accordingly. However if the DELAY (or FREQ.) were
changed, the effect would sound differently when recalled than when it was stored. To prevent the effect from changing in this way
between store and recall, the LS9 does not update the DELAY (or FREQ.) value when an effect is recalled, even if the TEMPO is no
longer the same as when that effect was stored.
* The NOTE parameter is calculated based on the following values.
= 1/48
= 3/16
= 1/24
= 1/4
= 1/16
= 3/8
= 1/12
= 1/2
= 3/32
= 3/4
= 1/8
= 1/1
= 1/6
= 2/1
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Scene Memory/Effect Library to Program Change Table
Scene Memory/Effect Library to Program Change Table
■ Preset Bank/Ch# 1
■ Preset Bank/Ch# 2
Program Scene/
Program
Change#
Scene/
Effect
Program Scene/
Program
Change#
Scene/
Effect
Preset#
Preset#
Preset#
Preset#
Change#
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Effect
Change#
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Effect
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
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228
229
230
231
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234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
Scene
Scene
Scene
Scene
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Scene Memory/Effect Library to Program Change Table
■ Preset Bank/Ch# 3
■ Preset Bank/Ch# 4
Program Scene/
Program
Change#
Scene/
Effect
Program Scene/
Program
Change#
Scene/
Effect
Preset#
Preset#
Preset#
Preset#
Change#
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Effect
Change#
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
Effect
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
000
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
Scene
No Assign
No Assign
No Assign
No Assign
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Scene Memory/Effect Library to Program Change Table
■ Preset Bank/Ch# 5
■ Preset Bank/Ch# 13
Program Change#
Scene/Effect
Preset#
Preset#
Preset#
Preset#
Program Change#
Scene/Effect
Preset#
Preset#
Preset#
Preset#
001
002
003
:
001
002
003
:
No Assign
No Assign
No Assign
No Assign
No Assign
No Assign
No Assign
No Assign
128
128
■ Preset Bank/Ch# 6
■ Preset Bank/Ch# 14
Program Change#
Scene/Effect
Program Change#
Scene/Effect
001
002
003
:
001
002
003
:
128
128
■ Preset Bank/Ch# 7
■ Preset Bank/Ch# 15
Program Change#
Scene/Effect
Program Change#
Scene/Effect
001
002
003
:
001
002
003
:
128
128
■ Preset Bank/Ch# 8
■ Preset Bank/Ch# 16
Program Change#
Scene/Effect
Program Change#
Scene/Effect
001
002
003
:
001
002
003
:
128
128
■ Preset Bank/Ch# 9
Program Change#
Scene/Effect
Preset#
001
002
003
:
001
002
003
:
RACK5
128
128
■ Preset Bank/Ch# 10
Program Change#
Scene/Effect
Preset#
001
002
003
:
001
002
003
:
RACK6
128
128
■ Preset Bank/Ch# 11
Program Change#
Scene/Effect
Preset#
001
002
003
:
001
002
003
:
RACK7
128
128
■ Preset Bank/Ch# 12
Program Change#
Scene/Effect
Preset#
001
002
003
:
001
002
003
:
RACK8
128
128
247
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Scene Memory/Effect Library to Program Change Table
■ Bank/Ch#
Program
Change#
Scene/
Effect
Program
Change#
Scene/
Effect
Program
Change#
Scene/
Effect
User#
User#
User#
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
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Parameters that can be assigned to control changes
Parameters that can be assigned to control changes
Mode
Parameter 1
Parameter 2
Mode
Parameter 1
Parameter 2
NO ASSIGN
—
0
ON
CH 1–CH 32{64}
STIN1L–STIN4R
LOW Q
INPUT
LOW F
FADER H
FADER L
CH ON
MIX 1–MIX 16
MATRIX 1–MATRIX 8 STE-
REO L–MONO(C)
LOW G
OUTPUT
INPUT
LOW MID Q
LOW MID F
LOW MID G
HIGH MID Q
HIGH MID F
HIGH MID G
HIGH Q
CH 1–CH 32{64}
STIN1L–STIN4R
MIX 1–MIX 16
MATRIX 1–MATRIX 8
STEREO L–MONO(C)
CH 1–CH 32{64}
STIN1L–STIN4R
OUTPUT
INPUT
INPUT EQ
CH 1–CH 32{64}
STIN1L–STIN4R
MIX 1–MIX 16
MATRIX 1–MATRIX 8
STEREO L–MONO(C)
HIGH F
OUTPUT
HIGH G
CH 1–CH 32{64}
STIN1L–STIN4R
LPF ON
PHASE
INPUT
INPUT
LOW TYPE
HIGH TYPE
CH 1–CH 32
MIX 1–MIX 16
MATRIX 1–MATRIX 8
STEREO L–MONO(C)
INSERT
CH 1–CH 32{64}
STIN1L–STIN4R
OUTPUT
INPUT ATT
INPUT HPF
INPUT
ON
CH 1–CH 32{64}
STIN1L–STIN4R
DIRECT OUT
ON
CH 1–CH 32{64}
FREQ
CH 1–CH 32{64}
STIN1L–STIN4R
PAN/BALANCE
INPUT
ON
MIX 1–MIX 16
MATRIX 1–MATRIX 8
STEREO L–STEREO R
LOW Q
BALANCE
OUTPUT
LOW F
LOW G
CH 1–CH 32{64}
STIN1L–STIN4R
TO STEREO
TO MONO
ON
ON
LOW MID Q
LOW MID F
LOW MID G
HIGH MID Q
HIGH MID F
HIGH MID G
HIGH Q
CH 1–CH 32{64}
STIN1L–STIN4R
ON
CH 1–CH 32{64}
STIN1L–STIN4R
MIX 1–MIX 16
LCR
MIX 1–MIX 16
MATRIX 1–MATRIX 8
STEREO L–MONO(C)
CSR
OUTPUT EQ
MIX 1 ON – MIX16
ON
MIX 1 PRE – MIX 16
POINT
HIGH F
HIGH G
MIX 1 LVL H –
MIX 16 LVL H
CH 1–CH 32{64}
STIN1L–STIN4R
MIX SEND
LOW TYPE
HIGH TYPE
LOW HPF ON
HIGH LPF ON
MIX 1 LVL L –
MIX 16 LVL L
MIX 1/ 2 PAN –
MIX 15/16 PAN
MIX 1–MIX 16
MATRIX 1–MATRIX 16
STEREO L–MONO(C)
TO ST ON
TO MONO ON
PAN
OUTPUT ATT
OUTPUT
MIX TO ST
MIX 1–MIX 16
MIX 1–MIX 16
ON
MTRX1 POINT –
MTRX8 POINT
ATTACK
THRESHOLD
RANGE
MTRX1 ON – MTRX8
ON
HOLD H
HOLD L
MTRX1 LVL H –
MTRX8 LVL H
MIX TO MTRX
CH 1–CH 32{64}
STIN1L–STIN4R
INPUT DYNA1
MTRX1 LVL L – MTRX8
LVL L
DECAY/REL H
DECAY/REL L
RATIO
MTRX1/2 PAN –
MTRX7/8 PAN
GAIN H
MTRX1 POINT –
MTRX8 POINT
GAIN L
MTRX1 ON – MTRX8
ON
KNEE/WIDTH
MTRX1 LVL H –
MTRX8 LVL H
ST TO MTRX
STEREO L–MONO(C)
MTRX1 LVL L – MTRX8
LVL L
MTRX1/2 PAN –
MTRX7/8 PAN
249
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Parameters that can be assigned to control changes
Mode
Parameter 1
Parameter 2
ON
ATTACK
THRESHOLD
RELEASE H
RELEASE L
RATIO
CH 1–CH 32{64}
STIN1L–STIN4R
INPUT DYNA2
GAIN H
GAIN L
KNEE/WIDTH
FILTER FREQ
ON
ATTACK
THRESHOLD
RELEASE H
RELEASE L
RATIO
MIX 1–MIX 16
MATRIX 1–MATRIX 8
STEREO L–MONO(C)
OUTPUT
DYNA1
GAIN H
GAIN L
KNEE/WIDTH
BYPASS
MIX BAL
EFFECT
GEQ
RACK5–8
PARAM 1 H –
PARAM 32 L
ON A
ON B
RACK1–8
GAIN A 1 – GAIN A 31
GAIN B 1 – GAIN B 31
MUTE MASTER ON
MASTER 1–MASTER 8
CH 1–CH 32{64}
STIN1L–STIN4R
MIX 1–MIX 16
MATRIX 1–MATRIX 8
STEREO L–MONO(C)
RACK1–8
RECALL SAFE
ON
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Control change parameter assignments
Control change parameter assignments
■ PRESET
Control
Change#
Control
Change#
Mode
Parameter 1
Parameter 2
Mode
Parameter 1
Parameter 2
1
CH 1
CH 2
CH 3
CH 4
CH 5
CH 6
CH 7
CH 8
CH 9
CH10
CH11
CH12
CH13
CH14
CH15
CH16
CH17
CH18
CH19
CH20
CH21
CH22
CH23
CH24
64
65
CH 1
CH 2
CH 3
CH 4
CH 5
CH 6
CH 7
CH 8
CH 9
CH10
CH11
CH12
CH13
CH14
CH15
CH16
CH17
CH18
CH19
CH20
CH21
CH22
CH23
CH24
2
3
66
4
67
5
68
6
69
7
70
8
71
9
72
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
73
74
75
FADER H
INPUT
CH ON
INPUT
76
77
78
79
80
81
82
83
84
85
86
87
88
NO ASSIGN
PAN/BALANCE
NO ASSIGN
89
CH 1
CH 2
CH 3
CH 4
CH 5
CH 6
CH 7
CH 8
CH 9
CH10
CH11
CH12
CH13
CH14
CH15
CH16
CH17
CH18
CH19
CH20
CH21
CH22
CH23
CH24
90
NO ASSIGN
91
92
93
94
CH 1
CH 2
CH 3
CH 4
CH 5
CH 6
CH 7
CH 8
CH 9
CH10
CH11
CH12
CH13
CH14
CH15
CH16
CH17
CH18
CH19
CH20
CH21
CH22
CH23
CH24
95
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
INPUT
FADER L
INPUT
NO ASSIGN
251
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Control change parameter assignments
Control
Change#
Control
Change#
Mode
Parameter 1
Parameter 2
Mode
Parameter 1
Parameter 2
1
66
67
2
3
68
4
69
5
70
6
71
7
72
8
73
9
74
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
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NRPN parameter assignments
NRPN parameter assignments
From
To
From
To
Parameter
Parameter
(HEX) (HEX)
(HEX) (HEX)
INPUT
MIX, MATRIX, STEREO LR
MIX9 SEND
MIX10 SEND
MIX11 SEND
MIX12 SEND
MIX13 SEND
MIX14 SEND
MIX15 SEND
0000
0060
007E
0047
007D
00C5
MIX1 SEND
MIX2 SEND
MIX3 SEND
MIX4 SEND
MIX5 SEND
MIX6 SEND
MIX7 SEND
MIX8 SEND
LOW TYPE
HIGH TYPE
FREQ
118A
1192
119A
11A2
11AA 11B1
11B2
11BA
1191
1199
11A1
11A9
FADER
00DE 0125
INPUT57–64 to
MIX1–8 PRE/POST
013E
019E
01FE
025E
02BE
031E
04FE
0514
052A
0540
0556
0185
01E5
0245
02A5
0305
0365
0513
0529
053F
0555
056B
11B9
11C1
INPUT to Mix9–16
LEVEL
11C2 11C9
11EA
11F2
11FA
1202
120A
1212
121A
11F1
11F9
1201
1209
1211
1219
1221
INPUT57–64 EQ
INPUT57–64 HPF
MIX16 SEND
MATRIX1 SEND
MATRIX2 SEND
MATRIX3 SEND
MATRIX4 SEND
MATRIX5 SEND
MATRIX6 SEND
MATRIX7 SEND
MATRIX8 SEND
INPUT
MIX, MATRIX, STEREO LR
MIX9 SEND
MIX10 SEND
MIX11 SEND
MIX12 SEND
MIX13 SEND
MIX14 SEND
MIX15 SEND
MIX16 SEND
MATRIX1 SEND
MATRIX2 SEND
MATRIX3 SEND
MATRIX4 SEND
MATRIX5 SEND
MATRIX6 SEND
MATRIX7 SEND
MATRIX8 SEND
MIX1–2
MIX3–4
MIX5–6
MIX7–8
INPUT57–64 to
MIX1–8 PAN
MIX1–16, STEREO
LR to MATRIX LEVEL
056C 0581
INPUT57–64 to
STEREO
INPUT57–64
RECALL SAFE
INPUT57–64 to
MONO
ON
ON
ON
1232
123A
1242
1239
1241
1249
0582
0598
05B6
0616
0634
0694
06F4
0754
07B4
0814
0874
08D4 091B
0AB4 0AC9
0ACA 0ADF
0AE0
0AF6
0597
05AD
05FD
0633
067B
06DB
073B
079B
07FB
085B
08BB
ON
RATIO
KNEE/WIDTH
GAIN
HIGH ONLY/FULL
FILTER FREQ
ON
124A
125A
126A
127A
128A
1304
1382
1400
147E
14FC
157A
15F8
1676
16F4
1772
17F0
186E
18EC
196A
19E8
1A66
1AE4
1B44
1BA4
1C04 1C4B
1C64 1CAB
1CC4 1D0B
1D24 1DA1
1DA2 1E1F
1E20
1E9E
1F1C
1F9A
2018
2096
20F6
2156
21B6
2216
2336
1259
1269
1279
1289
1299
1381
13FF
147D
14FB
1579
15F7
1675
16F3
1771
17EF
186D
18EB
1969
19B1
1A65
1AE3
1B2B
1B8B
1BEB
INPUT49–64
DYNAMICS1
INPUT to Mix9–16
ON
INPUT49–64
DYNAMICS2
LOW Q
LOW FREQ
LOW GAIN
LOW MID Q
LOW MID FREQ
LOW MID GAIN
HIGH MID Q
HIGH MID FREQ
HIGH MID GAIN
HIGH Q
HIGH FREQ
HIGH GAIN
ATT
HPF ON
LPF ON
ON
ATTACK
THRESHOLD
RANGE
HOLD
DECAY/RELEASE
ON
ATTACK
THRESHOLD
RELEASE
RATIO
0AF5
0B0B
MIX1–16, STEREO
LR to MATRIX ON
0B0C 0B21
EQ INPUT, MIX,
MATRIX, STEREO LR
0B22
0B38
0B4E
0B37
0B4D
0B63
MIX1–8 to STEREO
ON
PHASE
MIX TO ST
0B64
0B6B
INPUT
INPUT
0B6C 0BB3
0BCC 0BEB
0C2C 0C49
0C4A 0C91
0CAA 0CF1
0D0A 0D51
0D6A 0DB1
0DCA 0E11
0E2A
0E8A
0EEA
10CA 10D1
10D2 10D9
10DA 10E1
10E2
10EA
10F2
10FA
1102
112A
1132
113A
1142
114A
1152
115A
1162
INSERT ON
MIX, MATRIX, STEREO LR
MIX9 SEND
MIX10 SEND
MIX11 SEND
MIX12 SEND
MIX13 SEND
MIX14 SEND
MIX15 SEND
MIX16 SEND
MIX1 SEND
MIX2 SEND
MIX3 SEND
MIX4 SEND
MIX5 SEND
MIX6 SEND
MIX7 SEND
MIX8 SEND
MIX1 SEND
MIX2 SEND
MIX3 SEND
MIX4 SEND
MIX5 SEND
MIX6 SEND
MIX7 SEND
MIX8 SEND
INPUT DYNAMICS1
INPUT to Mix9–16
PRE/POST
0E71
0ED1
0F31
1E9D
1F1B
1F99
2017
2095
20DD
213D
219D
21FD
225D
234B
INPUT DYNAMICS2
MIX, MATRIX, STE-
REO LR DYNAMICS1
10E9
10F1
10F9
1101
1109
1131
1139
1141
1149
1151
1159
1161
1169
INPUT57–64 to
Mix1–8 LEVEL
GAIN
KNEE/WIDTH
INPUT
PAN/BALANCE
MIX9–10
MIX11–12
MIX13–14
MIX15–16
MATRIX1, 2
MATRIX3, 4
MATRIX5, 6
MATRIX7, 8
INPUT to Mix9/10–
15/16 PAN
INPUT57–64 to
Mix1–8 ON
234C 2361
2362
2378
MIX1–16, STEREO
LR to MATRIX PAN
2377
238D
MIX1–8 to STEREO
PAN
BALANCE
MIX TO ST
238E
2396
2395
23B3
MIX, MATRIX, STEREO LR
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NRPN parameter assignments
From
(HEX) (HEX)
26B4 26B7
26BC 26BF
26C4 26C7
26CC 26CF
26D4 26D7
26DC 26DF
To
From
To
Parameter
Parameter
(HEX) (HEX)
BYPASS
MIX1 SEND
MIX2 SEND
MIX3 SEND
MIX4 SEND
MIX5 SEND
MIX6 SEND
MIX7 SEND
MIX8 SEND
MATRIX1 SEND
MATRIX2 SEND
MATRIX3 SEND
MATRIX4 SEND
MATRIX5 SEND
MATRIX6 SEND
MATRIX7 SEND
MATRIX8 SEND
MONO(C)
MIX1 SEND
MIX2 SEND
MIX3 SEND
MIX4 SEND
MIX5 SEND
MIX6 SEND
MIX7 SEND
MIX8 SEND
28EA
292A
296A
29AA 29E9
29EA 2A29
2A2A 2A69
2A6A 2AA9
2AAA 2AE9
2BEA
2BF0
2BF6
2BFC
2C02 2C06
2C08 2C0C
2C0E
2C14 2C18
2C2A 2C2E
2C30 2C6F
2C70 2CAF
2CB0 2CEF
2929
2969
29A9
MIX BALANCE
PARAM1
PARAM2
PARAM3
PARAM4
PARAM5
PARAM6
PARAM7
PARAM8
PARAM9
PARAM10
PARAM11
PARAM12
PARAM13
PARAM14
INPUT1–56, STIN
1L–4R to Mix1–8
LEVEL
26E4
26EC
26F4
26FC
2704
26E7
26EF
26F7
26FF
2707
2BEE
2BF4
2BFA
2C00
270C 270F
2714 2717
271C 271F
2724 2727
272C 272F
2734 2737
273C 273F
2744 2747
274C 274F
2754 2757
275C 275F
2764 2767
276C 276F
2774 2777
277C 277F
2784 2787
278C 278F
2794 2797
279C 279F
27A4 27A7
27AC 27AF
27B4 27B7
MONO(C) to Matrix
LEVEL
2C12
PARAM15
RACK5–8(EFFECT)
ON
PARAM16
PARAM17
PARAM18
PARAM19
PARAM20
PARAM21
PARAM22
PARAM23
PARAM24
PARAM25
PARAM26
PARAM27
PARAM28
PARAM29
PARAM30
PARAM31
PARAM32
ON
GAIN1
GAIN2
GAIN3
GAIN4
GAIN5
GAIN6
GAIN7
GAIN8
INPUT1–56, STIN
1L–4R to Mix1–8
ON
2CF0
2D2F
2D30 2D6F
2D70 2DAF
2DB0 2DEF
2DF0 2E2F
MONO(C) to Matrix
ON
MIX9–16 to STE-
REO ON
MATRIX SEND
MIX TO ST
2F30
2F36
2F34
2F3D
INSERT
MONO(C)
MIX1 SEND
MIX2 SEND
MIX3 SEND
MIX4 SEND
MIX5 SEND
MIX6 SEND
MIX7 SEND
MIX8 SEND
ON
2F46
2F4C
2F8C
2FCC 300B
300C 304B
304C 308B
308C 30CB
30CC 310B
310C 314B
325E
3264
326A
3270
3276
2F4A
2F8B
2FCB
INPUT1–56, STIN
1L–4R to MIX1–8
PRE/POST
27BC 27BF
27C4 27C9
27CA 27CF
27D0 27D5
27D6 27DB
27DC 27E1
3262
3268
326E
3274
327A
LOW Q
27E2
27E8
27EE
27F4
27FA
2800
2806
27E7
27ED
27F3
27F9
27FF
2805
280B
LOW FREQ
LOW GAIN
LOW MID Q
LOW MID FREQ
LOW MID GAIN
HIGH MID Q
HIGH MID FREQ
HIGH MID GAIN
HIGH Q
327C 3280
GAIN9
3282
3288
328E
3294
329A
32A0
32A6
3286
328C
3292
3298
329E
32A4
32AA
GAIN10
GAIN11
GAIN12
GAIN13
GAIN14
MONO(C) EQ
280C 2811
2812
2818
281E
2824
282A
2830
2836
2817
281D
2823
2829
282F
2835
283B
HIGH FREQ
HIGH GAIN
HPF ON
GAIN15
RACK1–3(GEQ)
GAIN16
32AC 32B0
GAIN17
GAIN18
GAIN19
GAIN20
GAIN21
GAIN22
GAIN23
GAIN24
GAIN25
GAIN26
GAIN27
GAIN28
GAIN29
GAIN30
GAIN31
LPF ON
32B2
3440
3480
34C0 34E2
34E4
32B6
347F
34BF
LOW TYPE
HIGH TYPE
LOW TYPE
HIGH TYPE
INPUT1–56, STIN
1L–4R EQ
283C 2841
MIX, MATRIX, STE-
REO LRC EQ
2842
2848
284E
2854
285A
2860
2866
2847
284D
2853
2859
285F
2865
286B
3506
INPUT1–56, STIN
1L–4R HPF
FREQ
3640
367F
ON
3680
3686
368C 3690
3692
3698
369E
36A4
3684
368A
ATTACK
THRESHOLD
RELEASE
RATIO
GAIN
KNEE/WIDTH
MONO(C)
DYNAMICS1
3696
369C
36A2
36A8
286C 2871
2872
2878
287E
28E4
2877
287D
2883
28E8
FADER
MONO(C)
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NRPN parameter assignments
From
To
From
To
Parameter
Parameter
(HEX) (HEX)
(HEX) (HEX)
3C06 3C0B
3C16 3C1B
3C26 3C2B
3C36 3C3B
3C46 3C4B
3C56 3C5B
3C66 3C6B
3C76 3C7B
MIX1–2
MIX3–4
MIX5–6
MIX7–8
MATRIX1,2
MATRIX3, 4
MATRIX5, 6
MATRIX7, 8
36AA 36E9
HPF1
HPF2
HPF3
HPF4
HPF5
HPF6
HPF7
HPF8
INPUT1–56, STIN
1L–4R to MIX1–8
PAN
36EA
372A
376A
382A
3830
3836
3729
3769
37A9
382E
3834
383A
HA
MONO(C) to
Matrix1–8 PAN
383C 3840
MIX9–16 to STE-
REO ON
INPUT1–56, STIN
1L–4R to MONO
MIX TO ST
3842
3849
ON
3C86 3CC5
ON
3852
3858
385E
3864
386A
3870
3876
3857
385D
3863
3869
386F
3875
387B
MIX to MONO
ON
ON
3CC6 3CD5
3CD6 3CF5
3D06 3D25
3D36 3D55
3D66 3D75
3D76 3D85
3D86 3D95
3D96 3D97
3D98 3D99
3D9A 3D9B
3D9C 3DD3
3DD4 3E0B
GAIN1
GAIN2
GAIN3
GAIN4
GAIN5
GAIN6
GAIN7
GAIN8
GAIN9
GAIN10
GAIN11
GAIN12
GAIN13
GAIN14
GAIN15
GAIN16
GAIN17
GAIN18
GAIN19
GAIN20
GAIN21
GAIN22
GAIN23
GAIN24
GAIN25
GAIN26
GAIN27
GAIN28
GAIN29
GAIN30
GAIN31
ON
SLOT OUT DELAY
TIME HIGH
TIME LOW
ON
TIME HIGH
TIME LOW
ON
OMNI OUT DELAY
387C 3881
3882
3888
388E
3894
389A
38A0
38A6
3887
388D
3893
3899
389F
38A5
38AB
DIGITAL OUT DELAY TIME HIGH
TIME LOW
RATIO
KNEE/WIDTH
INPUT1–48, STIN
1L–4R DYNAMICS1
GAIN
3E0C
3E44
3E7C
3EB4
3EB8
3EBC
3EC0
3EC4
3EC8
3E43
3E7B
3EB3
3EB7
3EBB
3EBF
3EC3
3EC7
3ECB
HIGH ONLY/FULL
FILTER FREQ
ON
GAIN1
GAIN2
GAIN3
GAIN4
GAIN5
GAIN6
INPUT1–48, STIN
1L–4R DYNAMICS2
38AC 38B1
RACK4–6(GEQ)
38B2
38B8
38BE
38C4 38C9
38CA 38CF
38D0 38D5
38D6 38DB
38DC 38E1
38E2
38E8
38EE
38F4
38FA
3900
3906
390C 3911
3912
396A
39C2 3A01
3A02 3A41
3A5A 3A61
3A66
3B06
3B16
3B26
3B36
3B46
3B56
3B66
3B76
3B86
3B96
3BA6
3BB6
38B7
38BD
38C3
3ECC 3ECF
3ED0 3ED3
3ED4 3ED7
3ED8 3EDB
3EDC 3EDF
GAIN7
GAIN8
GAIN9
38E7
38ED
38F3
38F9
38FF
3905
390B
GAIN10
GAIN11
GAIN12
GAIN13
GAIN14
GAIN15
GAIN16
GAIN17
GAIN18
GAIN19
GAIN20
GAIN21
GAIN22
GAIN23
GAIN24
GAIN25
GAIN26
GAIN27
GAIN28
GAIN29
GAIN30
GAIN31
ATT
3EE0
3EE4
3EE8
3EEC
3EF0
3EF4
3EF8
3EFC
3F00
3F04
3F08
3F0C
3F10
3F14
3F18
3F1C
3F20
3F24
3F28
3F2C
3F30
3F34
3EE3
3EE7
3EEB
3EEF
3EF3
3EF7
3EFB
3EFF
3F03
3F07
3F0B
3F0F
3F13
3F17
3F1B
3F1F
3F23
3F27
3F2B
3F2F
3F33
3F4E
RACK7–8(GEQ)
3969
39C1
LCR IN, MIX
DIRECT OUT
INPUT1–56, STIN
1L–4R to STEREO
MUTE MASTER
RECALL SAFE
CSR
ON
ON
ON
ON
3AEA
3B0B
3B1B
3B2B
3B3B
3B4B
3B5B
3B6B
3B7B
3B8B
3B9B
3BAB
3BBB
GAIN1
GAIN2
GAIN3
GAIN4
GAIN5
GAIN6
GAIN7
GAIN8
+48v 1
+48v 2
+48v 3
+48v 4
+48v 5
+48v 6
+48v 7
+48v 8
HA
EQ
3BC6 3BCB
3BD6 3BDB
3BE6
3BF6
3BEB
3BFB
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Mixing parameter operation applicability
Mixing parameter operation applicability
This table indicates how the behaviors of each of the input channel and output channel parameters are
affected by Stereo, Link, Recall Safe, and User Level settings.
■ Input Channels
Stereo
■ MATRIX Channels
Parameter
LINK
RECALL SAFE USER LEVEL
INPUT HA INPUT HA
*3
Parameter
Stereo
RECALL SAFE
USER LEVEL
HA
O
INPUT HA
NAME, ICON
MATRIX NAME
OUTPUT NAME
NAME,
ICON
INPUT NAME INPUT NAME
MATRIX
Insert On
On
O
MATRIX ALL
MATRIX ON
PROCESSING
INPUT
INPUT ALL
LCR
O
PROCESSING
MATRIX
FADER/ON
O
INPUT
PROCESSING
Insert On
O
INPUT ALL
MATRIX
Fader
O
MATRIX FADER
MATRIX ALL
FADER/ON
Direct Out
On/Level
INPUT
PROCESSING
O
INPUT ALL
MATRIX
FADER/ON
Pan/Balance
Att
O
INPUT
FADER/ON
On
O
INPUT ON
INPUT ON
MATRIX
PROCESSING
O
MATRIX EQ
INPUT
FADER/ON
INPUT
FADER/ON
Fader
O
INPUT FADER INPUT FADER
INPUT ALL
MATRIX
PROCESSING
Dynamics1
O*1
MATRIX DYNA1
Pan/
Balance
O
MATRIX
EQ
O
O
MATRIX EQ
MATRIX ALL
PROCESSING
INPUT
Att
HPF
O
INPUT EQ
INPUT EQ
INPUT EQ
INPUT EQ
INPUT EQ
INPUT EQ
PROCESSING
Mute Assign
To Matrix On
MUTE ASSIGN
INPUT
PROCESSING
INPUT
PROCESSING
WITH MATRIX
SEND
O
WITH MATRIX SEND
WITH MATRIX
SEND
EQ
O
To Matrix LEVEL
WITH MATRIX SEND
INPUT
INPUT
INPUT
Cue
O
O
O
O
Dynamics1
Dynamics2
O*1
O*1
O
DYNAMICS1*1
DYNA1
PROCESSING
Mute Safe
Recall Safe
Fade Time
INPUT
DYNAMICS2*1
INPUT
DYNA2
INPUT
PROCESSING
MUTE GROUP
ASSIGN
STORE
Mute
Assign
INPUT ALL
*1 Except for Key In Source
To Mix
ON
INPUT
MIX ON*2
INPUT MIX
ON
INPUT
FADER/ON
O
To Mix
LEVEL
To Mix
PRE/POST
To Stereo/
Mono
INPUT
INPUT MIX
SEND
INPUT
■ STEREO, MONO Channels
O
MIX SEND*2
FADER/ON
Stereo
INPUT
PROCESSING
INPUT
PROCESSING
Parameter
NAME, ICON
Insert On
On
RECALL SAFE
USER LEVEL
O
INPUT ALL
INPUT ALL
*2
STEREO, MONO
NAME
OUTPUT NAME
O
STEREO, MONO
PROCESSING
STEREO, MONO
FADER/ON
STEREO, MONO
FADER/ON
STEREO, MONO
FADER/ON
STEREO, MONO
PROCESSING
STEREO, MONO
PROCESSING
Cue
O
O
O
O
O
O
O
O
O
O
O
STEREO, MONO ALL
STEREO, MONO ON
Key In Cue
Mute Safe
Recall Safe
Fade Time
STEREO, MONO
FADER
Fader
STORE
*1 Except for Key In Source
Pan/Balance
Att
STEREO, MONO ALL
STEREO, MONO EQ
*2 Applies to parameters for which the MIX channel 1–16 individual Send
Parameter setting and the item in the table are both enabled.
*3 ST IN 1–4 only.
STEREO, MONO
DYNA1
Dynamics1
■ MIX Channels
STEREO, MONO
PROCESSING
MUTE ASSIGN
STEREO, MONO
FADER/ON
STEREO, MONO
FADER/ON
EQ
O
O
O
STEREO, MONO EQ
Parameter
NAME, ICON
LCR
Stereo
RECALL SAFE
MIX NAME
MIX ALL
MIX ALL
MIX ON
MIX FADER
MIX ALL
MIX EQ
MIX EQ
MIX DYNA1
MIX ALL
USER LEVEL
OUTPUT NAME
MIX PROCESSING
MIX PROCESSING
MIX FADER/ON
MIX FADER/ON
MIX FADER/ON
MIX PROCESSING
MIX PROCESSING
MIX PROCESSING
MUTE ASSIGN
WITH MIX SEND
WITH MIX SEND
MIX FADER/ON
MIX FADER/ON
MIX PROCESSING
MIX PROCESSING
Mute Assign
To Matrix On
STEREO, MONO ALL
STEREO, MONO to
MATRIX ON
STEREO, MONO to
MATRIX SEND
O
Insert On
On
O
O
To Matrix LEVEL
To Matrix POINT
O
O
Fader
O
STEREO, MONO
PROCESSING
STEREO, MONO ALL
Pan/Balance
Att
O
O
Cue
O
O
O
O
Mute Safe
Recall Safe
Fade Time
EQ
O
Dynamics1
Mute Assign
To Mix ON
To Mix LEVEL
To Matrix On
To Matrix LEVEL
To Matrix POINT
To Stereo/Mono
Cue
O*1
O
STORE
WITH MIX SEND
WITH MIX SEND
MIX to MATRIX ON
MIX to MATRIX SEND
MIX ALL
*1 Except for Key In Source
*2 STEREO channel only.
O
O
O
O
O
O
O
O
MIX ALL
Mute Safe
Recall Safe
Fade Time
STORE
*1 Except for Key In Source
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Functions that can be assigned to user-defined keys
Functions that can be assigned to user-defined keys
Function
NO ASSIGN
PARAMETER 1
PARAMETER 2
LED
Explanation
—
—
—
—
Dark
No assignment
RECALL
STORE
Recall the currently selected scene
Store to the currently selected scene
SCENE +1 selects the next scene number. LIST UP scrolls
the scene list upward by one. Simultaneously pressing
[SCENE ▲] and [SCENE ▼] keys will return to the current
scene number. After scene 300, wrap around to scene
000.
▲
▼
SCENE +1, LIST UP
Flash
SCENE -1 selects the previous scene number. LIST UP
scrolls the scene list upward by one. Simultaneously press-
ing [SCENE ▲] and [SCENE ▼] keys will return to the cur-
rent scene number. After scene 000, wrap around to scene
300.
SCENE -1, LIST DOWN
SCENE
INC RECALL
—
Recall the scene of the next existing number
Recall the scene of the previous existing number
Directly recall the scene of the specified number
DEC RECALL
DIRECT RECALL
—
SCENE #000–#300
Lit if UNDO is possi-
ble
RECALL UNDO
STORE UNDO
—
—
Execute RECALL UNDO
Execute STORE UNDO
Lit if UNDO is possi-
ble
LATCH
ON: lit, OFF: dark
ON: lit, OFF: dark
Switch TALKBACK on/off
TALKBACK ON
UNLATCH
Turn TALKBACK on while pressed
When you press this key, the previously-stored assignment
state will be applied. While holding down this key, press a
SEL key of an output channel to switch the assignment on/
off, and its state will be remembered. During this time, the
[SEL] LED will be lit if assign is ON, or dark if OFF.
TALKBACK
SELECTED CH
ASSIGN
Lit if assignment is
the same
—
—
—
Switch the OSC on/off
When this turns on, the OSC popup window will appear
OSCILLATOR ON
ON: lit, OFF: dark
When you press this key, the previously-stored assignment
state will be applied. While holding down this key, press a
SEL key of an output channel to switch the assignment on/
off, and its state will be remembered. During this time, the
[SEL] LED will be lit if assign is ON, or dark if OFF.
OSCILLATOR
CUE CLEAR
SELECTED CH
ASSIGN
Lit if assignment is
the same
—
—
—
Flash
Clear all CUE settings together
Switch MONITOR on/off
MONITOR ON
ON: lit, OFF: dark
When you press this key, the previously-stored assignment
state will be applied. While holding down this key, press a
SEL key of a MIX or MATRIX channel to switch the assign-
ment on/off, and its state will be remembered. During this
time, the [SEL] LED will be lit if assign is ON, or dark if OFF.
SELECTED CH
ASSIGN
Lit if assignment is
the same
—
STEREO L/R,
MONO(C), LCR, 2TR
IN L/R, INPUT 15/16
{31/32}, PLAYBACK
OUT, DEFINE
Lit if the selected
monitor source is on
MONITOR
SOURCE SELECT
Recall the selected signal to the monitor
DIMMER ON
—
—
ON: lit, OFF: dark
ON: lit, OFF: dark
Switch the monitor dimmer function on/off
Switch MONO MONITOR on/off
MONO MONITOR
If this is on, you can use the master fader to control the
monitor level, and the ON key to switch the monitor out-
put on/off
MONITOR ON MAS-
TER FADER
—
ON: lit, OFF: dark
ON: lit, OFF: dark
EFFECT BYPASS
TAP TEMPO
RACK 5–8
—
—
—
—
—
Bypass the specified effect
CURRENT PAGE
RACK 5–8
Use the tap tempo function in the displayed screen
Use the tap tempo function for the specified effect
Switch MUTE GROUP MASTER on/off
Blink in synchroniza-
tion to the tempo
MUTE MASTER
MUTE GROUP 1–8
PEAK HOLD ON
ON: lit, OFF: dark
ON: lit, OFF: dark
Turn the meter PEAK HOLD function on/off
METER
STEREO/MONO(C)
SEL
MONO (C): lit, STE-
REO: dark
—
Switch the top panel STEREO L/R METER function
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Functions that can be assigned to user-defined keys
Function
PAGE CHANGE
CH SELECT
PARAMETER 1
PARAMETER 2
LED
Explanation
When storing a page:
Flash
When showing a
memorized page:
Blink
Memorize the currently selected screen (hold down the
key for two seconds or longer), or display the last-memo-
rized screen (press and release the key within two sec-
onds). Popup windows can also be memorized. In the case
of a rack, the number of that rack is also memorized.
PAGE BOOKMARK
—
When not showing a
memorized page: Lit
Not memorized:
Dark
CLOSE POPUP
INC, DEC
—
—
—
—
—
—
—
—
—
—
Flash
Flash
Close the displayed popup window
Increment/Decrement the channel selection
SET [+48V]
SET [Ø]
SET [PRE SEND]
SET [TO STEREO]
SET [TO MONO]
SET [TO LCR]
SET [INSERT ON]
SET [DIRECT OUT]
Hold down this key and press SEL to switch it on/off. Dur-
ing this time, the [SEL] LED will be lit if on or dark if off.
SET BY SEL
While pressing: Lit
Hold down this key and press the SELECTED CH encoder
to return to the default value. You can also return to the
default value by moving the cursor to the knob or fader in
the LCD screen, then holding down this key and pressing
the [ENTER] key.
SET DEFAULT
VALUE
—
—
—
—
While pressing: Lit
While pressing: Lit
While holding down this key, press a [SEL] key to set the
fader of that channel to nominal level. You can also push a
SELECTED SEND encoder to set the send level to nominal
level. You can also return to nominal level by moving the
cursor to the knob or fader in the LCD screen, then hold-
ing down this key and pressing the [ENTER] key.
SET NOMINAL
LEVEL
MIX1–16, MATRIX1–
8
Blinks in SENDS ON Recall the Sends On Fader function to the selected MIX or
SENDS ON FADER
GEQ
—
—
FADER mode
MATRIX
FADER ASSIGN
ON: lit, OFF: dark
Turn the GEQ Fader Assign function on/off.
Same as the indica-
tion for the corre-
sponding LCD
button
PLAY/PAUSE, STOP, FF/
Next, REW/Previous,
REC
Recorder transport functions
TRANSPORT
Shortcut function for STOP → REC → PLAY.
Recording will be initiated in a single action. If this is exe-
cuted during recording, the file being recorded will first be
closed, and then recording will continue with a new file.
AUTOREC
While pressing: Lit
RECORDER
Start playback of a specified audio file from the begining
only once.
The audio file to be played must be saved in the SONGS
folder within the YPE folder. Please note that you won’t be
able to specify a file that is in the root directory or another
folder. When you execute playback, the path in the TITLE
LIST screen will change to \YPE\SONGS\.
Song title or file name
of audio files
DIRECT PLAY
—
While pressing: Lit
ON: lit, OFF: dark
HELP
—
Switch the Help function on/off
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Functions that can be assigned to user-defined keys
Function
PARAMETER 1
MASTER
PARAMETER 2
LED
Explanation
—
CH1–16, CH17–32,
{CH33–48, CH49–64 ,}
STIN, MIX, MATRIX,
ST/MONO, CUSTOM
FADER LAYER CH1–16,
{CUSTOM FADER
LAYER CH17–32}, CUS-
TOM FADER LAYER
STIN
OVERVIEW
SELECTED CHANNEL
LIBRARY
—
DYNAMICS LIBRARY,
INPUT EQ LIBRARY,
OUTPUT EQ LIBRARY,
EFFECT LIBRARY, GEQ
LIBRARY
LS9 EDITOR
Flash
Access the LS9 EDITOR screen
INPUT PATCH, OUT-
PUT PATCH, INPUT
INSERT PATCH, OUT-
PUT INSERT PATCH,
DIRECT OUT PATCH,
PATCH LIST
PATCH EDITOR
RACK EDITOR
METER
RACK, RACK1–8
INPUT METER, OUT-
PUT METER, CUSTOM
FADER LAYER
MUTE GROUP, CHAN-
NEL LINK
GROUP/LINK
SCENE
SCENE MEMORY,
RECALL SAFE, FADE
TIME
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MIDI Data Format
MIDI Data Format
This section explains the format of the data that the LS9 is able to understand, send, and receive.
Equation for converting a Control Value to parameter data
paramSteps = paramMax–paramMin + 1;
1 CHANNEL MESSAGE
add
mod
curValue
= paramWidth / paramSteps;
= paramWidth–add * paramSteps;
= paramSteps * add + mod / 2;
1.1 NOTE OFF
(8n)
Reception
(1) If the assigned parameter has fewer than 128 steps
paramWidth = 128; rxValue = Control value;
These messages are echoed to MIDI OUT if [OTHER COMMAND ECHO] is
ON.
They are received if [Rx CH] matches, and used to control effects.
(2) If the assigned parameter has 128 or more but less than
16,384 steps
paramWidth = 16384;
Note off message
Note number
STATUS
DATA
1000nnnn 8n
0nnnnnnn nn
0vvvvvvv vv
(2-1) When High and Low data is received
rxValue = Control value(High) * 128 + Control value(Low);
Velocity(ignored)
1.2 NOTE ON
Reception
(9n)
(2-2) When only Low data is received
rxValue = (curValue & 16256) + Control value(Low);
These messages are echoed to MIDI OUT if [OTHER COMMAND ECHO] is
ON.
They are received if [Rx CH] matches, and used to control effects.
(2-3) When only High data is received
rxValue = Control value(High) * 128 + (curValue & 127);
Note on message
Note number
STATUS
DATA
1001nnnn 9n
0nnnnnnn nn
0vvvvvvv vv
(3) If the assigned parameter has 16,384 or more but less than
2,097,152 steps
paramWidth = 2097152;
Velocity (1-127:on, 0:off)
(3-1) When High, Middle, and Low data is received
rxValue = Control value(High) * 16384 + Control value(Middle) * 128 + Control
value(Low);
1.3 CONTROL CHANGE
(Bn)
Two types of CONTROL CHANGE can be transmitted and received; [NRPN]
(Non-Registered Parameter Numbers) and freely-assigned [TABLE] (1CH x
110) messages. Select either [TABLE] or [NRPN].
(3-2) When only Low data is received
rxValue = (curValue & 2097024) + Control value(Low);
Reception
These messages are echoed to MIDI OUT if [CONTROL CHANGE ECHO] is
(3-3) When only Middle data is received
rxValue = (curValue & 2080895) + Control value(Middle) * 128;
ON.
If [TABLE] is selected, these messages are received when [CONTROL CHANGE
Rx] is ON and [Rx CH] matches, and will control parameters according to the
settings of the [CONTROL CHANGE EVENT LIST]. For the parameters that
If [NRPN] is selected, these messages are received when [CONTROL CHANGE
Rx] is ON and the [Rx CH] matches; the four messages NRPN control number
(62h, 63h) and DATA ENTRY control number (06h, 26h) are used to control the
specified parameter.
(3-4) When only High data is received
rxValue = (curValue & 16383) + Control value(High) * 16384;
(3-5) When only Middle and Low data is received
rxValue = (curValue & 2080768) + Control value(Middle) * 128 + Control
value(Low);
(3-6) When only High and Low data is received
rxValue = (curValue & 16256) + Control value(High) * 16384 + Control value(Low);
Transmission
(3-7) When only High and Middle data is received
rxValue = (curValue & 127) + Control value(High) * 16384 + Control value(Middle)
* 128;
If [TABLE] is selected, and if [CONTROL CHANGE Tx] is ON when you
operate a parameter that is assigned in the [CONTROL CHANGE EVENT
LIST], these messages will be transmitted on the [Tx CH] channel. For the
parameters that can be assigned, refer to “Parameters that can be assigned to
If [NRPN] is selected, and if [CONTROL CHANGE Tx] is ON when you
operate a specified parameter, the four messages NRPN control number (62h,
63h) and DATA ENTRY control number (06h, 26h) are transmitted on the [Tx
CH] channel. For the parameters that can be assigned, refer to “Parameters that
if ( rxValue > paramWidth)
rxValue = paramWidth;
param = ( rxValue–mod / 2) / add;
If [NRPN] is selected
Control change
STATUS
DATA
1011nnnn Bn
01100010 62
0vvvvvvv vv
1011nnnn Bn
01100011 63
0vvvvvvv vv
1011nnnn Bn
00000110 06
0vvvvvvv vv
1011nnnn Bn
00100110 26
0vvvvvvv vv
NRPN LSB
CONTROL CHANGE messages are not used for transmission to LS9 Editor
because there is no guarantee that the contents of the assignment tables will
match. (PARAMETER CHANGE messages are always used.)
CONTROL CHANGE numbers 0 and 32 are for selecting banks.
Parameter number LSB
Control change *
NRPN MSB
STATUS
DATA
Parameter number MSB
Control change *
Data entry MSB
Parameter data MSB
Control change *
Data entry LSB
Control change
STATUS
DATA
1011nnnn Bn
00
Control number (00)
Control Value (0-127)
Control change
STATUS
DATA
0vvvvvvv vv
1011nnnn Bn
20
STATUS
DATA
Control number (32)
Control Value (0-127)
STATUS
DATA
0vvvvvvv vv
Parameter data LSB
If [TABLE] is selected
*
The STATUS byte of the second and subsequent messages need not
be added during transmission. Reception must occur correctly
whether or not the status byte is omitted.
Control change
1011nnnn Bn
STATUS
DATA
Control number (1-5, 7-31, 33-37, 38-95,
102-119) *
0nnnnnnn nn
Control Value (0-127)
0vvvvvvv vv
*
*
Numbers 0, 32, and 96–101 cannot be used.
Control number 6, 38 can be used.
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MIDI Data Format
1.4 PROGRAM CHANGE
(Cn)
3 SYSTEM EXCLUSIVE MESSAGE
Reception
If [PROGRAM CHANGE ECHO] is ON, bank select messages will also be
echoed from MIDI OUT.
3.1 MMC
< MMC STOP >
If SINGLE CH is selected, these messages are received if [PROGRAM CHANGE
Rx] is ON and the [Rx CH] matches. However if [OMNI] is ON, these messages
are received regardless of the channel. When these messages are received, scene
memory and effect library are recalled according to the settings of the
[PROGRAM CHANGE EVENT LIST].
Reception
If the [DEVICE NO.] matches or is 7F, receives this message and stops.
System exclusive message
Real time System exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(MCC) sub-id
Stop(MCS)
STATUS
ID No.
11110000 F0
01111111 7F
Transmission
Device ID 0ddddddd dd
If [PROGRAM CHANGE Tx] is ON, these messages are transmitted according
to the [PROGRAM CHANGE Table] settings when scene memory and effect
library are recalled.
If SINGLE CH is selected, these messages are transmitted on the [Tx CH]
channel.
COMMAND
EOX
00000110 06
00000001 01
11110111 F7
End of exclusive
If the recalled scene memory and effect library has been assigned to more than
one PROGRAM NUMBER, the lowest-numbered PROGRAM NUMBER for
each MIDI channel will be transmitted.
< MMC PLAY >
Reception
PROGRAM CHANGE messages are not used for transmission to LS9 Editor
because there is no guarantee that the contents of the assignment tables will
match. (PARAMETER CHANGE messages are always used.)
You can choose either MULTI MIDI CH or SINGLE CH.
If the [DEVICE NO.] matches or is 7F, receives this message and starts playback.
System exclusive message
Real time System exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(MCC) sub-id
Play(MCS)
STATUS
ID No.
11110000 F0
01111111 7F
Device ID 0ddddddd dd
If SINGLE is selected
COMMAND
00000110 06
00000010 02
11110111 F7
You can choose the Rx CH, OMNI CH, and Tx CH.
You can choose whether a bank select message will be added.
A bank of up to 16 can be specified.
End of exclusive
EOX
If MULTI is selected
< MMC DEFERED PLAY >
Reception
The Rx and Tx channels will be the same.
The assignment table will use the settings for each MIDI channel. Bank select
messages will not be added.
If the [DEVICE NO.] matches or is 7F, receives this message and starts playback.
You can make settings for up to sixteen MIDI channels.
System exclusive message
Real time System exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(MCC) sub-id
Deferred Play(MCS)
STATUS
ID No.
11110000 F0
01111111 7F
Program change
STATUS
DATA
1100nnnn Cn
0nnnnnnn nn
Program number (0-127)
Device ID 0ddddddd dd
COMMAND
00000110 06
00000011 03
11110111 F7
End of exclusive
2 SYSTEM REALTIME MESSAGE
EOX
< MMC RECORD STROBE >
Reception
2.1 SONG SELECT
(F3)
Select the track number shown in the TITLE LIST screen of the USB memory
recorder.
If the [DEVICE NO.] matches or is 7F, receives this message, and if stopped,
starts recording.
Song select
11110011 F3
STATUS
Song number (0-127)
System exclusive message
Real time System exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(MCC) sub-id
Record strobe
Song number0sssssss ss
STATUS
ID No.
11110000 F0
01111111 7F
Device ID 0ddddddd dd
2.2 TIMING CLOCK
Reception
(F8)
COMMAND
00000110 06
00000110 06
11110111 F7
This message is used to control effects. This message is transmitted twenty-four
End of exclusive
EOX
times per quarter note.
Echoing of this message depends on the OTHER item in the ECHO settings.
< MMC PAUSE >
Reception
Timing clock
11111000 F8
STATUS
If the [DEVICE NO.] matches or is 7F, receives this message, and if playing,
pauses.
2.3 ACTIVE SENSING
Reception
Once this message has been received, MIDI communication will be initialized
(e.g., Running Status will be cleared) if no message is received for an interval of
400 ms.
(FE)
System exclusive message
Real time System exclusive
Destination (00-7E, 7F:all call)
Machine Control Command(MCC) sub-id
Pause(MCS)
STATUS
ID No.
11110000 F0
01111111 7F
Device ID 0ddddddd dd
This message is not subject to echoing.
COMMAND
00000110 06
00001001 09
11110111 F7
Active sensing
11111110 FE
STATUS
End of exclusive
EOX
2.4 SYSTEM RESET
(FF)
Reception
When this message is received, MIDI communication will be initialized (e.g.,
Running Status will be cleared).
This message is not subject to echoing.
System reset
11111111 FF
STATUS
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MIDI Data Format
3.2 BULK DUMP
3.3 PARAMETER CHANGE
Reception
Command
rx/tx
Function
This message is echoed if [PARAMETER CHANGE ECHO] is ON.
This message is received if [PARAMETER CHANGE Rx] is ON and [Rx CH]
matches the Device number included in the SUB STATUS. When a
PARAMETER CHANGE is received, the specified parameter will be controlled.
When a PARAMETER REQUEST is received, the current value of the specified
parameter will be transmitted as a PARAMETER CHANGE with its Device
Number as the [Rx CH].
BULK DUMP
DATA
F0 43 0n 3E cc cc 12 mm … mm dd rx/tx
dd … ee F7
BULK DUMP
REQUEST
F0 43 2n 3E 12 mm … mm dd dd F7 rx
The LS9 uses the following data types for a bulk dump.
Module Name(mm)
SCENE LIB
Data Number(dd)
*1) *14) *15)
*2) *7) *8)
*3) *9) *10) *11)
*4) *7) *8) *9) *10) *11)
*5) *12)
“SCENE___”
“INEQ____”
“OUTEQ___”
“DYNA____”
“GEQ_____”
“EFFECT__”
Transmission
INPUT EQ LIB
If [PARAMETER CHANGE Tx] is ON, and you edit a parameter for which
CONTROL CHANGE transmission has not been enabled, a PARAMETER
CHANGE will be transmitted with the [Tx CH] as its device number.
In response to a PARAMETER REQUEST, a PARAMETER CHANGE will be
transmitted with [Rx CH] as its device number.
OUTPUT EQ LIB
Dynamics LIB
GEQ LIB
EFFECT LIB
*6) *13)
Mixer Setup
“MIXERSET”
“OUT_PORT”
“MONITOR_”
“MIDI_SET”
“LIB_NUM_”
“PRGMCHG_”
“CTRLCHG_”
“PREF_CUR”
“PREF_ADM”
“PREF_GST”
“UDEF_CUR”
“UDEF_ADM”
“UDEF_GST”
“CFAD_CUR”
“CFAD_ADM”
“CFAD_GST”
“UKEY_CUR”
“UKEY_GST”
Fix (512)
Command
rx/tx
function
Outport Setup
Fix (512)
LS9 native parameter change
F0 43 1n 3E 12 … F7
RARAMETER CHANGE
rx/tx
Monitor Setup
Fix (512)
MIDI Setup
Fix (512)
LS9 native parameter request
F0 43 3n 3E 12 … F7
PARAMETER REQUEST
rx/tx
Lib Number
Fix (512)
Program Change Table
Control Change Table
Preference (Current)
Preference (Admin)
Preference (Guest)
User Defined Keys (Current)
User Defined Keys (Admin)
User Defined Keys (Guest)
Custom Fader Layer (Current)
Custom Fader Layer (Admin)
Custom Fader Layer (Guest)
User Level (Current)
User Level (Guest)
Fix (512)
Fix (512)
Fix (512)
Fix (512)
4 PARAMETER CHANGE details
Fix (512)
Fix (512)
4.1 CURRENT SCENE, SETUP, BACKUP, USER SETUP
4.1.1 Format (PARAMETER CHANGE)
Fix (512)
Fix (512)
Fix (512)
Receive
Fix (512)
Data will be received when [PARAMETER CHANGE Rx] is on and the Device
number of both [Rx CH] and SUB STATUS are matched. The data will be
echoed when [PARAMETER CHANGE ECHO] is on. The corresponding
parameter will be changed immediately the data is received.
Fix (512)
Fix (512)
Fix (512)
Transmission
*1) 0–300 Scene Number (0 Request Only),
*2) 1–199 Input EQ Library Number (1–40 Request Only)
*3) 1–199 Output EQ Library Number (1–3 Request Only)
*4) 1–199 Dynamics Library Number (1–41 Request Only)
*5) 0–199 GEQ Library Number (0 Request Only)
*6) 1–199 Effect Library Number (1–57 Request Only)
*7) 512–575 Input 1–64,
*8) 576–583 STIN 1L–4R,
*9) 768–783 MIX 1–16,
*10) 1024–1031 MATRIX 1-8 (LS9-32 only),
*11) 1280–1282 STEREO L–C,
*12) 512–519 GEQ 1–8,
Data will be transmitted with the [Device Number] in [Tx CH] when
[PARAMETER CHANGE Tx] is on and the parameter is not registered on the
[CONTROL CHANGE EVENT LIST].
System exclusive message
Manufacture’s ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Digital mixer
STATUS
ID No.
11110000 F0
01000011 43
SUB STATUS 0001nnnn 1n
GROUP ID
MODEL ID
00111110 3E
00010010 12
0ccccccc cc
LS9
DATA
*13) 512–515 EFFECT 1–4,
Category
*14) 512 Current Data,
*15) 768 Current Data with Recall Safe,
Element no High.
Element no Low.
Index no High.
Index no Low.
Channel no High.
Channel no Low.
Data
DATA
0eeeeeee eh
0eeeeeee el
0iiiiiii ih
0iiiiiii il
0ccccccc ch
0ccccccc cl
0ddddddd dd
Data is lost when you write to the preset library.
The unique header (Model ID) identifies whether the device is a LS9.
To calculate the check sum, add the bytes starting with the byte after BYTE
COUNT (LOW) and ending with the byte before CHECK SUM, take the binary
complement, and set bit 7 to 0.
CHECK SUM = (-sum)&0x7F
:
:
End of exclusive
11110111 F7
EOX
Bulk Dumps can be received at any time, and can be transmitted at any time
when a Bulk Dump Request is received.
A Bulk Dump is transmitted on the [Rx CH] channel in response to a Bulk
Dump Request.
In the data portion, seven words of 8-bit data are converted into eight words of
7-bit data.
[Conversion from actual data to bulk data]
d[0-6]: actual data
b[0-7]: bulk data
b[0] = 0;
for( I=0; I<7; I++){
if( d[I]&0x80){
b[0] |= 1<<(6-I);
}
b[I+1] = d[I]&0x7F;
}
[Recovery from bulk data to actual data]
d[0-6]: actual data
b[0-7]: bulk data
for( I=0; I<7; I++){
b[0] <<= 1;
d[I] = b[I+1]+(0x80&b[0]);
}
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MIDI Data Format
4.1.2 Format (PARAMETER REQUEST)
4.2.2 Function Name
Receive
FUNCTION NAME
Store
Data will be received when [PARAMETER CHANGE Rx] is on and the Device
number of both [Rx CH] and SUB STATUS are matched. The data will be
echoed when [PARAMETER CHANGE ECHO] is on. The corresponding
parameter will be changed via PARAMETER CHANGE immediately the data is
received.
“LibStr__”
“LibRcl__”
“LibUnStr”
“LibUnRcl”
“LibStrUd”
“LibRclUd”
Recall
Unknown Factor Store
Unknown Factor Recall
Store Undo (only Scene)
Recall Undo (only Scene)
System exclusive message
Manufacture’s ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Digital mixer
STATUS
11110000 F0
01000011 43
0001nnnn 3n
00111110 3E
00010010 12
ID No.
SUB STATUS
GROUP ID
MODEL ID
4.2.3 Module Name
MODULE NAME
LS9
Scene
“SCENE___”
“INEQ____”
“OUTEQ___”
“DYNA____”
“GEQ_____”
“EFFECT__”
DATA Category 0ccccccc cc
Input EQ
Output EQ
Dynamics
GEQ
Element no High.
Element no Low.
Index no High.
Index no Low.
DATA
0eeeeeee eh
0eeeeeee el
0iiiiiii ih
0iiiiiii il
0ccccccc ch
0ccccccc cl
11110111 F7
Effect
Channel no High.
Channel no Low.
End of exclusive
Function
Number
channel*1)
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx
“LibStr__“
“LibUnStr“
“LibRcl__“
“LibUnRcl“
SCENE
1- 300
41- 199
4- 199
42- 199
1- 199
58- 199
1- 300
41- 199
4- 199
42- 199
1- 199
58- 199
0- 300
1- 199
1- 199
1- 199
0- 199
1- 199
0
*5)
EOX
INPUT EQ LIB
OUTPUT EQ LIB
Dynamics LIB
GEQ LIB
*1)
*2) *3) *4)
4.1.3 Data category
DATA CATEGORY
*1) *2) *3) *4) *8)
NAME
*6)
Current Scene/Setup/Backup/
User Setup Data
0x01
00000001
EFFECT LIB
SCENE
*7)
0
INPUT EQ LIB
OUTPUT EQ LIB
Dynamics LIB
GEQ LIB
0
tx
0
tx
4.2 FUNCTION CALL – LIBRARY STORE, RECALL –
4.2.1 Format (PARAMETER CHANGE)
0
tx
0
tx
EFFECT LIB
SCENE
0
tx
Receive
*5)
Data will be received when [PARAMETER CHANGE Rx] is on and the Device
number of both [Rx CH] and SUB STATUS are matched. The data will be
echoed when [PARAMETER CHANGE ECHO] is on. The corresponding
parameter will be changed immediately the data is received.
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx/rx
tx
INPUT EQ LIB
OUTPUT EQ LIB
Dynamics LIB
GEQ LIB
*1)
*2) *3) *4)
*1) *2) *3) *4) *8)
Transmission
*6)
Data will be transmitted with the [Device Number] (MIDI CH) in [Tx CH]
when [PARAMETER CHANGE Tx] is on.
EFFECT LIB
SCENE
*7)
*5)
System exclusive message
Manufacture’s ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Digital mixer
STATUS
11110000 F0
01000011 43
0001nnnn 1n
00111110 3E
00010010 12
INPUT EQ LIB
OUTPUT EQ LIB
Dynamics LIB
GEQ LIB
0
*1)
tx
ID No.
0
*2) *3) *4)
tx
SUB STATUS
GROUP ID
MODEL ID
0
*1) *2) *3) *4) *8)
tx
0
*6)
*7)
0
tx
LS9
EFFECT LIB
SCENE
0
tx
OTHER DATA
DATA CATEGORY 00000000 00
FUNCTION NAME 01001100 "L"
01101001 "i"
“LibStrUd“
“LibRclUd“
0
(ASCII CODE)
SCENE
0
0
(ASCII CODE)
(ASCII CODE)
01100010 "b"
*1) 0:CH1–63:CH64
64:ST IN 1L–71:ST IN 4R
*2) 256:MIX1–271:MIX16
(ASCII CODE)
0fffffff ff
(ASCII CODE)
0fffffff ff
*3) 512:MATRIX1–519:MATRIX8
(ASCII CODE)
0fffffff ff
*4) 1024:STEREO L–1026:MONO(C)
(ASCII CODE)
0fffffff ff
*5) 512:will be used if the recalling or storing data is only one.
*6) 0:RACK1–7:RACK8 If a GEQ is mounted in RACK 1–8.
*7) 0:RACK5–3:RACK8 If an effect is mounted in RACK 5–8.
*8) 1280:CH 1–1343:CH 64
(ASCII CODE)
0fffffff ff
(ASCII CODE)
MODULE NAME
0mmmmmmm mm
0mmmmmmm mm
0mmmmmmm mm
0mmmmmmm mm
0mmmmmmm mm
0mmmmmmm mm
0mmmmmmm mm
0mmmmmmm mm
0nnnnnnn nh
0nnnnnnn nl
0ccccccc ch
0ccccccc cl
11110111 F7
(ASCII CODE)
1344:STIN 1L–1351:STIN 4R
(Dynamics2)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
Number High
DATA
EOX
Number Low
Channel High
Channel Low
End of exclusive
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MIDI Data Format
4.3 FUNCTION CALL – LIBRARY EDIT –
4.4 FUNCTION CALL – LIBRARY ATTRIBUTE –
4.3.1 Format (PARAMETER CHANGE)
4.4.1 Format (PARAMETER CHANGE)
Receive
Receive
Data will be received when [PARAMETER CHANGE Rx] is on and the Device
number of both [Rx CH] and SUB STATUS are matched. The data will be
echoed when [PARAMETER CHANGE ECHO] is on. The corresponding
memory/library will be changed immediately the data is received.
Data will be received when [PARAMETER CHANGE Rx] is on and the Device
number of both [Rx CH] and SUB STATUS are matched. The data will be
echoed when [PARAMETER CHANGE ECHO] is on. The corresponding
memory/library title will be changed immediately the data is received.
Transmission
Transmission
PARAMETER CHANGE will be sent in reply to Request. If [PARAMETER
PARAMETER CHANGE will be sent in reply to Request. If [PARAMETER
CHANGE ECHO] is on, the message will be sent as it is.
CHANGE ECHO] is on, the message will be sent as it is.
System exclusive message
Manufacture’s ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Digital mixer
System exclusive message
Manufacture’s ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Digital mixer
STATUS
ID No.
11110000 F0
01000011 43
STATUS
ID No.
11110000 F0
01000011 43
SUB STATUS 0001nnnn 1n
SUB STATUS 0001nnnn 1n
GROUP ID
MODEL ID
00111110 3E
00010010 12
00000000 00
GROUP ID
MODEL ID
00111110 3E
00010010 12
00000000 00
LS9
LS9
OTHER DATA
OTHER DATA
DATA
DATA
CATEGORY
CATEGORY
(ASCII CODE)
(ASCII CODE)
FUNCTION
NAME
01001100 "L"
FUNCTION
NAME
01001100 "L"
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
Scene/Library number High
Scene/Library number Low
Element High
Element Low
01101001 "i"
01100010 "b"
0fffffff ff
0fffffff ff
0fffffff ff
0fffffff ff
0fffffff ff
01101001 "i"
01100010 "b"
01000001 "A"
01110100 "t"
01110010 "r"
01100010 "b"
01110100 "t"
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
MODULE NAME0mmmmmmm mm
0mmmmmmm mm
MODULE NAME0mmmmmmm mm
0mmmmmmm mm
(ASCII CODE)
(ASCII CODE)
0mmmmmmm mm
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
0mmmmmmm mm
number -source start High
number -source start Low
number -source end High
number -source end Low
number -destination start High
number -destination to start Low
End of exclusive
DATA
0sssssss sh
0sssssss sl
0eeeeeee eh
0eeeeeee el
0ddddddd dh
0ddddddd dl
11110111 F7
DATA
0nnnnnnn nh
0nnnnnnn nl
0eeeeeee eh
0eeeeeee el
0iiiiiii ih
0iiiiiii il
0ccccccc ch
0ccccccc cl
0000dddd dd
0ddddddd dd
0ddddddd dd
0ddddddd dd
0ddddddd dd
11110111 F7
Index High
Index Low
Channel High
Channel Low
Data28–31bit
Data21–27bit
Data14–20bit
Data7–13bit
EOX
4.3.2 Function Name
FUNCTION NAME
Source
start
Source
end
Destination
start
Copy
Paste
”LibCpy__”
Valid
–
–
–
–
–
–
–
Data0–6bit
”LibPst__”
”LibClr__”
”LibCut__”
”LibIns__”
”LibEdtUd”
–
Valid
End of exclusive
EOX
Clear
Valid
Valid
–
–
Cut
–
Insert
Edit Undo
Valid
–
–
4.3.3 Module Name
MODULE NAME
function
SCENE LIB
“SCENE___“
Copy, Paste, Clear, Cut, Insert,
EditUndo
INPUT EQ LIB
OUTPUT EQ LIB
Dynamics LIB
GEQ LIB
“INEQ____“
“OUTEQ___“
“DYNA____“
“GEQ_____“
“EFFECT__“
Only Copy
Only Copy
Only Copy
Only Copy
Only Copy
EFFECT LIB
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MIDI Data Format
4.4.2 Format (PARAMETER REQUEST)
4.5 EXIST LIBRARY RANGE
4.5.1 Format (PARAMETER CHANGE)
Transmission
Receive
The PARAMETER CHANGE will be sent with Device number [Rx CH]
immediately the data is received.
When LS9 receives Library Exist request command from outside, the answer will
System exclusive message
Manufacture’s ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Digital mixer
STATUS
ID No.
11110000 F0
01000011 43
be sent back with the following Parameter change.
This packet shows smallest library number range that exists and not read only.
Top number is requested number or more.
SUB STATUS 0011nnnn 3n
GROUP ID
MODEL ID
00111110 3E
00010010 12
00000000 00
-Example-
SCENE is stored 5,6,7,10,100 and 101
Request Number:0
Data : Valid, Top Number : 5, End Number 7
Request Number: 8
Data : Valid, Top Number : 10, End Number 10
Request Number: 11
Data : Valid, Top Number : 100, End Number 101
Request Number: 102
Data : Invalid, Top Number : 0, End Number 0
LS9
OTHER DATA
DATA
CATEGORY
(ASCII CODE)
FUNCTION
NAME
01001100 "L"
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
Scene/Library number High
Scene/Library number Low
Element High
Element Low
01101001 "i"
01100010 "b"
01000001 "A"
01110100 "t"
01110010 "r"
01100010 "b"
01110100 "t"
System exclusive message
Manufacture’s ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Digital mixer
STATUS
ID No.
11110000 F0
01000011 43
SUB STATUS 0001nnnn 1n
MODULE NAME0mmmmmmm mm
0mmmmmmm mm
GROUP ID
MODEL ID
00111110 3E
00010010 12
00000000 00
LS9
0mmmmmmm mm
OTHER DATA
DATA
0mmmmmmm mm
CATEGORY
0mmmmmmm mm
(ASCII CODE)
FUNCTION
NAME
01001100 "L"
0mmmmmmm mm
0mmmmmmm mm
(ASCII CODE)
01101001 "i"
01100010 "b"
01000101 "E"
01111000 "x"
01101001 "i"
01110011 "s"
01110100 "t"
0mmmmmmm mm
(ASCII CODE)
DATA
0nnnnnnn nh
0nnnnnnn nl
0eeeeeee eh
0eeeeeee el
0iiiiiii ih
0iiiiiii il
0ccccccc ch
0ccccccc cl
11110111 F7
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
Index High
(ASCII CODE)
Index Low
(ASCII CODE)
MODULE NAME0mmmmmmm mm
0mmmmmmm mm
Channel High
Channel Low
(ASCII CODE)
(ASCII CODE)
0mmmmmmm mm
End of exclusive
EOX
(ASCII CODE)
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
4.4.3 Module Name
MODULE NAME
(ASCII CODE)
0mmmmmmm mm
number
size
(ASCII CODE)
0mmmmmmm mm
SCENE LIB
“SCENE___”
0-300 (0:response only)
1-199 (1-40:response only)
1-199 (1-3:response only)
1-199 (1-41:response only)
0-199 (0:response only)
1-199 (1–57:response only)
16
16
16
16
16
16
Data Status (0:Invalid data,1:Valid Data)
Request Number High
Request Number Low
Top Number High
Top Number Low
End Number High
End Number Low
End of exclusive
DATA
0sssssss nn
0nnnnnnn nh
0nnnnnnn nl
0ttttttt nh
0ttttttt nl
0eeeeeee nh
0eeeeeee nl
11110111 F7
INPUT EQ LIB
OUTPUT EQ LIB
Dynamics LIB
GEQ LIB
“INEQ____”
“OUTEQ___”
“DYNA____”
“GEQ_____”
“EFFECT__”
EFFECT LIB
EOX
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MIDI Data Format
4.5.2 Format (PARAMETER REQUEST)
Number High
Number Low
Channel High
Channel Low
End of exclusive
DATA
EOX
0nnnnnnn nh
0nnnnnnn nl
0ccccccc ch
0ccccccc cl
11110111 F7
Receive
The PARAMETER CHANGE will be sent with Device number [Rx CH]
immediately the data is received.
System exclusive message
STATUS
ID No.
11110000 F0
01000011 43
Manufacture’s ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
SUB STATUS 0011nnnn 3n
4.6.2 Function Name
Function
Digital mixer
LS9
GROUP ID
MODEL ID
00111110 3E
00010010 12
00000000 00
Number
tx/rx
“ColUnStr“
Setup
0
tx
OTHER DATA
DATA
User Defined Key
Program Change
Control Change
0
0
0
tx
tx
tx
CATEGORY
(ASCII CODE)
FUNCTION
NAME
01001100 "L"
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
Request Number High
Request Number Low
End of exclusive
01101001 "i"
01100010 "b"
01000101 "E"
01111000 "x"
01101001 "i"
01110011 "s"
01110100 "t"
4.6.3 Module Name
Module Name
Mixer Setting
Outport Setting
Monitor Setting
MIDI Setting
“MIXERSET”
“OUT_PORT”
“MONITOR_”
“MIDI_SET”
Lib Number
“LIB_NUM_”
“PRGMCHG_”
“CTRLCHG_”
“PREF_CUR”
“PREF_ADM”
“PREF_GST”
“UDEF_CUR”
“UDEF_ADM”
“UDEF_GST”
“CFAD_CUR”
“CFAD_ADM”
“CFAD_GST”
“UKEY_CUR”
“UKEY_GST”
MODULE NAME0mmmmmmm mm
0mmmmmmm mm
Program Change Table
Control Change Table
Preference(Current)
Preference(Admin)
0mmmmmmm mm
0mmmmmmm mm
Preference(Guest)
0mmmmmmm mm
User Defined Keys(Current)
User Defined Keys(Admin)
User Defined Keys(Guest)
Custom Fader Layer(Current)
Custom Fader Layer(Admin)
Custom Fader Layer(Guest)
User Level(Current)
User Level(Guest)
0mmmmmmm mm
0mmmmmmm mm
0mmmmmmm mm
DATA
EOX
0nnnnnnn nh
0nnnnnnn nl
11110111 F7
4.5.3 Module Name
MODULE NAME
4.7 FUNCTION CALL – MODULE –
4.7.1 Format (PARAMETER CHANGE)
Receive
Data will be received when [PARAMETER CHANGE Rx] is on and the Device
number of both [Rx CH] and SUB STATUS are matched. The data will be
echoed when [PARAMETER CHANGE ECHO] is on. The corresponding effect
will function immediately the data is received (depending on the effect type).
number
1-300
SCENE LIB
“SCENE___“
INPUT EQ LIB
OUTPUT EQ LIB
Dynamics LIB
GEQ LIB
“INEQ____“
“OUTEQ___“
“DYNA____“
“GEQ_____“
“EFFECT__“
41-199
4-199
42-199
1-199
EFFECT LIB
58-199
System exclusive message
Manufacture’s ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Digital mixer
STATUS
ID No.
11110000 F0
01000011 43
4.6 FUNCTION CALL – COLLECTION STORE –
4.6.1 Format (PARAMETER CHANGE)
SUB STATUS 0001nnnn 1n
GROUP ID
MODEL ID
00111110 3E
00010010 12
00000000 00
LS9
Transmission
OTHER DATA
DATA
CATEGORY
Data will be transmitted with the [Device Number] in [Tx CH] when
[PARAMETER CHANGE Tx] is on.
FUNCTION
NAME
01001101 "M"
System exclusive message
Manufacture’s ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Digital mixer
STATUS
ID No.
11110000 F0
01000011 43
01101111 "o"
01100100 "d"
01000110 "F"
01111000 "x"
01010100 "T"
01110010 "r"
01100111 "g"
SUB STATUS 0001nnnn 1n
GROUP ID
MODEL ID
00111110 3E
00010010 12
00000000 00
LS9
OTHER DATA
DATA
CATEGORY
(ASCII CODE)
FUNCTION
NAME
01001100 "C"
(ASCII CODE)
MODULE NAME0mmmmmmm mm
0mmmmmmm mm
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
(ASCII CODE)
01101001 "o"
01100010 "l"
01010101 "U"
01101110 "n"
01010011 "S"
01110100 "t"
01110010 "r"
(ASCII CODE)
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
Effect number (0:RACK5–3:RACK8)
Release:0, Press:1
End of exclusive
DATA
EOX
0eeeeeee ee
0ppppppp pp
11110111 F7
MODULE NAME0mmmmmmm mm
0mmmmmmm mm
0mmmmmmm mm
0mmmmmmm mm
0mmmmmmm mm
4.7.2 Module Name
MODULE NAME
Freeze Play button
Freeze Record button ”FRZREC__”
0mmmmmmm mm
channel
0:RACK5, 2:RACK7
0:RACK5, 2:RACK7
0mmmmmmm mm
”FRZPLAY_”
0mmmmmmm mm
This will not work when the Effect Type is different.
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MIDI Data Format
4.8 FUNCTION CALL – CHANNEL –
4.9 LEVEL METER DATA
4.8.1 Pair ON/OFF Trigger Format (PARAMETER CHANGE)
4.9.1 Format (PARAMETER CHANGE)
When transmission is enabled by receiving Request for Level Meter, the
corresponding metering data will be sent in every 50 millisecond for 10 seconds.
If metering information is expected to be continuously sent, Request is needed
to be sent in at least every 10 seconds.
Receive
Data will be received when [PARAMETER CHANGE Rx] is on and the Device
number of both [Rx CH] and SUB STATUS are matched. The data will be
echoed when [PARAMETER CHANGE ECHO] is on.
Receive
System exclusive message
Manufacture’s ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Digital mixer
STATUS
ID No.
11110000 F0
01000011 43
The data will be echoed when [PARAMETER CHANGE ECHO] is ON.
Transmission
SUB STATUS 0001nnnn 1n
When transmission is enabled by receiving Request, the corresponding metering
data will be sent in constant interval for a given period of time (The interval and
time will vary depending on devices). When rebooted or port setting is changed,
the transmission will be disabled.
GROUP ID
MODEL ID
00111110 3E
00010010 12
00000000 00
LS9
OTHER DATA
DATA
CATEGORY
When [PARAMETER CHANGE ECHO] is on, the message will be sent as it is.
FUNCTION
NAME
01000011 "C"
System exclusive message
Manufacture’s ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Digital mixer
STATUS
ID No.
11110000 F0
01000011 43
01101000 "h"
01101100 "l"
01010000 "P"
01101001 "i"
01110010 "r"
01000011 "C"
01110000 "p"
SUB STATUS 0001nnnn 1n
GROUP ID
MODEL ID
00111110 3E
00010010 12
00100001 21
LS9
REMOTE LEVEL METER
DATA
CATEGORY
ADDRESS UL
ADDRESS LU
ADDRESS LL
Data1
DATA
0mmmmmmm mm
0mmmmmmm mm
0mmmmmmm mm
0ddddddd dd
(ASCII CODE)
MODULE NAME0mmmmmmm mm
0mmmmmmm mm
(ASCII CODE)
(ASCII CODE)
0mmmmmmm mm
:
:
(ASCII CODE)
0mmmmmmm mm
End of exclusive
EOX
11110111 F7
(ASCII CODE)
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
4.9.2 Format (PARAMETER REQUEST)
(ASCII CODE)
0mmmmmmm mm
(ASCII CODE)
0mmmmmmm mm
Receive
Source Channel Number H *1)
Source Channel Number L *1)
Destination Channel Number H *1)
Destination Channel Number L *1)
End of exclusive
Data will be received when [PARAMETER CHANGE Rx] is on and the Device
number of both [Rx CH] and SUB STATUS are matched. The data will be
echoed when [PARAMETER CHANGE ECHO] is on. the corresponding
metering data will be sent via [Rx CH] in constant interval for a given period of
time (The interval and time will vary depending on devices).
When Address UL = 0x7F is received, all metering data transmission will be
immediately stopped [disabled].
DATA
EOX
0sssssss sh
0sssssss sl
0ddddddd dh
0ddddddd dl
11110111 F7
Transmission
4.8.2 Module Name
When [PARAMETER CHANGE ECHO] is on, the message will be sent as it is.
MODULE NAME
Pair On (with Copy)
Pair On (with Reset Both)
Pair Off
System exclusive message
Manufacture’s ID number (YAMAHA)
n=0-15 (Device number=MIDI Channel)
Digital mixer
STATUS
ID No.
11110000 F0
01000011 43
”PAIRONCP”
”PAIRONRS”
”PAIROFF_”
SUB STATUS 0011nnnn 3n
GROUP ID
MODEL ID
00111110 3E
00010010 12
00100001 21
*1) 0:CH1–63:CH64
LS9
256:MIX 1– 271:MIX 16
512:MATRIX 1–519:MATRIX 8
REMOTE LEVEL METER
DATA
CATEGORY
ADDRESS UL
ADDRESS LU
ADDRESS LL
Count H
DATA
0mmmmmmm mm
0mmmmmmm mm
0mmmmmmm mm
0ccccccc ch
0ccccccc cl
11110111 F7
Count L
End of exclusive
EOX
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Warning/Error Messages
Warning/Error Messages
Message
xxx Parameters Copied.
xxx Parameters Initialized.
xxx Parameters Pasted.
Meaning
Parameter xxx was copied to the copy buffer.
Parameter xxx was initialized.
Parameter xxx was pasted from the copy buffer.
xxx Parameters Swapped with Copy Buffer. Parameter xxx was exchanged with the contents of the copy buffer.
The Monitor Define function allows a maximum of eight sources to be selected, but you attempted to
assign more than this.
Assignment is Restricted to Max. 8 Sources!
Cannot Bookmark This Popup.
This popup window cannot be bookmarked.
Cannot Recall to Different Parameter Type! You attempted to recall a library of a different type.
Cannot Recall!
Failed to recall a scene memory or library.
Cannot Select This Channel.
Cannot Store!
You attempted to select a channel that cannot be operated due to your user level or some other reason.
Failed to store a scene memory or library.
Cannot Undo!
You pressed the [UNDO] button when Undo was not available.
File on the USB memory could not be accessed for some reason.
File could not be saved from the USB memory.
Couldn’t Access File.
Couldn’t Write File.
Current User Changed. [xxx]
Directory Not Empty!
EFFECT CUE: Turned Off.
Current user was changed to [xxx].
You attempted to delete a directory, but failed because there were files remaining in the directory.
CUE was defeated because you switched from the RACK screen to a different screen.
External HA data could not be recalled, because the state of connections to the external HA differs
from when the scene was stored.
External HA Connection Conflict!
File Access is Busy!
The following operation has not been performed yet because the USB memory is being accessed.
The USB memory already contains a file/directory with the same name as the one you are attempting
to save, rename, or create.
File Already Exists!
File Error [xx]!
Internal file access error
File Protected!
Overwriting was not possible because the file on the USB memory is write-protected.
Can’t find HELP file.
Help File Not Found!
Illegal Address!
The IP address or Gateway address setting is invalid.
Communication via the Network connector is not possible because the MAC address setting has been
damaged for some reason. Please contact your Yamaha dealer.
Illegal MAC Address! Cannot Use Network.
Illegal Storage Format!
The USB memory could not be accessed because its format is invalid or unsupported.
KEY IN CUE was defeated because you switched from the DYNAMICS 1/2 popup window to a differ-
ent screen.
KEY IN CUE: Turned Off.
Loading Aborted.
Low Battery!
Loading from USB memory was aborted.
The backup battery voltage is low.
Maximum Number of Audio Files
Exceeded!
The number of songs that can be managed by the USB memory recorder has been exceeded.
Memory Error! All Memories were
Initialized.
All data has been initialized because the data in internal backup memory has been lost, due to failure
of the backup battery or some other reason. Please contact your Yamaha dealer.
MIDI: Data Framing Error!
MIDI: Data Overrun!
An inappropriate signal is being input to the MIDI input port.
An inappropriate signal is being input to the MIDI input port.
Too much data is being received at the MIDI input port.
MIDI: Rx Buffer Full!
MIDI: Tx Buffer Full!
To much data is being transmitted from the MIDI output port.
In the RECORDER screen, it is not possible to move to a level higher than YPE/SONGS/.
No Access From Recorder!
Your operation has been ignored because there is no parameter that corresponds to the knob you
operated.
No Controllable Knob.
No Corresponding Help Items.
No Response from External HA.
Page Bookmarked.
A section in the HELP data cannot be found.
No response from an external AD8HR.
The current screen or popup has been bookmarked.
The password has been changed.
Password Changed.
PlayBack Failed: Recorder is Busy!
Audio file link playback is not possible because recording is in progress.
The cooling fan of the internal power supply has stopped. If a malfunction has occurred, please con-
tact your Yamaha dealer.
Power Supply Fan has Malfunctioned!
Processing Aborted.
Processing was interrupted.
Recorder Busy: Operation Aborted!
Saving Aborted.
Operation of the JPN button was cancelled because time is required for recorder processing.
Saving to the USB memory has been interrupted.
No data has been stored in the scene you attempted to recall, or the data has been damaged so that
it cannot be recalled.
Scene #xxx is Empty!
Scene #xxx is Protected!
Scene #xxx is Read Only!
You attempted to overwrite (store) a protected scene.
You attempted to overwrite (store) a read-only scene.
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Warning/Error Messages
Message
SLOT x: Data Framing Error!
SLOT x: Data Overrun!
SLOT x: Rx Buffer Full!
SLOT x: Tx Buffer Full!
Meaning
Invalid signals are being input from the SLOT x input port.
Invalid signals are being input from the SLOT x input port.
Too much data is being received at the SLOT x input port.
Too much data is being sent from the SLOT x output port.
There was a song file that could not be identified. It is possible that the song being used for DIRECT
PLAY or SCENE PLAY BACK LINK is different than the song that was specified.
Some Song Files Are Unidentified.
Song File Not Found!
Storage Full!
The file assigned to SCENE LINK or to the DIRECT PLAY user defined key does not exist.
The file could not be saved because there is not enough space on the USB memory.
The USB memory could not be recognized.
Storage Not Found!
Storage Not Ready!
Sync Error! [xxx]
Access is not possible because the USB memory is not ready.
The LS9 is not synchronized with the [xxx] signal.
Tap Operation Ignored.
This Operation is Not Allowed.
Tap operation was ignored because the TAP TEMPO button is not displayed in the screen.
This operation has been ignored because the current user does not have permission.
Loading is not possible because the bitmap file is too large. The maximum supported file size is
307,256 bytes.
Too Large Files! Loading Failed.
Too Many Bands Used! Cannot Compare.
Too Many EQ Bands Used! Cannot Paste!
Total Slot Power Capability Exceeded!
Unsupported File Format!
More than 15 bands are used, when trying to copy 31band GEQ and then compare with Flex15GEQ.
More than 15 bands are used, when trying to copy 31band GEQ and then paste to Flex15GEQ.
The I/O cards installed in the slots exceed the rated power capacity.
The file you attempted to load from the USB memory is of an unsupported format.
Invalid signals are being input from the USB connector input port.
USB: Data Framing Error!
USB: Data Overrun!
Invalid signals are being input from the USB connector input port.
USB: Rx Buffer Full!
Too much data is being received at the USB connector input port.
USB: Tx Buffer Full!
Too much data is being transmitted from the USB connector output port.
USB Currently Active for Recorder
function!
Since the USB memory recorder is recording or playing back, functions such as Save/Load cannot be
used.
The recorder cannot oparate, since mixer scene memory/library data is being saved or loaded in USB
memory.
USB Currently Active for SAVE or LOAD!
USB Memory Busy: Recorder Stopped!
USB Memory Full! Recorder Stopped.
Recording/playback stopped because time is required for USB memory processing.
Recorder processing was halted because the USB memory capacity ran out while the USB memory
recorder was operating.
USB Memory Unmounted! Recorder
Stopped.
Recorder processing was halted because the USB memory was disconnected while the USB memory
recorder was operating.
USB over current Error! Disconnect USB
device.
Excessive current has occurred at the USB connector.
Disconnect the USB memory that is connected to the USB connector.
Word Clock Error! Recorder Stopped!
Wrong Audio File Format!
Wrong Password!
Recorder was halted because synchronization with the word clock was lost.
The format of the audio file is invalid.
The password you input was incorrect.
The LS9 cannot synchronize because the source selected by MASTER CLOCK SELECT in the WORD
CLOCK screen is not appropriate.
Wrong Word Clock!
You Cannot Create User Key.
The current user does not have permission to create a user key.
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Troubleshooting
Troubleshooting
❍ Are the LCD contrast and panel brightness adjusted appropriately? You can adjust the LCD contrast by
holding down the [HOME] key and turning the dial.
Power does not turn on, panel LEDs
and the LCD display do not light
❍ Is the LS9’s POWER switch turned on?
❍ If the power still does not turn on, contact your Yamaha dealer.
❍ Is a signal being input from the external device?
❍ Is the GAIN of the internal head amp or external head amp set to an appropriate level? (→ p. 47, 57)
Sound is not input
❍ Is the [ON] key indicator of the input channel lit?
❍ Is the fader of the input channel raised?
❍ Is the [ON] key indicator of the STEREO channel lit?
Sound is not output
Sound is not output from headphones
or the MONITOR OUT jacks
❍ Is the [PHONES] knob or [LEVEL] knob set to an appropriate volume?
❍ Is the GAIN of the internal head amp or external head amp set to an appropriate level? (→ p. 47, 57)
❍ Is the fader of the input channel raised?
Sound is not loud enough
Sound is distorted
❍ Is the fader of the output channel raised?
❍ Is the GAIN of the internal head amp or external head amp set to an appropriate level? (→ p. 47, 57)
❍ Could the fader of the input channel be raised too high?
❍ Could the fader of the STEREO channel be raised too high?
Sound is output even though it is not
patched to an output channel
The volume of a specific channel rises
and falls
Operating a fader does not control the
level as you expect
❍ Is SENDS ON FADER selected and INPUT TO MIX FADER and so on active in the panel?
Only the sound of a specific channel is
heard from the MONITOR OUT or
PHONES jack
❍ Could a [CUE] key be on?
Noise occurs from an externally
connected recorder or other device
❍ Could the input signal be unsynchronized?
❍ Could emphasis be applied? This problem will occur if the input signal status does not match the
High frequency range is attenuated
An input signal is being input, but
there’s no monitor output
❍ Is the dimmer applied?
❍ Is the MONITOR C assigned even though its output port has not been connected to external device.
Not enough headroom, especially
when EQ boost is applied
Signal is delayed
❍ Is the MIX/MATRIX turned on?
Turning a SELECTED SEND encoder
does not change the send level to the
MIX/MATRIX bus
❍ Is the MIX/MATRIX [ON] turned on?
❍ If the send point is set to POST, could the fader have been lowered?
Can’t save scene memory or library
data
❍ Is the USB memory protected?
❍ Does the USB memory have enough free capacity to save the data?
❍ When formatting the USB memory, format it in FAT32 or FAT16 format.
❍ Could the recorder be playing back?
Can’t save to USB memory
Can’t transmit/receive MIDI data
When you recall a scene, some
channels/parameters are not updated
❍ Could that channel or parameter be set to Recall Safe? Could Focus be turned off in the scene you
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Troubleshooting
You turn on a CUE button in the EFFECT
PARAM screen, but it is automatically
defeated
When you recall a scene, it takes a
stop
The panel LEDs or LCD display are too
dark / too bright
❍ Could the EQ gain be turned down excessively?
Signal level of a specific frequency is
low
❍ Routing a signal through a GEQ or effect will delay it relative to other signals. If this signal is mixed with
the signal via a different signal path, a comb filtering effect will cause the level of a specific frequency
to be decreased.
❍ Is the external head amp connected to the specified port?
❍ Is the audio output signal of the external head amp being input via an I/O card to SLOT 1–3?
❍ Is the input port of the external head amp set correctly?
❍ Could there be a problem with the cable that connects the LS9 and external head amp? Are you using
a D-sub 9-pin cross cable?
Can’t control an external head amp
(AD8HR)
Can’t control the LS9 by LS9 Editor.
In the LCD display, there are some
black points (unlit) or white points
(always lit).
❍ Unfortunately, this is a common characteristic of TFT-LCDs and not a malfunction.
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General Specifications
General Specifications
Signal Delay
Less than 2.5 ms (INPUT to OMNI OUT @Fs=48kHz)
LS9-16:
LS9-32:
480 x 220 x 500 mm
884 x 220 x 500 mm
Dimensions (WxHxD)
LS9-16:
LS9-32:
12.0 kg
19.4 kg
Net Weight
LS9-16:
LS9-32:
95 W, 110–240 V, 50/60 Hz
170 W, 110–240 V, 50/60 Hz
Power Requirements
Temperature Range
Operating: +10˚C to +35˚C
Storage: -20˚C to +60˚C
Included Accessories
Optional Accessories
AC Power Cord Length
Owner’s Manual, AC Power Cord, Dust Cover (only LS9-32)
mini-YGDAI cards, Gooseneck Light LA1L (for LS9-32), Rack Mount Kit RK1
250 cm
Conditions
Min.
Typ. Max. Unit
Frequency Range
39.69
50.88
10
kHz
Sampling Frequency
External Clock
Jitter of PLL *
* The jitter of input
clock is less than 1ns.
Digital Input Fs = 44.1 kHz or 48 kHz
Digital Input Fs = 39.69–50.88 kHz
ns
20
Word Clock: INT 44.1 kHz
44.1
48
Frequency
kHz
Word Clock: INT 48 kHz
Sampling Frequency
Internal Clock
Accuracy
Word Clock: INT 44.1 kHz or 48 kHz
Word Clock: INT 44.1 kHz or 48 kHz
Resolution: 1,024 steps, +10 to -138, -∞ dB for all faders
50
5
ppm
ns
Jitter
Travel (Stroke)
Position Error
Moving Time
100
mm
sec
Fader
1.5
0.3
From end to the other end, Under normal software control
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Input/output characteristics
Input/output characteristics
❏ Analog Input Characteristics
Input Level
Nominal
Actual Load
Impedance
For Use With
Nominal
Input Terminals
GAIN
Connector
Max. before
clip
Sensitivity *1
-82 dBu
-62 dBu
-42 dBu
-62 dB
+10 dB
(61.6 µV)
(0.616 mV)
(6.16 mV)
XLR-3-31 type
(Balanced) *2
INPUT 1-16 <LS9-16>
INPUT 1-32 <LS9-32>
50-600Ω Mics &
600Ω Lines
3 kΩ
-10 dBu
(245 mV)
+10 dBu
(2.45 V)
+30 dBu
(24.5 V)
*1. Sensitivity is the lowest level that will produce an output of +4 dBu (1.23 V) or the nominal output level when the unit is set to maximum gain. (all fad-
ers and level controls are maximum position.)
*2. XLR-3-31 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)
*
*
*
In these specifications, 0 dBu = 0.775 Vrms.
All input AD converters are 24-bit linear, 128-times oversampling.
+48V DC (phantom power) is supplied to INPUT XLR type connectors via each individual software controlled switch.
❏ Analog Output Characteristics
Output Level
ActualSource
Impedance
For Use With
Nominal
Gain Switch
*3
Output Terminals
Connector
Max. before
Nominal
clip
+24 dB
(default)
+4 dBu
(1.23 V)
+24 dBu
(12.3 V)
XLR-3-32 type
(Balanced) *1
OMNI OUT 1-8 <LS9-16>
OMNI OUT 1-16 <LS9-32>
75 Ω
600 Ω Lines
-2 dBu
(616 mV)
+18 dBu
(6.16 V)
+18 dB
75 mW *4
65 mW *4
Stereo Phone
Jack (TRS)
(Unbalanced) *2
8 Ω Phones
—
—
150 mW
150 mW
PHONES OUT
15 Ω
40 Ω Phones
*1. XLR-3-32 type connectors are balanced. (1=GND, 2=HOT, 3=COLD)
*2. PHONES OUT stereo phone jack is unbalanced. (Tip=LEFT, Ring=RIGHT, Sleeve=GND)
*3. There are switches inside the body to preset the maximum output level.
*4. The position of the level control is 10dB lowered from Max.
*
*
In these specifications, 0 dBu = 0.775 Vrms.
All output DA converters are 24-bit, 128-times oversampling.
❏ Digital Input Characteristics
Terminal
Format
Data Length
Level
Connector
2TR IN DIGITAL
Coaxial
IEC-60958
24 bit
0.5 Vpp/75 Ω RCA Pin Jack
❏ Digital Output Characteristics
Terminal
Format
Data Length
Level
Connector
IEC-60958
Consumer Use
2TR OUT DIGITAL
Coaxial
24 bit
0.5 Vpp/75 Ω RCA Pin Jack
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Input/output characteristics
❏ I/O Slot Characteristics
The rear panel provides one slot (LS9-16) or two slots (LS9-32) in which separately sold mini-YGDAI cards can be installed.
The following types of card can be used.
The number of available cards
Card Name
MY8-AD24
Function
Analog In
Input
Output
LS9-16
LS9-32
8In
8In
8In
8In
8In
8In
8In
8In
—
—
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
MY8-AD96
MY8-ADDA96
MY8-AE
Analog In
Analog In/Out
AES/EBU
AES/EBU
AES/EBU
AES/EBU
ADAT
—
8Out
8Out
8Out
8Out
8Out
8Out
8Out
8Out
4Out
—
MY8-AE96
MY8-AE96S
MY8-AEB
MY8-AT
MY8-DA96
MY8-TD
Analog Out
TASCAM
Analog Out
Analog In
AES/EBU
ADAT
8In
—
MY4-DA
MY4-AD
4In
16In
16In
16In
16In
MY16-AE
MY16-AT
MY16-TD
MY16-CII
16Out
16Out
16Out
16Out
TASCAM
CobraNet
Only Slot 1 has a serial interface (LS9-32).
Refer to the Yamaha Pro Audio global website for the most recent information on mini-YGDAI cards.
❏ Control I/O Characteristics
Terminal
Format
MIDI
Level
Connector
DIN Connector 5P
IN
—
—
MIDI
OUT
IN
MIDI
DIN Connector 5P
BNC Connector
BNC Connector
RJ-45
—
TTL/75Ω terminated
TTL/75Ω
WORD CLOCK
OUT
—
NETWORK (Ethernet)
USB
100Base-T
USB 1.1 Host
100Base-T
USB *1
USB A Connector (Female)
XLR-4-31 type *2
LAMP (LS9-32 only)
—
0V–12V
*1. Bus-powered hubs are not supported.
*2. 4pin=+12V, 3pin=GND, Supported lamp: max. 5W
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Electrical characteristics
Electrical characteristics
All faders are nominal when measured. Output impedance of signal generator: 150 ohms
❏ Frequency Response Fs = 44.1kHz or 48kHz@20Hz–20kHz, referenced to the nominal output level @1kHz
Input
Output
RL
Conditions
Min.
-1.5
-3.0
Typ. Max. Unit
OMNI OUT 1-8 <LS9-16>
OMNI OUT 1-16 <LS9-32>
600 Ω GAIN: max.
0.0
0.0
0.5
0.5
INPUT 1-16 <LS9-16>
INPUT 1-32 <LS9-32>
dB
PHONES OUT
8 Ω
GAIN: max.
❏ Gain Error
Fs = 44.1kHz or 48kHz@1kHz
Input
Output
RL
Conditions
Min.
Typ. Max. Unit
Input level: -62dBu, GAIN: max. → Output level:
-2.0
0.0
0.0
0.0
0.0
2.0
2.0
0.5
0.5
+4.0dBu (Typ.)
INPUT 1-16 <LS9-16>
INPUT 1-32 <LS9-32>
OMNI OUT 1-8 <LS9-16>
OMNI OUT 1-16 <LS9-32>
600 Ω
Input level: +10dBu, GAIN: min. → Output level:
+4.0dBu (Typ.)
-2.0
-0.5
-0.5
dB
OMNI OUT 1-8 <LS9-16>
OMNI OUT 1-16 <LS9-32>
600 Ω Full scale output, Output level: +24.0dBu
Internal Oscillator
-30dBFs, Phones level control: max. → Output
level: 0dBu (Typ.)
PHONES OUT
8 Ω
❏ Total Harmonic Distortion
Fs = 44.1kHz or 48kHz
Input
Output
RL
Conditions
+4dBu@20Hz-20kHz, GAIN: max.
+4dBu@20Hz-20kHz, GAIN: min.
Min.
Typ. Max. Unit
0.1
INPUT 1-16 <LS9-16>
INPUT 1-32 <LS9-32>
OMNI OUT 1-8 <LS9-16>
OMNI OUT 1-16 <LS9-32>
600 Ω
0.05
OMNI OUT 1-8 <LS9-16>
OMNI OUT 1-16 <LS9-32>
%
600 Ω Full scale output @1kHz
Full scale output @1kHz, Phones level control:
0.02
Internal Oscillator
PHONES OUT
8 Ω
0.2
max.
*
Total Harmonic Distortion is measured with a 18dB/octave filter @80kHz
❏ Hum & Noise
Fs = 44.1kHz or 48kHz, EIN = Equivalent Input Noise
Input
Output
RL
Conditions
Min.
Typ. Max. Unit
-128
EIN
Rs=150Ω, GAIN: max.
Master fader: nominal, One channel fader: nom-
inal
INPUT 1-16 <LS9-16>
INPUT 1-32 <LS9-32>
OMNI OUT 1-8 <LS9-16>
OMNI OUT 1-16 <LS9-32>
-62
600 Ω
Rs=150Ω, GAIN: min.
Master fader: nominal, One channel fader: nom-
inal
-84
-79
-67
-64
Rs=150Ω, GAINs: min.
All Inputs <LS9-16>
All Inputs <LS9-32>
OMNI OUT 1-8 <LS9-16>
600 Ω Master fader: nominal, All channel faders: nomi-
dBu
nal
Rs=150Ω, GAINs: min
OMNI OUT 1-16 <LS9-32> 600 Ω Master fader: nominal, All channel faders: nomi-
nal
OMNI OUT 1-8 <LS9-16>
—
—
600 Ω Residual output noise, Stereo Master: off
OMNI OUT 1-16 <LS9-32>
-86
-86
PHONES OUT
8 Ω
Residual output noise, Phones level control: min.
*
Hum & Noise are measured with a 6dB/octave filter @12.7kHz; equivalent to a 20kHz filter with infinite dB/octave attenuation.
❏ Dynamic Range
Fs = 44.1kHz or 48kHz
Input
Output
RL
Conditions
Min.
Typ. Max. Unit
INPUT 1-16 <LS9-16>
INPUT 1-32 <LS9-32>
OMNI OUT 1-8 <LS9-16>
OMNI OUT 1-16 <LS9-32>
600 Ω AD + DA, GAIN: min.
600 Ω DA Converter
108
dB
OMNI OUT 1-8 <LS9-16>
OMNI OUT 1-16 <LS9-32>
—
110
*
Dynamic range is measured with a 6dB/octave filter @12.7kHz; equivalent to a 20kHz filter with infinite dB/octave attenuation.
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Electrical characteristics
❏ Crosstalk@1kHz
From
INPUT n
To
Conditions
Min.
Min.
Typ. Max. Unit
INPUT (n-1) or (n+1)
OMNI OUT (n-1) or (n+1)
CH 1-16 {1-32}, Adjacent inputs, GAIN: min.
OMNI OUT 1-8 {1-16}, Input to output
-80
dB
OMNI OUT n
-80
❏ Maximum Voltage Gain@1kHz
Input
Output
RL
Conditions
Typ. Max. Unit
INPUT 1-16 <LS9-16>
INPUT 1-32 <LS9-32>
OMNI OUT 1-8 <LS9-16>
OMNI OUT 1-16 <LS9-32>
600 Ω Rs=150Ω, Input GAIN: max.
86
dB
❏ Phantom Voltage
Output
Conditions
Min.
Typ. Max. Unit
48 50
INPUT 1-16 <LS9-16>
INPUT 1-32 <LS9-32>
hot & cold: No load
46
V
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Mixer Basic Parameters
Mixer Basic Parameters
❏ Libraries
❏ Output Function
Name
Scene Memory
Input EQ Library
Output EQ Library
Dynamics Library
Effect Library
Number
Total
301
199
199
199
199
200
Function
Attenuator
Parameter
Preset 1 + User 300
Preset 40 + User 159
Preset 3 + User 196
Preset 41 + User 158
Preset 57 + User 142
Preset 1 + User 199
–96 to +24 dB
Frequency= 20 Hz to 20 kHz
Gain= –18 dB to +18 dB
Q= 0.10 to 10.0
4Band Equalizer
Insert
Low Shelving (Low Band)
High Shelving, LPF (High Band)
Type I/Type II
GEQ Library
Insert Point: Pre EQ/Post EQ/Pre Fader/Post On
❏ Input Function
Type: Comp/Expander/Compander H/Com-
pander S
Function
Parameter
Phase
Normal/Reverse
–96 to +24 dB
Threshold= –54 dB to 0 dB
Ratio= 1:1 to ∞:1
Attenuator
Slope= 12 dB/Oct
Attack= 0 msec to 120 msec
Release= 5 msec to 42.3 sec
Gain= –18 dB to 0 dB, 0 dB to + 18 dB
Knee= Hard to 5 (soft)
HPF
Dynamics 1
Frequency= 20 Hz to 600 Hz
Frequency= 20 Hz to 20 kHz
Gain= –18 dB to +18 dB
Q= 0.10 to 10.0
Key In: Self Pre EQ/Self Post EQ/Mix Out13-16
MIX1-16/MTRX1-8/STIN LR/MONO(C)
(8ch block)
4 Band Equal-
izer
Low Shelving (Low Band)
High Shelving, LPF (High Band)
Type I/Type II
Fader
Level: 1024 steps, ∞, –138 dB to +10 dB
On/Off
On
Insert
(only ch1-32)
Insert Point: Pre EQ/Pre Fader
Mute Group
8 Groups
Matrix Send Point: Pre Fader/Post On
Level: 1024 steps, ∞, –138 dB to +10 dB
Mix to Matrix
Direct Out
Direct Out Point: Pre HPF/Pre EQ
Type: Gate/Ducking/Comp/Expander
Threshold= –54 dB to 0 dB
Ratio= 1:1 to ∞:1
Stereo to Matrix
Level= 0 to –96dB (1 dB step)
On/Off= Software control
Oscillator
Attack= 0 msec to 120 msec
Hold= 0.02 msec to 1.96 sec
Decay= 5 msec to 42.3 sec (Release)
Releace= 5msec to 42.3 sec
Range= –70 dB to 0 dB
❏ Output Port
Function
Parameter
Dynamics 1
Out Port Delay
0 msec to 600 msec
Out Port Phase Normal/Reverse
Gain= –18 dB to 0 dB, 0 dB to +18 dB
Knee= Hard to 5 (soft)
Attenuator
–96 to +24 dB
Key In: Self Pre EQ/Self Post EQ/Mix Out13-16
Ch1-STIN4R (8ch block)
❏ Processor
Key In Filter: HPF/LPF/BPF
Function
GEQ
Parameter
Type:
Comp/De-Esser/Compander H/Com-
pander S
31 bands x 4(8) systems
Effects
Stereo In/Stereo Out multi effector x 4 systems
Threshold= –54 dB to 0 dB
Ratio= 1:1 to ∞:1
Attack= 0 msec to 120 msec
Release= 5 msec to 42.3 sec
Gain= –18 dB to 0 dB, 0 dB to +18 dB
Knee= Hard to 5 (soft)
Dynamics2
Key In: Self Pre EQ/Self Post EQ/Mix Out13-16
Ch1-STIN4R (8ch block)
Fader
Level: 1024 steps, ∞, –138 dB to +10 dB
On/Off
On
Mute Group
8 Groups
16 sends
Fix/Variable can be set each two mixes
Mix Send Point: Pre EQ/Pre Fader/Post On
Level: 1024 steps, ∞, –138 dB to +10 dB
CSR= 0% to 100%
Mix Send
LCR Pan
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Dimensions
Dimensions
220
LS9-16
25
430
480
25
220
LS9-32
25
834
884
25
Unit : mm
* Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves
the right to change or modify products or specifications at any time without prior notice. Since specifications,
equipment or options may not be the same in every locale, please check with your Yamaha dealer.
European models
Purchaser/User Information specified in EN55103-1 and EN55103-2.
Inrush Current: 16A
Conforms to Environments: E1, E2, E3 and E4
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Attaching the RK1 rackmount kit (sold separately)
Attaching the RK1 rackmount kit (sold separately)
You can attach the optional RK-1 rackmount kit to the LS9-16 or LS9-32 and mount it in a rack or an
installed system.
Make sure that the power is turned off.
1
Remove screws “A” and detach the side pads.
2
NOTE
• Keep the side pad screws together with the pads you removed.
A
Side pad
A
A
A
At the locations indicated by the arrows, tighten the screws to attach the rackmount hard-
ware.
3
The mixer can be attached at either of two angles, as shown in the following illustration.
Attach the hardware to the other side in the same way.
4
CAUTION
• When attaching the RK1 rackmount kit, make sure that the power is turned off.You must use the screws
that are included with the RK1.
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MIDI Implementation Chart
MIDI Implementation Chart
YAMAHA
[ Digital Mixing Console ]
Model LS9-16/32 MIDI Implementation Chart
Date :8-Aug-2006
Version : 1.0
Transmitted
Recognized
Remarks
Function...
Default
Basic
1 - 16
1 - 16
1 - 16
1 - 16
Memorized
Memorized
Channel Changed
Default
x
1, 3
Mode
Note
Messages x
Altered
x
x
**************
x
0 - 127
x
Number : True voice **************
Velocity Note ON
x
o 9nH, v=1-127
x
Effect Control
Note OFF x
After
Touch
Key's
Ch's
x
x
x
x
Pitch Bend
x
x
0,32 o
6,38 o
98,99 o
o
o
o
o
Bank Select
Data Entry
NRPN LSB,MSB
Assignable Cntrl
1-31,33-98, o
102-119
Control
Change
Prog
o 0 - 127
**************
o 0 - 127
0 - 300
Assignable
Change : True #
System Exclusive
o *1
o *1,*2
: Song Pos. x
Common : Song Sel. x
x
o
x
Recorder Control
Effect Control
: Tune
x
System :Clock
x
o
x
Real Time:Commands x
:All Sound Off x
x
x
x
x
o
o
Aux :Reset All Cntrls x
:Local ON/OFF
x
Mes- :All Notes OFF x
sages:Active Sense
:Reset
x
x
Notes:
*1 :Bulk Dump/Request and Parameter Change/Request.
*2 :MMC
Mode 1 : OMNI ON , POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON ,MONO
Mode 4 : OMNI OFF,MONO
o : Yes
x : No
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Index
F
K
L
Functions that can be
G
M
H
I
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Index
STEREO/MONO channels
N
O
P
R
S
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Index
T
U
USB memory
V
W
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M
O
N
■ LS9-16/LS9-32 Block Diagram
ST
MATRIX CUE
...
MIX
O
CASCADE OUT
...
15 16
(C)
1
2
L
R
1
2
7
8
L
R
MIX CASCADE OUT1-16
To OUTPUT PATCH
To OUTPUT PATCH
CASCADE IN
To OUTPUT PATCH
To OUTPUT PATCH
STEREO CASCADE OUT L,R,MONO(C)
MATRIX CASCADE OUT1-8
SLOT 1-16
{SLOT1 1-16}
{SLOT2 1-16}
To OUTPUT PATCH
To OUTPUT PATCH
To OUTPUT PATCH
CASCADE
IN
SELECT
To OUTPUT PATCH
To OUTPUT PATCH
To OUTPUT PATCH
To OUTPUT PATCH
CUE CASCADE OUT LR
To OUTPUT PATCH
To OUTPUT PATCH
TALKBACK
INPUT 1-16{32}
INPUT
SELEECT
ON
+48V MASTER
MIX 1-16
+48V
ON
To RACKIN PATCH
OSC
METER
INSERT POINT
PRE FADER INSERT OUT
PRE EQ INSERT OUT
OSCILLATOR
To OUTPUT PATCH
MIX
INSERT OUT 1-16
LEVEL
ON
Sine Wave
Pink Noise
Burst Noise
MIX
HA
INPUT
PATCH
INSERT IN 1-16
+48V
PRE EQ
METER
EQ OUT
METER
DYNA OUT
METER
PRE FADER
METER
POST ON
METER
METER
HPF LPF
2
+
INPUT
[INPUT]
[1-16{32}]
1
GR METER
AD
INPUT
1-16{32}
LEVEL
-
3
(13-16)To KEYIN
To RACKIN PATCH
To OUTPUT PATCH
To MONITOR SELECT
To RECORDER IN PATCH
INPUT 15,16{31,32}
To MONITOR SELECT
ON
GAIN/TRIM
COMP
COMPAND
EXPAND
INSERT
INSERT
4BAND
EQ
MIX OUT1-16
ATT
CH 1-32{64}
To RACKIN PATCH
To OUTPUT PATCH
2TR IN
METER
INSERT POINT
PRE FADER
INSERT OUT
To OUTPUT PATCH
To RECORDER IN PATCH
DIRECT OUT 1-32{64}
CH
ON
LEVEL
PRE EQ POST EQ
PRE FADER
PRE FADER INSERT OUT
POST ON
PRE HPF / PRE EQ / PRE FADER
COAXIAL
Keyin
INSERT OUT 1-32
PRE EQ
INSERT OUT
PRE EQ
2TR IN DIGITAL
Self PRE EQ/Self POST EQ/MIX13-16 OUT/
MIX(1-8,9-16) POST EQ
POST PAN L
POST PAN R
PAN
INSERT OUT
CH
2TR IN L,R
[2TR IN DIGITAL]
INSERT IN 1-32
CUE ON
PRE EQ
METER
EQ OUT
METER
GR METER
DYNA1OUT
METER
DYNA2OUT
METER
PRE FADER
METER
POST ON
METER
2
PAN MODE
TO MONO TO ST
(PRE FADER)PFL / (POST ON)AFL
LR MONO
ST L
To MONITOR SELECT
MATRIX1,3...7
GR METER
LEVEL
LEVEL
ON
ON
LEVEL
PRE HPF
METER
To MATRIX
MONO(C)
ST R
PRE FADER / POST ON
TO LCR
ON
GATE
DUCK
EXPAND
COMP
LCR
CSR
MATRIX2,4...8
COMP
COMPAND
DE-ESSER
VARI
INSERT
INSERT
4BAND
EQ
HPF
ATT
32
{64}
ON
To MATRIX
VARI
STEREO
LEVEL
PAN
PRE FADER / POST ON
PRE HPF
PRE EQ POST EQ
POST ON
PRE FADER
KEYIN CUE
PAN
PRE EQ
PRE FADER
INSERT OUT
PAN MODE
PLAYBACK
OUT L,R
TO ST TO MONO
TO LCR
LR MONO
Keyin Filter
INSERT OUT
ST L
PLAYBACK OUT
Keyin
PAN LINK
Self PRE EQ
Self POST EQ
MIX13-16 OUT
MONO(C)
ST R
MIX1,3...15
ON
ON
LCR
CSR
To MIX
FIXED
POST ON
MIX2,4...16
POST ON
CH[1-8,9-16,17-24,25-32]POST EQ{16}
CH[1-8,9-16,17-24,25-32,33-40,41-48,49-56,57-64]POST EQ{32}
To MIX
ON
ON
POST PAN L
POST PAN R
FIXED
STEREO
STEREO L,R,MONO(C)
ON
LEVEL
LEVEL
To MIX
VARI
PRE EQ / PRE FADER / POST ON
To CASCADE IN
SELECT
SLOT IN SLOT IN
METER METER
To RACKIN PATCH
ON
INSERT POINT
To OUTPUT PATCH
STEREO
PRE FADER INSERT OUT
INSERT OUT L,R,MONO(C)
PRE EQ
INSERT OUT
To MIX
VARI
STEREO
ON
LEVEL
PAN
SLOT 1-16
PRE EQ / PRE FADER / POST ON
SLOT {SLOT1}
{SLOT2}
STEREO
INSERT IN L,R,MONO(C)
{SLOT1 1-16}
[SLOT
{SLOT1,SLOT2}]
16
16
PRE EQ
METER
EQ OUT
METER
DYNA OUT
METER
PRE FADER
METER
POST ON
METER
{SLOT2 1-16}
ON
CUE L
CUE R
(PRE FADER)PFL / (POST ON)AFL / POST PAN L
(PRE FADER)PFL / (POST ON)AFL / POST PAN R
GR METER
LEVEL
BAL
ON
STEREO OUT
L,R,MONO(C)
RACK1 OUT
A(L)/B(R)
ON
COMP
COMPAND
EXPAND
INSERT
INSERT
4BAND
ATT
To OUTPUT PATCH
To MONITOR SELECT
To RECORDER IN PATCH
EQ
RACK2 OUT
A(L)/B(R)
RACK3 OUT
A(L)/B(R)
RACK4 OUT
A(L)/B(R)
RACK5 OUT
A(L)/B(R)
RACK6 OUT
A(L)/B(R)
RACK7 OUT
A(L)/B(R)
RACK8 OUT
A(L)/B(R)
PRE FADER
INSERT OUT
POST PAN L
POST PAN R
TO MONO TO ST
PRE FADER
PRE EQ POST EQ
BAL
POST ON
To STEREO OUT L+C,R+C
ST IN 1L-4R
Keyin
PRE EQ
PRE EQ
METER
EQ OUT
METER
DYNA1OUT
METER
GR METER
DYNA2OUT
METER
PRE FADER
METER
POST ON
METER
Self PRE EQ/Self POST EQ/MIX13-16 OUT/
ST(L,R,MONO(C)) POST EQ
PAN MODE
INSERT OUT
LR MONO
ST L
CUE ON
GR METER
LEVEL
PRE HPF
METER
MONO(C)
(PRE FADER)PFL / (POST ON)AFL
TO LCR
ON
GATE
DUCK
EXPAND
COMP
KEYIN CUE
Keyin Filter
LCR
CSR
COMP
COMPAND
DE-ESSER
STEREO OUT L+C
STEREO OUT R+C
To OUTPUT PATCH
To RECORDER IN PATCH
4BAND
EQ
STEREO OUT L
STEREO OUT MONO(C)
STEREO OUT R
LEVEL
LEVEL
To MATRIX
MATRIX1,3...7
MATRIX2,4...8
ON
ON
HPF
ATT
ST R
PRE FADER / POST ON
8
VARI
PRE HPF
POST ON
PRE EQ POST EQ
PRE FADER
To MATRIX
PRE FADER / POST ON
VARI
LEVEL
PAN
ON
To OUTPUT PATCH
To RECORDER IN PATCH
PAN LINK
Keyin
STEREO
Self PRE EQ
Self POST EQ
MIX1,3...15
MIX2,4...16
ON
ON
To MIX
FIXED
POST ON
MIX13-16 OUT
ST IN 1L-4R POST EQ
INSERT
IN
PATCH
SLOT 1-16
{SLOT1 1-16}
To MIX
ON
ON
MATRIX1-8
POST PAN L
POST PAN R
FIXED
STEREO
To RACKIN PATCH
INSERT POINT
To OUTPUT PATCH
MATRIX
PRE FADER INSERT OUT
ON
ON
LEVEL
LEVEL
To MIX
VARI
PRE EQ / PRE FADER / POST ON
INSERT OUT 1-8
PRE EQ
INSERT OUT
MATRIX
INSERTIN1-8
{SLOT2 1-16}
PRE EQ
METER
EQ OUT
METER
DYNA OUT
METER
PRE FADER
METER
POST ON
METER
To MIX
VARI
STEREO
ON
LEVEL
BAL
PRE EQ / PRE FADER / POST ON
GR METER
LEVEL
ON
RACK
MATRIX OUT 1-8
COMP
COMPAND
EXPAND
INSERT
INSERT
4BAND
ATT
To OUTPUT PATCH
To MONITOR SELECT
To RECORDER IN PATCH
EQ
CUE L
CUE R
(PRE FADER)PFL / (POST ON)AFL / POST PAN L
(PRE FADER)PFL / (POST ON)AFL / POST PAN R
ON
ON
PRE FADER
INSERT OUT
RACK1
PRE FADER
PRE EQ POST EQ
POST ON
RACK
Keyin
PRE EQ
IN
Self PRE EQ/Self POST EQ/MIX13-16 OUT/
MATRIX1-8 POST EQ
RACK IN
RACK OUT
METER
METER
INSERT OUT
PATCH
CUE ON
31BandGEQ
CH INSERT IN 1-32
MIX INSERT IN 1-16
(PRE FADER)PFL / (POST ON)AFL
To CH INSERT IN
To MIX INSERT IN
ON
KEYIN CUE
SELECT
KEYIN CH1-32{64}
KEYIN ST IN1L-4R
32
KEYIN CUE
RACK IN A
RACK IN B
RACK OUT A
RACK OUT B
METER
METER
METER
METER
16
3
ON
ON
STEREO INSERT IN L,R,MONO(C)
MATRIX INSERT IN 1-8
RACK1 IN
A(L)/B(R)
Flex15GEQ
To STEREO INSERT IN
To MATRIX INSERT IN
EFFECT CUE
SELECT
MIX OUT
1-16
RACK1 OUT
A(L)/B(R)
EFFE CT CUE
RACK 5-8 OUT L/R
CUE TRIM
(INPUT/OUTPUT/DCA)
8
RACK2 IN
A(L)/B(R)
RACK2 OUT
A(L)/B(R)
RECORDER IN L/R
PLAYBACK OUT L/R
RECORDER CUE
SELECT
MONO
RACK2 (same as RACK1)
RACK3 (same as RACK1)
METER CUE L
RECORDER CUE
CUE L
CUE R
MATRIX OUT
1-8
METER CUE R
RACK3 IN
A(L)/B(R)
RACK3 OUT
A(L)/B(R)
OUTPUTS
STEREO OUT
L,R,MONO(C)
RACK4 IN
A(L)/B(R)
MIX CASCADE OUT 1-16
STEREO CASCADE OUT L,R,MONO(C)
MATRIX CASCADE OUT 1-8
RACK4 OUT
A(L)/B(R)
Tip
Ring
RACK4 (same as RACK1)
RACK5
PHONES OUT LR
DA
[PHONES]
[SLOT
2
Sleeve
CUE CASCADE OUT L,R
CUE LOGIC
PHONES
PHONES LEVEL
CH
INSERT OUT
1-32
DIRECT OUT 1-32{64}
RACK IN
RACK OUT
METER
METER
LEVEL LINK
PHONES L
PHONES R
To PHONES OUT
To PHONES OUT
OUTPUT
PATCH
ATT TRIM
MIX OUT 1-16
STEREO OUT L,R,MONO(C)
MATRIX OUT 1-8
31BandGEQ
2TRD L,R
INPUT 15,16{31,32}
PLAYBACK OUT
METER SLOT OUT
DELAY
SLOT{SLOT1}
{SLOT2}
(MAX:600ms)
16
16
RACK IN A
RACK IN B
RACK OUT A
RACK OUT B
METER
METER
METER
METER
SLOT OUT
OMNI OUT
METER
METER
MONITOR OUT L,R,MONO(C)
CH INSERT OUT 1-32
DELAY
(MAX:600ms)
MIX
INSERT OUT
1-16
{SLOT1,SLOT2}]
MIX INSERT OUT 1-16
Flex15GEQ
STEREO OUT L,R
MONO
METER MONITOR L
METER MONITOR R
STEREO INSERT OUT L,R,MONO(C)
MONITOR OUT L
STEREO OUT MONO(C)
STEREO OUT L,C,R
MONITOR L
MONITOR R
To OUTPUT PATCH
To OUTPUT PATCH
To OUTPUT PATCH
RACK OUT L
RACK OUT R
RACK IN L
RACK IN R
METER
METER
METER
METER
MATRIX INSERT OUT 1-8
MONITOR OUT R
DIRECT OUT 1-32{64}
2TRD L,R
STEREO
INSERT OUT
L,R,MONO(C)
ATT TRIM
8{16}
EFFECT
MIX OUT 1-16
STEREO OUT L,R,MONO(C)
MATRIX OUT 1-8
2
+
-
INPUT 15,16{31,32}
OUTPUT
PATCH
DELAY
(MAX:600ms)
EFFECT CUE
DA
METER MONITOR MONO(C)
MONITOR OUT MONO(C)
1
RACK5 IN
A(L)/B(R)
[OMNI OUT](1-8{16})
[2TR OUT DIGITAL]
MONITOR MONO(C)
RACK5 OUT
A(L)/B(R)
PLAYBACK OUT
3
ON
+MONO(C)
DEFINE
MIX
(MAX:8ch)
MONITOR OUT L,R,MONO(C)
TALKBACK ON
STEREO OUT
L,R
RACK6 IN
A(L)/B(R)
RACK6 OUT
A(L)/B(R)
MONITOR DIMM ON MONITOR LEVEL
DIRECT OUT 1-32{64}
COAXIAL
MATRIX
INSERT OUT
1-8
ATT TRIM
RACK6 (same as RACK5)
RACK7 (same as RACK5)
RACK8 (same as RACK5)
MIX OUT 1-16
METER 2TR OUT
DELAY
(MAX:600ms)
OUTPUT
PATCH
STEREO OUT
DIT
STEREO OUT L,R,MONO(C),L+C,R+C
MATRIX OUT 1-8
2
MONO(C)
RACK7 IN
A(L)/B(R)
RACK7 OUT
A(L)/B(R)
MIX OUT1-16
MONITOR OUT L,R,MONO(C)
MATRIX OUT1-8
RACK8 IN
A(L)/B(R)
RACK8 OUT
A(L)/B(R)
PLAYBACK OUT
METER
USB MEMORY RECORDER
PLAYBACK OUT
RECORDER IN
METER
To INPUT PATCH
To MONITOR SELECT
DECODER
or
DIRECT OUT 1-32{64}
MIX OUT 1-16
RECORDER
IN
PATCH
STEREO OUT L,R,MONO(C),L+C,R+C
MATRIX OUT 1-8
ENCODER
2
MONITOR OUT L,R,MONO(C)
ATT
RECORDER CUE
USB
RECORDER CUE
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■ LS9-16/LS9-32 Level Diagram
Analog
Digital
Digital
Analog
MASTER
LEVEL
/ BAL
Analog
dBu
Digital
Analog
dBu
INPUT
PATCH
EQ
DYN DYN
BUS
Adder
EQ
MASTER
ON
ø,ATT,
TRIM
OUTPUT
PATCH
AD
DA
GAIN
ø
HPF INSERT ATT. (x4)
1
2
INSERT
IN
LEVEL
ON PAN
INSERT ATT. (x4) DYN
DELAY
dBFS Bit
Digital Clipping Level
Max. Input [+30dBu]
1
1
IN
IN
Max. Output
+30
+30
0
-10
-20
0
1
2
3
4
[+24dBu]
+24
+20
+24
+20
CASCADE IN
CASCADE OUT
OUT
OUT
OUT
Nominal Input [+10dBu]
+10
+4
0
+10
Nominal Output
[+4dBu]
+4
0
-30
-40
5
6
PHONES
Max Output
(150mW@8Ω)
-10
-10
-20
7
8
-50
-20
Nominal Output
(75mW@8Ω)
9
[The position of the level
control is 10dB lowered
from Max]
-30
-60
10
11
12
13
14
15
16
17
18
19
20
21
22
23
-30
-70
-40
-40
-50
Max. Input [-42dBu]
2
2
OMNI OUT1-16/8
[Default setting]
-80
-50
-60
-90
-60
Nominal Input [-62dBu]
-70
-100
-110
-120
-130
-140
-150
-160
-170
-180
-190
-70
INPUT 1-32/16 (GAIN MIN.)
1
-80
-80
2 INPUT 1-32/16 (GAIN MAX.)
-90
-90
-100
-110
-120
-130
-140
-150
-100
-110
-120
-130
-140
-150
-160
-170
-180
-190
24
25
26
27
28
29
30
31
-160
-170
32
33
Max. DSP Noise Floor
-200
-210
34
35
-180
-190
36
[0dBu = 0.775Vrms]
[0dBFS = Full Scale]
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For details of products, please contact your nearest Yamaha
representative or the authorized distributor listed below.
Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten
Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen
Bestimmungsländern erhältlich.
Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou
au distributeur le plus proche de vous figurant dans la liste suivante.
Para detalles sobre productos, contacte su tiendaYamaha más cercana
o el distribuidor autorizado que se lista debajo.
POLAND
NORTH AMERICA
ASIA
Yamaha Music Europe GmbH
Branch Sp.z o.o. Oddzial w Polsce
ul. 17 Stycznia 56, PL-02-146 Warszawa, Poland
Tel: 022-868-07-57
CANADA
THE PEOPLE’S REPUBLIC OF CHINA
Yamaha Music & Electronics (China) Co.,Ltd.
2F, Yunhedasha, 1818 Xinzha-lu, Jingan-qu,
Shanghai, China
Yamaha Canada Music Ltd.
135 Milner Avenue, Scarborough, Ontario,
M1S 3R1, Canada
Tel: 416-298-1311
THE NETHERLANDS/
Tel: 021-6247-2211
BELGIUM/LUXEMBOURG
U.S.A.
INDIA
Yamaha Music India Pvt. Ltd.
5F Ambience Corporate Tower Ambience Mall Complex
Ambience Island, NH-8, Gurgaon-122001, Haryana, India
Tel: 0124-466-5551
Yamaha Music Europe Branch Benelux
Clarissenhof 5-b, 4133 AB Vianen, The Netherlands
Tel: 0347-358 040
Yamaha Corporation of America
6600 Orangethorpe Ave., Buena Park, Calif. 90620,
U.S.A.
Tel: 714-522-9011
FRANCE
Yamaha Musique France
BP 70-77312 Marne-la-Vallée Cedex 2, France
Tel: 01-64-61-4000
INDONESIA
PT. Yamaha Music Indonesia (Distributor)
PT. Nusantik
Gedung Yamaha Music Center, Jalan Jend. Gatot
Subroto Kav. 4, Jakarta 12930, Indonesia
Tel: 21-520-2577
CENTRAL & SOUTH AMERICA
MEXICO
Yamaha de México S.A. de C.V.
Calz. Javier Rojo Gómez #1149,
Col. Guadalupe del Moral
C.P. 09300, México, D.F., México
Tel: 55-5804-0600
ITALY
Yamaha Musica Italia S.P.A.
Combo Division
Viale Italia 88, 20020 Lainate (Milano), Italy
Tel: 02-935-771
KOREA
Yamaha Music Korea Ltd.
8F, 9F, Dongsung Bldg. 158-9 Samsung-Dong,
Kangnam-Gu, Seoul, Korea
Tel: 080-004-0022
SPAIN/PORTUGAL
BRAZIL
Yamaha Música Ibérica, S.A.
Ctra. de la Coruna km. 17, 200, 28230
Las Rozas (Madrid), Spain
Tel: 91-639-8888
Yamaha Musical do Brasil Ltda.
Rua Joaquim Floriano, 913 - 4' andar, Itaim Bibi,
CEP 04534-013 Sao Paulo, SP. BRAZIL
Tel: 011-3704-1377
MALAYSIA
Yamaha Music Malaysia, Sdn., Bhd.
Lot 8, Jalan Perbandaran, 47301 Kelana Jaya,
Petaling Jaya, Selangor, Malaysia
Tel: 3-78030900
SWEDEN
ARGENTINA
Yamaha Music Latin America, S.A.
Sucursal de Argentina
Olga Cossettini 1553, Piso 4 Norte
Madero Este-C1107CEK
Buenos Aires, Argentina
Yamaha Scandinavia AB
J. A. Wettergrens Gata 1, Box 30053
S-400 43 Göteborg, Sweden
Tel: 031 89 34 00
SINGAPORE
Yamaha Music Asia Pte., Ltd.
#03-11 A-Z Building
140 Paya Lebor Road, Singapore 409015
Tel: 747-4374
DENMARK
YS Copenhagen Liaison Office
Generatorvej 6A, DK-2730 Herlev, Denmark
Tel: 44 92 49 00
Tel: 011-4119-7000
PANAMA AND OTHER LATIN
AMERICAN COUNTRIES/
CARIBBEAN COUNTRIES
Yamaha Music Latin America, S.A.
Torre Banco General, Piso 7, Urbanización Marbella,
Calle 47 y Aquilino de la Guardia,
Ciudad de Panamá, Panamá
TAIWAN
Yamaha KHS Music Co., Ltd.
3F, #6, Sec.2, Nan Jing E. Rd. Taipei.
Taiwan 104, R.O.C.
NORWAY
Norsk filial av Yamaha Scandinavia AB
Grini Næringspark 1, N-1345 Østerås, Norway
Tel: 67 16 77 70
Tel: 02-2511-8688
THAILAND
RUSSIA
Yamaha Music (Russia)
Office 4015, entrance 2, 21/5 Kuznetskii
Most street, Moscow, 107996, Russia
Tel: 495 626 0660
Tel: +507-269-5311
Siam Music Yamaha Co., Ltd.
th
4, 6, 15 and 16 floor, Siam Motors Building,
891/1 Rama 1 Road, Wangmai,
Pathumwan, Bangkok 10330, Thailand
Tel: 02-215-2626
EUROPE
THE UNITED KINGDOM
Yamaha Music U.K. Ltd.
Sherbourne Drive, Tilbrook, Milton Keynes,
MK7 8BL, England
OTHER EUROPEAN COUNTRIES
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: +49-4101-3030
OTHER ASIAN COUNTRIES
Yamaha Corporation,
Asia-Pacific Sales & Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
Tel: 01908-366700
GERMANY
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
Tel: +81-53-460-2303
AFRICA
Yamaha Corporation,
Asia-Pacific Sales & Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
OCEANIA
SWITZERLAND/LIECHTENSTEIN
AUSTRALIA
Yamaha Music Europe GmbH
Branch Switzerland in Zürich
Seefeldstrasse 94, 8008 Zürich, Switzerland
Tel: 01-383 3990
Yamaha Music Australia Pty. Ltd.
Level 1, 99 Queensbridge Street, Southbank,
Victoria 3006, Australia
Tel: +81-53-460-2303
MIDDLE EAST
TURKEY/CYPRUS
Yamaha Music Europe GmbH
Siemensstraße 22-34, 25462 Rellingen, Germany
Tel: 04101-3030
Tel: 3-9693-5111
AUSTRIA
Yamaha Music Europe GmbH Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-60203900
COUNTRIES AND TRUST
TERRITORIES IN PACIFIC OCEAN
Yamaha Corporation,
Asia-Pacific Sales & Marketing Group
Nakazawa-cho 10-1, Naka-ku, Hamamatsu,
Japan 430-8650
CZECH REPUBLIC/SLOVAKIA/
HUNGARY/SLOVENIA
Yamaha Music Europe GmbH Branch Austria
Schleiergasse 20, A-1100 Wien, Austria
Tel: 01-602039025
OTHER COUNTRIES
Yamaha Music Gulf FZE
LOB 16-513, P.O.Box 17328, Jubel Ali,
Dubai, United Arab Emirates
Tel: +971-4-881-5868
Tel: +81-53-460-2303
HEAD OFFICE Yamaha Corporation, Pro Audio Division
Nakazawa-cho 10-1, Naka-ku, Hamamatsu, Japan 430-8650
Tel: +81-53-460-2441
PA26
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Yamaha Pro Audio global web site:
http://www.yamahaproaudio.com/
Yamaha Manual Library
http://www.yamaha.co.jp/manual/
U.R.G., Pro Audio Division
© 2006 Yamaha Corporation
007POTO-G0
Printed in Japan
WH39070
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